Renaissance Enamelled Gold Ring with Rubies

Composed of a gently carinated hoop, the interior inscribed in cursive script 'Love is the bond of pease'. 7.81 grams, 22.97 mm overall, 18.75 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18)



Found whilst searching with a metal detector on 28th March 2022 Mr Graham Higgins, near Hatford, Oxfordshire, UK. Accompanied by a copy of the report for HM Coroner by the Finds Liason Officer (FLO) for the British Museum's Portable Antiquities Scheme (PAS) for Oxfordshire under Treasure reference number OXON-FC03F7. Accompanied by a copy of the letter from HM Senior Coroner for Oxfordshire disclaiming the Crown's interest in the find.

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.

In polychrome within a shallow rectangular recess, framed by a red border; both figures shown nimbate, baby Jesus wearing a red chiton and embracing his mother; loop for suspension to reverse. 1.26 kg, 33.5 cm

The background is exposed so that the chalk ground is visible

Ex French gallery, Paris. Accompanied by an old typed and signed letter from the Icon Museum at Autenried Castle near Günzburg.

The icon shows the Mother of God of Fedorovskaya type, one of the variants of the Hodegetria icons. It is a central Russian work from the first half of 19th century A.D. The Fedorovskaya icon of the Mother of God or Virgin of Kostroma is honoured by the Orthodox church as a miraculous icon of the Virgin Mary. It is kept in the city of Kostroma, in the Cathedral of Epiphany-Anastasia. Legend attributes its creation to Saint Luke the Evangelist. Its iconography is similar to that of Our Lady of Vladimir. She is also revered as one of the icons of the Romanov house linked to the election in 1613 of the founder of the dynasty Michael Romanov who lived his youth in Kostroma.

Composed of a broad hoop with gusseted rose-gold equator. 8.29 grams, 22.63 mm overall, 19.57 mm internal diameter (approximate size British T 1/2, USA 9 3/4, Europe 21.89, Japan 21)



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