Attributed to Sebastian Dadler German, Dresden, circa 1632

Schloss Ericsberg, Sweden, until 2008

Overall the condition of the pendant is very good indeed with minor dirt and wear to the surface consistent with age. There are some small losses to the enamel, as is to be expected, including: to the high points of drapery towards the bottom at the front; to one of the leaves; to the hoop; and to the black enamel on the bottom on the reverse. There is a percussion point on the left side of the face on the reverse and a little loss at the edge by the beard; and another just above the beard. A few very minor impurities in the white enamel, consistent with the material.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Examples of these individually conceived gold and enamel portrait pendants are in Rosenborg Castle (dated 1630, inv. no. 3-120), Coin Cabinet of the National Museum Copenhagen, Frederiksborg Castle, Rijksmuseum (ex Gutmann Collection), Swedish Royal Collection (inv. no. HGK), and one other was exhibited in Joyaux Renaissance, Galerie J. Kugel, 2000, no. 66. They were worn by the loyal supporters of Adolphus’ Protestant campaign, which culminated in the victory of Lutzen, a battle in which the King died. Portraits dated 1634 feature this form of pendant displayed on the sashes of the Swedish Colonel Otto von Sack in the Rustkammer des königlichen Schlosses, Stockholm and another on that of the Yorkshire mercenary Daniel Goodricke (Scarisbrick, op. cit., p.79).

Sebestian Dadler (1586-1657), regarded as the greatest German medallist of the early 17th century, worked as Hofgoldschmied to the Imperial Habsburg Court until 1619 where upon he moved to Dresden under the patronage of the elector Johann Georg and his court (McKeown, op. cit.). The reverse of the pendant bears the letters signifying G(ustavus) A(dolphus) R(ex) S(uedorum) around the heraldic 'vasa' sheaf emblem.

RELATED LITERATURE
Princely Magnificence, exh. cat. Victoria and Albert Museum, London, 1980, p.90, no. 124; S. McKeown, 'The King Struck Down: Sebastian Dadler’s Medallic Images of Gustavus Adolphus, King of Sweden', The Medal, no. 38, 2001, pp. 7-24; D. Scarisbrick, Portrait Jewels, London, 2011, pp. 79, 96-7