This ring was made to remember William Hembrow, who died on 8 October 1792 at the young age of 31. The pedestal which holds the funerary urn is inscribed 'Sacred to the best of husbands' which may suggest that it was made for his grieving widow. The image of a young woman and child sitting afflicted on the ground is appropriate for a ring belonging to a widow but the imagery is symbolic rather than a portrait of William's family. Designs for mourning rings were printed by artists such as Garnett Terry, whose 1795 book of allegorical designs and hair devices shows many of the images found on rings.

From the early seventeenth to the end of the nineteenth century, testators left money in their wills to have rings with commemorative inscriptions made and distributed to their friends and families. Simple bands enamelled with the name and life dates of the deceased were frequently made, sometimes set with a gemstone or a bezel set with a rock crystal covering a symbol such as a coffin or initials in gold wire. In the later 18th century, rings followed neo-classical designs, their oval bezels often decorated with the same designs as funerary monuments such as urns, broken pillars and mourning figures. Hair from the deceased was incorporated into the designs or set in a compartment at the back of the ring to give each jewel a uniquely personal element. Black or white enamel were favoured though white enamel was often, though not universally used to commemorate children and unmarried adults. By the end of the 19th century, memorial ring designs were becoming more standardised. The hoops were often inscribed with phrases such as 'In memory' whilst a commemorative inscription could be added to the inside of the hoop. The custom of giving rings as memorials gradually declined in the early 20th century, although the Goldsmiths Journal suggests that some were still being sold in the 1930s.