Mixed Finds Group

Displaying a circumferential band of six-armed stars to the exterior with some remains of enamelling to the fields; the interior inscribed 'THY + FAITH + FAVLS + NOT' (possibly: thy faith fails/false not). 1.20 grams, 16.93 mm overall, 14.95 mm internal diameter (approximate size British I, USA 4 1/4, Europe 7.44, Japan 7)



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

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.

Signed in the bottom right corner of the watercolour; framed and glazed with loops for suspension to the reverse. 1.65 kgs, 40.4 cm



Ex Albert Ward collection, Essex, UK.

J.W.S. Cox (1911-1982) was an American watercolourist renowned for developing the wet-on-wet painting technique. He grew up in New York, where he avidly sketched landscapes from an early age. The artist graduated from Pratt Institute NYC in 1933 and worked various jobs through the Great Depression. In 1936, he studied at the Acadamie Colarossie in Paris, and with Fauvist Othon Friesz for a short time, although later dismissed the Fauvist style as 'sloppy'. He went on to teach watercolour painting to students at Boston University, founding a studio on Bearskin Neck, Rockport, where he developed his 'sponge painting' and palette-knife techniques. He painted with an individualistic style, becoming a member of the Boston Watercolour Society. Cox shunned publicity as he believed it robbed him of painting time and turned down membership to the National Academy because he 'wouldn't play the game'. A Renaissance man, Cox spoke 12 languages with a goal to present himself 'and the soul of nature as truthfully and with as much inspiration, vitality and freshness as is possible, through the medium of watercolour'. He died of a heart attack in Florida in 1982.

Framed and glazed with wire for suspension to the reverse; the sampler reads: 'Religion should our thoughts engage / Amidst our youthful bloom / Twill fit us for declining age / and for the awful tomb / Frances Todd / Aged 11 years / 1831'. 1.6 kg, 47 x 39 cm



Acquired on the UK art market. East Anglian private collection.

This verse is quoted from 'Religion Is The Chief Concern', from John Fawcett's, Hymns Adapted to the Circumstances of Public Worship and Private Devotion, 1782.