L. (Leonard) Forrer.

Biographical dictionary of medallists : coin, gem, and sealengravers, mint-masters, &c., ancient and modern, with references to their works B.C. 500-A.D. 1900 (Volume 3) online

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Online LibraryL. (Leonard) ForrerBiographical dictionary of medallists : coin, gem, and sealengravers, mint-masters, &c., ancient and modern, with references to their works B.C. 500-A.D. 1900 (Volume 3) → online text (page 26 of 49)
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Soli Deo Gloria, 16 1 9"(MATHEVS-LAVFER-INNVRNBERG); - The
Fall and the Cross, 1625, &c.

BIBLIOGRAPHY. Kull, op. cit. Neumann, op. cit.

LAUFFER, WOLFGANG (Germ.}. Counter-manufacturer at Nurem-
berg, circ. 1618-1660. His couirers are very numerous. Among the
best known are : Gottes Segen macht reich (WOLF.LAVFER) ; -
Got alein di Lhre sei (WOLFF LAVFER IN NVRBER) ; - - Wer Got


vertraut hat (WVLF LAVFER.IN.NVRMBE.), and other mottoes; -
Gottes Reich bleibt ewig (WOLF LAVFER IN NURNBERG) ; Anfang
bedenks endt ; J'aime et suisaime; Louis XIV. (sev. var.);

- Louis XIII. (sev. var.) ; - - The French Dauphin (sev. var.) ;
Ich hab die angeneme Kunst, die macht gerechtik : v : Gunst

(WOLFF LAVFFER. RECHPFENGMACHER) ; - - Gelt macht schelck;

- The Astrologist ; - - Festina lente ; - - Lucretia plunging the
dagger in her breast; Famam extendere factis; Henry IV. of
France; Aut Caesar aut Nihil (WOLF. LAUF. and W. LAV.) ; -
Ex pace Ubertas (WOLF. LAVF.); The Alphabet ; Louis XIV. and
Marie Therese; - Louis XIV. and Anne of Austria (sev. var.,
some dated 1615, 1616); Romulus and Remus, 1619; Jacob
and the Angel, &c.

Most of W. Lauffer's counters are not quite circular, but more
or less irregular. Neumann describes over thirty varieties.

BIBLIOGRAPHY. Kull, op. cit. Sally Rosenberg, Catalogue. Neumann,
op. cit. R. Forrer, Nurnberger Rccben- und Spielpfennige, Num. Circ., I, 159.

LAUNAY. FRANCOIS DE (French). Mint-engraver at Poitiers, 1616-

LAUNAY, PIERRE DE (French'}. Goldsmith of Poitiers, son-in-law
of Francois Gaillaudon, and his assistant as Engraver at the Mint of
Poitiers, 1606-1616.


LAUNAY, NICOLAS DE (French}. Director of the Paris Medal-
Mint from 1696 to 1727, and one of the most celebrated French
Goldsmiths of the end of the seventeenth century and beginning
of the eighteenth. He was born in 1647, learned drawing under
Francois Chauveau, and was probably a pupil ot the famous
Claude Ballin, whose daughter he married. During his tenure of
office, he greatly improved the working of the Medal-mint, which
reached its highest degree of extension and prosperity. " He
succeeded Nicolas Petit, who was the first to hold the appoint-
ment ofDirecteur du balancier des mcdaiUes. In 1706, the number of
puncheons and dies preserved in the Galerie du Louvre exceeded
4000. Until 1698, the medals of the series of Louis XIV. varied in
sizes, between 30, 32 and 36 lines. About this time, the Abbe
Bignon entrusted the Engraver Mauger to cut dies for 200 medals at
150 livres each, which were executed between 1699 and 1701, by
reducing the module to 18 lines. Others were commissioned to
other artists, so that the series of small size medals comprise
350 pieces " (Blanchet, Medailles franc, aises}.

A document of 1698 records in eulogious terms " the fine draw-
ings which Nicolas de Launay gives every day to the Mint of the
Louvre. "

- 335 -

De Launay was succeeded by his son-in-law Jules Robert de
Cotte, who remained in office from 1727 to 1767.

A fine Portrait, after Rigaud, is given of Nicolas de Launay in
Gazette u i tin. francaise, 1904.

BIBLIOGRAPHY. J. J. Guiffrey, La Monnaie des Medailles, Revue numisma-
tique, 1885, p. 2. Gazette des Beaux-Arts, t. X, p. i>4et t. XI.

LAUNDALE, JOHN (Brit.}. Mint-master at Edinburgh, 1453.

LAUNE, CHISTOPHE DE (French). Mint-master at Paris(r 540-1 541),
Mint-master and Engraver and Tours (1539-1540 and 1542-1553).
He was still living in 1556. In 1540 he had some differences with
Claude Lemay, a Paris Mint-engraver, in connection with an issue
of jetons. An oilicial of the name of ANTOINE LAUNE filled the post
of secretary under his administration. Christoph Laune's distinctive
mark occurs on Petits Deniers of the Paris Mint, 1541, and Testons
and Douzains of Tours, 1549. He is the first Mint-master who
placed an A (for Pans) under king's bust or beneath shield.

BIBLIOGRAPHY. Mazerolle, Les Mcdailleurs fraiifais, 1902. N. Rondot and
H. de La Tour, op. cit.

LAULNE, or DELAULNE (French}. A celebrated Goldsmith, Medallist,
and Line-engraver, born at Paris citr. 1519, died there in 1583.

\Vorkshop of Stephen Delaune at Augsburg.

By letters patent of the 3 i. January 1552, he was appointed Mint-
engraver at Paris, in conjunction with Jean Erondelle, but already
deposed, in favour of Jacques Beguin, on the 25. June ot the same
year. Towards the end of his life, he went over to Germany; in

- 336 -

1573 an( l I 5^ h was working at " Argentina " (Strassburg), in
1576 at " Augusta " (Augsburg), and it is most probable that he
also resided at Nuremberg, but he returned to Paris some little
time before his death, which according to La Croix du Maine took
place on Whitsunday, 1583.

Etienne de Laune's fame as a Goldsmith stands unrivalled in
France in the sixteenth century. Cellini's works seem to have
inspired some of his earlier productions in chasing. Among his most
important pieces of plate are the celebrated Ewer and Tray of the
Leyland Collection (reproduced in Lasteyrie, Hisioire.de. rOrfevrerie,
p. 243) and a cup in the Louvre, supported by a beautiful figure
of Bacchus, the body of which represents Venus forging the arms
of Aeneas.

This artist is considered as one of the most pleasing Copper-plate
engravers of the French Renaissance. A number of drawings by his
hand of medals, coins, jetons, seals and jewels are still preserved

Medal of Henry II., by Etienne de Laune.

at the BibliothequeNationale, Paris. " Toutes les compositions de
ce Maitre se distinguent par un respect scrupuleux de la forme ;
1'ornementation, si riche qu'elle soit, n'en vient jamais alterer la
purete, ni denaturer la donnee premiere" ( Lasteyrie, op. ciL, 245).
M. Mazerolle calls Etienne de Laune one of the cleverest
sixteenth century medallists and gives a list of his medallic produc-
tions : 1551. Henry II., signed S on obv. ^L. SVA.CIRCVIT.
ORBE.FAMA. Victory tor. on globe; 35 mill, (illustrated); Do,
1552., signed S behind the head of the King. tyL NOMEN. AD.
ASTRA. 1552 L (Launius) Diana; 21 mill, (on a specimen in the
Munich Cabinet the letter E shows quite distinctly after the date);
-Do, Similar obv. I. SIC.FAMA. VIRESCIT. 1552. L. Fame
holding palm-branch and laurel-wreath, 21 mill. ; Do, HENRI-
C VS. II. DEI. G.FRANCO. REX. Laur. bust of Henry II. in
cuirass %L. SIC.FAMA. VJRESCIT. i5 5 2.L. Victory seated to 1.
on orb, holding palm-branch and laurel-wreath ; in the field : S.

- 337

(The letier S was de Laurie's usual signature on his engravings)-
bust in cuirass; I. OB-RES-IN-ITAL-GERM-ET-GAL-FORTI-
TER - AC'FOELIC'GESTAS. Fame driving a quadriga in whch
are Abundance and Victory ; beneath : EX VOTO'PVB; 1552;
54 mill. ; Do, A variety with Abundance and Victory standing
in quadriga ; Do, Similar obv.; $.. RESTITVTA REP'SEENN-
SI, &c., within laurel-wreath; 56 milt ; Henry II. and Catherine
de Medici, 1555, Obv. Similar bust of Henry H;KL. KATHARINA'
DE-MEDICIS-REGINA'FRANCORVM/Bust to 1. of the Queen;
beneath : 1555; 54 mill.: - Henry II. Obv. Similar bust, with
riga ; beneath, NVIA ; 53 mill.; - Antoim de Bourbon, Obv.
cuirass; ^L. REX CONSERVATOR. The King extending his
hand to a ploughman; ex : PROVIDENTIA | 1559; 37 mill.;
-Do, Similar Obv. ; J$L. ADVERSIS NESCIA VINCI. Prudence
seated to 1. holding a mirror to her face, and a serpent; ex. :

Teston 01 Henry II., 1552.

COMITIA'AVR | 1560; 37 mill.; Do, Similar Ob\;. ;$,. Nine
female figures, five to 1. and four to r. supporting in the air a
figure of Victory holding two wreaths; ex. : FELICITAS | ; 37 mill. ;

- Do, Bust of King in cuirass; 1^6. AVXIL'MEVM" A'DOMINO.
Hand issuing trom the clouds placing a sword in the hands of a
crowned figure ; in front of him, the four gods Jupiter, Aeolus,
Neptune, and Time; ex : IN'FIL-HOM'NON'EST SALVS 1562;
42 mill., &c.

Mazerolle gives the following jetons to Etienne de Laune :
1559. Chambre des Comptes ; - - 1560. Chambre des Comptes.
tyL Mercury; - - 1561. Jeton banal; - - 1564. Gendarmerie de
France; Catherine de Clermont, 1564. Many others are given
by Mariette in his Abecedario, but they cannot be authenticated.

"it is difficult to say what share the artist had in the cutting of
the dies of the milled Testons and Half Testons of 1552, in which

L. FORRER. Biographical Notices of Medallists. III.

- 338-

year he held the appointment of Mint-engraver in conjunction with
Jean Erondelle and Jacques Beguin, but comparison of style between
these and the Henry II. medals by de Laune which present the

Portrait-medal of Jean Rabel.

same characteristics, seems to show that they were both by the
same hand.

Referring to the three first medals above described by Etienne de
Laune, of which only later specimens are known from restored dies,

Gabriel Schlusselberger, 1574.

M. Mazerolle says : " L'expression de la physionomie royale est
charmante et les figures des revers ont cette maigreur caracteristique
qu affectionnaient les artistes du regne de Henri II ".


A Portrait-medal in lead, unsigned, of Jean Rabel of Beauvais
(illustrated), in Mr. Max Rosenheim's collection, belongs perhaps to
the school of Etiennede Laune, but M. Mazerolle and other experts
are not inclined to ascribe it to that artist. I may further add that
in the Beauvais Archives nothing could be found concerning this
Jean Rabel.

Etienne de Laune's engravings, which date from 1561 to 1581,
are occasionally signed Stepbanus F or S. F. The signature Stepha-
nus f. occurs on a Portrait-medal of Gabriel Schliisselberger of
Nuremberg, 1574 (illustrated}. Erman has no hesitation to give
it to Etienne de Laune, who, having embraced the reformed
faith, went over to Germany some time after 1569. Another medal,
that of Hans Huetter and his wife Ursula, although unsigned,
exhibits identical work. M. Mazerolle however does not share
Erman's view and thinks the Schiisselberger medal is absolutely
German in character and has no point in common with the known
French works of de Laune.

BIBLIOGRAPHY. F. Mazerolle, Les MeJailleurs fratifais, 1902. Ibid., Etienne
de Laune el Giiilhiiiine Martin, Gazette des Beaux-Arts, t. VIII, p. 312. Blanchet,
op. cit. Lasteyrie, op. cit. Erman, Deutsche Medailleure, 1884. Kull,
Repertorium, u, 710.

LAUNE, PIERRE DE (Frtncti). Mint-master at Paris, 1541-43.

LAUNOIS. Durand (MS. List of Medallists) gives the name of Lau-
nois as that of an Engraver of a pattern 5 Franc piece of Charles X.,
but no doubt in error for CAUNOIS (q. -y.).

LAURANA, FRANCESCO (ItalJ). Painter, Sculptor and Medallist,
circ. 1430-1501; a native of the ancient fortified city of the Tem-
plars, La Vrana or Laurana, near Zara. In Neapolitan documents
his name occurs also as Francesco Adzara (for Francesco da Zara).

Laurana, the favourite Sculptor and Medallist of Rene of Anjou,
Count of Provence and King of Naples (1458-1480) is the first
champion of the Renaissance in France.

Between 1468 and 1471, a Franciscus Laurana, babitator urbis
Panormi et civitatis Vemtiarum was working in Sicily and executed
a statue of the Virgin for the Dome of Palermo, bearing the
inscription : Franciscus a Laurana me fecit MCCCCLXXI. Later, circ.
1478-1480, a Franciscus Laurens is mentioned in the accounts of
the court of Count Rene as " tailleur d'ymaiges " and sculptor. In
1490, the name of Laurens occurs as Founder and Chaser, in
connection with the mausoleum of Ferry II., Count of Lorraine
and Vaudemont, erected in St. George's Church at Nancy. All three
references undoubtedly concern the same artist.

Laurana's name is intimately connected with that of his colleague,
the architect and medallist Pietro da Milano. Both were attached

340 -

to the person of King Rene, and modelled Portrait-medals of their
Patron, his Queen and courtiers.

The recent researches of E. Muntz, Maxe-Werly, C. von Fabriczy
and others have settled many obscure points in Francesco da
Laurana's history. The great artist left Italy soon after 1458,
sojourned in Provence (at Aix) until about 1466, then returned to
his native land. In 1468, 1471 and 1473 he was working in Sicily
for various churches, but in 1478, we find him back in France, and
residing at Marseilles, where he married and lived until 1483.
Later, circ. 1490, Laurens le fondeur was engaged at Nancy on the
mausoleum of the Count of Vaudemont. He appears to have spent
the last few years of his life at Avignon, with his daughter and son-
in-law the painter Jean de la Barre. In all probability he died in the
early part of 1501 and was buried in the chapel which his daughter
Maragda (or Meranda) had acquired near the Augustin convent at
Avignon, for the sepulture of her family. The last mention of
Laurana's name occurs on a contract, dated 14. October 1500, rela-
ting to the sale of some house property at Marseilles, and he is
there styled : " Franciscus Laurana, scissor ymaginum ".

" Pierre de Milan et Francesco Laurana, tous lesdeux sculpteurs,
ont garde sur notre sol le caractere de leur patrie d'origine. La
composition, le dessin, le modele, tout rappelle 1'art italien dans
leurs ouvrages. Tout, sauf la fonte; la mauvaise qualitede la fonte
confirmerait meme le fait de leur execution en France " (Rondot et
De La Tour, Les Medailleurs et les graveurs de monnaies, &c., 1904,
p. 71).

Some of the signed medals of Laurana are dated 1461, 1463 and
1466 ; others are undated. With the exception of the Portrait-piece
oi Louis XL, they all represent King Rene, Queen Jeanne, and
personages of their court. The following are known : 1461. Tri-
boulet, King Rent's buffoon, Bust to r. ]$L. Lion seated to 1.;
above, in three lines : .M. -CCCC. 'LXI. ; in exergue, in three
lines : FRANCISCVS-LAVRANA-F.(Diam.79 mill.); Jeanne de
Laval, second wife of King Rene, Bust to L, hair hidden in richly
ornamented coiffure. tyL. PER NON PER. 'M CCCC " LXI. A
pair of turtle-doves, in ex. : FRANCISCVS-LAVRANA FECIT
(D. 90). (fyL probably designed by King Rene himself, vide Heiss,
p. 19); 1463. Rene of Anj on and his consort Jeanne de Laval, Busts
conjoined to r. $L. PAX AVGVSTI. Peace standing facing, with a
sprig of laurel in one hand and helmet in the other; to r., withered
trunk of a tree from which issues one shoot ; in the field : M - -

FECIT (D. 90). A variety of obv. exists with legend : DVO'
CORPORA- VNVS ANIM. (uniface) ; - 1464. John of An/ou,
Duke of Calabria, Bust to 1. tyL. Circular temple, the cupola sur-

mounted with a statue of the Archangel Michael (the temple is
copied from that of Vesta at Rivoli); in the field M CCCC-LXIIII-
ex. : FRANCISCVS LAVRAXA V ?). (D. 85); - Undj
(perhaps 1461 ?). Charles IV. of Anjcu, Count of Maine, Bust to r.

Portrait-medal of Louis XI., by Francesco Laurana.

I. Map of the world ; FRANCISCVS LAVRANA FECIT (D. 70)
(2 var.) ; Undated. Louis XL, King of France, Bust tor. wearing
his favourite head-dress, the chapel; ^L. CONCORDIA AVGVSTA.
Concord seated to r. ; in ex. : FRANCIS-LAVRANA FECIT (D.

- 342 -

85). Type of J^L. copied from a Roman sestertius or medallion.
The portrait of Louis XL is very realistic. Von Fabriczy calls it Laura-
na's masterpiece, and adds : "Thecunning craftiness, the suspicion,
but at the same time the resolution of this, the first modern despot
and incarnate reaction against the ideals and weaknesses of the
Middle Ages, are excellently expressed in the portrait ". " Notwith-
standing ", continues the same writer, " Laurana fails by a long
way to reach Pisano's grandeur of style, strength of modelling and
mastery of technique ; his imitation of nature is superficial, at
times quite painful, and the treatment of the relief is flat and
lacking in character ". Varieties exist of the Louis XL medal ; one
in silver, uniface(obv. only) was in the Armand collection; another,
in the French Cabinet, has on $L. SANCTIS MICH AELIS ORDI-
NIS'INSTITVTOR. Shield of France within collar of the Order
of S' Michael; 1466. Jean Cossa, Count of Troya, Bust to r.
FECIT ANNO DNI MCCCCLXVI. Within laurel-wreath,
between the letters I C, two broken horseshoes interlinked.

To the above-described medals, Heiss and Armand add a Portrait-
piece, undated, of an unknown person, with legend : HIC'IN'
sented is without much doubt one ofthe poets of the court of good
King Rene", one of the few princes who, North ot the Alps, extended
the magnificent patronage of the Italian rulers to sciences and
arts, and himself won laurels in painting anl verse-making; -
1464. Ferry II., Count of F'audemont, Bust to r. tyL FRANCISCVS*
LAVRANA-FECIT. MCCCCLXIIII. The Count on horseback
to 1. (Collection of the Glasgow University), &c.

Friedlander illustrates a medal of Jean de Matharon ({* 1495)
which he thinks bears analogy with Laurana's work.

Details are wanting as to the artist's collaboration in the decora-
tion of King Alfonso's Triumphal Arch at Naples, but his hand
can be traced in many works of sculpture still extant in Italy,
South of France and Lorraine, among which are : " Portement de
Croix " in St. Didier's Church at Avignon (1481) ; Mausoleum of
Jean de Cossa, Marshal of Provence (1476-1481); Decoration of
the St. Lazare Chapel in the " Major" church at Marseilles (1483) ;
The Joinville Mausoleum of Count Ferry de Vaudemont, nephew
of King Rene, and father of Ren II., Duke of Lorraine ; Tomb of
Charles IV. of Anjou in the cathedral of Le Mans ; Marble statue
of the Virgin on the door-way of the chapel of Castelnuovo at
Naples ; Retable of the Church of Celestins at Avignon ; Niche of
King Ren in Tarascon castle ; and the mutilated bust of Rene and
Jeanne de Laval in the Tarascon Bibliotheque.

BIBLIOGRAPHY. A. Heiss, Les Medailleurs de la Renaissance, Francesco Laurana,
Pietro di Milano, Paris, 1882. A. Armand, Les Medailleurs italiens des XV e et


XVI' siMes, Paris, 1883-1887. C. von Fabric/.y, Medaillen der italienisclxn
Renaissance, Leipzig, 1903. Dr Julius Friedlander, Die italicnisch-n Schaumunztn
desfunfoebntcnjahrhunderts, Berlin, 1882. E. Muntz, Histoire de VArt pendant
la Renaissance, II. Courajod et Marcou, Catalogue raisonni du Muse'ede sculpture
dn Trocadero. Grande Encyclopedic. Grand Dictionnaire Larousse. M. Maxe-
Werly, Francesco da Lanrana, 1899. D"" Barthelemy, Francesco Laurana, 1883.
E. Muntz, Les dernurcs amices du sculpttur Laurana, Chronique des Arts et de
la Curiosite. Bolzenthal, op. cit. Gazette des Beaux-Arts, mars 1903.
Blanchet, op. cit., II, p. 383. Revue arcbcol., 1899, P- J 6o-

LAURENCE (French). Die-sinker of the early part of the nineteenth
century. A masonic medal, dated 1806, of the " Lodge of the
French Eagle " bears his signature in full.

LAURENCIN, JOSEPH (French'). Mint-engraver at Villefranche en
Rouergue, circ. 1421-1422.

LAURENS (Auslr.). On a Portrait-medal of D r Josef Barth, of
Vienna, 1804, the signature of this Die-sinker appears in full.

LAURENT, CHARLES (French). Mint-master at Monte"limar, 1507.

LAURENT, EUGENE (French). Contemporary Sculptor and Medallist,
born at Gray (Haute-Saone), 29. April 1827 ; pupil of Coinchon.
His signature occurs on a commemorative medal of the Visit ot
Napoleon III. and the Empress Eugenie to the Paris hospitals during
the plague of cholera, 1865, and he modelled also several Portrait-
medallions, some of members of his family.

BIBLIOGRAPHY. Chavignerie et Auvray , op. cit.

LAURENT-DARAGON, CHARLES (French). Contemporary Sculptor,
born at Paris in 1833 ; pupil ot the Ecole des Beaux-Arts. Among
his best known medallic works exhibited at the Paris Salon are :
1867. Portrait-medallion in bronze of Count E. de D***; 1869.
M me j c *** . _ l8y$ M iie E Ri c h a rd, &c.

BIBLIOGRAPHY. Chavignerie et Auvray, op. cit.

LAURENT, PIERRE (French). Contemporary Sculptor, born at
Montlucon (Allier) ; pupil of Chapu, and Barrias. At the Salon of
1905 he exhibited a Portrait-plaquette of M. Mesnage".

LAURENTINI, PAOLO (Ital.). Medallist of the first half ot the
seventeenth century, mentioned by Bolzenthal.

LAURENTIUS (LORENZ), LUKAS (Germ.). Mint-warden at Bernstadt
1681, 1696, and later at Ols. His initials occur on coins of 1677,

BIBLIOGRAPHY. Scblesiens Forfeit in Bild nnd Scln-ift, VII, 65.


LAURENZANO, GIOVANNI ANDREA (Ital.}. Medallist of the third
quarter of the seventeenth century. He resided at Rome and worked
for the Papal Court. His signature, says Ammon, occurs on Papal
medals of 1689 and 1690, temp. Innocent XI. and Alexander VIII.
A large Portrait-Medal of the celebrated architect Carlo Fontana
(1634-1714)15 signed GAL and is probably his work (Haller I, 1904;
Wunderly v. Muralt Cat., n 2848).

BIBLIOGRAPHY. Ammon, op. clt. Bolzentlial, op. oil.

LAURER, GOTTLIEB (Germ.}. Medallist of Kulmbach, middle of
the eighteenth century. He cut the dies for the Mining Medal of the
" Neulaischen Friedensgrube ", 17^8, which is signed \s. His full
signature G. LAVRER appears on a Medallic Thaler of William Fred-
erick Louis, Baron of Gleichen-Rusworm, 1753 ; this medal par-
takes of a masonic character and is described by Marvin, Masonic
medals, p. 136, n CCCLV.

BIBLIOGRAPHY. Ammon, op. cit.

LAUREYS, BALTHASAR (Belg.}. Mint-engraver at Brussels, 1619-
1661, under Philip IV.

BIBLIOGRAPHY. A. de Witte, Le jeton dans les comptesdes maitres des Moinuiies
du ducbede Brabant mix XVII* et XVHI* siecles, Tijdschrift, 1896-97.

LAUTENSACK, FRIEDRICH (Germ.'}. Mint-master at Rostock, 1796-
1802. His issues bear generally his initials F. L.

LAUTENSACK, HANS (Germ.} of Nuremberg, is mentioned circ.
1558 as having executed designs for coins of the Emperor Ferdi-
nand I.(Kenner, 1903, p. 17).

nineteenth century, born at Hanau, where he also resided until
1877, in which year he died on a journey to Naples. His productions
are mostly unimportant.

LAUTIER, PHILIPPE DE (French}. Mint-master-general of France,
circ. 1540-1552.

LAUTIZIO (Ital.} of Perugia, is said by Cellini, to have been ot
great ability, and a clever Seal-engraver. By him is probably a
hone-stone medal with portrait of D. Adr. de Ladeuse, Venice,
1522 (described by G. Sparkes in Num. Chronicle 1854, P- l &7>
n 5) and a Plaque, with subject in relief of the Adoration of
the Magi, in the Victoria and Albert Museum, South Kensington.
Milanesi suggested the attribution to him of two Portrait-medals
of Giovan Lodovico Toscani, signed L. P.

- 345

LADWIER, PIERART (French}. Mint-engraver at Valenciennes, circ.

L.A.V. (Dutch'}. These initials occur on a medalet commemorating
the Peace of 1544 (2 types) and are supposed to be the signature
of a Mint-master in Gelderland (Vide Med. Illustr., I, pp. 45-46).

LAVACCHIO, ZANOBI DEL (Ital.). Sculptor of Florence, end of the
fifteenth century. Bolzenthal gives his name as a Medallist, but
without being able to trace any of his medallic works.

LAVALLEE, JEAN BAPTISTE DAVID (French}. Mint-engraver at
Limoges, 1780-1792, qualified Engraver in functions from 1785.
BIBLIOGRAPHY. Louis Guibert, La Mommitde Limoges, 1893.

LA VALLEE, MARC DAVID (French}. Mint-engraver at Limoges,
circ. 1779-1780.

LAVANCHY-CLARKE, F. H. (Swiss). Representative of the Sun-
light Soap Co. for Switzerland, and Editor of Advertisement
Tickets, Medallic Calendars, Exhibition Medalets, &c., all in con-
nection with the advertising of the Sun-light Soap, 1896.

LA VANELLE, ANTOINEDE (French}. Goldsmith, Founder, and
Engraver of Jetons at Lyons, circ. 1493-1538. Another Engraver of
the same name was working circ. 1540-1543.

LA VANELLE, SIMON DE (French}. Jeton-engraver at Lyons and
Paris, 1524-1546. By him are jetons of that date, issued for Gilles
Aubert, sieur de Vautrouze. He signed Delauanelle.

BIBLIOGRAPHY. Mazerolle, op. cit., I, CLVIII.

LA VANELLE, BERTRAND DE (French}. Goldsmith, Founder, and
Engraver of Jetons at Lyons, circ. 1530-1538.

LA VANELLE, CYRIAQUE DE (French}. Goldsmith, and Engraver
of Jetons at Lyons, circ. 1524-1547.

LAVATER (Swiss). Designer of a medal, engraved by Huguenin
freres, on the Opening of the Albula Tunnel of the Simplon Rail-
way, 1903.

Online LibraryL. (Leonard) ForrerBiographical dictionary of medallists : coin, gem, and sealengravers, mint-masters, &c., ancient and modern, with references to their works B.C. 500-A.D. 1900 (Volume 3) → online text (page 26 of 49)