Medieval Rings

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

England, early 18th century

Gold, engraved

  • 5.800 €
  • £5,000
  • $6,500
  • Posy Ring, “You never knew a ♡ more true”

    England, early 18th century
    Gold, engraved
    Weight 1.9 gr.; circumference 54.5 mm.; US size 7; UK size O

    “Posy rings,” their name deriving from the term poésie or poetry, have mottoes or inscriptions, either in prose or verse. Short, rhyming poems called “posies” were common from the late medieval period onwards, serving as literary exercises and formalized expressions of sentiment.  The customs of sending poems with small tokens of affection and of inscribing gifted articles with short verses led to the development of commonplace books and collections, like Loues Garland, or Posies for Rings, Hand-Kerchers, and Gloues, and such pretty Tokens that Louers send their Loues, first published in 1624, Cupids Posies of 1674, and The Card of Courtship of 1715.  Throughout the seventeenth and eighteenth centuries posy rings were popular and were exchanged between lovers, and at betrothals and wedding ceremonies.  In many instances the secret message was concealed inside the hoop and its content only known to the wearer and giver.

    Description:
    The gold band with D-section is plain on the interior and engraved on the exterior with a frieze of flowers (roses?) entwined with foliage. Inside the hoop is the engraved inscription in italic script “You never knew a  more true” and an unidentifiable maker’s mark in a shield-like punch with one letter almost obliterated and the other is a “W.” The ring is in good wearable condition.

    Literature:
    Joan Evans records a variation of the motto (Evans 1931, pp. 111); instead of true the spelling is “true.” The ring type with the engraved floral frieze appears to be fashionable in the early eighteenth century, cf. examples in the British Museum (1961,1202.35 and 1961, 1202. 445) and with pierced goldwork to contain hair, cf. a ring in the Victoria and Albert Museum, London (M. 79-1960).  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, pp. 174 ff.; Scarisbrick 2007, pp. 74 ff., Taylor and Scarisbrick 1978, and Oman 1974, pp. 39 ff..

    Reference number: 797

  • Engraving

    Technique of cutting patterns into a surface with a sharp tool; an impression made from the cut surface shows the design of the incised lines in reverse (hence intaglio).

    Hoop

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

    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.

    Band

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

  • 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, “You never knew a ♡ more true”

England, early 18th century
Gold, engraved
Weight 1.9 gr.; circumference 54.5 mm.; US size 7; UK size O

USD $6,500

“Posy rings,” their name deriving from the term poésie or poetry, have mottoes or inscriptions, either in prose or verse. Short, rhyming poems called “posies” were common from the late medieval period onwards, serving as literary exercises and formalized expressions of sentiment.  The customs of sending poems with small tokens of affection and of inscribing gifted articles with short verses led to the development of commonplace books and collections, like Loues Garland, or Posies for Rings, Hand-Kerchers, and Gloues, and such pretty Tokens that Louers send their Loues, first published in 1624, Cupids Posies of 1674, and The Card of Courtship of 1715.  Throughout the seventeenth and eighteenth centuries posy rings were popular and were exchanged between lovers, and at betrothals and wedding ceremonies.  In many instances the secret message was concealed inside the hoop and its content only known to the wearer and giver.

Description:
The gold band with D-section is plain on the interior and engraved on the exterior with a frieze of flowers (roses?) entwined with foliage. Inside the hoop is the engraved inscription in italic script “You never knew a  more true” and an unidentifiable maker’s mark in a shield-like punch with one letter almost obliterated and the other is a “W.” The ring is in good wearable condition.

Literature:
Joan Evans records a variation of the motto (Evans 1931, pp. 111); instead of true the spelling is “true.” The ring type with the engraved floral frieze appears to be fashionable in the early eighteenth century, cf. examples in the British Museum (1961,1202.35 and 1961, 1202. 445) and with pierced goldwork to contain hair, cf. a ring in the Victoria and Albert Museum, London (M. 79-1960).  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, pp. 174 ff.; Scarisbrick 2007, pp. 74 ff., Taylor and Scarisbrick 1978, and Oman 1974, pp. 39 ff..

Reference number: 797

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