Medieval Rings

les Enluminures
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Art Nouveau Ophelia Ring

France, 1909

Gold

  • 44.700 €
  • £38,600
  • $50,000
  • Art Nouveau Ophelia Ring

    France, 1909
    Gold
    Weight 11.5 gr., US size 7.25, UK size O ½

    This sculptural ring is made of cast and finely chased gold. The hoop widens and merges into the bezel. The shoulders are subtly molded with entwined twigs and foliage which encircle a female head in high relief. The woman is depicted with her eyes almost shut and with a water lily to one side of her forehead. The hoop itself is plain inside and, on the outside, its polished surface has an engraved inscription in French: “11 Mars 1909.” On the bottom of the exterior of the hoop is a lozenge-shaped French maker’s mark that can no longer be deciphered. There is also a French warranty mark for gold in the form of an eagle facing right and the mark “DEPOSE,” signifying that it is a registered design. This high-quality rendering of a woman’s head compares in its detail with large bronze sculptures of the period by Alphonse Maria Mucha and the French sculptors Maurice Bouval or Léopold Savine. The ring depicts Ophelia, the young, doomed noblewoman at the center of William Shakespeare’s Hamlet, written between 1599 and 1602. Ophelia as an image on a ring, however, is unusual and rare. Art Nouveau jewelry did feature the female head encircled by flora and foliage, but more commonly on pendants and brooches, rather than on rings.

    Reference number: 525

  • 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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Art Nouveau Ophelia Ring

France, 1909
Gold
Weight 11.5 gr., US size 7.25, UK size O ½

USD $50,000

This sculptural ring is made of cast and finely chased gold. The hoop widens and merges into the bezel. The shoulders are subtly molded with entwined twigs and foliage which encircle a female head in high relief. The woman is depicted with her eyes almost shut and with a water lily to one side of her forehead. The hoop itself is plain inside and, on the outside, its polished surface has an engraved inscription in French: “11 Mars 1909.” On the bottom of the exterior of the hoop is a lozenge-shaped French maker’s mark that can no longer be deciphered. There is also a French warranty mark for gold in the form of an eagle facing right and the mark “DEPOSE,” signifying that it is a registered design. This high-quality rendering of a woman’s head compares in its detail with large bronze sculptures of the period by Alphonse Maria Mucha and the French sculptors Maurice Bouval or Léopold Savine. The ring depicts Ophelia, the young, doomed noblewoman at the center of William Shakespeare’s Hamlet, written between 1599 and 1602. Ophelia as an image on a ring, however, is unusual and rare. Art Nouveau jewelry did feature the female head encircled by flora and foliage, but more commonly on pendants and brooches, rather than on rings.

Reference number: 525

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