Medieval Rings

les Enluminures
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Posy Ring “A loving wife during life”

England, mid-18th century

Gold

  • 5.900 €
  • £5,200
  • $7,000
  • Posy Ring “A loving wife during life”

    England, mid-18th century
    Gold
    Weight 4.4 gr.; circumference: 55.76 mm.; US size 7.75; UK size P ½

    “Posy rings,” their name deriving from the term poésie or poetry, have mottoes or inscriptions on a plain gold band. In many instances these messages of loyalty and love are concealed inside the hoop, and its content was known only by the wearer and giver. Such rings find mention in the plays of William Shakespeare, such as Hamlet and the Merchant of Venice. By the seventeenth and eighteenth centuries posies on rings enjoyed great popularity, and they were customarily exchanged between friends, relatives, and lovers, as well as during betrothal and wedding ceremonies. The inscription on this ring suggests it was presented on the occasion of a marriage ceremony, which at the time was either contracted inside or outside of a church setting. A ring with the motto “A loving wife during life” expresses mutual consent to a life, as said during the marriage vows, “until death do us part.”

    Description:
    The gold hoop with D-section has the inside the engraved inscription ‘A loving wife during life’ in italic script. The rectangular punch with maker’s mark has the initials ‘IV’. The maker’s mark can tentatively be attributed to John Vickerman, a small worker, who registered his mark in London in 1768 (see: Grimwade 1990, no. 1731). The hoop shows on the outside signs of wear through age and is in good wearable condition.

    Literature:
    Joan Evans records in her compendium of posy rings several variations of the motto (Evans 1931, p. 18), such as “A loveing wife a Happy Life” or “A loving wife prolongeth life.”  Rings with the posy inscription “A loving wife a Happy life” appears on one in the British Museum (Dalton 1912, no. 1108, inv. no. AF. 1189) and in the Fitzwilliam Museum, Cambridge (PERM.M. 321-1923). See also “As long as life yr  loving wife,” in: Kunz 1917, p. 242.  For a history of posy rings with extensive list of posies, see Evans, 1931 and Anon., A Garland of Love: A Collection of Posy-Ring Mottoes, London 1907. For further information, see Dalton 1912, p. 174 ff.; Scarisbrick 2007, p. 74 ff., Taylor and Scarisbrick 1978, and Oman 1974, p. 39 ff..

    Reference number: 716

  • Posy

    From “poesie” for poetry, a posy ring is one with an inscription usually on the interior of the band and was especially popular in Elizabethan and Tudor England.

  • Renaissance & Baroque

    Considerable evidence exists concerning the making and wearing of rings in the Renaissance. Their appearance in painted portraits confirms that they continued to be worn on multiple fingers, suspended from chains and ribbons, sewn onto sleeves or hats, and so forth. When not worn they were sometimes stored on parchment rolls or in neatly compartmentalized boxes, known from documents and paintings. In the Renaissance, the medieval practice of using uncut stones was abandoned in favor of faceting; table-cut facets were among the earliest and most popular, but other cuts rapidly followed. Making rings that would show off best the qualities of the stone became a skill that exercised the virtuosity of cutters, chasers, engravers, enamellers, and goldsmiths sometimes in collaboration. The highly sculpturesque quality of most Renaissance and Baroque rings can be compared with the striving for greater veracity that characterizes the monumental arts of this period.

    By far the most common type of ring from the Renaissance was the boxed bezel set with faceted stones in highly ornate geometric bezels with intricate articulated shoulders, sometimes with protruding volutes, the whole richly enameled. Surviving drawings for rings by sixteenth-century goldsmith-designers Etienne Delaune, Pierre Woeiriot, and René Boyvin record variations on this type. Often reviving classical subjects and motifs, numerous cameos and intaglios also date from this era, produced under illustrious, often princely, patronage. By the sixteenth century the careers of famous gem-cutters can be reconstructed; they include Valerio Belli, Alessandro Cesati, Alessandro Masnago, and Francesco Torino. However, few Renaissance cameos and intaglios appear in their original mounts, because they were often made not as rings but rather as virtuoso carvings, kept in drawers in cabinets and taken out and admired by Renaissance princes.

    During Elizabethan and Tudor times in England, commonplace books (the earliest dated 1596) were used by goldsmiths and their customers to provide appropriate inscriptions for rings. References to posy rings (from “poésie” or poetry) abound in literature of the period; for example, in Shakespeare's Hamlet (III, ii, 162): “Is this a prologue, or the posy of a ring.” The discovery of the New World also wrought changes in the evolution of rings, as it did for painting, because new stones became available. The newly prized diamond, expensive then as now, was often imitated by the similarly favored rock crystal. Extensive surviving pictorial evidence is useful because it contributes to a more precise dating and localization of rings from this era.

     

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Posy Ring “A loving wife during life”

England, mid-18th century
Gold
Weight 4.4 gr.; circumference: 55.76 mm.; US size 7.75; UK size P ½

USD $7,000

“Posy rings,” their name deriving from the term poésie or poetry, have mottoes or inscriptions on a plain gold band. In many instances these messages of loyalty and love are concealed inside the hoop, and its content was known only by the wearer and giver. Such rings find mention in the plays of William Shakespeare, such as Hamlet and the Merchant of Venice. By the seventeenth and eighteenth centuries posies on rings enjoyed great popularity, and they were customarily exchanged between friends, relatives, and lovers, as well as during betrothal and wedding ceremonies. The inscription on this ring suggests it was presented on the occasion of a marriage ceremony, which at the time was either contracted inside or outside of a church setting. A ring with the motto “A loving wife during life” expresses mutual consent to a life, as said during the marriage vows, “until death do us part.”

Description:
The gold hoop with D-section has the inside the engraved inscription ‘A loving wife during life’ in italic script. The rectangular punch with maker’s mark has the initials ‘IV’. The maker’s mark can tentatively be attributed to John Vickerman, a small worker, who registered his mark in London in 1768 (see: Grimwade 1990, no. 1731). The hoop shows on the outside signs of wear through age and is in good wearable condition.

Literature:
Joan Evans records in her compendium of posy rings several variations of the motto (Evans 1931, p. 18), such as “A loveing wife a Happy Life” or “A loving wife prolongeth life.”  Rings with the posy inscription “A loving wife a Happy life” appears on one in the British Museum (Dalton 1912, no. 1108, inv. no. AF. 1189) and in the Fitzwilliam Museum, Cambridge (PERM.M. 321-1923). See also “As long as life yr  loving wife,” in: Kunz 1917, p. 242.  For a history of posy rings with extensive list of posies, see Evans, 1931 and Anon., A Garland of Love: A Collection of Posy-Ring Mottoes, London 1907. For further information, see Dalton 1912, p. 174 ff.; Scarisbrick 2007, p. 74 ff., Taylor and Scarisbrick 1978, and Oman 1974, p. 39 ff..

Reference number: 716

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