PRE-ORDER SHIPS DECEMBER 14-25, 2025

Coin Set in Plastic Folding Case
for Full View of Obverse and Reverse

#1 Commemorative Coin in New Series for 2026

Diplomatic History Through Coins & Art


ANNOUNCING

THE WHITE HOUSE GIFT SHOP MINT, USA!

A New 2026 Series
by A. F. Giannini

LIMITED 250

Palestine–Israel
Diplomacy Peace Coin 2025

United States & Middle East
History Coin Series

First Light in Israel-Palestine
Peace Accord Commemorative Coin
Trump, Palestine & Israel 2025


Includes:

• Hand Signed COA by Artist-CEO on Parchment Paper

• Artist's Statement

• 2.25" Diameter Coin, Blue Box with White House Seal

• Sequentially edge numbered

• History of Israel-Palestine on Parchment Paper

• Two 5" X 7" Artist's Prints of Original Fine Art by A. F. Giannini

By Anthony Fileccia Giannini

I design coins and make art to capture turning points, moments when metal or canvas can hold a breath the world just exhaled. This piece marks the Trump-Palestine-Israel peace agreement, the first durable pause in a war that taught us how fragile ordinary life can be. On October 10, 2025, the ceasefire took hold; families began to move, slowly, back through broken streets, and the clock started on an exchange of hostages and prisoners that might finally let grief unclench its fist.

I work with symbols because they cut through noise. A boundary line that used to mean “stop” can become a path; a dove is too easy, but a single thread of wire, unbarbed, says more. In this coin, I set leaders and factions aside and center the act: hands releasing, roads reopening, aid flowing. The plan calls for troop pullbacks to an agreed line and a monitored exchange; aid convoys are scaling up to hundreds per day.

This is not a victory medal. It’s a witness piece. I’ve split the field so light and shadow meet across a seam, because peace is never minted in one strike. The edge carries micro-script with dates and the place of signing to acknowledge the hard, procedural work under the headlines: Sharm el-Sheikh for the phase-one accord; Jerusalem, Gaza, Cairo, Doha, and Washington as the chain of rooms where phones stayed warm and tempers cooled just enough.

Art on metal has obligations: clarity at arm’s length, meaning at loupe distance, integrity under tarnish. I’ve used relief to let fragments become structure, rebar and ruined arches resolving into a lattice that supports two simple acts: return and release. If we’re fortunate, this coin will age into evidence that the pause held and the next phases advanced. If history cracks again, it will still testify that on these dates, on this ground, people chose to stop shooting and start trading names for lives. That choice is worth striking in perpetuity.

©2025 Artist and Designer, Anthony Fileccia Giannini
The White House Gift Shop, Est. 1946 Mint
Date of issue: October 2025
Commemorative

Essay for Professional Art & Coin Collectors
Reconstructing Peace: Why I Left Photorealism for
Constructivist Symbolism

by Anthony Fileccia Giannini

There comes a moment in every artist’s trajectory when mastery of form begins to obscure purpose. My early coin designs were rooted in photorealism, portraits, architecture, and ceremonial scenes rendered with exacting detail. They conveyed authority. They documented history. They carried, as coins should, the weight of record.

And yet, as I watched the world fracture further, the precision of likeness began to feel dishonest. Realism told you who was present but not what it meant. It celebrated faces but rarely conveyed the tension between them. In an age when diplomacy is as fragile as light on metal, I began to ask myself: could a coin not merely represent peace, but mediate it?

The Problem with Photorealism

Photorealism, for all its virtuosity, privileges the surface. It gives the illusion of understanding without demanding engagement. Its fidelity to appearance can become a disguise for ideology.

In the field of commemorative coinage, realism also imposes hierarchy, one leader, one nation, one narrative, and in doing so, erases nuance.

When I began designing the Trump–Palestine–Israel Peace Agreement Coin (2025), I faced this conflict directly. A photorealistic rendering of the signatories or their flags would have been legible, even traditional, but it would also have been reductive. The peace process itself, tentative, negotiated, haunted by prior failures, could not be captured in a fixed portrait.

A new visual language was required: one that could hold complexity without dictating meaning.

Why Constructivism

Constructivism, with its disciplined geometry and dynamic abstraction, offered the clarity realism lacked. Emerging from the revolutionary ferment of early twentieth-century Russia, artists like Tatlin, Rodchenko, and Popova envisioned art not as decoration but as construction, a spatial logic, an ordering of relationships.

Their visual language: diagonals, radiating forms, interlocking planes, communicated structure, motion, and ideological tension. It rejected illusion for the architecture of thought.

This was precisely what I needed: not the literal face of diplomacy, but the geometry of reconciliation.

Constructivism is political form purified. Its diagonals speak of conflict and convergence; its circles of renewal; its color harmonies of negotiation and synthesis.

A Modern Grammar for an Ancient Medium

A coin is the most democratic of art objects. It travels hand to hand; it endures through circulation and time. Yet it is also a micro-architecture. Every line, every relief contour must serve structure, not decoration.

Constructivism, with its structural clarity, is the perfect language for this small, high-pressure field.

In returning to this style, I was not rejecting realism but refining it, compressing the human story into geometry and rhythm. The handshake becomes two intersecting planes; the bridge, a repeated arc; the rising sun, a radiant geometry of renewal.

Constructivism strips away rhetoric. It does not preach. It builds.

Why It Matters to Collectors

Collectors understand that rarity alone does not confer value, meaning does. This coin embodies a philosophical shift. Where most commemoratives document events, this one interrogates them.

Its abstraction invites re-reading over decades, as new historians, critics, and collectors bring fresh interpretations. It is built to outlast the volatility of news cycles. Realism can date itself to an era; geometry endures.

For art collectors, it represents the meeting point of two traditions: the intellectual rigor of modern art and the permanence of numismatic sculpture. It is both artifact and artwork, structured enough for a historian, poetic enough for a critic.

This piece is not a medal of victory but a medal of dialogue. Its Constructivist composition mirrors the act it celebrates, opposing forms held together in equilibrium. In the long arc of numismatic art, such a work stands not as ornament to power, but as witness to possibility.

Where I Place My Work in the Lineage of Art

The Geometry of Diplomacy: Constructivist Ideals in Modern Coinage

My recent shift places my work within a lineage of artists who brought avant-garde theory into numismatic practice, a lineage stretching from early 20th-century medalists to postwar modernists who viewed the coin not as a souvenir, but as a sculptural essay in metal.

Medal as Modernist Relief

The first rupture came in the 1920s and 1930s, when Italian and Central European medalists began rejecting ornate allegory for modern form. Artists like René Lalique, Pierre Turin, and Giuseppe Romagnoli explored abstraction in relief: geometricized figures, architectural rhythm, and the influence of Bauhaus and Art Deco.

This Constructivist coin sits downstream of that heritage. Like Turin’s 1929 Exposition Internationale medal, it interprets the medallic field as a stage for modernism, flattened planes, clean vectors, and tension lines substituting for narrative.

Avant-Garde and Propaganda?

This question deserves to be addressed directly. Constructivism found parallels in Soviet coinage of the 1920s–30s, most notably in El Lissitzky’s graphic works and the medallist Sergei Merkurov, whose monumental reliefs combined socialist symbolism with strict geometry.

My own work, however, liberates Constructivism from propaganda. Where the early avant-garde served ideology, my geometry serves balance.

In contemporary terms, it is counter-Putin.

In the 2025 Peace Coin, diagonals no longer march toward utopia, they intersect, negotiate, and hold tension. They reflect a world in which progress must coexist with fragility.

Numismatic Minimalism and the Postwar Era

In the 1950s–70s, medallic abstraction re-emerged in Europe and Japan through artists such as John Skelton, Eduardo Paolozzi, and Masatoshi Izumi, who treated the coin as a field for sculptural experimentation. Their work rejected portraiture in favor of pure form, texture, and conceptual structure.

My work extends that trajectory by reintroducing color theory and cross-cultural symbolism. My Constructivist palette: ochre, teal, vermilion, cobalt echoes not only the Russian avant-garde but also Mediterranean frescoes and Levantine textiles, rooting abstraction in place and history.

The Coin as Cultural Document

Few contemporary numismatists address the semiotics of peace. My trilingual edge inscriptions in English, Arabic, and Hebrew recalls the multilingual edge of the 1925 Paris Peace of Locarno medal, which used language as visual architecture.

This approach signals a new paradigm: the coin as linguistic space where scripts coexist without subordination, each part of a balanced design ecosystem.

Constructivism’s Modern Relevance

Today, amid post-truth politics and media saturation, realism often collapses into simulation. My return to Constructivism is not nostalgic; it is diagnostic.

By choosing abstraction, I reassert visual integrity in an age of image inflation. The Constructivist coin offers not photographic certainty but conceptual clarity. It asks the viewer to think structurally, to see peace as something engineered, not merely declared.

Market and Collectibility

In the high-end numismatic art market, conceptually rigorous issues command enduring attention. The 2025 Trump–Palestine–Israel Peace Agreement Coin occupies the same intellectual territory as the medallic works of J. C. Harman (UK) and Agustín Rojas (Spain), artists whose medals bridge sculpture, politics, and abstraction.

Its Constructivist idiom, coupled with diplomatic subject matter and the WHGS provenance, gives it an identity both artistic and historical, a dual legitimacy rare in contemporary coinage.

My pivot marks a decisive step in the evolution of numismatic design, a move away from depiction toward philosophy. My evolving Constructivist system is not merely aesthetic; it is epistemological. It reframes the coin as a site of dialogue between art and event, between permanence and negotiation.

For the serious collector, this coin is more than a commemorative token. It is a manifesto struck in metal where color, geometry, and language unite in service of peace’s most enduring form: balance.

Warm regards,

Anthony Fileccia Giannini