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Marie de Médicis

Medal
1624 (dated)
Artist/Maker
Place of origin

This medal depicts Marie de Médicis (1573-1642). Born in Florence, she was the daughter of Francesco I de Medici, Grand Duke of Tuscany and Johanna Archduchess of Austria. Later she became Queen consort of France. Second wife of King Henry IV of France.
Cast in bronze or lead, the Renaissance portrait medal commemorated individuals or events. They were used as gifts and mementoes and were inspired by Roman coins, with their portraits of rulers and allegorical representations on the reverse, eagerly collected by humanists. Many specialist sculptors were attracted to the art form. It was recognised that there was a ready market for medals among the growing class of collectors, usually members of the intelligensia or the gentry, who were attracted to small-scale works of art. The medal format proved ideal for this type of personal and intimate object.


Object details

Categories
Object type
TitleMarie de Médicis (generic title)
Materials and techniques
Bronze
Brief description
Medal, bronze, Marie de Médicis, by Guillaume Dupré, France, dated 1624
Physical description
Medal depicts on the obverse the bust to left of Marie, wearing a high lave ruff open in front, and a pearl necklace. The inscription, with exception of the signature is in reverse.
No reverse.
Dimensions
  • Diameter: 10.1cm
  • Total height: 11.2cm
Marks and inscriptions
'MARIA AVGVSTA GALLIÆ ET NAVARÆ REGINA [in reverse] - G DVPRE F 1624'
Object history
From the Salting bequest.
Subject depicted
Summary
This medal depicts Marie de Médicis (1573-1642). Born in Florence, she was the daughter of Francesco I de Medici, Grand Duke of Tuscany and Johanna Archduchess of Austria. Later she became Queen consort of France. Second wife of King Henry IV of France.
Cast in bronze or lead, the Renaissance portrait medal commemorated individuals or events. They were used as gifts and mementoes and were inspired by Roman coins, with their portraits of rulers and allegorical representations on the reverse, eagerly collected by humanists. Many specialist sculptors were attracted to the art form. It was recognised that there was a ready market for medals among the growing class of collectors, usually members of the intelligensia or the gentry, who were attracted to small-scale works of art. The medal format proved ideal for this type of personal and intimate object.
Bibliographic references
  • 'Salting Bequest (A. 70 to A. 1029-1910) / Murray Bequest (A. 1030 to A. 1096-1910)'. In: List of Works of Art Acquired by the Victoria and Albert Museum (Department of Architecture and Sculpture). London: Printed under the Authority of his Majesty's Stationery Office, by Eyre and Spottiswoode, Limited, East Harding Street, EC, p. 54
  • Jones, Mark. Catalogue of the French Medals in the British Museum, Vol II, 1600-1672. London: 1988, pp. 99-101, No 59
Collection
Accession number
A.361-1910

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Record createdJune 24, 2009
Record URL
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