Lord of the Rings: 7 Viking Rings With Nordic Symbols

Viking tales often recall stories of bloodthirsty behaviors of war and violence, so it may surprise you to learn about the Vikings’ rich history in jewelry-making. The Vikings were masters of metalwork, which ranged from the production of weapons to the crafting of jewelry. From the 8th-15th centuries, the Vikings produced rings, amulets, pendants and more, which all held symbolic meanings to their culture.

Below you’ll find 7 outstanding examples of Viking rings, each with their own unique display of Viking symbols.

Viking Warrior’s Ring

This warrior’s ring features a narrow band flaring to the top, in the form of an eye with rounded stippled edges. The field is decorated with panels of geometry, the central of which enclose small crescents, which are lunar references. As expert navigators, the constellations in the jewelry pieces signified mystery and power to Vikings.

Viking Warrior's Ring, 900 A.D., size 10, gold overlay. Estimate: $400-$500. Jasper52 image

Viking Warrior’s Ring, 900 A.D., size 10, gold overlay. Estimate: $400-$500. Jasper52 image

 

Rare Viking Signet Ring

This narrow band features a large circular bezel incised with four designs. The surface is covered with uniform frosty patina from a burial. This ring has been professionally refurbished with the original gold overlay restored.

Rare Viking signet ring, ca. 900 A.D., gilt bronze, size 8.5. Estimate: $250-$300. Jasper52 image

Rare Viking signet ring, ca. 900 A.D., gilt bronze, size 8.5. Estimate: $250-$300. Jasper52 image

 

Man’s Wedding Ring

This copper ring was a man’s wedding band, circa 850-1050 A.D. The use of unalloyed copper is specific to the Vikings, who were highly skilled metallurgists. Vikings traditionally exchanged wedding rings on the pommel of the groom’s sword.

Viking Man's wedding ring, 850-1050 A.D., size 10 3/4. Estimate: $100-$150. Jasper52 image

Viking Man’s wedding ring, 850-1050 A.D., size 10 3/4. Estimate: $100-$150. Jasper52 image

 

Warrior’s Heart Ring

For Vikings, the heart symbolized bravery, fortitude, loyalty, and integrity – all attributes of the warrior. The warrior’s heart ring defines the very essence of his place in society and the spiritual world.

Viking warrior's heart ring, 850-100 A.D., gilt bronze, size 10 1/2. Estimate: $300-$400. Jasper52 image

Viking warrior’s heart ring, 850-100 A.D., gilt bronze, size 10 1/2. Estimate: $300-$400. Jasper52 image

 

Warrior’s Coil Ring

This gilt bronze coil ring was delicately made with six full rings. The coil is a repeated theme in Viking jewelry and adornment, but few rings survive due to their fragility and finding one this complete form is very rare.

Viking warrior's coil ring, 10th century A.D., size 9. Estimate: $100-$200. Jasper52 image

Viking warrior’s coil ring, 10th century A.D., size 9. Estimate: $100-$200. Jasper52 image

 

Twisted Viking Warrior’s Ring

This traditional 9th century Viking warrior’s ring features an overlapping split band, which was specific to the Vikings. The top features a heavily corded twist form, another signature of Viking design.

Viking warrior's ring, 9th century, size 10 1/4. Estimate: $300-$400. Jasper52 image

Viking warrior’s ring, 9th century, size 10 1/4. Estimate: $300-$400. Jasper52 image

 

Great Plague of London Ring

While not of Viking origin, this medieval piece of jewelry is revolutionary in its construction with the band of rolled brass and bronze, with a pattern imparted by the roller. The bronze flower bud top was cast separately and the two were joined by brazing. The process of rolling was in place in the 15th century.

Child mortality was indigenous to the culture and it was expected – barely half of the population lived to adulthood. Burial in the church brought you close to God, but space was limited and those nearer our hearts had priority over those whose names were forgotten. Graves were periodically dug up, and the bones removed to storage, making space for newcomers. It happened all over Europe, north to south and no jewelry is preserved with the bones. From extensive research of the time period, it is believed this rings were produced in England and recovered from graves of children who perished in the Great Plague of 1655-56 in London.

Great Plague of London ring, 15th-17th century. Estimate: $100-$150. Jasper52 image

Great Plague of London ring, 15th-17th century. Estimate: $100-$150. Jasper52 image

 

View all these rings and more exquisite pieces in this week’s Jasper52 auction of Viking & Medieval Jewelry.

6 Religious Icons Carrying Rich History

Arising from the European Orthodox world are icons that carry rich histories and intricate religious symbolism. Depicting Gospel scenes, these ornate paintings on wood and brass oklad covered motifs remain faithful to the stories of Christ, the Virgin Mary and the early saints. Through this one-of-a-kind sale of Religious Icons, discover and decode traditions that remain central to the Orthodox tradition

One of the stars in this heavenly offering is an 1859 Russian icon depicting Our Lady of Kazan with the Christ Child. Kazanskaya Mother of God, also called Our Lady of Kazan, was a holy icon of the highest stature within the Russian Orthodox Church, representing the Virgin Mary as the protector and patroness of the city of Kazan and a palladium of all of Russia.

Russian icon, Our Lady of Kazan, 1859, egg tempera on wood with gold leaf, silver riza with hallmarks 84. Estimate: $15,000-$20,000. Jasper52 image

Russian icon, Our Lady of Kazan, 1859, egg tempera on wood with gold leaf, silver riza with hallmarks 84. Estimate: $15,000-$20,000. Jasper52 image

 

In this deesis, a traditional representation in Byzantine art, the Virgin Mary and John the Baptist implore Jesus Christ. A unique 19th century example of this type of icon is featured in this auction.

Deesis, gilt gold Russian icon, late 19th century, 22.5 x 14.5 x 3 inches, paint on wood with gilt. Estimate: $8,000-$10,000. Jasper 52 image

Deesis, gilt gold Russian icon, late 19th century, 22.5 x 14.5 x 3 inches, paint on wood with gilt. Estimate: $8,000-$10,000. Jasper 52 image

 

The birth of Christ is celebrated in this 19th century gilt gold Russian icon.

Gilt gold Russian icon, Birth of Christ, 19th century. Estimate: $7,000-$8,000. Jasper52 image

Gilt gold Russian icon, Birth of Christ, 19th century. Estimate: $7,000-$8,000. Jasper52 image

 

Another highlight of the sale is this 19th century gilt gold Russian icon displaying the Resurrection with scenes from Christ’s Passion.

Russian gilt gold icon of the Resurrection with scenes from the Passion, 19th century, 14.5 x 17.5 x 1 inches, paint on wood with gilt. Estimate: $6,000-$8,000. Jasper52 image

Russian gilt gold icon of the Resurrection with scenes from the Passion, 19th century, 14.5 x 17.5 x 1 inches, paint on wood with gilt. Estimate: $6,000-$8,000. Jasper52 image

 

Saints represented in the auction range from the universally known Michael the Archangel to the Russian St. Nikolai, a fourth-century Greek Bishop of Myra, in Asia Minor.

Archangel Michael gilt gold Russian icon, 19th century, 10 x 12 x 1.25 inches, paint on wood with gilt. Estimate: $7,500-$10,000. Jasper52 image

Archangel Michael gilt gold Russian icon, 19th century, 10 x 12 x 1.25 inches, paint on wood with gilt. Estimate: $7,500-$10,000. Jasper52 image

 

Because of the many miracles attributed to St. Nikolai’s intercession, he is also known as Nikolaos the Wonderworker.

Russian St. Nikolai icon, 1840-1870s, egg tempera on wood with gold leaf. Estimate: $10,000-$15,000. Jasper52 image

Russian St. Nikolai icon, 1840-1870s, egg tempera on wood with gold leaf. Estimate: $10,000-$15,000. Jasper52 image

 

View the fully illustrated catalog and bid in this auction with Jasper52 here.

How To Care For, Store, and Display Oriental Rugs Like a Pro

Do you believe in the magic of Oriental rugs? The idea that magical properties exist within these ornate rugs may seem absurd. However, consider how a rug on a wood floor can transform a simple room in a house into a haven. Or, how a proudly displayed Oriental rug has the ability to generate discussion, inspire dreams, and prompt reflection of the past.

With proper and consistent care and preservation, Oriental wool rugs can and will provide years of enjoyment, and that in itself is a bit of magic. The question then becomes how should rugs be cared for to ensure their longevity and beauty? For expert insight we turned to A.E. “Tad” Runge Jr., owner of A.E. Runge Oriental Rugs, located in Yarmouth, Maine. Runge has more than four decades of experience buying and selling, studying and assessing Oriental rugs, and lecturing about their history and care.

Tad Runge cutting pad for a rug Photo courtesy A.E. Runge Oriental Rugs

Tad Runge cutting pad for a rug. Photo courtesy A.E. Runge Oriental Rugs

The Oriental rug market has undergone changes in the 30 years since Runge began working in the business full time. However, some things remain unchanged, including the practical and proper measures that preserve Oriental rugs, Runge said.

“I’ve loved textile arts for years, and I’ve been blessed to have wonderful customers who also love textile art,” he said.

Celebrate your love of textile art with vigilance

When asked the best approach to caring for Oriental rugs, Runge’s response is clear: “Be vigilant. Give them a little attention.” Without it, a sneaky and damaging group of critters will be more than happy to cozy up to those rugs, notably the dreaded wool moth.

Wool moths are the most likely invaders of rugs, Runge explained. The wool moth, not be confused with the meal moth, is about the size of the fingernail of a pinkie finger and buckwheat in color. “They avoid light at all costs, unlike most moths that are drawn to light,” Runge said. “You can’t catch them by shining a light, they hide. The most likely place an infestation will occur is an underutilized space, like the edges of a rug or the back.”

A rug damaged by wool moths. Photo courtesy A.E. Runge Oriental Rugs

A rug damaged by wool moths. Photo courtesy A.E. Runge Oriental Rugs

Tip #1: Make sure to regularly “disturb” areas that wool moths are most likely to occupy. This means vacuuming the front, or face, of a rug at least monthly, and more often depending on traffic. In addition, taking the vacuum to the back of a rug a couple times a year is highly recommended.

In the event wool moths have taken up residency in a rug, telltale signs include spaces of wool missing on the rug, small holes, and the appearance of small white larvae. At this point, in order to dispose of the intruders, remove the rug from the home or business. Do an in-depth inspection of other rugs and woolen items in the area. Then take the rug and any other affected textiles to someone who washes rugs professionally.

Tip #2: Shampooing an Oriental rug is not the same as washing one. The process of shampooing leaves a soapy residue that not only dulls the rug, but compromises the wool fibers. The proper process for washing an Oriental rug should include significant use of water, Runge said.

Tabriz rug, 1980, wool, 6 feet 8 inches x 9 feet 7 inches. Sold for $460. Image courtesy of LiveAuctioneers/Jasper52

Tabriz rug, 1980, wool, 6 feet 8 inches x 9 feet 7 inches. Sold for $460. Image courtesy of LiveAuctioneers/Jasper52

Beat rugs today for a better tomorrow

When it comes to preserving Oriental rugs, incorporating a regular schedule of “beatings” ranks near the top, according to Runge.

“Oriental rugs are particularly good at trapping dirt,” said Runge, whose great-grandfather was also in the business of buying and selling rugs in the late 19th century. “That trapped dirt is what wears the rug out. The dirt cuts the wool fibers when there is traffic on the rug.”

The act of “beating”an Oriental rug is as simple as 1-2-3, and doesn’t exactly mirror the rug-beating technique of the past. First, take the rug outdoors and lay it on a clean, dry surface, Runge said. Flip it so the back of the rug is facing up, and vacuum multiple times. Then turn the rug over and vacuum the front and, again, repeat the process. This is the modern approach to beating a rug.

Tip #3: When beating the front of a rug, stick to the standard process of vacuuming. While the array of attachments that are standard with many models may be helpful in cleaning wall-to-wall carpeting, they can do more harm than good when used on Oriental rugs.

Vintage Shiraz tribal geometric Oriental rug, 5. 7 x 8.6 feet. Sold for $240

Vintage Shiraz tribal geometric Oriental rug, 5. 7 x 8.6 feet. Sold for $240. Image courtesy of LiveAuctioneers/Jasper52

Protect with padding and casters

Adding padding beneath rugs can serve double duty. In addition to preventing slippage, padding helps create a more structured base for a rug that bears the weight of furniture and regular foot traffic. Placing casters on the bottom of furniture legs and periodically moving furniture helps limit wear, Runge said.

When it comes to selecting the right pad, density and natural fiber are two qualities to keep in mind. “There is a broad range of pads, and in many cases the cheaper the pad, the poorer the pad,” Runge said. “A poor pad often will turn to powder. Good pads should last 10 to 15 years.”

 

Treating Oriental rugs as a respected item of textile art — truly functional art — will help ensure a light-on-dirt and moth-free existence for the rug and years of appreciation for you.

Find exceptional antique rugs in this week’s Jasper52 rug auction.


tad-rungeTad Runge is owner of A.E. Runge Oriental Rugs in Yarmouth, Maine. He’s been buying and selling Oriental rugs since the 1970s, when dealing helped to pay for his college tuition. He lectures on the subject of Oriental rugs and authored the book “One Woman, One Weft.” Tad said if he could speak with his late great-grandfather and fellow rug merchant, Edward Runge, his wish would be to hear all about his rug-buying travels and the people he bought from.

 

Recalling Rural Life in This Americana Sale

Handcrafted tramp art boxes, figural weather vanes, and colorful game boards are just a few of the historical treasures offered in this week’s Jasper52 Americana sale. These artisan objects vary in function from decorative, utilitarian and even entertainment, though all are threads of 19th-20th century rural life that will create a unique sense of welcome in any home.

This winning polychrome game board dates to the 1880s and features superbly detailed gilded birds and leaves in an Eastlake design motif. It bears a double set of elaborately flourished initials, one set surrounded a lady’s boot cornucopia of blooms, suggesting that one of the game participants was a woman.

Polychrome game board, wood, 1880s, 32 inches x 21.5 inches wide, double-sided. Estimate: $1,200-$2,000

Polychrome game board, wood, 1880s, 32 inches x 21.5 inches wide, double-sided. Estimate: $1,200-$2,000

 

The 120-lot auction features no less than seven weather vanes, including this late 19th-century handmade weather vane of sheet iron depicts Halley’s Comet.

Handmade sheet-iron weathervane depicting Halley’s Comet, circa 1870, 42 inches x 12 inches. Estimate: $1,500-$2,000

Handmade sheet-iron weathervane depicting Halley’s Comet, circa 1870, 42 inches x 12 inches. Estimate: $1,500-$2,000

 

Animals were favorite subjects of factory-made weather vanes. A copper horse vane by W.A. Snow Iron Works in Boston has zinc ears for ballast and bears a desirable natural verdigris. This relic from the turn of the 20th century is equipped with a museum mount.

Ethan Allen Jr. horse weather vane, W.A. Snow iron works, Boston, 26.5 inches wide x 15.75 inches high, 1885-1910, Estimate: $2,400-$3,200

Ethan Allen Jr. horse weather vane, W.A. Snow iron works, Boston, 26.5 inches wide x 15.75 inches high, 1885-1910, Estimate: $2,400-$3,200

 

From a New England collection comes a diminutive late 19th century eagle full-body weather vane on a custom-made iron stand.

Diminutive eagle full-body weather vane on stand, 1880-1890, 22 inches high x 19 inches wide x 15 inches deep. Estimate: $1,675-$3,850

Diminutive eagle full-body weather vane on stand, 1880-1890, 22 inches high x 19 inches wide x 15 inches deep. Estimate: $1,675-$3,850

 

Also in cast iron is a doorstop in the form of a swan. This double-sided example is featured in the The Doorstop Book by John and Nancy Smith, page 91.

Cast-iron swan doorstop, double sided, made by Spencer, Guilford, Conn., 7 7/8 inches x 13.5 inches. Estimate: $2,700-$3,100

Cast-iron swan doorstop, double sided, made by Spencer, Guilford, Conn., 7 7/8 inches x 13.5 inches. Estimate: $2,700-$3,100

 

All of these spectacular items and more are featured in this week’s Americana and Tramp Art auction. Click here to view the full catalog.

Discover How Japanese Print Makers Impacted Modern Art

This week’s Japanese woodblock print sale presents a unique collection of colorful pieces. With this array of 19th-21st century woodblock prints, bidders can discover how Japanese print makers impacted the development of modern art. Featuring names like Hiroshige and Yoshida, this sale reveals nuanced techniques and traditional Japanese values mixing contemporary pieces with more vintage works.

One of the contemporary works in this sale is by Daniel Kelly, an American artist based in Kyoto, Japan. He created Ebisu (God of Fishermen) in 2011.

Daniel Kelly, ‘Ebisu’ (God of Fishermen), 2011, Japanese woodblock and kimono fabric on handmade Thai paper. Estimate: $1,200-$1,500

Daniel Kelly, ‘Ebisu’ (God of Fishermen), 2011, Japanese woodblock and kimono fabric on handmade Thai paper. Estimate: $1,200-$1,500

Hiroaki Takahashi (Shotei) was the first artists to be signed under Watanabe Shozaburo. He also prdouced and exhibited original paintings and worked as an illustrator of scientific textbooks, magazines, and newspapers. His print of a cat titled Tama first appeared in 1924; the print edition in this auction was published circa 1946-1957.

Hiroaki Takahashi (Shotei), ‘Tama,’ 1924, edition circa 1946-57, series: ‘Japanese scenes on Tanzaku.’ Estimate: $800-$1,200

Hiroaki Takahashi (Shotei), ‘Tama,’ 1924, edition circa 1946-57, series: ‘Japanese scenes on Tanzaku.’ Estimate: $800-$1,200

Torii Ktondo was trained in the tradition of kabuki actor portraits and translated this training into his famous portraits of beautiful women. An example, titled Rain (Ame), is included in this auction. The winning bidder of this lot will receive a free bonus print of Daikokuya poem slips.

Torii Kotondo, ‘Rain’ (Ame), 1929, later limited edition of 100 prints, circa 1980s, published by Ishukankokai. Estimate: $200-$300

Torii Kotondo, ‘Rain’ (Ame), 1929, later limited edition of 100 prints, circa 1980s, published by Ishukankokai. Estimate: $200-$300

Tsukioka Yoshitoshi (Taiso) was a Japanese artist often considered the last great master of the ukiyo-e movement of woodblock printing and painting. The term ukiyo-e translates to “pictures of the floating world” and refers to a genre of Japanese art with a wide span of imagery such as kabuki actors, folk tales, landscapes, or even erotica. This movement was critical in forming the Western perception of Japanese art.

Tsukioka Yoshitoshi, ‘A New Selection of Eastern Brocade Pictures,’ 1886, Oban diptych, published by Tsunashima. Estimate: $1,500-$1,800

Tsukioka Yoshitoshi, ‘A New Selection of Eastern Brocade Pictures,’ 1886, Oban diptych, published by Tsunashima. Estimate: $1,500-$1,800

Utagawa Yoshifuji’s depiction of the renowned fight between Ushiwakamaru (better known as Minamoto Yoshitsune) and the monk Benkei is one of the highlights of this sale. The diptych, printed in 1854, comes with a preliminary drawing of the right panel. Yoshifuji specialized in pictures of warriors, and also illustrated children’s books.

Utagawa Yoshifuji, ‘Minamoto Yoshitsune Fighting Benkei on Gojo Bridge,’ 1854, Oban diptych, signed ‘Ipposai Yoshifuji ga.’ Estimate: $2,000-$2,500

Utagawa Yoshifuji, ‘Minamoto Yoshitsune Fighting Benkei on Gojo Bridge,’ 1854, Oban diptych, signed ‘Ipposai Yoshifuji ga.’ Estimate: $2,000-$2,500

Utagawa Yoshitora was a designer of ukiyo-e Japanese woodblock prints and an illustrator of books and newspapers who was active from about 1850 to about 1880. In the print Pictures for the 53 Stations of Tokaido, he complements the illustration with calligraphy.

Utagawa Yoshitora, ‘Calligraphy and Pictures for the 53 Stations of the Tokaido,’ 1872, Oban tate-e, signed ‘Yoshitora’ with artist seal, publisher’s seal: Sawamura Seikichi. Estimate: $1,500-$1,800

Utagawa Yoshitora, ‘Calligraphy and Pictures for the 53 Stations of the Tokaido,’ 1872, Oban tate-e, signed ‘Yoshitora’ with artist seal, publisher’s seal: Sawamura Seikichi. Estimate: $1,500-$1,800

Register now to bid in this week’s dynamic Japanese woodblock prints auction.