Golden Witches

Aubrey Beardsley illustration for Le Morte Darthur 1893

This arresting, unflinching artwork is from Beardsley’s first major commission. Already we see his revolutionary graphic style; the simplicity and purity of line, areas of detail and untouched paper contrasting with bold masses of flat black. All entirely novel for his time. Despite this simplicity, he achieves incredibly deep and powerful characterization. His witches aren’t crones. They are upright, proud. One gazes with powerful defiance, challenging us, the viewer. Their down-turned, arch, disdainful mouths and androgynous figures, aggressively critique Victorian concepts of sexuality, beauty and gender. Their faces are haloed by hair that's like a compelling mass of wild, flowing energy.

Inside Witches is a link to its Exploration Page where you can find out more and sign up to its creative world.

Emily Dickinson 1830 - 1886

"Witchcraft was hung, in History,
But History and I
Find all the Witchcraft that we need
Around us, every Day—"

Beardsley challenged, subverted and innovated in the most public of forum. He skillfully exploited his fame and the cultural milieu in which he and his work existed. Dickinson turned inwards, shutting out much of society - but through this, she was able to achieve a similar outcome. 

Four years after her death her poetry became a stunning success, she now stands as one of the most important American poets - read widely across people of multiple ages and interests. 

Dickinson's independence of mind is expressed through powerful honesty and inhibition in her work. She challenged the existing definitions of poetic form, the poet's work and womanhood. Her poems at once witty, satirical, ironic and wry, display a strong sense of self as a poet and a woman. Their overarching moral vision breaks or transcends oughts, shoulds and cultural constraints.

Dickinson lived just a few miles from where the Salem witch trial hangings would have taken place. In this poem she challenges these events and their influence, asserting the persistence of witchcraft - a recurring resurrection and also a living thing - not simply hung on a wall, as an example, to look at.

Dickinson refers to the writing of Elizabeth Browning as ‘tomes of solid Witchcraft’. Elsewhere she re-writes enchantment and hysteria as a ‘divine insanity’. She sees nature, God and witchcraft as one, and creates a symbolic bond between women writers and witches, standing in opposition to a traditional Christian patriarchal narrative.   

Inside Witches is a link to its Exploration Page where you can find out more and sign up to its creative world.

People & planet positive

We will only ever make products that are positive for people and our planet.

Our traditional methods give the leather an unmistakable warm and brilliant shade that becomes more intense with daily use and the passing of time.

Full plate emboss artwork

For Golden Witches we have created a full brass plate to emboss the leather with Aubrey Beardsley's stunning image. Beardsley's revolutionary bold, graphic artwork enabled us to reproduce it in this powerful way. The result is a highly impactful, unique accessory which we are very proud to have developed. 

Our card holders are crafted by highly-skilled, passionate people

Just across the Nottinghamshire Wolds in Melton Mowbray our card holders are handcrafted in small batches using traditional methods. This, along with the natural variation in these artisan products, means each one is unique. Expertly made to the very highest quality they are double-stitched at pressure points and lined with the finest cotton twill. 

In short, ART WRD card holder wallets are made to inspire you for a lifetime. So much so, we guarantee the construction of your Minimalist Card Holder for as long as you own it.

Wallet size

(for example: 4 credit cards + 1 driving licence + a few tickets, loyalty cards etc.)