Georgian Jewelled White Metal Shoe Buckle

Of piriform shape, raised medallion displaying male bust in profile right to shoulder on two faces; damaged and repaired. 3.44 kg, 32.5 cm high



Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister.

Preserved as the binding for a 'book of common prayers, and administration of the sacraments', in an embroidered stumpwork binding, the front cover showing Saint Anne, Mary and the Child, the back cover with a large floral design; the folio text with some handwritten amendations, title page printed in red and black. 2.75 kg, 38.7 cm



Emil Offenbacher and Cornelius J. Hauck, with his ex libris beneath an elaborate hand-coloured early armorial bookplate. Ex Cultured Oyster Books, 2007. Ex central London gallery. Accompanied by a previous catalogue page, listed as no.10.

Stumpwork is sometimes called 'raised work' and is an embroidery style in which the stitched figures are raised from the surface creating a three-dimensional effect. Historically, this type of embroidery, here probably made for an ecclesiastical vestment, was employed to decorated a variety of secular household artefacts and reached its greatest popularity by the second half of the 17th century A.D. Embroidered folio bindings are fairly uncommon.

Inscribed 'God a lone made us to One WME' around the interior, the initials being M for family name with W for male forename and E for female forename, with maker's mark stamped 'NL' in rectangular cartouche, possibly for the northern goldsmith Nicholas Lee. 5.59 grams, 22.23 mm overall, 19.15 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18)



From the collection of a North American gentleman, formed in the 1990s.

In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardisation in spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty.