A 16th century North European carved boxwood marriage sheath, probably Dutch or Flemish, dated 1582

carved to the front with scenes from the Fall and Expulsion from Eden, the rear with scenes from the Parable of the Prodigal Son, the sides carved with the twelve apostles above the date and initials 'W.G.W' on one side and a merchants mark and initials I.L within a cartouche to the other, applied mask in skullcap for rope attachment; with two fitted silver and ivory-mounted steel-bladed knives; one handle to one side applied with a profile of man and woman on a ground of foliate strapwork, the other initialled E.V.A over D.M.V.S between a crowned arrow-pierced heart, the top engraved with matching merchant mark to body with the other side engraved with the name IACOP LAVREYNS

Edward Pinto, Treen & Other Wooden Bygones, London, 1969, p.73., pl. 64

Peter Hewitt, The Material Culture of Shakespeare's England: a study of the early modern objects in the museum collection of the Shakespeare Birthplace Trust, Birmingham, 2014, pp.204-215

John Brand & Henry Ellis, Observations on the popular antiquities of Great Britain, London, 1777, p. 131-2

The wooden sheath is missing a silver mount to the rim. There are various splits and cracks issuing from this point, one 4cm down the shaft. There are also chips to the rim and a small chunk removed (2.3cm x 0.4cm). The general carving is good for age. One of the steel knives is missing the silver cap with the ivory split through all the way down to the ferrule. The other knife with two splits to the ivory.
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Approximately fifteen examples of boxwood sheaths from this period have been discovered engraved with the initials W.G.W, with documented dates spanning 1566 to 1626. One interpretation is that these are the marks of the manufacturer; this sixty year operating period almost certainly rules out an individual craftsman but rather a workshop collective. Another, is that the initials represent the Germanic phrase Wie Gott Will (As God Wishes), a fitting possibility given the zealous protestant ornamentation evident on the sheath. 

Combined with these initials the present set is etched once on the knife and carved once to the boxwood sheath with a merchants mark flanked by the initials I.L. These undoubtedly relate to Jacob Laureyns whose name is engraved to the spine of the silver knife handle. The engraved crowned heart struck with crossed arrows is deemed to represent true enduring love with the initials above and below the recipient(s) of the set.

Marriage knives were generally presented to the woman of the relationship for whom it would form part of her dress hung from her girdle alongside 'pin-cushions' and 'sweet-bags'. The embellishment of male and female profiles to one side of the knife handle, with the woman at the forefront, support this feminine association. Although there are various views on the symbolism of knife and sheath, John Brand & Henry Ellis, in their Observations on the popular antiquities, were in no doubt of there usage:

'Strange as it may appear, it is however certain, that knives were formerly part of the accoutrements of a bride...a finer and more ornamental pair of which would very naturally be either purchased or presented on the occasion of a marriage' 

The carved depictions to the body of the sheath, featuring vignettes from the parable of the Prodigal Son and Adam and Eve's fall and expulsion from Eden, act as reminders of the role of God in marriage. Adam and Eve represent the perils of sin and temptation while the Prodigal Son highlights how God will always forgive those who seek reconcilement. The apostles flanking the sides act as the pillars of the marriage providing support and stability whilst also re-enforcing the role of religion to its success.