Gilt Painted Wooden Icon of Saint George

The D-section hoop with plain exterior, the interior inscribed 'Godly love will not remove', followed by maker's mark 'JK' in a rectangular cartouche. 4.17 grams, 21.73 mm overall, 18.94 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18)



Ex Albert Ward collection, 1974-1985. East Anglian private collection.

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.

Each differently sized and displaying a decorative design in relief, including scrolling foliage, elaborate cartouches and other worn motifs. 6.2 kg total, 13-14.5 cm



Acquired 1990s-early 2000s. East Anglian private collection.

Comprising the upper body of a young female figure, likely the goddess Venus, shrouded in a palla mantle worn over the robe and draped over the head as a hood; the left arm bent to form folds and gatherings in the cloth, the right arm shown beneath the cloth held bent to the right breast. 133 kg, 84 cm high



French collection, 1960s-early 2000s. From an important Paris gallery, France. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11687-199355.

In Roman mythology, Venus was the goddess of love, sex, beauty and fertility. Married to the god Vulcan, Venus's principal divine lover was Mars, with whom she was famously trapped in bed with a net by Vulcan. The goddess also had numerous mortal lovers - Adonis for example. The earliest known instance of a temple dedicated to Venus was founded on the Aventine Hill in 295 B.C. She is most closely associated with the month of April, the beginning of the season of spring.