Gilt Painted Wooden Icon Of Virgin and Child

Composed of a slender convex hoop engraved with crowned conjoined hearts flanked by birds, in turn pursued by bounding hounds, scrolling foliage and a cross at base; trace remains of enamelling; interior inscribed in cursive script: 'No felicitie to constancie', together with maker's stamp 'IY' in a square cartouche. 1.38 grams, 17.35 mm overall, 15.48 mm internal diameter (approximate size British J, USA 4 3/4, Europe 8.69, Japan 8)



Acquired on the UK antiques market between 1974-1985. Albert Ward collection, Essex, UK.

IY goldsmith's mark possibly for James Young of London, see Jackson, Sir C.J., English Goldsmiths and Their Marks, London, 1921, p.215. 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.

Dressed in armour and holding a spear, carrying a shield on his back, quiver of arrows on his hip with bow over arm, and one hand on a sword at his side, against a gilt background; text across left and right field reading 'Свети Георги' (Saint George). 667 grams, 33.2 cm



Ex French gallery, Paris.

Saint George, a Roman soldier of the 4th century, martyred under Diocletian, soon became the emblem of the military saint par excellence, defender of the faith and protector of armies. In the east, his icons and images were often carried into battle or placed on standards of Christian armies; in the West, he became a patron of chivalry. Here he is represented in late Roman armour, according to the style in use in Byzantium between the 14th and 15th centuries.

Displaying a figure crossing a bridge within a cartouche, embellished with flowering foliage; repaired. 417 grams, 22.2 cm wide



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