Fritz Rudolf Künker GmbH & Co. KG
Auction 386 22-24 Mar 2023
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GROSSBRITANNIEN / IRLAND. ENGLAND, AB 1707 GROSSBRITANNIEN, AB 1801 VEREINIGTES KÖNIGREICH. Mary, 1553-1558.
Goldmedaille o. J. (um 1554), von J. da Trezzo. MARIA • I • REG • ANGL • FRANC • ET • HIB • FIDEI • DEFENSATRIX Hüftbild l. in reich verziertem Gewand mit juwelenbesetzer Kopfbedeckung und Schleier, sowie umgelegtem Juwelenanhänger//CECIS - VISVS - TIMIDIS • QVIES Weibliche Figur thront halbr. mit Strahlenkrone, in der erhobenen Rechten Palm- und Ölzweig, in der Linken Fackel, mit der sie am Boden liegenden Waffen- und Rüstungshaufen entzündet, im Hintergrund Tempel und Personen im Unwetter, im Abschnitt Wellen. 67,70 mm; 151,80 g. Armand I, S. 241, 3; Attwood 80 a; Eimer 33 a; v. Loon I, S. 10, 5.
GOLD. Von allergrößter Seltenheit. Nur 2 Exemplare bekannt. Einziges Exemplar in Privatbesitz
neben dem Stück in der Sammlung des British Museums. Herausragende Renaissancemedaille.
Kabinettstück ersten Rangs. Feiner Originalguß. Hübsche Goldpatina, Felder
der Vorderseite fein ziseliert, Reste der Inventarnummer, vorzüglich
Exemplar der Slg. Baronin Batsheva von Rothschild, Auktion Christie's, London, 14. Dezember 2000, Nr. 36 (zuvor wohl aus dem Besitz von Baron Alphonse de Rothschild, 1827-1905), der Slg. John R. Gaines, Auktion Morton & Eden, London, April 2005, Nr. 11, der Stack Collection, Auktion Morton & Eden, London, Dezember 2009, Nr. 136 und der Auktion NGSA 12, Genf, 2019, Nr. 196.
Darüber hinaus Ausgestellt in der National Gallery London in deren Ausstellung "Renaissance Faces" vom 15. Oktober 2008 bis 18. Januar 2009.
Furthermore, exhibited at the National Gallery London in their exhibition "Renaissance Faces" from October 15, 2008 to January 18, 2009.
Mary took up the reign in 1553 and took measures to recatholicise the country. For this purpose and to strengthen her reign, she married Philip II of Spain, son and successor to the powerful King Charles V/Karl V., the following year on July 25th. The bride's father sent the medallist Jacopo da Trezzo to England and commissioned a painting from the Dutch artist Anthonis Mor van Dashorst. The half-length figure on the obverse has great similarities with the portrait of Mary by Anthonis Mor, also from 1554. On the medal she is seen in a dress, the upper garment seen on the painting is missing. The collar, lower garment and headdress are also quite similar, as is the jewel hanging down on her chest, which was probably given to Mary by her husband as a wedding gift. Either the medallist Jacopo da Trezzo took the painting as a model, or, as da Trezzo's stay in London suggests, both artists were present at the same meetings with Mary to work on their respective projects shortly after Mary's wedding to Philip.
The reverse depicts the personification of Pax in the center, holding a branch and setting fire to a pile of weapons, as already depicted on ancient coins. The face, however, resembles the British queen. The cube in front of her right foot with the representations of handshake and scales symbolizes stability, concord and justice. The water in the section refers to Britain's insularity. The persons in the storm may allude to Psalm 66:12, which says, "Into the fire we have fallen, into the water likewise - but you have brought us out and given us abundance".
This medal is considered to be Jacopo Nizzola da Trezzo's most accomplished work. In view of its historical importance and its immense rarity in gold, it is thought that this exact specimen was either intended for Mary, Philip or his father, Charles V. In fact, Antoine Perrenot de Granvelle, State Councilor of Charles and later of Philip, was only entitled to a specimen in silver, despite his rank. That furthermore indicates that this piece can most likely only have belonged to the Queen, her husband or his father Charles at one point.
The only other known specimen in gold is kept in the British Museum which makes this piece on offer the only available piece in private hands. The medal in the British Museum has a Spanish provenance, as it was probably sent there at the time by the wedding couple as a royal gift.
From an artistic point of view the medal was probably best described by Jean Babelon, who studied the work of Jacopo da Trezzo and other medalists in the first part of the 20th century. He described the piece as "une des meilleurs qui soient sortis des mains de Jacopo da Trezzo" ("one of the best to come out of the hands of Jacopo da Trezzo") (1922, p. 204).
We can most certainly agree with his assessment and we are pleased to offer this amazing piece of British and European history here to you.
Goldmedaille o. J. (um 1554), von J. da Trezzo. MARIA • I • REG • ANGL • FRANC • ET • HIB • FIDEI • DEFENSATRIX Hüftbild l. in reich verziertem Gewand mit juwelenbesetzer Kopfbedeckung und Schleier, sowie umgelegtem Juwelenanhänger//CECIS - VISVS - TIMIDIS • QVIES Weibliche Figur thront halbr. mit Strahlenkrone, in der erhobenen Rechten Palm- und Ölzweig, in der Linken Fackel, mit der sie am Boden liegenden Waffen- und Rüstungshaufen entzündet, im Hintergrund Tempel und Personen im Unwetter, im Abschnitt Wellen. 67,70 mm; 151,80 g. Armand I, S. 241, 3; Attwood 80 a; Eimer 33 a; v. Loon I, S. 10, 5.
GOLD. Von allergrößter Seltenheit. Nur 2 Exemplare bekannt. Einziges Exemplar in Privatbesitz
neben dem Stück in der Sammlung des British Museums. Herausragende Renaissancemedaille.
Kabinettstück ersten Rangs. Feiner Originalguß. Hübsche Goldpatina, Felder
der Vorderseite fein ziseliert, Reste der Inventarnummer, vorzüglich
Exemplar der Slg. Baronin Batsheva von Rothschild, Auktion Christie's, London, 14. Dezember 2000, Nr. 36 (zuvor wohl aus dem Besitz von Baron Alphonse de Rothschild, 1827-1905), der Slg. John R. Gaines, Auktion Morton & Eden, London, April 2005, Nr. 11, der Stack Collection, Auktion Morton & Eden, London, Dezember 2009, Nr. 136 und der Auktion NGSA 12, Genf, 2019, Nr. 196.
Darüber hinaus Ausgestellt in der National Gallery London in deren Ausstellung "Renaissance Faces" vom 15. Oktober 2008 bis 18. Januar 2009.
Furthermore, exhibited at the National Gallery London in their exhibition "Renaissance Faces" from October 15, 2008 to January 18, 2009.
Mary took up the reign in 1553 and took measures to recatholicise the country. For this purpose and to strengthen her reign, she married Philip II of Spain, son and successor to the powerful King Charles V/Karl V., the following year on July 25th. The bride's father sent the medallist Jacopo da Trezzo to England and commissioned a painting from the Dutch artist Anthonis Mor van Dashorst. The half-length figure on the obverse has great similarities with the portrait of Mary by Anthonis Mor, also from 1554. On the medal she is seen in a dress, the upper garment seen on the painting is missing. The collar, lower garment and headdress are also quite similar, as is the jewel hanging down on her chest, which was probably given to Mary by her husband as a wedding gift. Either the medallist Jacopo da Trezzo took the painting as a model, or, as da Trezzo's stay in London suggests, both artists were present at the same meetings with Mary to work on their respective projects shortly after Mary's wedding to Philip.
The reverse depicts the personification of Pax in the center, holding a branch and setting fire to a pile of weapons, as already depicted on ancient coins. The face, however, resembles the British queen. The cube in front of her right foot with the representations of handshake and scales symbolizes stability, concord and justice. The water in the section refers to Britain's insularity. The persons in the storm may allude to Psalm 66:12, which says, "Into the fire we have fallen, into the water likewise - but you have brought us out and given us abundance".
This medal is considered to be Jacopo Nizzola da Trezzo's most accomplished work. In view of its historical importance and its immense rarity in gold, it is thought that this exact specimen was either intended for Mary, Philip or his father, Charles V. In fact, Antoine Perrenot de Granvelle, State Councilor of Charles and later of Philip, was only entitled to a specimen in silver, despite his rank. That furthermore indicates that this piece can most likely only have belonged to the Queen, her husband or his father Charles at one point.
The only other known specimen in gold is kept in the British Museum which makes this piece on offer the only available piece in private hands. The medal in the British Museum has a Spanish provenance, as it was probably sent there at the time by the wedding couple as a royal gift.
From an artistic point of view the medal was probably best described by Jean Babelon, who studied the work of Jacopo da Trezzo and other medalists in the first part of the 20th century. He described the piece as "une des meilleurs qui soient sortis des mains de Jacopo da Trezzo" ("one of the best to come out of the hands of Jacopo da Trezzo") (1922, p. 204).
We can most certainly agree with his assessment and we are pleased to offer this amazing piece of British and European history here to you.