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Found 15 results

  1. LVDWIG HÖRMAN . ÆTA(tis) . LXV . A(nno) . 80 = Ludwig Hörman(n) aged 65 in the year (15)80. High-relief 40mm x 30mm oval cast lead medal. The prominent forked beard with the ruff collar reflects the then current Spanish-Italian style. The angled front facing, rather than linear, view allows for the very high-relief. Dr Habich ascribes this medal to Balduin Drentwett(Germ 1545-1627), who introduced wax modeling to, and worked in, Augsburg from the begining of the 1570's until his death. Before that the medals in Augsburg were mostly made using wooden models. Habich.II. Group 1580-1586 : #2951 1580. Ludwig Hörmann (Hermann), Augsburg Councillor & Merchant. Munich. Ludwig was born into an elite Augsburg family on 5 December 1515 & died 8 March 1588. As a young man he was a factor for Anton Fugger in Naples, when he returned, in 1543, to Augsburg he married Regina, the daughter of Anton Haug, and became a partner in the Haug-Langnauer-Linck company. In the 1560's this company became involved in mining ventures in Elizabethan England and developed the mines in Keswick, Buttermere, Grossmere and Cumberland, they brought 1000 Tyrolean miners to England. They were, writes W. G. Collingwood in his Elizabethan Keswick, Extracts from the Original Account Books, 1564-1577, of the German Miners in the Archives of Augsburg (1912), ‘already great dealers in silks, cloths, and draperies, in groceries and the spices of the East Indies, and like other wealthy business men of the time, in banking and bill discounting. They had widespread branches, reaching from Venice to Antwerp and from Cracow to Lyons; and though not originally interested in mines, they had recently taken over from the successor of the famous Augsburg house of the Fuggers the control of the copper mines of Neusohl in Northern Hungary. One of their branches was at Schwatz, in Tyrol, near Innsbruck, a celebrated mining centre, where silver, copper, and iron were produced ; and we find… that it was from Schwatz that some of the first miners were sent by them to England’. Elizabeth being Protestant & some of her great northen lords being Catholic was a cause for concern, as the mines in their areas could potentially be used to fund rebellion. So to have both the expertise of German miners & their being Protestants was a double blessing for her.
  2. St. Bartholomew cast lead 40mm. 44gm. RR. Roman School. Probably cast in the second half of the 16th century(Attwood), 1550-1575(Toderi). Le medaglie italiane del XVI secolo - Volume 2 - Page 817 https://books.google.com/books?id... Giuseppe Toderi, ?Fiorenza Vannel Toderi 2568. SAN BARTOLOMEO apostolo Terzo quarto secolo XVI Fusa 40 mm D. .S. BARTOLOMEVS. .APOSTOLVS. Busto a sinistra. R. Scritta in sei righe in corona di alloro: CREDO / IN. SP. SANC. / E SANCTAM / ECCLESIAM / CATHOLI / CAM. Credo in Spiritum Sanctum, sanctam Ecclesiam catholicam Creed I believe in the Holy Spirit, the holy Catholic Church. COUNCIL OF TRENT 1545-1563 - Ecumenical XIX (Contra Novatores 16 cent.) Session IV (April 8, 1546) The Sacred Books and the Traditions of the Apostles are Accepted. Soon after an unknown Roman medallist produced 12 medals, the obverses each had one of the twelve apostles and the reverses each had a diferent part of the newly accepted shortened version of the apostels creed(credo = I believe) which together made the whole creed. 2 more from the series pictured in a 2011 auction http://http://www.deamoneta.com/it/auctions/search/66?c=Medaglie+devozionali
  3. Pietro Bembo; An almost forgotten renaissance man Poet, author, statesman, courtier, cardinal, Knight of Rhodes(Elisabetta Gonzaga, duchess of Urbino, addressed him as Knight of Rhodes in a letter of 26 October 1517) Unifaced cast lead 63mm, Cardinal Pietro Bembo, long-bearded right, wearing a cardinals cape & beretta around, . PETRVS . . CARD . . BEMBVS . The subject of the medal, Cardinal Pietro Bembo, was born in Venice in 1470 and is regarded as one of the most influential figures in the world of Italian literature during the Renaissance. He edited the works of Petrarch and Dante, insisted on the classics as contemporary models, and helped ensure Tuscan became the standard language for Italian letters. Bembo appears as a character in Castiglione's celebrated treatise on ideal courtly behaviour, Il Cortegiano [The Courtier]. His own works include verse in Latin and Italian, as well as a history of Venice and a celebration of Platonic love, Gli Asolani [The Asolans]. Secretary to Pope Leo X, he was promoted to cardinal in 1538 by Pope Paul III. His portrait was painted by Raphael and Titian, amongst others. Bembo died in Rome in 1547. He had a platonic love affair for many year with Lucretia Borgia, & might have been, at one time, her lover. Some of their letters survive & there is a book named for Byron’s description of them as “The Prettiest Love Letters In The World” Credited by biblophiles with the first modern book De Aetna (1495) published by Aldine Press(Aldus Manutius), the type-face used is still called Bembo, he also introduced literary methods and standards as well as punctuation which are still in used today. I found 2 references online; 1: From "The Italian Medals of the 15th & 16th Centuries by Alfred Armand 1883" BEMBO (Pietro), Venetian, born in 1470, made a cardinal in 1538 + 1548. Dia. 60. . PETRVS . CARD . BEMBVS. No Reverse. Bust right of Pietro Bembo, with a long beard, Cap of the berretta, wearing a Cardinals cape. - M.,I, LVII 3. 2: Esemplare del Museo Nazionale del Bargello, Firenze: una sola faccia; diam. mm 61,4; iscrizione -PETRVS-CARD-BEMBVS Bibliografia: ARMAND, Les médailleurs italienscin, 11, 174, n. 5; 111, 233, a; HEISS, op. cit., 197, n. 2 ; POLLARD ... Sent picture and asked Philip Attwood of the British Museum if he had info re my medal, here is his reply "Yes, this is a version of the medal in the Bargello in Florence. It appears in Graham Pollard’s catalogue of that collection as no. 819 and is listed among the anonymous medals. Pollard was clearly not impressed, describing the medal as “of poor and unconvincing style and may be a restitution”. I would have said that the original medal may have been fairly skilfully modelled but only aftercasts survive. It’s certainly not possible to put a name to the artist" Whether it is an aftercast or less likely a restitution, it is a very rare cast lead medal. My example is 63mm, slightly larger than both the 60mm example that Armand references(assuming he is accurate) & Bargello's 61mm. Typically when a mold is made & a cast medal is produced from it the resulting medal is slightly smaller than the medal used to make the mold, that is due to shrinkage as the metal cools. Ergo my medal is probably earlier than both Armand's & the Bargello's. Whether it is an aftercast of a circa 1538-1548 medal, or less likely a restitution, it is a very rare cast-lead renaissance medal. It has been varnished, which I might try to remove, seeing that it is unifaced I could try the back of the medal & see how it goes. Found this old auction of what appears to be a more modern copy of this medal though it might just be an old variant minus inscription, never mind it is wrongly referenced, look at the hammer price! !
  4. VVILHELM.VON.GOTS.GNADEN.PFALCZ.GRAF.BEI.RHEIN.SEINS.ALTERS.IM.XLI.IAR. Wilhelm IV, Count Palatine, Duke of Bavaria (1493-1550) by Matthes Gebel(ca. 1500–1574) Lead alloy unifaced after-cast of just the obverse of the 1535 medal of Wilhelm aged 41 by Gebel. The reverse had an heraldic design: HERCZOG.IN.OBERN.VND.NIDERN.BAIRN.ZC.ANN.DOM.MDXXXV.
  5. HANS. OFFENPECK. V. REGENNSPVRG. SEINES. ALTER. IM. XXXII. IAR. 1540 gilded cast lead portrait medal 36.8mm unsigned but, according to Probszt, by Ludwig Neufahrer(b ?Linz, c. 1500; d Prague, 1563), Habich I, 2 1364. Hans Offenpeck, son of the burgomaster of Regensburg, aged 32 in 1540. Early portrait medals were not made for sale, they were commissioned by important people to give to relatives, friends etc, think early photographs, in doing so they not only immortalized themselves but also their style of dress in metal. German renaissance medals only started being produced early in the 16th century, so this is quite an early one, one which retains most of its original gilding. One question that is often asked in relation to cast renaissance medals is, "are those made from lead originals?" Whilst you cannot say that all cast lead renaissance medals are original(that also applies to any metal) there is no doubt some original renaissance medals were cast in lead. In 1459 Ulrich Gossembrot, who was studying theology in Padua(Italy), wrote to his father,Sigmund the burgomaster of Augsburg(Germany), that he had sent home several portrait medals in lead. The "lead" used in renaissance medals was usually an alloy of lead & tin. Renaissance lead medals have also been found in the foundations of 16th century buildings.
  6. FRANCE. Paris Mint, Antoine de Bourbon, King of Navarre Silver Medal, ND circa 1560 by Etienne de Laune "one of the cleverest 16th century medallists" according to Mazerolle, he was also known as Stephanus Launus, Etienne de Laulne, or Delaulne.circa 1519-1583. 39mm. 28gm. BMC/Jones-76. RARE. Obv. Bust of Antoine right, in armor with the inscription ANTONIVS . DEI . G . REX . NAVARRÆ . Die crack at 4 o'clock runs through the 'A'. Rev. A rising anthropomorphic sun disperses clouds over the sea with inscription FOVET ET DISCVTIT.(Foster & dissipate) Antoine was king of Navarre from 1555 until his death in 1562, his son Henri became the first Bourbon king of France as Henri IV in 1589.
  7. Obv: FRlDERlCH PFALTZGRAVE BEY RHEIN Bust right, in armor. Under the bust a branch, on truncation: CDLC for Claude de la Cloche(1552-C.1630) Rev: 3 Palatine heraldic shields with helm crested with a lion, Inscription: DES H Ro R ERTZTR VND CHVRF HERTZ IN BEYERN 15 96 Silver, 40mm x 34mm, 14gms. The old coat of arms of the House of Hohenstaufen, the single lion, became the coat of arms of the palatinate. By marriage, the Palatinate's arms also became quartered with those of Welf and later Wittelsbach. The arms of Bavaria were also used with reference to the elector's holdings in Bavaria. This was extended to quartering of the lion and the Bavarian Arms. The orb represented their position as Arch-Steward of the Holy Roman Empire. The description below the medal is from an 1927 auction catalog of Leo Hamburger, Frankfurt. My cracked silver medal measures 40mm x 34mm, 14gms the same type as #179, from above, but slightly larger & heavier. The original loop is missing & it was either holed to wear on a chain again, or affixed to a house beam as a good luck charm etc, a bit battered but a charming piece with everything clearly visible. We should all look so good after 400+ years. Medals of sovereigns mounted in gold, called Gnadenpfennige(grace pennies) in German, were traditionally presented by the rulers as a token of their appreciation and trust. They appeared in the 1560s in Tyrol and Bavaria, and spread very quickly to all the German kingdoms. The fashion for them faded in the first quarter of the 17th century. They were worn by both men and women on long gold chains. Frederick IV, Elector Palatine of the Rhine (in German, Kurfürst Friedrich IV. von der Pfalz) (March 5, 1574 September 19, 1610) was a Calvinist & became the leader of the Protestant military alliance known as the Protestant Union in 1608.
  8. Renaissance France. a 1780 restrike from original dies bronze Medal, originally issued in 1568, attributed to Guillaume Martin (active from before 1558-?1590) of Charles IX of France (1550-1560-1574). Obverse : Laureate and cuirassed bust right, 'CAROLVS IX D G FRAN REX, Reverse : Fame blowing trumpet, 'SVA CIRCVIT ORBE FAMA'. reverse attributed to G Martin. 35mm bronze (BMC [Jones] Vol I, 88). Tresor.18.3, Med.fran.(1892).31 Mine is stretched to 37mm, with obverse edge convexed & reverse edge concaved and doubling(if not trebling) of the edge decorations, planchet uneven, not in collar, overheated planchet? obviously done to eke a few more medals from the badly cracked die. The die-crack & the stretched uneven planchet make it rather special to me, else I would not have bought it. Compare with this one from the Michael Hall Collection, it has the same die crack, it is the right diameter 35 and has no stretched edge, or doubling.
  9. Obverse: Bust to the right of Pedro Téllez-Girón wearing decorative armour and the Order of the Golden Fleece, pearled border, inscribed: PETRVS GYRON OSS. DVX & VRENIAE COM. X. Reverse: Horse, barebacked, rearing to the left on rough ground, inscribed PRIMVS ET IRE VIAM(The first to lead the way, the first to dare) dated 1618 behind the horse's tail at the right, pearled border signed Ju. Gra for Giulio De Grazia(active 1610-1634) a sculptor, wax modeler and medalist, worked primarily for the Spanish viceroys in Naples. Forrer gives the signature as for JU. GYR DE(Dutch) but I believe he misread the as Y and the a for r. High relief cast & gilded bronze 47mm, 37 grams rarity R. This medal is of interest as an example of the cast medals that were in circulation at Rome and Naples immediately before the fully Baroque medals produced by Bernini. Pedro Téllez-Girón, 3rd Duke of Osuna (17 February 1574 – 20 September 1624) was a Spanish nobleman and politician. He was the 2nd Marquis of Peñafiel, 7th Count of Ureña, Spanish Viceroy of Sicily (1611–1616), Viceroy of Naples (1616–1620), a Knight of the Order of the Golden Fleece since 1608, Grandee of Spain, member of the Spanish Supreme Council of War. He became Viceroy of Naples in 1616, during a war between Spain and Savoy over Milan. The Venetians were aiding the Savoyards, which meant that there was a declared hostility between Spain and Venice. In May 1618 a "conspiracy" to sack Venice and burn its arsenal was uncovered by the Venetian authorities and blamed on the Spanish Ambassador to Venice and the Spanish Viceroy of Naples, Tellez-Giron. He was replaced as Viceroy by Cardinal Gaspar Borgia in 1620 and on his return to Spain fell out of royal favour and was placed under house arrest until his death in 1624. The so called "Conspiracy of the Spaniards against Venice of 1618" has been a question open to discussion among historians for the last four centuries. Spanish and German historians have a tendency to deny that the conspiracy was real or was serious enough; French and Italian historians have the opposite view. I think that though there was a conspiracy it's size was exaggerated and it was just politic to place the blame on Bedmar(ambassador) & Osuna, and most experts that have studied resource material from third parties feel most of the so called evidence against them was mainly invention, Venetian propaganda against Spanish ambitions. The Horse "Horse of Virgil." An explicit link between the traditional iconography of the horse and the great poet is confirmed in a Neapolitan medal in 1618, a tribute to the Viceroy the Duke of Osuna. On the flip side of this splendid fusion there is a prancing horse and the phrase of Latin PRIMUS ET IRE VIAM extrapolated from a work written by Virgil in Naples between 36 and 29 BC, the Georgics (Book III, verse 77). One of the first scholars to highlight a link between the coin and the esoteric Neapolitan, was Tommaso Siciliano." The horse could also be seen to represent Osuna himself as "First to lead the way", a real go-getter. Girón's Vice-Royal Entry into Naples under a Canopy of Estate, 1616. Naples: Spanish Viceroy Period, Improved fortifications, City enlarged population increased & the port area developed.
  10. MAZZ PLATE XXXV. 774 Obv: FRANCISCVS MYRON PROPR. ET PRAEF. MERCATOR. VRBIS + 1606 + Bust left of François Miron .Trans: Francois Miron(Lord Tremblay, Chancellor to the Dauphin) Civil Lieutenant and Provost of the Merchants of Paris. R: VIIS FONTIBVS PORTIS AEDIFICIISQVE PVBL.(Paths Fountains Gates Public Buildings) François Miron in the robes of a councellor, standing before a curule chair, he shows to her, her reflection in the mirror he holds, to a crowned woman(the personification of the city of Paris) sitting on a curule chair, formed of cornucopiae, with the ship of Paris appearing from her dress. She extends her right hand and offers 3 coins to Miron, inner legend: ET DECVS ET SPECVLVM(both Adornment & Mirror), exergue: LVTETIA / DECORATA.(Paris Adorned) . RR silvered cast lead, 50mm, Maz 744. by Paola Giovanni(known to be in the service of the King of France at least 1604-1607). François Miron(1560-1609) Lord Tremblay, was an advisor to the Parliament of Paris, Chancellor of the Dauphin and provost of Paris from 1604 to 1609. Very rare silvered cast lead medal. Advisor to the Parliament of Paris on 18 December 1585 , master of requests 11 August 1587 , steward to the Government of the Île-de-France , received on 23 November 1593 , Chairman of the Grand Council , Chancellor of Dauphin , State Councillor for patent 9 December 1594 , lieutenant of the Chatelet of Paris in 1596 and provost of Paris from 1604 until his death in 1609. Henri IV relied on him to improve the infrastructure of Paris, he greatly increased the water-supply, improved the streets & paths etc & built, among other things, a new City Hall. After the King's death, Marie de Medici continued to support his efforts. François Miron brooked no refusal, from any of the bourgeois, to cede ground(with compensation) for urban development. But when the King decided to install the Palace for the Dauphine and to reserve homes for bourgeois and merchants, to the exclusion of artisans, the provost rebuffed ...In a letter to the king... he is outraged by this project of "zoning" and ahead of his times, advocates for a social mix "Dear Sire, allow me to withdraw, swearing loyalty to the King, I promised to sustain the Crown....for Your Majesty commands me an act harmful to the kingdom ... I refuse, I say to my dear Master and beloved Sovereign: it is an unfortunate idea of building a neighborhood used exclusive for artisans and laborers. In a capital the Sovereign, should not creat a poor small neighborhood one side of the Seine and a wealthy & large one on the other, it is much easier mixed...danger to your crown might come from that poor ghetto....I do not want, Sire, to be involved with this measure. He was buried in the family vault in the church Sainte-Marine(ile de la Cite) which was later demolished and houses built upon the site. His tomb was then 'lost', later when the house #73 was in its turn demolished his tomb was rediscovered & he was reburied in Notre-Dame. His statue is on l'Hotel de Ville(Town Hall) of Paris.
  11. I decided that though I needed to show the suspension loop it only needed to be shown from one side and because the reverse has more detail a bigger image of it would be more advantageous than one of the obverse. Bronze 41mm some of the original gilding remains, utmost rarity. Plans had been made for a Sacred Mount dedicted to S. Caroli(Borromeo) in Arona, his birthplace. The laying of the foundation stone of the Church of San Carlo(architect Francesco Richini) by Cardinal Federico Borromeo Archbishop of Milan & Father Marco Aurelio Grattarola(the driving forces behind the plan) with bishops Philip Archinto(Como) & Giorgio Odescalchi(Vigevano) attending took place July 13, 1614 the stone was inscribed: D.O.M. Paulo Quinto Pontefice Maximo, Federicus Borromaeus Sanctae Romanae Ecclesiae Praesbyter Cardinalis Archiepiscopus Mediolani, Praesentibus Philippo Novocomensi et Petro Georgio Viglevenensi Episcopis, in hac primaria Sancti Caroli construenda Aede lapidem hunc a sec ecclesiastico ritu benedictum primo posuit, Tertio Idus Julii, 1614., Then some medals blessed by the Pope were placed in the same place(as the foundation stone): on one side of the medals was the portrait of St. Caroli inscribed: S. CAROLE ORA PRO NOBIS 1614 on the reverse, the Sacred Mount filled with light that fell on the room where the saint was born and inscribed: MONS S. CAROLI IN ARONA DEI ÆDIFICATIO. This medal was mentioned in the AMERICAN JOURNAL OF NUMISMATICS,AND Bulletin of American Numismatic and Archaeological Societies. Vol. XXII. BOSTON, JULY, 1887. No. 1. THE MEDALS OF ST. CHARLES BORROMEO, CARDINAL, ARCHBISHOP OF MILAN. by Dr. H. R. Storer. 30. Obverse. Bust of the saint, to left, with bare head and aureole, adoring Our Lord. Inscription: S. Carole. Ora. Pro. Nobis Reverse. The Holy Mount of Arona. Inscription: Mons. S. Caroli. In. Arona. Dei Ædificatio +. Bronze. 40 mm. 25. In the collection of Signor Gnecchi(Italian numismatist), from whom I have received impressions. It was struck in commemoration of the birthplace of St. Charles.
  12. NICOLAS CHEVALIER, Premier Pesident de la Cour des Aides en 1610, Chancelier de la Reine Anne d'Autriche, mort en 1636.(other sources give his death as 19th Feb. 1630, which is the more likely, making this his death medal) N.CHEVALIER.SVBSID.PAR.P.PRAES.ET.ANNAE.R.CANCELLARIVS. Buste a droit de Nicolas Chevalier en costume de magistrat; au-dessous du buste : M.DC.XXX. Sans revers, font 50mm-Br. Cab de France. H. de la Tour, Medaille modernes, etc., dans la Rev. numismatigue, 1892, p. 496. Mazzerole 858 Cast bronze medal, which has a museum or collectors number 89 on the reverse. The reverse has had the excess of the casting marks removed recently but the itself medal appears to be original from 1630. The example in the French National Collection is also unifaced. Chevalier, baron of Crissé, was a successful diplomat in late sixteenth-century France and like his distinguished fifteenth-century ancestor Étienne Chevalier, had been appointed as French ambassador to England and Italy. He was variously; Vice President of Parliament, First President of the Court of Aides, Master of Request of the King's Household & the Chancellor to the Queen, Anne of Austria(wife of the French King), he was also Superintendent of Navarre & Bearn. A true renaissance man, he had also been a lawyer, financier, poet, orator and soldier. We are luck to have an image of his coat of arms from a vellum book cover(he possesed the greatest collection of books in France) note the double C monograms emphasising his surname's initial letter. One other thing of interest is his collar, this style was not in vogue for very long but here is Philip IV of spain wearing the same collar from that period.
  13. French Renaissance Medal; *PAVL . DE PELISSON . CON . DV . ROY . MeDES . REQ . ORD . DE . SON . HOST(Conseiller du Roy. Maîtres des requêtes ordinaires de l'hôtel du Roi) 1677 below bust right. Unifaced cast bronze with rim, 48/60mm. EDIT I suspect this might be the work of Cheron. It is possible that the date on the medal of 1677 is related to Pellisson being made head of the "Caisse des Conversions" a fund established by the French King Louis XIV to bribe Huguenots to convert to catholicism. PAUL PELLISSON(or PELISSON)-FONTANIER, was born at Beziers in 1624, and after studying with success the Latin, Greek, French, Spanish, and Italian languages, he applied himself to law at Castres, and subsequently to general literature at Paris. Pellisson undertook to be the historian of the French Academy, and in 1653 published "Relation contenant l'histoire de l’Académie francaise", he was rewarded with a promise of the next vacant place and permission to be present at their meetings. In 1652 he had purchased the post of secretary to the king; and five years afterwards became first deputy to M. Fouquet. He suffered by the disgrace of that minister; and in 1661 was confined in the Bastille, whence he was not discharged till four years afterwards. During his confinement he applied himself to the study of religious controversy and also wrote 2 defences of Fouquet; After his release, the King appointed him his royal historian, and in 1670 he abjured the Protestant religion. Louis XIV. bestowed upon him an annual pension of two thousand crowns, besides granting him numerous marks of royal favour. Having taken orders, he, in 1676, received the abbey of Gimont and some years afterwards the priory of St Orens in Auch. He put all his zeal to bring about conversions among his former co-religionists and helped create for this purpose the "cash conversion" a fund to convert Protestants/ Huguenots by the granting of pensions, honors or patents. He died in 1693 and never received the last rites, Protestants claim that he had only accepted Catholicism under duress and purposely avoided the last rites, Catholics, that it was just an unfortunate occurence due to his sudden demise. Though the medallist is unknown, I think that this other unifaced medal(unfortunately not mine) is by the same engraver based on the style of both letters & date & of course the portrait, shame the engraver of this one is also unknown!.
  14. French Renaissance Medal; Jacques Gillot. Bust r., in furred gown(en costume de magistrat) bare-headed. IAC. GILLOTVS. SENATOR. INTEGERIMVS.( Jacques Gillot, councillor of complete integrity), no reverse, cast bronze(with rim), 2.25 inches. Likely cast in the 17th century. Because I knew the British Museum had an example of this medal( Donated by King George IV in 1825) I emailed Philip Attwood Keeper of Coins and Medals at the museum pictures & asked "I have acquired this cast medal, which looks original to me (as if I would know), and wondered if you had any thoughts about it. What looks like an attempt at making a hole seems to be part of the cast, does your lead example have the same?" His edited reply: "The British Museum example of the medal is housed with our French medals and is catalogued by Mark Jones in his first volume of French medals (1982), where it appears as no. 257. Our medal is lead and is pierced in the same place as yours appears to be. The original medal(s) must have been made in Gillot's lifetime, that is around 1600, but the type of frame that both our examples possess appears to me very possibly not to be part of the original conception, but is more likely to have been added later in the 17th century. The BM example would then have been cast from a framed medal, with one mould made for both medal and frame, and the medal thus produced was then pierced. Your example would then have been cast from a pierced medal of this sort, because what you describe as an attempt at a hole seems rather to be the remains of a hole partly covered over during a subsequent casting process. Having said that, your medal appears from the images to be old, probably also of the 17th century" Thanks to Philip for the medal info, as for Gillot, my own research showed he was from a distinguished family of Burgundy; appointed canon of the Saint Chappelle, Paris, and dean of the cathedral of Langres. author of some works on history and law. He was born at Langres in 1544, at 29 he assumed the post of 'conseiller-clerc'(magistrate) to the Parliament of Paris, which was vacated by Nicolas de Thou who had been named Bishop of Chartres. 19 June 1573. In 1589 he was committed to the Bastille along with most members of the parliament, by the Leaguers & the Council of Sixteen. but he was soon released. He was a strong supporter of an independant catholic Gallic Church but also a proponent for an accomodation of the Huguenots. Gillot died 20 January 1619. He was a co-author of, & hosted the group that produced The Satire Menippee or La Satyre Ménippée de la vertu du Catholicon d'Espagne (written in 1593, published in Tours in 1594) was a political and satirical work (in French) in prose and verse which criticized the excesses of the Catholic League and Spanish pretensions during the Wars of Religion in France and defended the idea of an independent but Catholic France. The work was written during the Etats Généraux which were convened by Charles of Lorraine, Duke of Mayenne (leader of the Catholic League) in Paris (on February 10, 1593) in the hopes of electing himself to the French throne (replacing the pretender to the throne, the future Henry IV of France). The work was conceived by Pierre le Roy (canon of Rouen and chaplain to the cardinal of Bourbon) during discussions with friends ("français en politique et gallicans en religion" or "Frenchmen in politics and Gallicans in religion") in Paris at the home of Jacques Gillot (chaplain of the Sainte-Chapelle). The work was principlly written by Nicolas Rapin, Jean Passerat and Florent Chrestien, and edited/revised by Pierre Pithou. The philosophy of the group around Pithou and Rapin and the Satire Ménippée is that of the "Politiques", moderate Catholics who desired peace, conceived of a distinction between the State and Religion, and sought political accommodation with the Huguenots. By the end of the civil wars, the "politiques" were the favored target of attack of the Catholic League.
  15. By Antonio Selvi (Florence 1679-1753) Cast Medal of Giovanni de 'Medici-Bicci (1360-1429) founder of the Medici dynasty. O: Bust in profile to left; IOANNES. MEDICES. Odoardi. FIL.;R: diamond ring and band (Medici emblem) Cast Bronze, diam. 8.5 cm. VT 248. Hill 1110-15 With cast medals as compared to struck medals it is harder to spot fakes/copies, this could be a poorly cast original or a fake or a later after-cast made for a museum etc. I have not seen anything about copies of this medal before, any info welcomed. I only paid a few dollars for it from Ebay. For comparison; Stack's > Coin Galleries July 2007 Auction date: 18 July 2007 Lot number: 2100 Price realized: 1,550 USD Note: Prices do not include buyer's fees. Lot description: ITALY. Cosimo the Great, Pater Patriae Medal, n.d. Bronze cast, 86mm. By Antonio Selvi (1679-1753). Obv. Bust r. in 16th century garb, MAGNVS. COSIMVS. MEDICES. P.P.P. Rev. Interlocking rings, SEMPER, Forever. This handsome memorial medal of the founder of Medici power was part of the artist's acclaimed series on the Grand Dukes of Tuscany. Pleasing olive-brown patina. A majestic medal honoring Cosimo the Great. Choice Extremely Fine. (1,500-1,750)
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