Medieval Rings

les Enluminures
  • ring
  • ring
  • ring
  • ring
  • ring
  • ring
  • ring
  • ring

Openwork Band by Louis Wièse

France, Paris, c. 1890

Gold

  • 17.900 €
  • £15,400
  • $20,000
  • Openwork Band by Louis Wièse

    France, Paris, c. 1890
    Gold
    Weight 13.2 gr., US size 8.5, UK size Q ¾

    This openwork gold band was cast and then finely chased to create its frieze of scrolling acanthus foliage in relief. Inside the band is the maker’s mark “WIESE,” used by Louis Wièse (1852-1930) from 1890 to 1925. This beautifully crafted Neo-Gothic ring celebrates Byzantine opus interrasile in its openwork design. It was created by Louis Wièse (1852-1930), who took over the celebrated atelier of his father, Jules Wiése (1818-1890), in 1880. This ring is a splendid example of the fine art of chasing for which Louis was renowned. In addition to the ring’s indebtedness to Byzantine openwork, something Louis encountered, perhaps, among the archeological discoveries that influenced his art, its fine foliate designs evoke the lushly curling acanthus that fills the borders of so many medieval illuminated manuscripts. These too must surely have played a role in this ring’s design as Louis turned to the past for inspiration.

    Reference number: 515

  • Band

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

    Foil

    Thin metal backing for gems to increase their brilliance, used from Antiquity through the Renaissance with precious stones as well as glass.

  • 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.

  • ring
  • ring
  • ring
  • ring
ring

Openwork Band by Louis Wièse

France, Paris, c. 1890
Gold
Weight 13.2 gr., US size 8.5, UK size Q ¾

USD $20,000

This openwork gold band was cast and then finely chased to create its frieze of scrolling acanthus foliage in relief. Inside the band is the maker’s mark “WIESE,” used by Louis Wièse (1852-1930) from 1890 to 1925. This beautifully crafted Neo-Gothic ring celebrates Byzantine opus interrasile in its openwork design. It was created by Louis Wièse (1852-1930), who took over the celebrated atelier of his father, Jules Wiése (1818-1890), in 1880. This ring is a splendid example of the fine art of chasing for which Louis was renowned. In addition to the ring’s indebtedness to Byzantine openwork, something Louis encountered, perhaps, among the archeological discoveries that influenced his art, its fine foliate designs evoke the lushly curling acanthus that fills the borders of so many medieval illuminated manuscripts. These too must surely have played a role in this ring’s design as Louis turned to the past for inspiration.

Reference number: 515

You might also like

  • Gold and Enamel Band by Giovanni Corvaja

    Italy, Todi, 2013

  • Totentanz Ring by Claude Lévêque

    France, 2015

  • Jewish Wedding Ring

    Central or Eastern Europe, 18th century

  • Art Nouveau Ophelia Ring

    France, 1909

  • Art Nouveau Nymph and Satyr Ring by Arvisenet

    France, Paris?, c. 1900

  • Ionic Capital Rings by Stanley Tigerman

    United States and Italy, 1986-1987

  • Jewish Wedding Ring

    Central or Eastern Europe (Hungary?), 19th century

  • Posy Ring, “Gods intent none can prevent”

    England, 18th century

  • Posy Ring, “A true friends gift”

    England (Plymouth ?), first half of 18th century

  • Roman Open-work Hoop “UTERE FELIX”

    Roman Empire, 3rd century AD

  • BYZANTINE ARCHITECTURAL RING

    Byzantine Empire, 7th-8th century

  • Gold Ring with Openwork Hoop

    Byzantium, 6th-7th century

  • Posy Ring, “God’s decree well pleaseth me”

    England, late 17th century

  • Openwork Double Gemstone Ring of Garnet and Emerald

    Byzantine Egypt, Alexandria?, 6th – 7th century AD

  • Ruby and Zircon Band Ring

    Northern India, late 19th century

  • Ring with the God Krishna

    India, probably Calcutta, c. 1900-1915

  • Art Nouveau Lady with Pearl Ring

    France or Belgium, c. 1900

  • Watch Ring by Brédillard

    France, Paris, c. 1900-1910

  • Four First World War (or Patriotic) Iron Rings with Inscription “GOLD GAB ICH FÜR EISEN”

    Austro-Hungarian Empire / Germany, 1914-1919

  • “LOVE” Ring by Robert Indiana

    United States, 1969

  • “Posy Ring, “You never knew a ♡ more true”

    England, early 18th century

  • Posy Ring, “BOVND * BY * FATHE +”

    England, late 16th century

  • Posy Ring, “I chuse never to change”

    England, 17th century

  • Posy Ring, “No riches to content”

    England, 18th century

  • Posy Ring, “THE GYFT OF A FRIND”

    England, late 16th – 17th century

  • Posy Ring, “Hearts United live Contented”

    England, 18th century

  • Fede Ring

    Probably Italy, 16th century

  • Memorial Ring, “Remember EP”

    England, early 18th century

  • Mourning Ring

    England, 1820

  • Signet Ring with Double-headed Eagle

    Western Europe (Germany or Austria ?), c. 1700

  • Neo-Gothic Figural Ring by Louis Wièse

    Paris, c. 1895

  • Virgin and Child Ring by Sah Oved

    London, c. 1920