Post Medieval Silver Signet Ring

Composed of a slender hoop inscribed around the interior, maker's stamp 'TS' in rectangular cartouche, possibly for goldsmith Thomas Sharp. 3.03 grams, 19.90 mm overall, 17.05 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14)



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.

Together with decorative designs, comprising bowls of various shapes and dates; together with a number of stems. 1.2 kg total, 3.3-13.5 cm



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

In 13th century A.D. style, Jesus represented in the centre in blue and white light, with shining clothes; to his right Moses, to his left Elijah; the mountain of Tabor represented in rocky fragments below, the disciples John, his brother James and Saint Peter in awe and terrified by the divine event; remains of a wax seal impression to reverse, together with a loop for suspension. 783 grams, 30 cm



Ex French gallery, Paris.

The icon was realised following the tradition of the Novgorod school of 13th century A.D. A mandorla of blue and white light was usually used in most oriental icons. Not all icons of Christ have mandorlas and they are often used when representing divine light. The mandorla thus represents the ‘uncreated light’ that shines on the three disciples in the icons of Transfiguration. During the Feast of Transfiguration, the Orthodox sing a troparion which states that the disciples 'beheld the light as far as they were able to see it' signifying the different levels of their spiritual progress. Sometimes a star is superimposed on the mandorla, but here the stars are are impressed all around the edge. The mandorla represents the 'luminous cloud' and is another symbol of light. The luminous cloud, a sign of the Holy Spirit, descended on the mountain at the moment of the Transfiguration.