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Artistique they were, every medal had that quality which makes them desirable outside their speciality. In passing, compliments are due on the attractive lay-out and quality of the catalogue. It is beautifully printed in black (natch.) and Guardsman scarlet. This type of catalogue must attract collectors who do not usually take an interest in the numismatic side of medals. For sure, the prices realised confirmed this hypothesis.

The catalogue cover piece was the large portrait medal (97mm) of Charles V by Leone Leoni, one of the most celebrated sculptors of the mid-16th century. He was working at the Imperial Mint at Milan at the time. What was particularly interesting about this piece is that it is cast in lead and uniface. The catalogue does not state this but perhaps this example is the studio prototype. The estimate was very modest: €750. I need hardly state that it fetched much more: €1700 (£1180) to be precise. This alone demonstrates the benefits of making medals, and anything else for that matter, look special. Weil deserves commendation for this.

On the other hand, if my speculation as to the exact nature of this particular example (if note) is correct, then someone has been very lucky indeed. For all that it was a satisfactory price.

The portrait medal of Henri II (1552) by Etienne Delaune must have been made in considerable quantity. Scarcely a sale of French medals lacks one. It is still a fine medal for all that. There was a silvered (rare) example in this sale. The estimate of €400 was about right. It made exactly that, say £275, which is not a lot for a Renaissance medal by a celebrated artist. Several lots later another example in bronze made €300 (£208).