Medieval Rings

les Enluminures
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Ionic Capital Rings by Stanley Tigerman

United States and Italy, 1986-1987

Gold

  • 25.400 €
  • £22,700
  • $30,000
  • Ionic Capital Rings by Stanley Tigerman

    United States and Italy, 1986-1987
    Gold
    Weight 22 gr., US sizes 7 and 8.5, UK sizes O and Q ¾

    The two gold rings that make up this double finger ring vary slightly in size. Each has a circular band with D-section, attached on one point to the bezel, half an Ionic capital molded in relief. When worn on adjacent fingers, the capital is complete. Stamped inside the hoop of one ring is the inscription “S. TIGERMAN 03 CM” and the Italian warranty mark “750” for eighteen-carat gold. The other is stamped “03,” repeating the edition number. This ring is number three of a limited edition of nine which were produced by Cleto Munari (CM) in Milan. The so-called double ring, that is, a ring worn over two fingers, was popular in late Roman society, but later fell out of use. It is not surprising to see the double finger ring rediscovered by modern and contemporary jewelers. In this interesting variant there are actually two rings that, when worn on two adjacent fingers, give the illusion of being a continuous double ring. Tigerman designed this double ring at the request of Cleto Munari, who is well-known for his collections of Murano glass pens for Nobel Prize winning writers, watches, and jewelry, all produced in his workshop founded in 1985.

    Literature:
    Underhill 1989, p. 255; Radice 1987, p. 95; Vezzosi 1990, p. 114 and front cover illustration.

     

    Reference number: 747

  • Carat (or Karat)

    The unit of measure for gold and gemstones (abbreviation: ct. or kt.). One carat weighs 0.2 gram (1/5 of a gram or 0.0007 ounce). A hundredth of a carat is called a point . The carat unit was introduced in 1907 (24 kt. is 100% gold; 18 kt. 75% gold; 14 kt. 58.3% gold; and 10 kt. 41.7% gold).

    Band

    A ring made from a thin, often flat, ribbon-like strip of material (usually metal). The band can be unadorned or decorated.

    Bezel

    The upper, protruding part of a finger ring (excluding the hoop and the shoulders) often set with a gemstone.

    Hoop

    Also called the shank, the rounded part of the ring that encircles the finger and connects to the bezel at the shoulders.

  • Later

    It is virtually impossible to do justice to the evolution of jewelry from the Baroque period (c. 1700) to Modern times in a short synopsis, but these are a few highlights. Many of the functional aspects of finger-rings continued: they served for betrothal and marriage, for signing and family identification, for memorial purposes, as well as for pure ornament. However, some new types of rings emerge during this period: such as puzzle rings, gimmick rings, perfume rings, and rings that celebrated scientific achievements (e.g., watch rings) are but a few of the examples.

    This time span witnesses the emergence of the “archaeological style,” of which the work of Fortunato Pio Castellani in the 1830s to 1860s is a particularly well-known example, one that fits in the Neo-Classical period. We see the flourishing of other styles related to artistic movements in painting, sculpture, and architecture. These include Art Nouveau and the Arts and Crafts Movement, both beginning around the 1880s, and Art Deco in the 1920s, 30s, and 40s. It also covers the emergence of some of the most famous twentieth-century houses of jewelry, such as Cartier, Charmet, Boucheron, Bulgari, Tiffany’s, Van Cleef & Arpels, and Mellerio, to mention only a few. Jewelry historians responsible for exhibitions in major museums have begun to trace the historical contributions and characterize the styles of jewelry, including rings, not only of these different artistic movements, but also of these great houses.

    Two other sometimes-overlapping categories of later jewelry are of significant import. The first category, “artist jewelry,” consists of jewelry by artists mostly known for their work in other media, such as Picasso, Calder, Dali, Robert Indiana, Louise Bourgeois, Yves Klein, Anish Kapoor, and many others. The second category, “studio jewelry” includes work by modern and contemporary goldsmiths. Among those practicing today of special mention are Wendy Ramshaw and others belonging to the Goldsmith’s Company in London, dedicated to continuing the craft since it received its first royal charter in 1327. Others of different national origins include the Italian Giovanni Corvaja (handled by Adrian Sassoon in London), the American Joel Arthur Rosenthal or JAR of Paris (whose international exhibition was staged at the Metropolitan Museum in New York in 2013), Otto Jakob of Germany, and the newcomer Wallace Chan of China. The experienced viewer-collector, as well as the newcomer to the field, can begin to learn about modern jewelry at the Museum of Fine Arts in Boston with its dedicated jewelry gallery and specialized curator, the Victoria and Albert Museum in London which houses the William and Judith Bollinger Gallery, and the private collection of Alice and Louis Koch.

Ionic Capital Rings by Stanley Tigerman

United States and Italy, 1986-1987
Gold
Weight 22 gr., US sizes 7 and 8.5, UK sizes O and Q ¾

The two gold rings that make up this double finger ring vary slightly in size. Each has a circular band with D-section, attached on one point to the bezel, half an Ionic capital molded in relief. When worn on adjacent fingers, the capital is complete. Stamped inside the hoop of one ring is the inscription “S. TIGERMAN 03 CM” and the Italian warranty mark “750” for eighteen-carat gold. The other is stamped “03,” repeating the edition number. This ring is number three of a limited edition of nine which were produced by Cleto Munari (CM) in Milan. The so-called double ring, that is, a ring worn over two fingers, was popular in late Roman society, but later fell out of use. It is not surprising to see the double finger ring rediscovered by modern and contemporary jewelers. In this interesting variant there are actually two rings that, when worn on two adjacent fingers, give the illusion of being a continuous double ring. Tigerman designed this double ring at the request of Cleto Munari, who is well-known for his collections of Murano glass pens for Nobel Prize winning writers, watches, and jewelry, all produced in his workshop founded in 1985.

Literature:
Underhill 1989, p. 255; Radice 1987, p. 95; Vezzosi 1990, p. 114 and front cover illustration.

 

Reference number: 747

Carat (or Karat)

The unit of measure for gold and gemstones (abbreviation: ct. or kt.). One carat weighs 0.2 gram (1/5 of a gram or 0.0007 ounce). A hundredth of a carat is called a point . The carat unit was introduced in 1907 (24 kt. is 100% gold; 18 kt. 75% gold; 14 kt. 58.3% gold; and 10 kt. 41.7% gold).

Band

A ring made from a thin, often flat, ribbon-like strip of material (usually metal). The band can be unadorned or decorated.

Bezel

The upper, protruding part of a finger ring (excluding the hoop and the shoulders) often set with a gemstone.

Hoop

Also called the shank, the rounded part of the ring that encircles the finger and connects to the bezel at the shoulders.

Later

It is virtually impossible to do justice to the evolution of jewelry from the Baroque period (c. 1700) to Modern times in a short synopsis, but these are a few highlights. Many of the functional aspects of finger-rings continued: they served for betrothal and marriage, for signing and family identification, for memorial purposes, as well as for pure ornament. However, some new types of rings emerge during this period: such as puzzle rings, gimmick rings, perfume rings, and rings that celebrated scientific achievements (e.g., watch rings) are but a few of the examples.

This time span witnesses the emergence of the “archaeological style,” of which the work of Fortunato Pio Castellani in the 1830s to 1860s is a particularly well-known example, one that fits in the Neo-Classical period. We see the flourishing of other styles related to artistic movements in painting, sculpture, and architecture. These include Art Nouveau and the Arts and Crafts Movement, both beginning around the 1880s, and Art Deco in the 1920s, 30s, and 40s. It also covers the emergence of some of the most famous twentieth-century houses of jewelry, such as Cartier, Charmet, Boucheron, Bulgari, Tiffany’s, Van Cleef & Arpels, and Mellerio, to mention only a few. Jewelry historians responsible for exhibitions in major museums have begun to trace the historical contributions and characterize the styles of jewelry, including rings, not only of these different artistic movements, but also of these great houses.

Two other sometimes-overlapping categories of later jewelry are of significant import. The first category, “artist jewelry,” consists of jewelry by artists mostly known for their work in other media, such as Picasso, Calder, Dali, Robert Indiana, Louise Bourgeois, Yves Klein, Anish Kapoor, and many others. The second category, “studio jewelry” includes work by modern and contemporary goldsmiths. Among those practicing today of special mention are Wendy Ramshaw and others belonging to the Goldsmith’s Company in London, dedicated to continuing the craft since it received its first royal charter in 1327. Others of different national origins include the Italian Giovanni Corvaja (handled by Adrian Sassoon in London), the American Joel Arthur Rosenthal or JAR of Paris (whose international exhibition was staged at the Metropolitan Museum in New York in 2013), Otto Jakob of Germany, and the newcomer Wallace Chan of China. The experienced viewer-collector, as well as the newcomer to the field, can begin to learn about modern jewelry at the Museum of Fine Arts in Boston with its dedicated jewelry gallery and specialized curator, the Victoria and Albert Museum in London which houses the William and Judith Bollinger Gallery, and the private collection of Alice and Louis Koch.

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