Investment Guides Archives - Page 8 of 10

Exotic India – Silver Rupees of the Mughal Empire

This is a bold example of a Mughal silver rupee exhibiting fine calligraphy. It was struck in 1042 AH (1632 AD) at the apogee of the Mughal Empire, during the reign of Shah Jahan, in the Indian city of Burhanpur.

The acclaimed American writer William Faulkner once wrote that “The past is never dead. It’s not even past.” This maxim is just as true for nation-states and religions as it is for individuals. And the great Indian subcontinent is no exception. The region unapologetically drips with history, reveling in its millennia old, eclectic culture. Indians live and breathe the milieu of history regardless of their religion, race or language. This unique Indian perspective on history is perhaps best encapsulated in the splendid silver rupees of the Mughal Empire.

The Islamic Mughal emperors were lords of India from the early 16th century to the mid 18th century. Among their greatest achievements was their silver rupee coinage – one of the most beautiful series of coins the world has ever seen.

Hand-struck in stunningly high relief, these thick, heavy silver coins possess dazzling eye appeal. Delicate florets, refined beaded borders and ornate quatrefoil decorations seamlessly blend with exquisite, flowing Arabic calligraphy on these masterpieces of Indian art. While the Mughal court was heavily influenced by the glamorous aesthetic of their Persian neighbors, Mughal silver rupees reflected the confidence of a uniquely native Islamic Indian culture.

Weighing around 11 grams each, silver rupees were among the largest silver coins minted in the world during the 16th century, exceeded only by contemporary European thalers. During this time, much of Europe was still struggling with a miserable monetary system of small, debased silver and crude copper coinage. Indian silver rupees, in contrast, were minted from almost pure silver.

Indeed, the Mughals needed to strike a high face value silver currency to satisfy their empire’s extensive commercial trade. Indian cotton and silk fabrics, in particular, were renowned in Europe for their fine quality and workmanship. Western demand for Indian goods was so high that Englishman Sir Thomas Roe, like many European economists at the time, lamented that “Europe bleedeth (gold and silver money) to enrich Asia.”

Predictably, the Mughal Empire was unbelievably, fabulously rich. The Mughal Emperors’ wealth far exceeded that of any of their illustrious contemporaries, including the English Queen Elizabeth I, the French Sun King Louis XIV and the Ottoman Sultan Suleiman the Magnificent.

During the early 17th century the Mughal royal treasury reportedly contained 7 tons (6,350 kilograms) of gold, 1,116 tons (1,012,418 kilograms) of silver, 80 pounds (36 kilograms) of rough diamonds, 100 pounds (45 kilograms) of rubies, 100 pounds (45 kilograms) of emeralds imported from the legendary mines of Columbia and 600 pounds (272 kilograms) of natural pearls. It is no accident that the English word “mogul” – meaning someone of great power and wealth – is actually a corruption of the name “Mughal”.

Before the Mughal Empire was founded, medieval India was dominated by a collection of small independent Islamic kingdoms called sultanates. These Islamic Sultanates were founded by Muslim invaders who brutally conquered much of India in the 13th and 14 centuries. In 1526 a Central Asian warlord named Babur swept south from the mountains of Afghanistan and crushed the Delhi Sultanate’s army on the Ganges Plain at the First Battle of Panipat. With this decisive victory Babur founded the great Mughal Empire – one of the mightiest kingdoms India has ever seen.

Mughal Silver Rupees of Akbar for Sale on eBay

(This is an affiliate link for which I may be compensated)

Akbar (reigned 1556-1605) was the first truly great ruler of the Mughal Empire. He expanded his domains to include the entire northern part of the subcontinent and parts of Afghanistan. Although a Muslim, Akbar was sensitive to the cultural and religious proclivities of his Hindu subjects. His abolition of the hated jizya – the tax on unbelievers commanded in the Koran – won the loyalty of many of his Hindu subjects. During Akbar’s reign the economy prospered, with both domestic and international trade growing quickly.

Jahangir (reigned 1605-1627) continued the liberal religious policies of his father, Akbar. However, Jahangir was both an alcoholic and an opium addict. His capable chief wife, Nur Jahan, effectively controlled the empire in his place while he was incapacitated by his addictions. Nur Jahan wielded so much power that she even minted silver rupees in her own name, a privilege usually reserved for the reigning monarch. In spite of Jahangir’s slide into decadence, the Mughal Empire still expanded both territorially and economically under his reign.

Under the exalted Shah Jahan (reigned 1628-1658) the prosperous Mughal Empire reached its cultural zenith. He ordered the construction of many buildings of unsurpassed beauty, including such architectural gems as the imposing Red Fort, the otherworldly Shalimar Gardens and the renowned Taj Mahal.

The Mughal Empire was so wealthy under Shah Jahan’s reign that he commissioned the legendary Peacock Throne, a lavish royal perch constructed from 2,535 pounds (1,150 kilograms) of pure gold and encrusted with 507 pounds (230 kilograms) of diamonds, rubies, emeralds, garnets and pearls. The Peacock Throne was so extravagant that it reputedly cost twice as much as the peerless Taj Mahal to build.

Mughal Silver Rupees of Shah Jahan for Sale on eBay

(This is an affiliate link for which I may be compensated)

Aurangzeb (reigned 1658-1707) was a strict, zealous Muslim who reversed many of the accommodative religious policies that the tolerant emperor Akbar had introduced. This was a fatal political move in a kingdom primarily populated by Hindus. While dissension grew and his empire slowly rotted from within, Aurangzeb unceasingly waged aggressive wars of territorial expansion.

By his death in 1707, the empire had reached its greatest geographical extent, stretching from Afghanistan in the northwest to Bangladesh in the northeast to almost the tip of the Deccan peninsula in the south. But although glorious in size and military might, the Mughal Empire was now an overextended kingdom on the verge of internal collapse.

Muhammad Shah (reigned 1719-1748) governed an empire in terminal crisis. Widespread internal revolts beset the once great kingdom and the upstart native Indian Maratha dynasty conquered huge swaths of Mughal territory. Mughal royal governors began to declare their independence during this time, ushering into existence the Indian princely states of Hyderabad, Awadh and Bengal.

The empire de facto collapsed after the Persian king Nader Shah defeated the sizable Mughal army and sacked the imperial capital of Delhi in 1739. Among the countless treasures the Persians looted during this humiliating defeat was the famed Peacock Throne. The last pitiful vestiges of the Mughal Empire were finally, mercifully dissolved by the British after the unsuccessful native Indian Sepoy Rebellion of 1857.

Mughal Silver Rupees of Aurangzeb for Sale on eBay

(This is an affiliate link for which I may be compensated)

When investing in Mughal silver rupees it is important to only buy pieces in Very Fine (VF) or better condition. This will ensure that most of the details on these eye-catching works of art are intact. In addition to avoiding heavily worn specimens, damaged, weakly struck or otherwise ugly coins are also undesirable.

It is very common to find Mughal silver rupees that have small punch marks called banker’s or merchant’s marks. These were test marks punched into the coin by merchants or moneychangers to verify the quality of the silver. Banker’s marks usually do not affect the value of a Mughal rupee much, although a pristine, non-marked coin may command a small premium.

Most Mughal rupees were struck in conventional round shapes, but it isn’t uncommon to find curiously-shaped, highly attractive square varieties. Ultimately, as with most coins, good eye appeal – however it manifests itself – is the best trait to pursue.

Although Mughal silver rupees are dated in Arabic (using the Hijri calendar system), very few collectors choose to collect by date. Instead, ruler, type and mint are the more common collecting criteria.

While the remnants of the Mughal Empire struck rupees into the 19th century, it is only advisable to purchase examples from the reign of Muhammad Shah or earlier. Later rulers presided over an empire in name only, so they are of much less interest to serious connoisseurs. A possible exception to this guideline is if you want to assemble a complete set of coins by emperor, in which case you would need the later emperors as well.

Fractional unit coins of 1/2, 1/4, 1/8 and tiny 1/16 rupees are occasionally found, but investors should stick to the larger 1/2 rupee and one rupee units for maximum return potential.

Mughal Silver Rupees of Muhammad Shah for Sale on eBay

(This is an affiliate link for which I may be compensated)

Mughal silver rupees represent absolutely amazing value in the tangible asset space. Prices of these exotic, centuries old Indian coins – as with many hand-struck, pre-modern coins – have increased substantially over the past 20 years. It used to be possible to acquire fine examples for perhaps $15 to $30 each – laughably inexpensive given their unparalleled beauty and romantic history.

Now they are merely humorously inexpensive, with prices starting around $35 for common specimens in average condition to a little over $100 for the same coin in jaw-dropping, mint-state preservation. Rare varieties easily run into the several hundred dollar range.

A compelling collection of investment-grade Mughal silver rupees could easily be assembled for less than a few thousand dollars. While the Mughal Empire may no longer exist, it is still possible to hold its glorious history in the palm of your hand.

Read more in-depth Antique Sage rare coin investment guides here.

Paper Jewels – Medieval European Illuminated Manuscripts

Here is a brilliantly colored leaf from a 13th century illuminated manuscript depicting scenes from the Aeneid, a classical work by the Latin poet Virgil. The lavish use of bright colors like blue, red and gold is typical of high quality medieval illuminated works.

Long ago, in a more genteel age, the famous Lebanese poet Kahlil Gibran wrote in his moving poem “Sand and Foam” that “We live only to discover beauty. All else is a form of waiting.” This is a Truth that we all too often forget as the harsh demands of our hectic day-to-day lives relentlessly engulf us.

It is also an adage that underscores what makes art so special. Art is concentrated beauty given tangible form. Regardless of the medium used to create it, each stroke of the artist’s paintbrush, stylus or pen is made with the intention of distilling the divine essence of beauty into a physical form. And nowhere is this striving for unearthly beauty more obvious then when looking at the sumptuous designs and rich colors of medieval European illuminated manuscripts.

An illuminated manuscript is a handwritten book (or single page of such a book) that has been decorated with colored pigments. European illuminated manuscripts were manufactured during the medieval period from approximately 600 CE to circa 1550 CE and were usually in Latin, the lingua franca of medieval Europe.

Illuminated manuscript production was driven by two different institutions. European monasteries, the last bastions of literacy during the dark ages, became centers of book production after the collapse of the Roman Empire. Later in the Middle Ages, as European commerce and wealth grew, private scribes’ guilds began to form. These corporate-like guilds typically produced gorgeously illuminated manuscripts for wealthy clients who could afford the high cost of production.

Medieval Illuminated Book of Hours Leaves for Sale on eBay

(This is an affiliate link for which I may be compensated)

Illuminated manuscripts cover a wide range of topics, but most of them are religious in nature. The most common types of texts encountered are Bibles, Psalters, Books of Hours, Breviaries, Bestiaries and musical/antiphonal manuscripts.

Psalters were religious documents intended for private use that contained excerpts from the Old Testament book of Psalms. Bestiaries were encyclopedic tomes that contained entries of different types of animals, some real and some fantasy. Breviaries were prayer books used by monks to guide their periodic daily prayers.

Books of Hours were personal prayer books used by private individuals. Some of the most magnificent illuminated manuscripts to survive from the later middle ages are Books of Hours that were commissioned by extravagantly wealthy patrons. A good example of this opulence is the priceless Tres Riches Heures of the early 15^th century French nobleman, Jean le Duc de Berry.

The creation of an illuminated manuscript was an involved and time consuming process that involved many different stages. These precious documents were committed to dried animal skin – usually sheep or cow – which was known as parchment, or vellum, if made from calfskin. Parchment is extremely durable and will easily last for centuries, if not millennia, as long as it is stored in a climate controlled environment.

Medieval Illuminated Bible Leaves for Sale on eBay

(This is an affiliate link for which I may be compensated)

Parchment preparation could take months by itself, and a full book might require the skin of 100 cows. After the parchment was ready, it was ruled so that the written text would be straight. Then the text itself was added via quill or reed pen. Next, initials, borders and figures were outlined followed by the application of gold or silver leaf and other pigments. Finally, all the pages were assembled and bound, usually in a leather or wooden cover.

A typical illuminated tome might have easily taken many different highly skilled medieval craftsmen hundreds of man hours to create. By the later Middle Ages these steps were usually executed in a proto assembly line process by different individuals, each of whom was a master in his own area of expertise.

Illuminated manuscripts were produced in a time before synthetic dyes. This meant that saturated, vibrant colors were rare, highly prized and exceedingly expensive.

Gold and silver colors were produced by delicately applying paper-thin gold or silver leaf to a document. Vermillion, a high quality red, was made from a powdered ore of mercury called cinnabar. An intense green came from crushed malachite, a semi-precious copper carbonate mineral, while the renowned deep blue of ultramarine originated from another exotic, semi-precious stone called lapis lazuli. Malachite and lapis lazuli were rare in Europe and had to be imported thousands of miles from the remotest, most inaccessible mountains and deserts of Asia.

Other, more common materials, like lead, iron, or organic matter, were also used in the production of various pigments, but these often resulted in less intense colors.

Medieval Illuminated Antiphonal and Music Leaves for Sale on eBay

(This is an affiliate link for which I may be compensated)

The invention of Gutenberg’s famous movable type printing press in 1453 signaled a sea-change in the way books were produced. Until that time the effort and materials that went into an illuminated manuscript meant that books were expensive luxury items. And the more richly illuminated a book was the more expensive it became to produce. In an age of drab earth tones, only the very wealthiest members of society could afford these brilliantly hued repositories of treasured wisdom.

Over the course of the century following its introduction, the printing press changed that situation completely. Book production ballooned after the advent of Gutenberg’s press, increasing dramatically between 1450 CE and 1550 CE due to the new technology. Traditional, labor-intensive illumination techniques were wholly unable to compete with the cheaper, faster printing press. Consequently, illuminated manuscript production rapidly declined until output was essentially nil by the middle of the 16th century.

People crave beauty. Once our more basic biological needs have been met – food, water and shelter – it is only natural for humans to seek out exquisite objects of refinement and elegance. And there are few things of greater artistry than medieval illuminated manuscripts. Laboriously, painstakingly crafted by hand at every stage of their creation, medieval European illuminated manuscripts represent the pinnacle of late medieval art. And yet these wonders of human ingenuity can be wonderfully affordable investments.

A single illuminated page with modest yet enchanting adornments can be acquired for only around $300. More complex and colorful individual leaves that radiate distinctive medieval European style are readily available to the connoisseur for around $1,000. Prices escalate quickly as the amount of decoration increases however, and vibrant, fully illustrated pages can easily sell for several thousands of dollars each.

Fully intact books are usually prohibitively expensive, routinely selling for tens of thousands of dollars – even if imperfect or pedestrian in execution. Exceptionally fine, complete manuscripts command even higher prices and rapidly enter the lofty domain of major museums and the ultra-wealthy.

If we all live to discover beauty, then surely medieval European illuminated manuscripts are beauty made manifest, descended to earth as a revelation to us.

Read more in-depth Antique Sage medieval art investment guides here.

Lustrous Lacquer – Antique Japanese Lacquerware

A finely crafted Japanese lacquerware jewelry box employing raden (inlay) ornamentation. The iridescent mother of pearl decorative inlay contrasts sharply with the coal black background, creating an interesting and visually powerful effect.

It is said that the Japanese have a distinct national character. They are widely considered to be industrious and extremely attentive to detail, yet also staunch traditionalists. As a result, the Japanese have traditionally excelled at repetitive, highly-skilled crafts that take many long years of training to perfect. This unique mix of Japanese cultural attributes has given rise to one of the world’s great unsung art forms – Japanese lacquerware.

Urushi, or Japanese lacquerware, exudes the island nation’s sleek minimalist, yet still naturalistic style. Flowers, mountains, trees and birds dance across lustrously polished lacquer surfaces as if alive. The soft glow of antique lacquer adorned with a stately gold crest of medieval Japanese nobility evokes the prestige and glory of feudal, Edo-era Japan. Inlaid mother of pearl decoration bursts into iridescent animation, radiating vibrantly against a smooth, burnished lacquer background. Lacquerware is truly Japan’s most original, and perhaps finest, national craft.

While used in China as long ago as the 3rd century BC, lacquerware only spread to Japan in the 7th century AD. Although not native to their island, the Japanese soon fully embraced this demanding handicraft. Over the passing centuries Japanese craftsmen constantly innovated, eventually raising lacquerware to the nation’s pre-eminent art form by the time of the Tokugawa Shogunate during the 18th and 19th centuries.

As The West came into contact with Japan during the Age of Exploration, Europe became obsessed with the intricate, fanciful designs and mesmerizing luster of its fine lacquerware. The ill-fated, late 18th century French queen Marie Antoinette was famous for her Japanese lacquerware collection. So was the European monarch August the Strong, the early 18th century King of Poland and Grand Duke of Lithuania. In fact, the word “Japan” itself became a synonym for Japanese lacquerware in England during the Georgian era.

Edo & Meiji Era Japanese Lacquerware Boxes for Sale on eBay

(This is an affiliate link for which I may be compensated)

The hard lacquer coating used in the production of Japanese lacquerware originates from the toxic sap of the urushi tree (Rhus verniciflua). This sap contains the same chemical irritant found in poison ivy, poison oak and poison sumac. Urushi sap is harvested in a very similar way to natural rubber from rubber trees.

A series of parallel grooves are cut into the urushi tree’s bark. The sap that weeps from these wounds is collected, filtered and purified before being applied to a base object. Once processed, urushi sap loses all its toxic characteristics and becomes completely safe. The sap can be used on a wide range of materials including paper, plastic, metal, leather and glass, but is most often used on wood.

It takes anywhere from 5 to 40 individual layers of sap to complete a piece of Japanese lacquerware. After each layer is applied by hand, the wet sap is hardened via a chemical process known as polymerization by subjecting it to a sauna-like environment of elevated heat and humidity. This is followed by laborious sanding to prepare the dried lacquer to accept the next coat of sap. This painstaking layering process continues with progressively finer sanding grit until the final layer is polished with an incredibly fine abrasive – traditionally powdered stag horn and oil.

The resulting hardened lacquer finish is incredibly durable, resisting water, salt, acid, alkali and alcohol with ease. It can also resist temperatures up to approximately 300 degrees centigrade (572 degrees Fahrenheit)! Lacquer’s only apparent weakness is its propensity to degrade after prolonged exposure to the harsh ultraviolet rays of strong, direct sunlight.

Japanese lacquerware is so enduring that it is common for pieces to last over a century, even with regular use. In fact, the old Japanese saying about lacquerware is “Once you buy it, it will last through your grandchildren’s generation.” In spite of Japanese lacquerware’s extreme toughness, using it in the microwave, dishwasher, refrigerator or oven is strongly discouraged because temperature extremes can cause the wood base to warp, thus damaging the lacquer finish.

A variety of striking decorative techniques are used in Japanese lacquer-work. Most commonly, the lacquer itself is dyed – usually a deep cinnabar red or charcoal black. Of course, the lacquer can also be left clear if the artist wishes to accentuate an object’s underlying wood grain. Another technique frequently used is called “maki-e.” In maki-e, powdered gold or silver dust is sprinkled onto the still wet lacquer in the shape of a decoration. Once the lacquer is cured, the gold or silver dust forms a glittering, shimmering metallic design that is permanently embedded in the surface of the hardened lacquer.

The final type of decoration commonly encountered is called “raden.” Raden is an inlaying technique where small pieces of bone, ivory or mother of pearl are inset into the surface of an item to form a design or picture. Multiple layers of clear lacquer are then applied over the entire item and polished to a high luster. Japanese lacquerware crafters are true artists, often using a combination of contrasting decorative technique simultaneously for maximum visual effect.

Traditional Japanese Lacquerware Bento (Lunch) Boxes for Sale on eBay

(This is an affiliate link for which I may be compensated)

Most Japanese lacquerware shares similar styles, motifs and forms regardless of its date of manufacture. This can make date attribution difficult. Edo and Meiji era (pre-1912) Japanese lacquerware designs often have a slightly stiffer and more formal appearance, even when portraying naturalistic scenes. However, by the time of the Taisho and Showa eras (1912 onwards), decoration becomes very subtlety looser and freer in execution due to Western artistic influence.

Another dating hint is when a distinctly non-Japanese artistic style is employed. For example, Art Deco design elements would suggest an early 20th century origin. Japanese lacquerware was also produced in different forms over the decades. For example, incense boxes and Inro (a Japanese wallet for use with kimonos) are indicative of Edo or Meiji era 19th century lacquer-work. While still notoriously tough to date, all of these clues used together can help to properly attribute Japanese lacquerware.

When buying Japanese lacquerware for investment purposes, the foremost consideration is quality workmanship. There is a very broad quality range of lacquerware available in the marketplace today. Low quality lacquerware is hastily manufactured using synthetic, polymer-based lacquers instead of genuine sap from the urushi tree.

In addition, poor quality specimens will invariably use far fewer layers of lacquer than a high quality piece. Good quality lacquerware will always possess many layers of urushi lacquer – and even more layers when richly decorated. The delicate artistic treatment of any decoration is another hallmark of fine vintage Japanese lacquerware. A legitimate, investment-grade specimen will possess intricately detailed designs or scenes that are precisely rendered. Poor quality lacquerware will have sloppily or nebulously executed designs.

When looking for good investment returns, it is best to avoid Japanese lacquerware that is plain, with no decoration. While Japanese craftsmanship naturally tends toward the stylistically uncluttered, lacquerware with no embellishment whatsoever is unlikely to ever be highly desirable. As with all antiques, condition is also of paramount importance. As a general rule, heavily damaged examples should be avoided. Minor damage to lacquerware can often be repaired and thus may be acceptable in otherwise exceptional or historically important pieces.

Although lacquer can be coated on a variety of base materials, high quality Japanese lacquerware is almost always applied to wood. Plastics are often used as the base for cheaper, lower quality pieces using synthetic lacquers.

A good way to check the quality of a vintage lacquer item is carefully balance it loosely in one hand and then tap it with your finger. Natural lacquer over wood will tend to give a clear, resonant sound while cheap, synthetic lacquer over plastic will give a dull, lifeless thud. It is no coincidence that fine musical instruments through the ages – ranging from 17th century Stradivarius violins to 1950s Gibson Les Paul electric guitars – have traditionally been constructed from fine tonewoods coated with many layers of natural lacquer.

Vintage Japanese Lacquerware Bowls & Plates for Sale on eBay

(This is an affiliate link for which I may be compensated)

Within a specific class of antiques, it is a general rule that the older the item, the more expensive it becomes. This rule only marginally applies in the case of vintage Japanese lacquerware. Even recent specimens from late in the 20th century are very desirable if they are well made. Due to the highly-skilled and labor-intensive nature of lacquerware manufacturing, little high quality production emanates from Japan in any given year. And because fine lacquerware crafting does not lend itself to automation, this situation is unlikely to ever change. Therefore, there is little worry that the market will suddenly be flooded by modern, high quality lacquerware.

As with all antiques, pricing for Japanese lacquerware varies greatly with quality. 19th century Edo and Meiji era lacquerware is typically rather expensive, with prices ranging from just over $200 for simple examples to several thousand dollars for ornate, expertly crafted ones. Taisho and early Showa era lacquerware from the first half of the 20th century is nearly as expensive as older specimens. Japanese lacquerware of more modern vintage is usually slightly less costly, with entry-level investment-grade examples starting at a little over $150 each.

Japanese lacquerware is truly one of the greatest investment secrets of today’s art world – a glittering gem in the rough. And it is a testament to the nature of the Japanese people that they have managed to keep this magnificent art form alive for over a thousand years.

Read more in-depth Antique Sage Japanese antiques investment guides here.

When Europe Loomed Large – Antique European Art Medals

A late 19th century bronze art medal featuring Franz Joseph I, the ruler of the now defunct Austro-Hungarian Empire from 1848 to 1916. This specimen comes in its original box, enhancing its desirability.

Art doesn’t have very many rules. But it does have one immutable law. It must be beautiful. This truism might seem obvious to the casual observer, but the world today doesn’t always make sense.

As an example, let’s briefly examine Jackson Pollock’s well-known drip painting in the abstract expressionist style, No. 5, 1948. The work is a confused jumble of earth-tone paint splatters interspersed with random splashes of yellow. To say that the oil on fiberboard painting is difficult to appreciate is a bit of an understatement. In fact, it looks more like the unfortunate outcome of a sick child projectile vomiting his baseball stadium meal of a hotdog, soft pretzel and coke than a work of art.

And if abstract expressionism’s lack of aesthetic appeal wasn’t enough to deter you, prepare for sticker shock. This particular Jackson Pollock – No. 5, 1948 – last sold in a private sale via Sotheby’s auction house in 2006 for a mind-boggling $140,000,000.00. That is 14 followed by 7 zeros, or $140 million dollars.

And if you’re still interested, keep in mind that the traditional art market is over-run with fakes. It would take decades of intense study to acquire the knowledge necessary to reliably distinguish a genuine Jackson Pollock work from the legions of forgeries being peddled by con artists. In fact, even the experts can’t agree among themselves if some well-known works can legitimately be attributed to Pollock or not.

Wouldn’t it be nice if the aspiring art collector had an alternative to buying absurdly priced, frequently counterfeited, abstract paintings of dubious artistic merit? Well, there is another option: antique European art medals. Medals, which resemble large presentation coins, are typically composed of bronze, silver-plated bronze, silver or vermeil (gold-plating over solid silver). Unlike commemorative coins they have no stated face value and are not legal tender.

Although medals have been struck throughout the world, the most attractive and collectible examples originate from Europe. Pieces from as early as the 18th century can be readily acquired, although their artistic zenith occurs from the mid 19th to the early 20th century.

Europe underwent dramatic political, social and technological changes from circa 1850 to World War II. On the one hand, scientific advancements propelled the continent forward at breakneck speeds. First railroads, then cars and finally airplanes connected Europe as never before while the advent of electricity ushered in an age of glittering, sophisticated cities.

However, at the same time Europe was still hopelessly anchored to its medieval past. Kings, emperors and monarchs of every description ruled over almost every nation on the continent. The aristocracy not only still existed, but believed itself to be the ordained political elite by virtue of ancient lineage and feudal legacy. All these cultural crosscurrents combine vividly on antique European art medals, bringing this tumultuous time of rapid change to life.

Antique French Silver Art Medals for Sale on eBay

(This is an affiliate link for which I may be compensated)

Art medals are often large, with dimensions occasionally exceeding 50 millimeters (2 inches) in diameter and 62 grams (2 troy ounces) in weight. This results in extremely impressive works of art that can be substantially larger than a U.S. silver dollar. These generous sizes make medals a perfect medium to express the engraver’s art, allowing the artist to fully explore the subject over an unrestricted expanse.

As presentation pieces, medals are usually struck with extremely detailed designs in very high relief. They rarely suffer from flaws – like weak strikes – commonly found in mass-produced, circulating coinage. Medals also excel as miniature works of art because they are typically struck in very limited quantities and receive minimal wear. This contrasts sharply with regular coins, which are minted by the million and often experience very heavy wear due to circulation.

Like any legitimate work of art, very high quality medals were oftentimes signed by the artist. Many of the best known medalists were French, reflecting France’s leading position as an engraving center in the 19th century. This isn’t surprising considering France’s world-wide reputation for producing art of the highest quality.

In addition to their typical round format, some of these French masterpieces were struck in rectangular shapes known as “plaques” or “plaquettes”. French medals, as well as other European medals, echo the grandeur and confidence of the continent’s assorted empires and kingdoms during its cultural apogee of the late 19th and early 20th centuries.

European medals feature a wide variety of subjects from important historical figures such as kings, queens and emperors to prosaic pastoral scenes of cows and fields. Mythological themes and national personifications also make prominent appearances. A topic often encountered in medals from Germany and Switzerland was shooting competition awards while France was famous for its wedding medals. Pieces celebrating royal coronations were created in almost every European nation.

Medals can be found commemorating an almost endless number of subjects in a myriad of styles – everything from aeronautical motifs in sleek art deco minimalism to Napoleonic busts rendered with staid neo-classical realism. A striking collection could be built around country of origin, theme or style of art, to name just a few. Medals really are a garden of earthly delights for the discerning, yet cost conscious, art aficionado.

Antique NGC Certified Swiss Silver Shooting Medals for Sale on eBay

(This is an affiliate link for which I may be compensated)

When investing in antique European art medals, size matters. As a general rule, the larger the medal the more desirable it is. The kind of metal used in a piece is important too. Examples in bronze usually sell for somewhat less than equivalent medals in silver. Sometimes pieces are even found with their original presentation cases intact which increases both desirability and resale value.

As with most antiques, damaged or excessively worn medals should be avoided. Eye appeal is paramount. Medals that feature certain popular subjects – like cars or railroads – usually trade at higher prices than their more mundane counterparts. Occasionally medals are certified by a third-party grading service. This is beneficial as it ensures a medal’s authenticity.

One would expect a medal struck for the 1897 Diamond Jubilee of Queen Victoria to command a rather large premium. Such a historically important item not only boldly proclaims the opulent glory of the late 19th century British Empire but also simultaneously exhibits the pinnacle of the engravers art. Surprisingly, however, these specimens can be had for under $200. Other fine European medals in both bronze and silver can be purchased for $60 to $300. However, even the very largest and finest medals rarely exceed $500.

This means that a stunningly beautiful collection of one or two dozen impressively sized medals could be acquired for only a few thousand dollars. In an art world dominated by ugly $140 million dollar abstract paintings, European medals represent a secret oasis of reasonably priced, accessible beauty.