top of page
"Artworks that bring personal meaning into the home, creating conversation pieces that feel considered, distinctive and entirely individual."
Dad's Toolbox
Worn blue steel, marked by years of honest work.
This was Stephenās ā cabinet maker, coach builder, engineer.
A man who believed anything worth having was worth repairing.
These compartments once carried the tools that shaped his days:
chisels for carving clean lines, screws sorted with quiet precision,
a pencil sharpened to a craftsmanās point.
Every scratch tells the story of labour and care ā
repairs done well, vehicles running again,
timber transformed under steady hands.
Though the tools have gone, the box remains ā
a quiet monument to making things last,
and to the man who did exactly that.
This was Stephenās ā cabinet maker, coach builder, engineer.
A man who believed anything worth having was worth repairing.
These compartments once carried the tools that shaped his days:
chisels for carving clean lines, screws sorted with quiet precision,
a pencil sharpened to a craftsmanās point.
Every scratch tells the story of labour and care ā
repairs done well, vehicles running again,
timber transformed under steady hands.
Though the tools have gone, the box remains ā
a quiet monument to making things last,
and to the man who did exactly that.
Norman's Ruler
It folds quietly now, the way he once folded into life with themā
not as Father by blood, but by every measure that mattered.
The older children joked and called him the Lodger,
as if love needed paperwork
or a shared surname
to belong under one roof.
But to Kevin and Les, small boys with wide trust,
he was simply Dad.
Norman marked out a childhood the only way he knew:
steady hands,
a craftsmanās patience,
mending what was broken before it was noticed.
This ruler once lived in his pocket,
unfolding again and again
to judge a length of skirting board,
a shelf just right for a toy,
the precise height of growing boys
who longed to be taller than his smile.
Then came the day my dad can still draw sharpā
aged nine, learning suddenly
that some things canāt be measured or fixed.
Not with tools.
Not with time.
Loss arrived too early,
and the world closed in by inches.
Sixty years on,
this is all he has left of Norman:
a simple ruler, worn smooth by work and touch.
Yet in every etched number, in every hinge and scratch,
thereās proof that love can be exactly the right sizeā
even when it doesnāt stay long.
This ruler is more than wood.
Itās the length of a life remembered
and the measure of a man
who chose to be Dad.
Circa 1960
not as Father by blood, but by every measure that mattered.
The older children joked and called him the Lodger,
as if love needed paperwork
or a shared surname
to belong under one roof.
But to Kevin and Les, small boys with wide trust,
he was simply Dad.
Norman marked out a childhood the only way he knew:
steady hands,
a craftsmanās patience,
mending what was broken before it was noticed.
This ruler once lived in his pocket,
unfolding again and again
to judge a length of skirting board,
a shelf just right for a toy,
the precise height of growing boys
who longed to be taller than his smile.
Then came the day my dad can still draw sharpā
aged nine, learning suddenly
that some things canāt be measured or fixed.
Not with tools.
Not with time.
Loss arrived too early,
and the world closed in by inches.
Sixty years on,
this is all he has left of Norman:
a simple ruler, worn smooth by work and touch.
Yet in every etched number, in every hinge and scratch,
thereās proof that love can be exactly the right sizeā
even when it doesnāt stay long.
This ruler is more than wood.
Itās the length of a life remembered
and the measure of a man
who chose to be Dad.
Circa 1960
Arthur's Euphonium
In a Yorkshire town of stone and rain,
Arthur played where echoes remain.
The millās great hum, the brass bandās tune,
His breath beneath a silver moon.
A Regent horn, his pride, his friend,
Each note a prayer that would not end.
Through fairs and frost, through joy and strife,
It sang the song that shaped his life.
Now quiet stands the chair and hall,
But lift this horn ā youāll hear it call.
For in its brass, the valleys keep
A man, his music, and his peace.
Circa 1970
Arthur played where echoes remain.
The millās great hum, the brass bandās tune,
His breath beneath a silver moon.
A Regent horn, his pride, his friend,
Each note a prayer that would not end.
Through fairs and frost, through joy and strife,
It sang the song that shaped his life.
Now quiet stands the chair and hall,
But lift this horn ā youāll hear it call.
For in its brass, the valleys keep
A man, his music, and his peace.
Circa 1970
Maureen's Trinket Box
The Keepsake
It once held pearls, a folded note,
a trace of scent, a thread of hope.
Hands would linger, soft and slow,
closing the lid before theyād go.
Years have passed, yet still it gleams,
a cradle for forgotten dreams.
The silk remembers every touchā
the love, the loss, the gentle hush.
Now it rests in golden light,
keeping their yesterdays in sight.
A small, still heart of silver and shellā
holding the stories time wonāt tell.
Circa 1910
It once held pearls, a folded note,
a trace of scent, a thread of hope.
Hands would linger, soft and slow,
closing the lid before theyād go.
Years have passed, yet still it gleams,
a cradle for forgotten dreams.
The silk remembers every touchā
the love, the loss, the gentle hush.
Now it rests in golden light,
keeping their yesterdays in sight.
A small, still heart of silver and shellā
holding the stories time wonāt tell.
Circa 1910
Roger's Helmet
āStored Awayā
Roger hasnāt ridden in years. The bike went first, then the leathers. But this helmet ā this old, no-frills army-green shell ā somehow stayed. Itās been sitting high on a warehouse shelf in Bradford, above stacks of boxed-up lives and belongings left behind after eviction notices were served.
Heās a property man through and through ā straight-talking, not one for sentiment. But every now and then, when heās checking locks or tallying stock, heāll spot it. And for a moment heās back on the open road, wind roaring, heading up Ilkley Moor at sunrise with nothing but miles ahead.
Now heās in his seventies, boots planted firmly on the ground. Yet that helmet still waits there, quietly reminding him: he once rode fast, and free.
Roger hasnāt ridden in years. The bike went first, then the leathers. But this helmet ā this old, no-frills army-green shell ā somehow stayed. Itās been sitting high on a warehouse shelf in Bradford, above stacks of boxed-up lives and belongings left behind after eviction notices were served.
Heās a property man through and through ā straight-talking, not one for sentiment. But every now and then, when heās checking locks or tallying stock, heāll spot it. And for a moment heās back on the open road, wind roaring, heading up Ilkley Moor at sunrise with nothing but miles ahead.
Now heās in his seventies, boots planted firmly on the ground. Yet that helmet still waits there, quietly reminding him: he once rode fast, and free.
Ellie's Pink Platforms
Oh, these shoes have seen some nights ā
Disco lights and cheeky grins,
Spinning in a fearless blur
Of friends and freedom,
Bodies loud with laughter
And glittering confidence.
We danced like the city was ours,
Twenty-something hearts
With nowhere to be
But exactly where the music took us.
Now my floors are sticky
With juice spills not cocktails,
My late nights
Are small-handed, soft-cheeked,
Storybook adventures
And sleepy cuddles.
But when I glance at this shiny pair,
Battle-scuffed and brilliant still,
I feel that wide grin return ā
The one that knows I once set fire
To every dancefloor I met.
One day sheāll borrow these memories,
Even if she never borrows the shoes.
Sheāll have her own dizzy nights,
Her own stories at sunrise.
And Iāll watch her go
With that knowing sparkle ā
Because darling,
Thereās nothing you can do
I havenāt danced through first.
Disco lights and cheeky grins,
Spinning in a fearless blur
Of friends and freedom,
Bodies loud with laughter
And glittering confidence.
We danced like the city was ours,
Twenty-something hearts
With nowhere to be
But exactly where the music took us.
Now my floors are sticky
With juice spills not cocktails,
My late nights
Are small-handed, soft-cheeked,
Storybook adventures
And sleepy cuddles.
But when I glance at this shiny pair,
Battle-scuffed and brilliant still,
I feel that wide grin return ā
The one that knows I once set fire
To every dancefloor I met.
One day sheāll borrow these memories,
Even if she never borrows the shoes.
Sheāll have her own dizzy nights,
Her own stories at sunrise.
And Iāll watch her go
With that knowing sparkle ā
Because darling,
Thereās nothing you can do
I havenāt danced through first.
Elsie's Woodbines
Her One Quiet Moment
She stitched fine dresses
with thread she could barely afford,
hands dancing through hours
that never quite felt like hers.
But on the step outside,
ten minutes of sky ā
a Woodbine lit,
smoke curling into daydreams.
In the hush between bell and needle,
she breathed a life of her own,
saved in an empty packet,
softened by hope
and the warmth of her hands.
Circa 1930
She stitched fine dresses
with thread she could barely afford,
hands dancing through hours
that never quite felt like hers.
But on the step outside,
ten minutes of sky ā
a Woodbine lit,
smoke curling into daydreams.
In the hush between bell and needle,
she breathed a life of her own,
saved in an empty packet,
softened by hope
and the warmth of her hands.
Circa 1930
Aunt Mari's Creepy Grooming Kit
Every summer, Lucy was sent to stay with Aunt Marianne ā a woman who smelled of lavender water and kept her curtains drawn tight, even in the brightest daylight. Tucked in the corner of the guest room was a dressing table lined with porcelain dolls, each with glassy eyes that shimmered like they were holding secrets. Lucy tried not to look at them too long; she didnāt like the way their heads always seemed to tilt when she turned away.
But the thing she couldnāt resist was the little grooming case.
It sat daintily on four brass feet, covered in faded gold embossing. Inside, velvet the colour of fresh cherries cradled gleaming tools ā scissors, files, brushes ā all perfectly in their place. And in the centre, beneath a tarnished mirror, stood a tiny ballerina frozen mid-twirl.
The first time Lucy wound the key, the music stumbled to life, as though waking from a long, uneasy sleep. The ballerina creaked and turned slowly, painfully slowly, her stiff arms reaching out as if she were begging to be freed. The mirrors multiplied her image ā three tiny dancers staring back ā and Lucy felt the hairs rise on her neck.
At night, Lucy swore she could hear the music box play on its own ā stuttering notes creeping under the door, breath held tight beneath the blankets. And in the morning, the ballerina always seemed to have turned just a little farther, as if edging closer to the open lid.
Circa 1960
But the thing she couldnāt resist was the little grooming case.
It sat daintily on four brass feet, covered in faded gold embossing. Inside, velvet the colour of fresh cherries cradled gleaming tools ā scissors, files, brushes ā all perfectly in their place. And in the centre, beneath a tarnished mirror, stood a tiny ballerina frozen mid-twirl.
The first time Lucy wound the key, the music stumbled to life, as though waking from a long, uneasy sleep. The ballerina creaked and turned slowly, painfully slowly, her stiff arms reaching out as if she were begging to be freed. The mirrors multiplied her image ā three tiny dancers staring back ā and Lucy felt the hairs rise on her neck.
At night, Lucy swore she could hear the music box play on its own ā stuttering notes creeping under the door, breath held tight beneath the blankets. And in the morning, the ballerina always seemed to have turned just a little farther, as if edging closer to the open lid.
Circa 1960
Nan's Tin of Tacks
āMight Come in Handyā
Nan never threw anything away.
Not tins, not string, not the odd screws that turned up in pockets or drawers.
She said everything had a useāif not now, then one day.
This box once soothed stomachs and promised comfort after meals.
Now it rattles with rusty tacks and tiny screws,
the sort of bits and bobs sheād rescue from the brink of the bin,
pressing them into my palm with a wink:
āKeep that. Might come in handy later.ā
Her house was full of little boxes like thisā
quiet archives of usefulness and care.
Each one a reminder that nothing, and no one, is ever too small to keep hold of.
Nan never threw anything away.
Not tins, not string, not the odd screws that turned up in pockets or drawers.
She said everything had a useāif not now, then one day.
This box once soothed stomachs and promised comfort after meals.
Now it rattles with rusty tacks and tiny screws,
the sort of bits and bobs sheād rescue from the brink of the bin,
pressing them into my palm with a wink:
āKeep that. Might come in handy later.ā
Her house was full of little boxes like thisā
quiet archives of usefulness and care.
Each one a reminder that nothing, and no one, is ever too small to keep hold of.
bottom of page