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Open Topics / Main reason of collecting
« Last post by Ph_Rosso on June 11, 2021, 01:15:31 PM »
I am a new member. I collect Goetz medals. Last years I deal with the issue what is a main reason of collecting for you? Thanks in advance!
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Hans Lindl / Re: Skagerrak
« Last post by NetJohn on September 06, 2020, 09:31:39 PM »
If you know of one for sale, please let me know.

John
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Hans Lindl / Drei Verbund (Alliance of Three) Satirical Medal
« Last post by Haarmann on July 29, 2020, 10:35:29 PM »

Drei Verbund

Hans Lindl - 1914  Cast Bronze, uniface, incuse reverse, satirical medal, 69.0mm, 58.4g

A French coq, Russian bear, and British bulldog stand wounded and bandaged, the bear licking its wounds and the bulldog still dripping blood.

Lindl plays a word game here by spelling the term 'Dreiverbund' (alliance of three) with "Drei Verband".  The word "Verband" is ambiguous, as it can also mean "dressing/bandage" or, "The Three Bandaged'
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Lotte Benter / Lord assist us!
« Last post by Rabenauge on June 07, 2020, 02:53:25 AM »

Lotte Benter.  1915. 

・MIT・GOTT・FÜR・KÖNIG・VND・VATERLAND・ (with God for king and fatherland).  Cast iron,  lightly blackened, 102.0 mm, 220.25 g.  Edge punch DS 55   5 (indicating [Freunde der] Deutsche Schaumünze [edition] 55, [cast number] 5).  Vorzüglich (extremely fine).  Scarce.

Obverse: High-relief bust of bearded Landsturm (Reserve) soldier in cloth-covered Pickelhaube to left with shouldered rifle; relief title legend upper edge; incised artist's signature LBenter 1915 lower right edge. 

Reverse: High-relief full-length figures, at left seated older woman to right reading open book (Bible or prayer book); next to her, standing younger woman three-quarters frontal, eyes cast down, hands folded in prayer; at lower right, young girl to left seated on stool; three-line relief inscription HERR / HILF / UNS! (Lord assist us!) upper right; incised artist's signature Lotte Benter lower right edge; raised rim.

Cf: Frankenhuis, M.  (1919?).  Catalogue of Medals - Medalets and Plaques Relative to the World War 1914 - 1919, p. 137: no. 1084.

Cf: Wipplinger, Eva.  1992.  Medaillenkünstlerinnen in Deutschland.  Staatliche Galerie Moritzburg Halle, p. 22, no. 1.

Cf: Steguweit, W.  1998.  Das Münzkabinett und die Förderung der Medaillenkunst: Künstlerbriefe 1914-1918 Medaillenedition (Das Kabinett 5), pp. 97- 98: no. 9; pl. 2 (example without edge-punch).

Cf: Weisser, Bernhard.  2014.  "Medailleure in Deutschland während des Ersten Weltkriegs, Teil 1: Bäuerle bis Bosselt," MünzenRevue Heft 7+8, pp. 153 - 159 (illustrated p. 156).  Online resource. 

Cf: Klose, Dietrich O. A.  2016.  Europas Verderben 1914 1918: Deutsche und österreichische Medaillen auf den Ersten Weltkrieg, pp. 139 - 140: 18.2.


According to Weisser (p. 156), citing Julius Menadier (Director of the Berlin Münzkabinett, and a friend of the medallist), the soldier's portrait on the obverse is that of an anonymous reserve soldier met on the street while on leave and chosen to represent the simple enlisted men in the war effort and supported by family members on the homefront.
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Adolf Daumiller / Rule Britannia
« Last post by Rabenauge on June 05, 2020, 03:09:28 AM »

Adolf Daumiller.  1915. 

RVLE BRITANIA [sic] ALL / OVER THE WORLD / 1914 - 15.  Cast bronze, chocolate-brown patina, 47.8 mm, 61.8 g.  Vorzüglich (extremely fine).  Scarce.

Obverse: Head and neck profile stern-faced woman to left, three open-mouthed serpents emerging from hair to front, side and back; along left edge, two fish tail to tail; third fish head downward along right edge; artist's initials A. D. below neck of image. 

Reverse: Britannia as charioteer on ground-line at left, directing harnessed leonine monster with five human heads on serpent necks to right; three-line title inscription (Britannia misspelled) in exergue.

Cf: Schulman.  1916.  La Guerre Européenne, Catalogue LXV, p. 84: no. 819, illustrated (bronze example).

Cf: Frankenhuis, M.  (1919?)  Catalogue of Medals - Medalets and Plaques Relative to the World War 1914 - 1919, p. 171, no. 1438 (labeled as "Rule Britannia", i.e. spelling corrected).

Cf: Klose, Dietrich O. A.  2016.  Europas Verderben 1914 1918: Deutsche und österreichische Medaillen auf den Ersten Weltkrieg, pp. 113: no. 8.29 (iron example).

Cf: http://numismatics.org/aod/id/7513.4121.1 for another bronze example in the American Numismatic Society's collection.


Design derived from ancient Syracusan coins, e.g. decadrachm from the time of Dionysius I (405 - 367 BC).  The classical features of the nereid Arethusa on the ancient coin have been coarsened on the present medal to those of a Medusa-like Britannia, dolphins replaced by fish, and the racing quadriga with male charioteer on the reverse here becomes Britannia steering a polycephalous Britannic lion as her agent of world conquest.

Since Britain is assumed to be the charioteer, the heads of the monster likely represent (l - r) the other members of the Entente and Associated Powers in 1915: France, Russia, Italy, Japan, and perhaps Serbia or Belgium.
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Hans Lindl / Woodrow Wilson 1916
« Last post by Rabenauge on June 03, 2020, 03:14:01 AM »

Hans Lindl.  1916. 

OHNE FLEISS ——— KEINEN PREIS ("no pain, no gain" - see below).  Cast iron, blackened, 73.0 mm, 81.8 g.  Fast gussfrisch (near as-cast), minimal oxidized spots.  Rare. 

Obverse: Half length en face caricature of President Woodrow Wilson in coat and tie, open shirt collar, at writing desk, pen in right hand, left clutching money bag marked 100000000; title legend upper edges left and right, separated by image; three-line inscription WILSON IM .WELTKRIEG' / ALS EIFRIGER NOTEN / SCHREIBER (Wilson in the 'World War' as zealous note-writer) in exergue; artist's signature LINDL lower left; raised rim contiguous with exergue. 

Reverse: On ground-line, naked, emaciated, blindfolded Justice, right hand upraised in blessing, left holding scales, in left pan marked D. German eagle, in right marked E. British bulldog; behind Justice, Death personified as skeleton stepping stealthily left to right, coin in right hand as left tips scale to favor Britain; legend NEUTRALITÄT U. —— GERECHTIGKEIT (neutrality a[nd] justice) left and right edges separated by image; year dates 1914 - 1916 in exergue; raised rim contiguous with exergue.

Cf: Schulman.  1918.  La Guerre Européenne, Catalogue LXX, p. 30: no. 353; pl. V ( iron example).

Cf: Frankenhuis, M.  (1919?)  Catalogue of Medals - Medalets and Plaques Relative to the World War 1914 - 1919, p. 175, no. 1458; (illustrated, un-numbered plate).

Cf: Jones, M. 1979. The Dance of Death: Medallic Art of the First World War, p. 22: no. 36 (reverse only, iron example).

Cf: Phagan, P., and P. van Alfen.  The Art of Devastation: Medals and Posters of the Great War.  2017, p. 279: no. 74 (iron example mis-cataloged as bronze).

Cf: https://karlgoetzmedals.com/ProductDetail.aspx?ProductId=493 for bronze example.


One of four "Totentanz" medal designs produced by Lindl.  All were issued both in bronze and iron.

Ohne Fleiß kein(en) Preis is a rhyming German proverb (Sprichwort) which is literally translated "without effort, no reward," thus similar in meaning to English "no pain, no gain."  The medal's satirical imagery may refer to President Woodrow Wilson's strictly recorded maintenance of even-handed neutrality including "loans" to the Allies, or perhaps to the USA's raking in millions of dollars through unfairly balanced trade with the Allies while the British blockade strangles German mercantile activity.
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First WWI Series / The Bomb
« Last post by Henry Scott Goodman on May 26, 2020, 12:03:57 PM »


DIE BOMBE
(The Bomb)

No Date (1914), Cast bronze uniface medal, 63.0mm, 68g., Edge-stamped: C.POELLATH SCROBENH., Ernsting WVZ 60, Frankenhuis 1353.  Henry Scott Goodman Collection

The otherwise flat field slightly rises toward the raised border, and with two arched steps to form the top edge of the raised, flat exergue.  Device motif is sculpturally raised from four overlapping planes.

On the left an exploding, spherical bomb; hit by the shrapnel or retreating before the explosion a group of soldiers coming from the right with lances and three flags, the front warrior in the group falling to the ground from shrapnel and another warrior at the rear falling from an additional explosion.   In the center of the exergue ‘DIE BOMBE’ is raised in one line; at the upper edge of the section left and right are incuse L· - G marked artists initials. 

Six examples are located in museum collections:

Brüssel, Koninklijke Bibliotheek, Albert I Penningkabinett (Royal Library).
London, British Museum, Department of Coins and Medals
Munich, Staatliche Münzsammlung (National Coin Collection).
Paris, Musée d’Historie Contemporaine (Museum of Contemporary History).
Stuttgart, Württembergisches Landesmuseum (Württemberg Regional Museum).
Vienna, Heeresgeschichtliches Museum (Museum of Military History).

Three examples are known in private collections.


ICONOGRAPHY

This medal expresses, in the collapse of the proud lance-carrying warriors, the disintegration of the once romantic ideal of warfare and the helplessness of the individual soldier before the overwhelming power of modern high explosives. 

According to Ernsting:

The mass destructive effect of modern war machinery was tempered back by Gies - if an attempt is made to historically classify this representation and its pictorial details - into the return of the epoch from the Middle Ages to modern times.  Thus, the allegorical theme of previous times becomes an iconological instrument in the depiction for the experience of war. 

Together with WVZ 55 to WVZ 62 a work probably created before December 1914 as one piece within a series of eight.
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Hans Lindl / Skagerrak
« Last post by Rabenauge on May 19, 2020, 04:07:38 PM »

Hans Lindl.  1916. 

ZUR SEESCHLACHT VOR DEM SKAGERRAK (at the sea battle near the Skagerrak).  Cast bronze, dark brown patina, natural verdigris, 73.1 mm, 138.83 g.  Vorzüglich (extremely fine).  Rare.

Obverse: In wavy rippling sea, German eagle, wings outspread, attacks swimming British bulldog; title legend upper edge; battle date 31 Mai 1916 in exergue; artist's initials H・ ——— L lower left and right respectively, above exergue; raised rim upper edge. 

Reverse: In wavy rippling sea, Death personified as giant skeleton to right, in short cape and wielding pole, swamps lifeboat  and occupants; three-funneled steamship left mid-distance; two-line inscription TODESKAMPF ZUR SEE / IM WELTKRIEG (death struggle at sea in the World War) in exergue; raised rim upper edge.

Cf: Schulman.  1918.  La Guerre Européenne, Catalogue LXX, p. 28: no. 343 (iron example).

Cf: Frankenhuis, M.  (1919?)  Catalogue of Medals - Medalets and Plaques Relative to the World War 1914 - 1919, p. 173, no. 1446.

Cf: Kluge, B., and B. Weisser.  2014.  Gold gab ich für Eisen, p. 159: no. A 82 (bronze example).

Cf: Klose, Dietrich O. A.  2016.  Europas Verderben 1914 1918: Deutsche und österreichische Medaillen auf den Ersten Weltkrieg, pp. 188: no, 12.19 (iron example).

One of four "Totentanz" medal designs produced by Lindl.  All were likely issued in both bronze and iron.  This medal celebrates the German High Seas Fleet's "victory" at the Battle of Skagerrak (=Jutland).
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First WWI Series / Mars Throws Bombs Into a Fortress
« Last post by Henry Scott Goodman on May 19, 2020, 12:01:59 PM »


MARS WIRFT BOMBEN IN EINE FESTUNG
(Mars Throws Bombs Into a Fortress)

1915, Cast bronze uniface, 63.5mm, 66.0g, Edge-Punched: C.POELLATH SCHROBENH.,  Ernsting WVZ 59  Henry Scott Goodman Collection

Flat field ends at slightly raised rim, sculpturally raised image with flat exergue.

From the left, a powerful fighter figure in right profile wearing spurred high boots, chest armor, saber at his waist, shields on his hands, and a highly plumed helmet. Carrying a container of bombs in his right hand, he crouches slightly to carefully deliver a bomb from his left hand into the already burning and smoking citadel. In the middle of the exergue are the incised initials, L · G · of the artist.
 
Number in Museum Collections: 6

Brüssel, Koninklijke Bibliotheek, Albert I Penningkabinett (Royal Library)
London, British Museum, Department of Coins and Medals
Munich, Staatliche Münzsammlung (National Coin Collection)
New York, American Numismatic Society
Paris, Musée d’Historie Contemporaine  (Museum of Contemporary History)
Stuttgart, Württembergisches Landesmuseum (Württemberg Regional Museum)


Number known in Private Collections: 2

An interpretation of the iconography remains elusive although we might surmise that the fighter is a British cuirassier and, therefore, the artist may have had in mind a particular event of WWI, namely the British bombardment of the Ottoman forts of the Dardanelles in early 1915, however, Ernsting states that the architectural backdrop is reminiscent of the view of an Ottoman city and thus of the comparable depiction on WVZ 58 "Siege".  The possibility of an iconographic interpretation that the figure refers to an English guardsman and thus alludes to a concrete event of the First World War, such as the bombardment of the Dardanelles by British and French ships in November 1914, remains indisputable.  Together with WVZ 55 to WVZ 62 probably made before December 1914 as one piece within a series of eight.
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