Rings
Rings 19th Century | Rings 20th Century and Later | Poesy & Sentinental
Unlike any other form of memorial jewellery, rings show the greatest evolution over time. This is due to the nature of rings having a varying degree of quality, making them accessible to the poorer classes and never leaving mainstream fashion.
Previous to the 17th Century and the rise of more recognisable 'memorial' jewellery, pieces to commemorate a loved one, event or as a gift were prevalent in societies dating to the ancient. The example to the left, from Miller's Cameos Old and New, depicts an earlobe being pinched, with the inscription 'MNHMONEYE MOY' - 'Remember Me'. This example is 3rd Century Roman and at its most fundamental level is a cameo of and only qualifies as a ring due to its elegant 18th Century setting. Culturally, pieces with remembrance inscriptions can be traced back to different cultures, so beginning to talk about rings from the 17th and 18th Centuries is only a direct relation to the beginning of the modern form.
As discussed in other sections, a piece with that denotes 'memento mori' does not indicate a mourning piece. The motifs used in memento mori jewellery lay the groundwork for the mourning mentality, such as skulls, skeletons, hourglasses and other symbols of mortality, but only by the 17th Century, or more appropriately during the Stuart Era, did this form of jewellery being to take on a personal mourning ideal. One of the earliest 'modern' mourning rings can be dated back to the fifteenth century. This piece, inscribed 'iohes godefroy' was decorated with skulls and a worm; one of the earliest pieces to adapt the memnto mori motifs.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1649 |
| Dedication: |
Charles I "prepared be to follow me" |
This piece dedicated to Charles I is a display of affection that would eventually generate the popularity of the mourning custom. Looking at the piece, Charles' eyes are turned upwards, which confirms the piece was created after his death. Pieces of this quality are historically important for their relevance to English history and in mourning jewellery. Incredibly rare, other examples can be seen in the V&A Museum. Though there is repair work to the shank, the style of the ring is a good indication of the mid 17th Century.
Rings of the time, particularly after the death of Charles I in 1649, used many of the aforementioned symbolism, but the difference of putting the portrait of Charles I (above), or pieces with the initials CR, shows a distinct change of memento mori as a statement to one of reverence.
The distribution of rings had been written into wills of the late 16th and early 17th Centuries. Most famously, William Shakespere in 1616 declared that in his will that his daughter and wife should have rings stating "Love My Memory"1 . This custom, though used, was not as popular as the latter half of the 17th Century would prove, though is provides a good basis for what was to come. Posy rings, typically bands with inscriptions, were popular for sentimental purposes during the 17th Century.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
1680 |
| Dedication: |
"Sr W E ob 2nd of Dec 80. 'W' hallmark |
This ring is dated 80 (1680), and it is a memorial ring for Sir William Ellis (1609-1680) who was a prominent lawyer under Oliver Cromwell. In 1654 he was appointed solicitor-general. As solicitor-general, he took part in the prosecution of Gerhard, Vowell, and Somerset Fox on the charge of corresponding with Charles Stuart and conspiring to assassinate the Protector (Cromwell). This information came from a printed text about Sir Ellis, which was given to Barbara by the dealer from whom she bought the ring, and it goes with the piece. The style of the design in this piece matches the usual memento mori style of being a band decorated with the memento mori motifs in enamel around the outside. Compare this piece with the 1745 one below.
Formerly a ribbon slide, this Stuart crystal converted ring is still a perfect version of its form. The skeleton with its memento mori motifs (life cut short / passage of time), the gold wire cypher and the hair combined with the gold surround make it a piece that has survived in wonderful condition.
Enameled skulls on rings and Stuart crystals with gold wire cypher, hair and often silk underneath grew in use frequently during the latter 17th Century. As the 18th Century approached, the style would gradually change, with the larger crystal bezels becoming smaller and more rectangular and the greater use of hair underneath. Skulls, skeletons and the memento mori symbolism started to recede and become smaller (when used) as well.
| Country: |
France |
| Year: |
c. 1680-1700 |
| Dedication: |
Discite Invitatium |
This ring is a fine example of French memento mori jewellery and is a wonderful contrast to the English style of the time.The stone is a carnelian with intaglio and the exceptional gold work (notably the styling to the base) is typical of its time. The inscription reads 'Discite Invitatium' which roughly translates to 'separation of justice'.
Rings of the time, particularly after the death of Charles I in 1649, used many of the aforementioned symbolism, but the difference of putting the portrait of Charles I (above), or pieces with the initials CR, shows a distinct change of memento mori as a statement to one of reverence.
The distribution of rings had been written into wills of the late 16th and early 17th Centuries. Most famously, William Shakespere in 1616 declared that in his will that his daughter and wife should have rings stating "Love My Memory"1 . This custom, though used, was not as popular as the latter half of the 17th Century would prove, though is provides a good basis for what was to come. Posy rings, typically bands with inscriptions, were popular for sentimental purposes during the 17th Century.
| Country: |
England |
| Year: |
20 May 1715 |
| Dedication: |
E.O Obit 20 May 1715 / FB hallmark |
In the first quarter of the century, crystals could take the form of coffins on top of rings, aptly referred to as 'coffin' rings, though the majority would be smaller oval or rectangular shapes with some having a tiny skull underneath, placed upon hair.
This ‘coffin’ piece has many of the turn of the century Baroque flourishes that are embellished with the enamel work around the band. Continuity between this and earlier bands can be seen in the inscription work inside the ring, which was made popular by posy rings of the previous century. This was a simple way of personalising a piece and inwardly reflecting its sentiment. The coffin crystal on top has gold cipher underneath the skull, bearing the ‘EO’ initials on hair. Post 1715, change in the style of these pieces would be ushered in with Rococo styling, making bands heavily embellished and crystals becoming smaller and more angular.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
1st Quarter 18th Century |
| Dedication: |
Rem Your Grandfather WMs Phillpott |
Look to the scroll design to the band of this ring and then notice the central stone settings and rosette back. Compare this with the Rococo band in the ring below (from 1770). There's a distinct evolution of the style, as the rosette setting with stones obviously reflects the pieces from the first half of the 18th century. This puts the ring at around the 1760s. What makes it even more special is the wonderfully unique and personal dedication.
| Country: |
England |
| Year: |
11 June 1740 |
| Dedication: |
Mary Gilding OB 11 June 1740 AE 81 |
The 1740-60 period saw the absolute peak of the Rococo style and mourning jewellery reflected the mainstream in the same manner as any other form of mainstream fashion. Elaborate scrollwork bands with rose shaped goldwork to the underneath bezel and small crystals make up much of the exceptional Rococo pieces that exist today. This piece has a wonderful representation of the skull and crossbones placed on top of hairwork and an incredibly elaborate band with the name and dates worked in with the gold. The fleur-de-lis make up the shank, all in a very opulent manner. This and the following pieces of the Rococo era exemplify the style which is often lost in between the earlier motif-heavy pieces and later neoclassical pieces.
| Courtesy: |
Courtesy of Things Gone By |
| Country: |
England |
| Year: |
c. 1745 |
| Dedication: |
Ellen Savage ob 16 Oct 1745 at 83 |
The exceptional quality and design of this piece is relevant for its place in time. The decorations of the skeleton, hourglass, scythe and shovel were still used in the 1740s, but not to the extent as it had been. This ring is a beautiful example of evolution in its art and the style it emulates from the late 17th Century. Compare it to the style of the piece above from 1680 and the similarities are quite deep. Artwork surrounding this piece is much more detailed and not as naive as it had previously been, note the skeleton and the level of the skull's quality. Its style, having large depictions of the evolved memento mori motifs, is quite unusual, as pieces that would have the motifs tended to be small and set under crystal.
During the period of around 1700-1760, there was a distinct change in the style of rings, but a clear evolution from what had come before. Shanks became more delicate, some imitating scrollwork in gold around the edge with enameling over the top and an inscription over that.
To indicate pieces from this time, the shank is often a good point of reference due to their variation. The popularity of the Rococo style has a lot to do with this, the greater the delicacy and intricate form of the shank, the later into its period it becomes.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1761 |
| Dedication: |
W Harrison OB 2nd Sept 1761 AE 69 |
But the evolution of mainstream art isn't always the best point of reference. Pieces from c.1760 have rolled inner shanks, which have carried through from the turn of the 18th Century. In the case of this ring, the Rococo style of the early and mid 18th Century is shown in beautiful fashion. The ring is a perfect blend of the 17th Century sensibilities in that it retains the memento mori motif, but has an elegant enameled scrollwork shank. The scrollwork in this style of shank can be found as individual bands (with the enameling), but to have the memento under crystal as well as the scrollwork makes the ring above the ideal for its time.
With the rise of neoclassicism in art, jewellery post 1760 becomes dominated by new techniques in construction and by the emerging art form.
| Courtesy: |
Barbara Robbins |
| Year: |
1740 |
| Dedication: |
Eliz Easton, ob 7th October, 1740, AE 16 |
A perfect example of an early use of the white enamelled convention for signifying the unmarried or ‘virginal’, this crystal ring is superb in its Rococo detailing. At the height of its art form, this ring still retains the skull memento under crystal as well as the more fashionable scrollwork band.
By this time, the scrollwork band had shown refinement in the slight twist to the gold work. This would give way to more elaborate Rococo details as seen in the following pieces, but would remain constant well into the 1770s.
| Courtesy: |
Jean Papin |
| Year: |
1755 |
| Dedication: |
Rewood, OB 21 Dec 1755, AE 65 |
Showing the Rococo scrollwork, faceted crystal and the blossom goldwork on the back, this piece is a proud example of mid 18th Century Rococo mourning jewellery. Memorial jewellery reflects popular art of its time, and pieces like this find themselves pushed between the latter 17th Century pieces and the neoclassical ones. This has early repair work to the back, but the enamel work is in good condition, which is becoming more difficult to find as these pieces are appropriated by museums. Having three crystals on the top, this piece shows a move towards the significance of materials in jewellery for its time. The skull and crossbones motif was becoming increasingly anachronistic by this time, but was used most commonly under crystals when put into effect.
This remarkable ring is so full of sentiment and even from a construction standpoint, it has been a powerful token of love. Firstly, the lover’s knot weave of the hairwork is truly extraordinary and quite rare. The lover’s knot is a wonderful eternal symbol that wasn’t utilised nearly enough in sentimental jewellery, love is something alluded to more than overtly stated. Yet, here it is and quite powerfully, as well. Surrounded by red spinels (with one replacement ruby) and set in 15K gold, the only true question about this piece is in the shank. As a later replacement, its style is more along the lines of mid 19th century style, and though its connection to the piece is not ideal (or seamless), it makes for a wonderful ring.
Do note that jewellery is often interchangeable, many rings often started life as other pieces and one of the easiest way to check this is to match the shank with the rest of the piece. If it doesn’t look correct or the ring doesn’t seem uniform, then be sure to question the piece.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
18 Dec 1763 |
| Dedication: |
Margt Blackmore ob 18th of Dec 1763 AE 22 |
Surrounded by rubies (unlike the typical garnet), white enamel in the band (for an unmarried woman - age 22) and housing the symbolism of the Tree of Life, this ring is exceptionally unique. Usually, a collector can find a piece with one of these symbols, but rarely all three. It just goes to denote the love and personal sentiment that was put into commissioning it. Look to the surrounding pieces to see how the romantic movement had started to change the style of these pieces. Being from 1763, there was a transition into the Neo-classical style and this piece is an early example of Neo-classicism.
Jewellery is often altered, be it to turn an unfashionable item of its time, such as a slide or brooch, into something wearable and presentable, such as a ring or pendant. This piece began its life as another form of jewellery and shows all the markings of a later conversion. Note the faux Rococo scrollwork band and its relation to the bands on the Rococo rings above. There is little similarity, as the ones above show fine attention to detail in the scrollwork of the gold and the very typical curve of the inner band. This piece is very static in its band and the mock scrollwork was obviously done at a later date. The band is also poorly soldered to the bezel, and the back of the bezel shows signs of alteration as well. Where this piece excels is in the primary reason the conversion would have been handled originally – the crystal. Being around 6x9mm, the crystal is quite large and more in tune with the turn of the 18th Century (and latter 17th Century) pieces. The gold cipher underneath is still in good condition as is the crystal itself. This center would have been constructed originally pre-Rococo, so the person who converted it wasn’t aware of the difference in styles. Conversions like these are common from the 19th century on, and popular ways of reusing old jewellery. Its crystal centrepiece is quite rare and still very desirable as a wonderful example of Stuart Crystals, or just for its curiosity as an altered piece.
| Country: |
England |
| Year: |
23 July 1770 |
| Dedication: |
John Barberie OB: 23 July 1770 AE 50 |
Much as been written about the Rococo style to bands of the mid 18th century, but as a predecessor to the fully enamelled band of the 19th century and a last showing of the Rococo movement, bands with Rococo flourishes became an efficient and cost effective type of memorial band. It’s interesting to note the evolution of the band had reduced the heavy Rococo flourishes (exemplified in the piece from 1740) to the more plain scrollwork this had become. The feature of placing the name around the band in gold with enamel was not a new device, but was increasingly becoming more common and used throughout the neoclassical period. This feature would adapt right through the 19th century, lasting until the early 20th century, but becoming more generic, with outward ‘in memory of’ statements instead of the name and date of death. Look to the rings in the 19th century section for more examples of this.
| Courtesy: |
Barbara Robbins |
| Year: |
1770 |
| Dedication: |
Rev Robt. Greenallob, 17th Dec, 1770 AE 40 |
The curved inner shank of this piece reflects earlier construction from the first half of the 18th Century, but the style of the band had evolved greatly. From the 1740s (note the pieces from 1755 and 1761 above), the Rococo style was a popular art form that permeated fashion. Memorial jewellery often reflects the popular style of its age and this piece is no different. Showing a transition from the Rococo style (in the lack of scrollwork), this band is straight edged with small flourishes at the top. Neoclassicism would soon replace this as the common style. The centrepiece to this ring is clearly the large amethyst (sincerity / sobriety) on top. In much jewellery of the latter 18th century, it is not uncommon for stones to be paste with a foil backing (very common in “Regard” rings of this time), but items with the stone show wealth and prestige. Being a second stage mourning colour, the stone allows for the inclusion of colour and symbolism in jewellery.
Another important feature of this ring is the white enamel, symbolising an unmarried woman, child or person of religious importance. The latter holds this dedication, as the white enamel is suited for the Reverend. White enamel is very desirable in memorial pieces for its rarity, as it wasn’t commonly used.
| Courtesy: |
Barbara Robbins |
| Year: |
1774 |
| Dedication: |
OC R ob 17th Dec 1774 AEta 33 |
This extraordinary moss agate ring from 1774 shows the use of materials above the popular neoclassical symbolism of the time. It’s pieces like this that resonate right through the 19th Century and can track their roots as far back as the 16th Century. Of this time, stones and materials were growing in symbolic significance for the mass audience, and the use of garnet (fidelity) surrounds were quite popular and would be known for their relation to latter stages of mourning. The moss agate centre (longevity) conceals a hair compartment that can be opened from the back. Hair mementos behind compartments were something not commonly incorporated into jewellery until the first quarter of the 19th century, making this piece a proud archetype for following styles.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c.1770-80 |
|
The wheat sheaf (resurrection / aged / fertility) is an unusual symbol. There are conflicts as to its primary function, as some believe it to be given to a bride by the groom's family, others see it as a symbol of resurrection and growth. Both meanings have the same basis, however and neither should be overlooked. This ring is a marvelous representation of the wheat sheaf symbolism in hairwork, a common symbol for the late 18th century.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
April 1779 |
| Dedication: |
Sarah Peile (age 24) |
Here is a wonderful example of the use of white enamel in memorial jewellery. The ring above has a three dimensional urn with white enamel surrounding. The inscription of Sarah Peile is in the surrounding enamel, denoting her as unmarried and 'virginal'. Children also had the benefit of white enamel, but not in all cases.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1782 |
| Dedication: |
Sarah Bunswell, died 16th of June, 1782, aged 19 / For Us They Sicken, and For Us They die |
Crisp sepia art and fine detail are two very desirable things in late 18th Century pieces. The above example from Barbara Robbins contains a wonderful inscription that reads "For Us They Sicken, and For Us They die", alluding towards a death in childbirth. Inscriptions on rings are personal mementos that tell as much of a story as the dedication itself. Rings made in the style, much like miniatures of the time, were sometimes pre painted with personalisation added with the purchase. More inscriptions can be found in the Symbolism section of this site. The 1780s show a popular trend in the navette style of ring, with its large, oval shape.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
22nd April, 1784 |
| Dedication: |
Robert Richens, Age 73 |
Rather extraordinary for a male piece at an advanced age, this piece has blue enamel (signifying that the loved one was considered 'royalty' - usually used in the higher echelons of society) and white enamel (purity / virginity) with exquisite seed pearls throughout the urn and delicate hairwork underneath. The creation of the piece itself is the prerogative of the person who commissioned it, but the use of different materials is uncommon for an aged man.
| Courtesy: |
Sarah Nehama |
| Year: |
20 Mar 1785 |
| Dedication: |
Wm Wilton obt 20 Mar 1785 at 51 "Prepare to Follow" |
The sepia work in the above piece is what makes it so special and an excellent representation of its time. The surrounding gold and the band are merely there to house the fine quality of the sepia, and judging by the crisp detail to the willow and the urn, it was a piece of quality in its day. By the 1780s, this style of sepia was common in rings, but with varying degrees of quality.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
1786 |
| Dedication: |
Major John Mann (Marr), Ob 19th of Oct, 1786, AE 64. "What Thou Has Lost, Heaven Has in Store." |
Artwork painted on ivory (and sometimes vellum or paper) from the latter 18th Century tend to vary in quality. Sometimes faces and depictions can seem naive, but more often than not, pieces can have high quality in their detail. The above piece is remarkable in its inscription "What Thou Has Lost, Heaven Has in Store" and the amazing quality of its painting of the memorial scene.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1786 |
| Dedication: |
Cath Motley, ob 11 of Dec, 1786, AE 69 / Sacred Will I Keep Thy Dear Remains |
Detail on the above piece is sophisticated and charming. Dimension in the plinth that the urn rests on and the shading of the grass complement the reflecting widow perfectly. Notice the detail along the face of the widow and compare it with this miniature of around the same time. The detail is not as fine, which is due to size, but also provides a look into how large the market was, for there to be a large enough industry to facilitate great variation in pieces.
| Country: |
England |
| Year: |
c. 1780-90 |
| Dedication: |
M.C |
Here is a piece of extraordinary quality, not so much in its construction, but it's content. Here, a man, and not a weeping widow sit next to the urn. Pieces like this are more personal to the wearer and despite the broad nature of art on rings of this period, not as many have individual artwork.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
1786 |
| Dedication: |
Allen Penn, Ob 21st Feb 1786 Aged 28 |
The fleur-de-lis is an interesting design for the above ring, especially for a piece of this time. The significance of the motif (as the dedication doesn't appear to be French) is probably in the symbolism of a lily (lis) growing from the tears of Mary at the foot of Jesus' cross, hence purity, or the three petals being associated with the trinity. There is also the association with the symbol meaning passion, and when combined with the diamond (true [eternal] love), it becomes a powerful statement.
In the case of the ring above and this piece from 1778, enamel bands were popular in the late 18th Century. Often, pieces can be found as a simple band with the inscription, which are often discovered in pairs or multiple copies. Pieces like these were simple and inexpensive to reproduce and copies could be made judging by the funeral or option in a will.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1780-90 |
| Dedication: |
MT / On This Shall Dwell the tender thought |
A very slender ring, the above piece shows the fine chasing detail along the edge of the ring, a style which is similar to this urn piece (not pictured). The thin shape of the ring works well with the sepia painting inside. Note the fine work of the sepia, particularly in the shading of the urn.
| Country: |
England |
| Year: |
c. 1780-90 |
| Dedication: |
Smith |
The oval shape was one of the most popular features of late 18th century jewellery, an elegant shape that conformed to the finger of the wearer. They could often be pointed at the top or rounder, but the shape would eventually become oval at the turn of the century, as geometric designs in enamel became more prevalent. This piece is a proud showing of the affection for the loved one, with just the hairwork placed inside the ring, without any other embellishments. For a time when artwork and symbolism where more prominent than showing the remnants of the loved one, this piece is a welcome change from the mainstream.
| Country: |
England |
| Year: |
c. 1780-1800 |
The two pieces above show two styles prevalent in the latter 18th Century, one of a navette shape and another of oval. The latter's surrounding amethysts denote a later stage of mourning. In the case of the former, the ring has a beautiful sloping shank that works to the form of the ring, though the hair memento is a simple, yet elegant, weave.
| Courtesy: |
Barbara Robbins |
| Year: |
1786 |
| Dedication: |
Geo Dukes, ob 12 July, 1786 AE 45. / Bn Mogg, ob 12 December, 1787, AE 24. |
Duality is the perfect way to describe this ring, in its symbolism, style and dedication. Dedicated to two people and showing quite loving symbolism, of the dove (purity, devotion), crown / wreath (redemtption), hearts (togetherness / love) and unbroken column (enternity). Collected, these symbols portray quite a beautiful sentiment from the wearer, and considering that this piece was dedicated for two people, the bond is so much stronger. There are assumptions that could be drawn out from this symbolism, but the true sentiment is with the person who comissioned it.
Its construction is also common of two different styles, with an enamelled band and the navette style blended together. The work to the gold even on the reverse shows a good deal of money was invested in this particular piece and the quality of the sepia is extraordinary. Note the similarities of the symbolism to the 'In Spite of Envy' bracelet in the Bracelets section.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
29 December 1788 |
| Dedication: |
Lackle (age 32) |
As previously mentioned, late 18th Century rings vary in the quality of their respective artwork. Damage can come to pieces over time, such as the cracking of ivory or water damage. Other than damage, the artistry of the depiction can be naive, with simplistic urns, poor quality of faces, simplistic backgrounds, etc. Due to the size of the pieces, the paintings are remarkable regardless of quality, but some are finer than others.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1780-90 |
| Dedication: |
Tors Distunxit Amicitiamanet / Love Survives With Death Divides |
Pieces like the above are more involved with a personal statement of grief, rather than becoming part of any particular fashion. The delicate initials and the inscription make it a bold and powerful piece for the person who commissioned it. This piece also shows the variation in sepia work, as it was not simply used for artistic symbolic renderings, but for typography as well.
| Country: |
Ireland |
| Year: |
8 December, 1790 |
| Dedication: |
Thomas Langdale (age 77) |
These two rings originally came from two sisters in Ireland in 1790. Both are identical, but suffer from damage in different areas. The sheer size of these two navette shaped rings are impressive, as both are 5cm from top to bottom. Surrounded with blue enamel and opalescent paint, these rings contain a high level of quality for their time. The colour, combined with the three dimensional art of the tomb is more uncommon in rings are more typical of pendants. To find pieces related from this time is quite difficult and pieces have been broken up and lost over time.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
1791 |
| Dedication: |
Eliz Legrew Ob 4th July 1791 AE 34 / Weep Not |
"Weep Not" is the simple inscription in this bold male mourning ring. More of an oval shape than the more pointed style that was popular of the time, the strong portrait complements the heavy setting of the ring perfectly. Notice the similarities between this piece and the other male mourning ring above. As stated, the male portrait makes the ring more personal to its wearer and not as generic as other portraits with the widow in place of the man. This ring, however, has extraordinarily fine detail to the man, in its delicate sepia work. The face, costume and even shoes are detailed, which are only helped by the dimension of the urn, plinth and willow. It's the quality of these pieces which make them even more rare and special.
| Country: |
England |
| Year: |
29th January / 1792 |
| Dedication: |
20 years 10 days |
There’s a combination of wonderful symbolism in this ring; beginning with the cherub holding the wreath to the two birds atop the column. If ever there was fine monument to a loved one, this ring holds all its symbolism and shows it in a very unique way. Even the gold around the edge is symbolic of the wreath motif and on the outer bezel, the ring has both black and white enamel. Look to the Symbolism section for more detail on the meaning of the various symbols as this piece is a solid beginning for study. Not typical in its memorial depiction, notice the absence of grieving widow, urn, willow or any other funerary item. This ring has had the glass replaced over time, which can be seen in the second picture of the hard bevelling to the glass, whereas this would have been a convex crystal or more typically, glass.
| Country: |
U.S.A |
| Year: |
July 13th, 1792 |
| Dedication: |
Douglas Lon (age 70) |
In the case of the above ring, its quality, size and shape are all at the peak of their form. The hair memento is moved into the plinth that the urn is sitting on and the fine gold etching of the willow and pond below are seamlessly merged with the black enamel.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
6th of July, 1792 |
| Dedication: |
James Descola, ob 6th of July, 1792 Ae 67 |
While the design work to the edge of the ring is quite a unique feature of the 1790s, it's the symbolism upon the ivory which makes this piece quite special. Behind the widow stands a woman with her hand pointing to the heavens, a motif not widely used in memorial jewellery, but certainly one of importance. It is the peculiar motifs of the neoclassical period of sentimental jewellery that make them desirable to the collector and historian.
| Courtesy: |
Barbara Robbins |
| Year: |
1792 |
| Dedication: |
George Palmer, Ob 1st August, 179(2) / AE 54 |
Created as a social statement as much as a personal one, this piece from 1792 still looks as impressive today as the day it was made. Notice the inclusion of the wide shank (as can be seen in the Washington piece below), which was becoming popular and variations of it would be used from this period until the first quarter of the 19th Century. The oval setting moves away from the navette style and compliments this form of shank, cascading from top (wide) to bottom (thin). The predecessor to these, or the archetype they came from were the navette style shanks (seen above).
But it’s not the shank and the style that are so impressive about this piece, but the diamonds (not paste). As a symbol of love, there isn’t a stone that talks as loudly as diamond, and this piece not only uses them as a flourish, but a primary material in its construction, as the initials (GP) placed above the hairwork even have the stones set throughout. Pieces like this were usually reserved for the higher classes and royalty, as the materials alone were quite expensive and the construction is beyond compare.
| Courtesy: |
Barbara Robbins |
| Year: |
1792 |
| Dedication: |
Rich.d Humphreys, ob: Oct: 18/ 1797 a:62 |
This superb initial ring in the navette shape is a proud and affluent example of its form. The diamond surround as well as the pearls and the way they’re set reflects the wealth of the wearer and the devotion given to the loved one. The blue enamel (to consider the deceased ‘royalty’) enhances the diamonds and the centrepiece (The ‘B’) stands out quite proudly.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
1794 |
| Dedication: |
John Rosbe, Ob 28th March, 1794 AE 54. Sacred to Love / Affection Weeps, Heaven Rejoices |
Symbolism on this particular ring is unusual and quite sentimental. In the painting, there are two women on display, one pointing towards heaven and the other grieving at the tomb. The inscription 'Affection Weeps, Heaven Rejoices' is written across the plinth, the willow is above and the anchor of hope is balancing against the frame of the ring. Two women in a painting is quite an odd occurrence in a mourning piece, making the personal significance of the piece an object of high regard.
| Country: |
England |
| Year: |
Jan 4 1796 |
| Dedication: |
S King, Jan 4 1796 |
With neoclassical pieces, there is continuity to them and not just a broad period where different styles were mixed. Notice the increasing reliance on enamel work and its symbolism (blue: considered royalty / white: purity and innocence) as well as the placement of stones and the reliance of pearls. Shapes changed and evolved from the larger navette oval to become smaller and slowly more oval. Hairwork became more popular than painting on ivory and when symbolism was used, it became part of the goldwork or enamelwork. Using the initial of the loved one was a proud way to show affection to a loved one, rather than alluding to a loved one in symbolism.
Notice the similarities between this piece and the other initial pieces of the late 18th century – their colour and materials. The use of pearls became more prominent and shanks and bands conformed to the shape of the finger. This piece is quite heavy with its goldwork and very detailed around the shank. This scrollwork is on an exceptional quality and the oval face itself is another interesting point. The curve to the face bows in at the middle, with the glass memento being highly domed, rather than flat faced.
| Courtesy: |
Barbara Robbins |
| Year: |
20 August 1798 |
| Dedication: |
"Sacred to Friendship" / "Revd WM Norris Died 20 Aug 1798 Aged 70 |
The genesis of the memorial band has its roots well in the late 16th Century, but the real archetype for what would come later can be seen in the piece above. It is remarkable on three particular points; for its swivel, the use of white enamel and the band style. This piece was created before enamel work became the primary material in mourning jewellery, as can be seen in the surrounding examples. The style reflects one which would not enter mainstream fashion until the 1830s, but certainly takes its cues from what came before. The swivel is not uncommon, but it is difficult to find in most memorial jewellery, a technique that was used well into the 1880s but really was a feature of the 1860s. As for the white enamel, it is a symbol of purity and virginity, something which is not uncommon in the case of a Reverend, whom would not be thought of as anything less.
This piece from Barbara Robbins shows a remarkable level of quality, from its use of blue enamel, to the diamonds that work into the design. The Forget Me Not is a popular motif from this time and is common in many pieces of Victorian jewellery, but this piece is anything but common. With many blue enameled pieces, there is a trend towards the wealthy and association with the crown, with another mourning piece that will follow, this use of blue enamel and diamonds is also continued.
One of the more unusual fashions to arise from the latter 18th Century is the eye portrait. For more information about eye portraits, please refer to the Miniatures section of Art of Mourning.
This piece shows the full eye and part of the face, which reveals the lover’s identity greater than the majority of portraits that predominantly focus upon the eye itself. The exquisite shading of the face, the features of the side of the nose and the hair compliment the eye to provide superior miniature artistry. There is repair work to the back, but the bezel shows the round fashion at the turn of the 19th Century.
| Courtesy: |
Early American + text |
| Country: |
U.S.A |
| Year: |
c. 1800 |
Gold with engraving of Washington by Charles Balthazer Julien Fevert De Saint Memin Inscribed in Gold Lettering on Enameled Band "Geo. Washington. OB:14. Dec. 1799.AE. 68"
c. 1800 "George Washington" Gold Memorial Ring, with central Engraving Portrait of Washington by Charles Balthazer Julien Fevert De Saint-Memin, Choice Near Mint.
This unique design oval ring, measures approximately .75" long, and is currently housed together within it's original, well worn, leather ring case. After the death of George Washington, at the reading of his Last Will and Testament, we find under item number twenty-two the following statement, as follows:
"To my Sisters in Law Hannah Washington & Mildred Washington, to my friends Eleanor Stuart, Hanna Washington of Fairfield and Elizabeth Washington of Hayfield, I give each a Mourning Ring of the value of One Hundred Dollars. These bequests are not made for their intrinsic value of them, but as mementos of my esteem and regard."
Two years of research whas revealed the following information; none of these five Gold Mourning Rings can be directly traced back to any of the people listed in Washington's Last Will and Testament. However we know with certainty that five actual Memorial Rings do exist today, as follows:
1. Mount Vernon, donated Private Collection, sold in 1977 by C.G. Sloan & Co. 1977.
2. Private collection, Ex. Frank S. Schwarz and Son of Philadelphia.
3. Metropolitan Museum of fine Art, New York.
4. Smithsonian Institution, Washington D.C. Division of Political History, Museum of American History.
5. Current Example, Ex. Dr. Joseph E. Fields
Other sources sited are: W.S. Baker, "Engraved Portraits of Washington," (1880) John Hill Morgan and Mantle Fielding, "Life Portraits of Washington and Their Replicas" (1931) Windy C. Wick, "George Washington An American Icon." Here we offer the Doctor E. Fields ring, which was once owned by Anna S. King, and with provenance going back to 1882. This specific ring is mentioned in Elizabeth Johnson's 1882 book, "Portraits of Washington," where this ring is found on page 135. This extraordinary Memorial ring is unique in it's style and design. It is inscribed in gold lettering on an oval enameled band which surrounds the inner portrait, which reads: "Geo. Washington. OB:14. Dec. 1799.AE. 68." Of the five different Gold "George Washington" Mourning rings, the specimen offered here is by far the most elaborate in it's design, detail, style, intrinsic beauty and quality. This ring is by a large margin the finest known of only two designs which are now held in private hands, and that remain collectable. The other three rings are locked away, being housed in museum collections. Provenance: Ex. Dr. Joseph E. Fields.
Charles Balthazar Julien de Saint-Memin (1770-1852) ...
was an officer in the French royal palace guard whose lands were forfeited during the Reign of Terror, after the French Revolution. He fled to America and developed a business producing engraved portraits. He was able to produce profile portraits using the latest technology: a machine called the Physiognotrace, a duplicating device based on the pantograph. This device allowed the artist to capture a profile quickly, with only a little freehand finishing work, by looking at the sitter through an eyepiece and then tracing his or her features with a pivoting, pointing rod. A pencil attached to the other end repeated the movements onto a sheet of paper. His legacy is unique, because he also took likenesses of ordinary citizens, along with those of the rich and famous, although only the prosperous could afford the time to sit for him. He worked in America from 1793 to 1814, and won his U.S. citizenship. He retired in 1809, after completing the commissions he gathered during Aaron Burr's treason trial. When the monarchy was restored in France in 1814 he returned to his homeland with his family, and ended his days working as the director of the Dijon Museum. (H. Burchard, Washington Post, Dec. 1, 1994, rootsweb.com)
| Country: |
England |
| Year: |
c.1800 |
Defying any form of artistic convention for its time, this ring is a combination of a late 18th century cameo with a 19th century setting. Quite large for a ring, this piece bares all the style trappings of the neoclassical, with the weeping willow, urn and border. Carved in sardonyx, the cameo is truly an extraordinary piece. As a piece of its time, however, it raises many points to the origin of memorial pieces and the ‘revival’ or continuity of mourning symbolism. Many pieces were recreated in the 19th century, not necessarily to appeal to collectors, but to reference prior styles. It’s harder to consider these faux, but more an homage to what had come before. Most of these pieces reflect the pieces of the 17th and early 18th century, with the heavy memento mori motifs. This piece, however, is a genuine cameo in a newer setting, which is completely satisfactory for a cameo piece.
Rings 19th Century | Rings 20th Century and Later | Poesy & Sentinental
