Rings
Early Rings | Rings 19th Century | Rings 20th Century and Later
Poesy rings and other forms of sentimental rings are one of the most important forms of wearable jewellerly. Rings are worn for marriages, love tokens and remembrance. Throughout history, they have never left fashion; intrinsically, people are drawn to wearing jewellery on the fingers as a form of personal status. This area of Art of Mourning will differentiate from the other rings sections as it deals with sentimental trends in rings that may not fall into the category of memorial.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
c. 1650 |
| Dedication: |
Accept my good will |
Posy rings make up some of the earliest modern sentimental jewellery pieces, as they were cheaper to produce and the sentiments written inside the bands are personal in nature. With the slowly increasing social movement of the 17th century, methods of outwardly displaying wealth as well as mementoes of loved ones, be they gifts or personal, were needed. Not attached to any one particular style, the most common theme of posy rings is the inscription.
Courtesy of Barbara Robbins, this ring and the one below are superb examples of posy rings from the 17th Century.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
mid 17th century |
| Dedication: |
Let vertue bee a guide |
Found in Bath, the above example is a more detailed version of a posy ring, though this piece is more in line with the common standard style. Inscriptions on Posy rings are unique in their personal nature, whereas many mourning pieces tended to be produced in greater quantity. 'Let vertue bee a guide' and 'Accept my good will' are two inscriptions on the rings which face inwards, making the inscription truly personal to the wearer. It is more common for posy rings to be plain in their detail, often being worn for marital fidelity and romantic sentimentality.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
mid 17th century |
| Dedication: |
Hearts United Live Contented |
Marvelous differences in posy rings are truly in their inscription. There is a truth and honesty in each piece which doesn't show any form of social hierarchy. They are simple forms of genuine affection.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
mid 17th Century |
| Dedication: |
All I refuse & thee I chuse |
It's the sentiment and the material of this particular ring that makes it very special. A silver posy ring and a sentiment that still resonates even today.
| Courtesy: |
Sarah Nehama |
| Country: |
England |
| Year: |
late 17th Century / early 18th century |
| Dedication: |
A Good Life A Happy Death |
The superb Judy Rudoe has written a comprehesive history of this piece, and the certificate from the British Museum is more than enough to prove its worth.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Dedication: |
God forever bless us together. |
White enamel is the symbol for virginity and purity, its context (as seen in this website) is predominantly used for the death of a child or unmarried woman, however, white enamel has been used for the living in its long history. Most coloured enamels were used to their full extent during the 16th and 17th centuries and these eras provided the basis for the enamel colourings that were ingrained by the neoclassical period of the latter 18th century. As a wedding band, the sentiment of being presented to a virginal woman or a woman who identified the concept of ‘the virgin’ and ‘innocence’ fits the development of the white enamel usage perfectly.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Dedication: |
Be true in hart. |
Another wonderful example of a poesy. Part of the charm of early poesy rings is the use of the English language that predates the dictionary and shoes a more phonetic spelling.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Dedication: |
In Christ and Thee My Comfort Be. |
A lovely sentiment for a poesy ring; this piece is still as relevant today as the day it was made. There is a hallmark on this piece that reads ‘IB’ (possibly John Bride / London and registered in 1823 or Joseph Bird, of London, 1724).
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
Hallmark ‘IY’ (Possibly James Young of London, 1775) but more realistically c.1700 |
| Dedication: |
No Treasure to a true friend |
Design motifs on the outer side of a band are very specific to the era in which a piece was created. Learning about the differences in art development makes identification of a piece much easier. Use the rest of this site as a resource for understanding the continuity of art history in jewellery.
| Courtesy: |
Barbara Robbins |
| Country: |
England |
| Year: |
mid 17th Century |
| Dedication: |
Let's Live and Die In Unity |
This particular piece is a commitment of life and death. Personal and private, its inscription matches even the most eloquent Victorian sentiment.
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