Loading, please wait...
LOT 1857
'The Hursley' Tudor Gold 'Hope is my support till fortune shall help' Buckle Posy Ring
CIRCA 16TH CENTURY A.D.
3/4 in. (2.76 grams, 19.17 mm overall, 16.63 mm internal diameter (approximate size British M, USA 6 1/4, Europe 12.34, Japan 12)).
The hoop rectangular-section and in the form of a buckled belt with looped end tie and chape with double-bowed and pinned buckle, the outer face inscribed '+HOPE * IS * MI HOLDE' in Roman capitals, continuing 'TILL * HAP * SHALL * HELPE' around the interior; accompanied by a vintage ring box.
ProvenanceFound whilst searching with a metal detector near Hursley, Hampshire, UK, on Sunday 26th August 2012.
Acquired from Berganza, Hatton Garden, London, 2017.
Property of an East Sussex collector.
Disclaimed under the Treasure Act with reference no.2012 T805.
Accompanied by a copy of the British Museum's Portable Antiquities Scheme report no.HAMP-62C152.
Accompanied by a copy of the Berganza invoice.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11667-197581.
Cf. The British Museum's Portable Antiquities Scheme, record id. GLO-244613 and Treasure Act, reference 2009 T135, for similar; cf. The V&A Museum, accession number M.225-1962, for a similar type dated 1400-1500 A.D.
FootnotesDr Malcom Jones writes: 'The 'hope' in question here is the lover's hope to be united with the beloved. Hope indeed springs eternal in the lover's heart - as Chaucer says in his contemporary partial translation of that classic of courtly love, the Roman de la Rose -- Nere hope, ther shulde no lover lyve [Without hope no lover could live], and Y leve yn hope is the message on a 15th century signet-ring found in Gloucester, while en bon espoer is the message of another ring and also on a ring-brooch in the British Museum. An elaborate gold ring recently unearthed bears the legend cest mon desir [This is my desire], with each word separated by an open book, and each book's double-page engraved with two letters, es po yr – i.e. espoir [LANCUM469077]. A beautiful openwork brooch in the shape of a trefoil found in Brighton in the nineteenth century, but since lost, bore the legend, en espoir ma vye endure [in hope my life endures], a sentiment echoed on another ring-brooch in the British Museum -- vie i[n] espoir -- while a ring in the Somerset County Museum insists that esperance me conforte [hope comforts me] -- exactly as the first half of our inscription here: HOPE IS MI HOLDE.
A close parallel to the legend on the present ring is found in a series of sententious verses preserved in the 14C BL Harl. 2316 [Whiting H465]:
Hope is hard ther hap is foo -- 'Hope is hard where fortune is a foe
Hap wile helpen ther hope is froo -- Fortune will help where hope is away'
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.
TimeLine Auctions follows a vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: Our Vetting Process
AUCTIONS:
TimeLine is a leading auction house specialising in antiquities, ancient art, collectables, natural history, coins, medals, and books. Our auctions offer museums, collectors, historians, and enthusiasts the opportunity to acquire unique and historically significant pieces.
LOT 1857
'The Hursley' Tudor Gold 'Hope is my support till fortune shall help' Buckle Posy Ring
Estimate £6,000 - 8,000€6,960 - 9,280 (for guidance only)$8,100 - 10,800 (for guidance only)
-
Cretan School Wooden Pedestal Cross Base with 'Descent from the Cross' Gilt Painted Scene
Circa 17th century A.D.Sold for (Inc. bp): £13,000
Hollow-constructed stepped pedestal with socket to accept a devotional cross; gesso surface with moulded edging and gilt finish; painted scene of the 'descent from the cross' and 'lamentation of the Christ' with Christ laid out on the Holy Shroud surrounded by sorrowful Mary Magdalene, Virgin Mary, Mary of Clopas, St John the Evangelist, St Joseph of Arimathea and Nicodemus holding a ladder in the background; coffin with open cover to the left, cave of Golgotha to the right with skull, landscape with city of Jerusalem in the background. 8 kg, 104 cm wide
Fine condition.
Ex property of a London lady, part of her family's collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no. 11542-196369.
In the Orthodox world, single wooden crosses representing the Stavrosis (Crucifixion) were positioned as icons in their own right, with candles placed in front of them as offering for the dead. It is a tradition that dates back to Byzantium, and was continued in the Slavic Orthodox world with the creation of splendid painted wooden crucifixes placed on equally beautifully painted pedestals. In this case the complex representation includes all the elements of the Gospel that recall the passion, death and resurrection of Christ. Christ has been taken down from the cross and is surrounded by his loved ones. His muscular body highlights the wound in his right side procured by Longinus' spear. The pain of the mother, the piety of Mary, is expressed here with the mute silence of the Madonna, who holds her son's head, which contrasts with the pain manifested by the other bystanders. Saint Joseph of Arimathea, who procured the tomb and the sacred sheet, devoutly holds the feet of Christ. The right side of the scene shows the Golgotha, symbol of the human death of Christ. The left of the scene shows the open tomb, symbol of the human and divine Resurrection of Christ. The sacred sheet, loose inside the sepulchre with open lid, appears as a symbol of the saving grace of the Resurrection. The city in the background represents ancient Jerusalem transformed into its heavenly equivalent through the Resurrection of Christ. -
Post Medieval Bronze Mount and Watch Key
Circa 19th century A.D.Sold for (Inc. bp): £7
Discoid mount with domed rosette to the centre; watch key with mandrel, inset carnelian disc. 28.2 grams total, 30-51 mm
Acquired between the 1960s-early 1990s. From an old UK private collector from Worthing, West Sussex, UK. Property of K.P., a Cornish lady collector, UK. -
Framed Watercolour Painting with Harem Scene
Persia, 20th century A.D.Sold for (Inc. bp): £26
With kneeling nobleman and three kneeling females within a courtyard; panels of nastaliq text above and below; mounted in a glazed wooden frame. 1.2 kg, 42.7 x 38 cm
Very fine condition.
Acquired on the UK art market, 1980s-1990s. The Woodbridge collection of Indo-Persian art.