Archive for the ‘Medals’ Category

Thousands of themes are found among the medals made by Medallic Art Company.  MACO has made so many medals, in fact, that collectors recognize they cannot collect them all – although that could be a collectors’ specialty itself — collectors tend to specialize and collect by theme, which they call a topic. Collecting is a very personal thing – every collector chooses his own topic.

The scouting movement, for both boys and girls, has been well represented within the archives of Medallic Art medals. We do not know the creators of all the scouting medals, but some very prominent sculptors are revealed here, Paul Manship and Laura Gardin Fraser top the list. The appeal of scouting collectibles is very strong. Even more so for adults as reflects a happy time in their youth.

Many of these items were ordered continuously and bestowed to youths over a sustained period.  Others, as Jamboree pins, were for only one event, one year. Medallic Art was a major supplier of these medallic items to the two scouting organizations.

A List of Boy Scout and Girl Scout Medals With Selected Photos From Medallic Art Archives

1918-015  Girl Scouts World War I Liberty Loan Medal  1918  Girl Scouts        Paul Howard Manship

1921-034-01  American Girl Scouts Brownie Pin   1921  Girl Scouts of America        Unknown Artist

1921-034-02  American Girl Scouts Cuff Links   1921  Girl Scouts of America       Unknown Artist

1921-034-03  American Girl Scouts Captains Pins   1921  Girl Scouts of America       Unknown Artist

1921-035  Girl Scouts of America Eaglet Emblem   1921  Girl Scouts of America    ½-inch       Unknown Artist

1921-036  Girl Scouts of America Merit Badge  1921  Girl Scouts of America    1-inch        Unknown Artist

1921-037  Girl Scouts of America Life Saving Emblem  1921  Girl Scouts of America  1- x 1¼-inch       Unknown Artist

1922-037  American Girl Scouts Thanks Badge  1922  Girl Scouts of America   Unknown Artist

Girl Scouts of America Tenderfoot Pin

Girl Scouts of America Tenderfoot Pin

1922-038  Girl Scouts of America Tenderfoot Pin  1922  Girl Scouts of America  ¾-inch      Unknown Artist


Girl Scouts Camp Andree Clark Pin (Feather)

1923-005  Girl Scouts Camp Andree Clark Pin (Feather)  1923  Girl Scouts  2¼-inch       Hand Cut Die

1926-040  Boy Scouts Buffalo Charm  1926  Boy Scouts of America                                                     Unknown Artist

1926-041  Boy Scouts Life Saving Honor Medal  1926  Boy Scouts of America      Unknown Artist

1926-042-01  Girl Scouts Camp of the Hills Pin  1926  Girl Scouts of America  5/8-inch       Unknown Artist

1926-042-02  Girl Scouts Wind In the Pines Pin 1926   Girl Scouts of America  5/8-inch     Unknown Artist

1926-042-03  Girl Scouts Camp Longview Pin 1926   Girl Scouts of America  5/8-inch     Unknown Artist

1926-042-04  Girl Scouts Camp Seven Hills Pin 1926  Girl Scouts of America  5/8-inch     Unknown Artist

1926-043  Boy Scouts Double XX With Eagle Badge  1926  Boy Scouts of America  7/8-inch     Unknown Artist

1927-011  Girl Scouts Camp Edith Macy Pin  1927  Girl Scouts of America  1½-inch           Hand Cut Die


Boy Scouts International Jamboree

1927-026  Boy Scouts International Jamboree Medal  1927  Boy Scouts of America 1½-inch          Julio Kilenyi

1927-031  American Girl Scouts Fern Pin  1927  Girl Scouts of America                                                Unknown Artist

1927-032  American Girl Scouts Srsc Pin  1927  Girl Scouts of America                                                Unknown Artist

1927-033  American Girl Scouts Greenwood Pin  1927  Girl Scouts of America     Unknown Artist

1927-037  American Girl Scouts Maple Leaf Pin   1927  Girl Scouts of America    Unknown Artist

1928-014  Girl Scouts Golden Eaglet Pin  1928  Girl Scouts of America  1 1/8-inch       Laura Gardin Fraser

1928-058  Boy Scouts Life Saving Medal  1928  Boy Scouts of America  1 5/8- x 1 3/8-inch       Unknown Artist

1929-040  Girl Scout Feeding Rabbit Medal  1929  Girl Scouts of America  1¾-inch       Jessie Willing

1929-053  Boy Scouts of America Eagle Badge  1929  Boy Scouts of Am  1½-inch Alexander Phimister Proctor

1929-053-A  Boy Scouts of America ‘Be Prepared’ Bar  1929  Boy Scouts of Am  1½- x ¼-inch    Hand Cut Die

1929-060  American Girl Scout Lapel Pin  1929  Girl Scouts of America                                               Unknown Artist

1929-084  Girl Scouts of America Community Service Medal  1929  Girl Scouts of Am  ¾-inch   Hand Cut Die


Girl Scouts of America Pine Cone Pin

1929-085  Girl Scouts of America Pine Cone Pin  1929  Girl Scouts of America  2- x 5/8-inch     Hand Cut Dies

Society of Medallists Series:

BSA Building Toward Unity, SOM Issue #46

BSA Building Toward Unity, SOM Issue #46

1930-001-046  Issue #46 Eagle Boy Scouts  1952  Society of Medalists  2 7/8-inch           Karl Heinrich Grupp

1930-036  American Girl Scouts Camp Giscowheco Medal   1930  Girl Scouts of America       Unknown Artist

Boy Scouts of America Presidents Badge

Boy Scouts of America Presidents Badge

1930-070-001  Boy Scouts of America Presidents Badge  1930  Boy Scouts of America  1- x 7/8-inch     Unknown  Artist

1930-070-002  Boy Scouts of America Presidents Badge  1930  Boy Scouts of America  1- x 7/8-inch    Unknown Artist

1931-040  Boy Scouts Quartermaster Badge  1931  Boy Scouts of America  1 3/16-inch      Hand Cut Die

1932-018  Beard (Daniel Carter) Medal  1932  Boy Scouts of Kentucky  2½-inch          Jeno Juszko

1933-043-012  Best Goodyear Boy Scout  1933  Goodyear Tire and Rubber Co    1 ½-inch     Unknown artist.

1933-043-024  Best Scout Advisor  1933  Goodyear Tire and Rubber Co    1 ½-inch       Unknown artist.

1944-010-001  Firestone Boy Scout Medallion (John W. Thomas) 1944   Firestone  3½-inch   Rene Chambellan

1944-010-002  Firestone Boy Scout Medallion (Harvey S. Firestone, Jr.)   19xx 3½-inch         Rene Chambellan

BSA Firestone Award Medal

BSA Firestone Award Medal

1944-010-003  Firestone Boy Scout Medallion (Raymond C. Firestone)  19xx  3½-inch           Rene Chambellan

BSA 50th Anniversary Medal

BSA 50th Anniversary Medal

1960-018  Boy Scouts 50th Anniversary Medal  1960  Boy Scouts of America   2½-inch           Curt Beck

1968-155  Boy Scouts of American Pedro Medal  1958   Robert Crozier  1½-inch            Hand Cut Dies


History of America Series:

BSA Founded 1910 Medal

BSA Founded 1910 Medal

1972-182-135  Boy Scouts of America Founded  1972  Glendenning Co 1 9/16-inch      Model by Mico Kaufman, lettering by Ramon Gordils

1973-084  Boy Scouts of The Philippines Medal  1973  Asian Mint Corp   1½-inch           Joseph A. DiLorenzo

BSA USA Bicentennial Medal

BSA USA Bicentennial Medal

1975-099  Boy Scouts of America Bicentennial Commemorative Medal   1976  BSA  2½-inch     Ramon Gordils

1977-067  Boy Scouts of America Jamboree Medal  1977  Boy Scouts of America     Unknown Artist

1985-280  BSA International Year of the Youth Medal  1977  Unicover Frank Gasparro

1887-204  Ocean County Girl Scouts Coin Medal  1987  Ocean County Girl Scouts          Steve Adams

1987-205  Ocean County Girl Scouts Coin Medal  1987  Ocean County Girl Scouts           Tom Mangano


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I HAVE my own definition of the word “lore,” since I use it so often in describing medals. Learning the lore about an item adds to its collectability and supplements the usual data about the medallic items of who, where and when it was made.  Lore means to me:

Specialized knowledge about a historical item that adds, allure,  interest and desirability to the item. 

In short it could be – the story behind the medal.

I learned to seek out such a story for every medal I had for sale when I was a medal dealer at collector shows. When a prospective buyer asks to see a medal and he is holding it in his hand is the ideal opportunity for a high-quality sales talk. That’s the time to discuss the medal’s lore – to tell its history in as much detail as possible. Often it’s that lore, that story, that history, that sells the medal.

In an auction catalog, lore has the same importance. But the amount of space to tell the story is usually limited. You learn to pack a lot of lore into as few sentences as possible. You have to highlight its major points and feature the alluring details as space permits.

I also learned to discuss the Lore of a medal when answering an inquiry. These come to me from every direction since I have studied American medals and have specialized in 20th century issues, particularly those of the Medallic Art Company. The firm dominated the manufacture of the highest quality medals – art medals – for the entire 20th century.

For example, in answer to an inquiry sent to Medal Collectors of America — the letter was forwarded to me from the organization’s webmaster for a reply. The collector had a silver medal bearing the portrait of Michael DiSalle. He described its weight, identified the artist, mentioned the edgelettering: .999+ PURE SILVER MEDALLIC ART COMPANY 262.  He also asked if the medal was genuine.


With this basic information, identifying the medal was easy for me and gave him the background information he was seeking. This medal had an interesting history, of considerable Lore. Here’s what I wrote about that collector’s medal:

DiSalle Medal

DiSalle Campaign Medal

Your medal is known as the Michael V. DiSalle Campaign Medal, 1962. It was indeed created by sculptor Ralph Joseph Menconi (1915-1972) and struck by Medallic Art Company, then of New York City (later of Danbury, Connecticut, and later of Dayton, Nevada). It is MAco catalog number 62-87 [now 1962-087]

The medal was issued by Presidential Art Medals of Englewood, Ohio.

How they issued this medal is an interesting story. This organization began issuing half-dollar size medals of the presidents of the United States (struck by Medallic Art Co). This series proved so successful they commenced plans also in 1962 for a second series of the States of the Union.

Since they were located in Ohio, they wanted to issued the Ohio Statehood Medal as the first medal in this series (MAco 62-2-1). They contacted the governor’s office for a suggestion for the most famous Ohio citizen(s) to place their portrait(s) on this medal. (The ultimate decision was to place the Wright Brothers portraits on this Ohio medal.)

The governor at that time was the very Michael DiSalle you see on your medal. He became intrigued with their project and invited them to visit him. All four principles of Presidential Art Medals visited Governor DiSalle. He was running for reelection in 1962 and asked if they would strike a medal for his campaign. The answer was obviously yes.

But that is not the end of the story. Later DiSalle became associated with one of the Presidential Art principles, Max Humbert, and the two became very active in the issuing and marketing of coins and medals. DiSalle, who commanded  an impressive appearance, large in stature, voice and intent, was an excellent negotiator. He traveled in diplomatic and political circles, was often in the White House. The pair even solicited foreign governments for issuing their coins, somewhat like the Franklin Mint was doing at the time.

Michael DiSalle (born January 6, 1908) died September 14, 1981. The duo had done quite well and Max Humbert bought a home in the Bahamas or West Indies but continued to run a numismatic firm out of Florida.

The DiSalle medal was issued in three sizes. The 2¾-inch (70mm) you have was issued in bronze and silver. A 1¼-inch (32mm) size was issued in bronze and platinum, and a 13/16-inch (21mm) size in bronze and silver.

The 262 on the edge of your medal is a serial number. There were 2,000 issued this size all serially numbered. There were 1,000 issued in bronze unnumbered this size.

The medium size is the most common, 17,000 in bronze were struck and these were widely distributed as campaign medals (a practice that goes back in American history to Abraham Lincoln and before). Of the platinum, only 10 were struck and these were serially numbered.

The small sizes were all made into jewelry items (ideal for charm size medalets). For women, 25 silver medalets were struck, for 12 pair of earrings, and 524 bronze struck for 262 sets of earrings. For men 1,000 medalets were struck in bronze for 500 sets of cufflinks.

About the genuineness of your medal; I would have to see the medal, of course, to attest that it is genuine. However, I have never heard of this medal being copied. In fact, very few medals have been replicated of Medallic Art Company medals because of their high quality (it is so difficult to replicate this quality).

Collecting these would be a challenge, imagine the thrill of the chase to find and acquire these elusive items! Other than the platinum medal, you already have the most expensive silver medal. Good luck in your further collecting.

Editor John Adams of the MCA Advisor, where this reply to a collector’s inquiry was published, added his comment: “You ask a question of Dick Johnson and you get a world-class answer.”


Letter Answered: Michael V. DiSalle Campaign Medal MCA Advisory 9:7 (August 2006) p19-20.

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Give Santa a Medal

Santa Claus

Santa with Medal

Give Santa a Medal

’Twas two days before Christmas,
And my gift list complete.
Save one so important,
It had to be neat.

The gift I was missing,
The one to be handy,
For the spirit of Christmas,
So good for the family.

For the jolly ol’ man,
Who arrives Christmas night.
Himself good and generous.
Choose a gift that’s just right!

He travels a great distance,
To bring everyone good cheer.
What kind of a present
Would Santa hold dear?

No gingerbread houses,
No frilly white blouses.
No Hansel, no Gretel.
Give Santa a medal.

No milk, and no cookies,
By the tree and the rest.
Give Santa a medal,
He deserves just the best.

His effort rewarded,
In a box with red bow.
Give Santa a medal.
He’s our Christmas He-Ro!

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COMPUTERS have become the greatest tool for numismatists who want to catalog a group of medals. Previously hand-written notebook sheets or cards, both of varying sizes, have been used to enter the data being recorded for each medal.

With their computers first-time catalogers, however, have a tendency to want to use spreadsheets for gathering that data. They will come to learn that staring at empty little boxes for one medal will be in contrast to an overabundance of data for another medal. The information never comes in uniform packages that fit spreadsheet cells.

Far better, I have learned, is a checklist. So the creation of a checklist is the first step in cataloging medals. Just what information do you want to gather for every medal?  Some data is standard. Size and composition is usually necessary for every medal. A history of how the medal came into being issued can range from near nothing to pages of text.

Checklist essential for gathering data.  As the gathering of data progresses a checklist aids in not overlooking an essential datum. A checklist also aids in the sequence of data for uniformity. Listed here is a checklist for a collectors catalog, where a maximum information is desired to be gathered and published. A catalog for an auction catalog, on the other hand, may not include all this, but would concentrate on data which would help sell the medal.

Data for the early part of the checklist can be obtained from the medal itself. Later items require research, in numismatic literature, in history books, and elsewhere. Research in specialized libraries may be required. An extensive amount of correspondence often is necessary to gather this information. Who would have this knowledge? A cataloger needs to be resourceful in his task of fact gathering.

Typical Checklist

  1. Working Name (subject to change with additions; name in boldface)
  2. Date Issued  (in boldface)
  3. Size (and shape if not round)
  4. Composition (and weight if precious metal)
  5. Artists (Identify: Designer, Engraver. Sculptor, or Modeller)
  6. Obverse description
  7. Reverse description
  8. Signed (how, where)
  9. Edge plain or any reeding, lettering)
  10. Maker and/or Issuer
  11. Comments (history, events)
  12. Years issued (if award medal)
  13. Biography (of any person shown)
  14. Patina (finish)
  15. Mounting (if present)
  16. Collection (e.g. public collection)
  17. Exhibited (where, when)
  18. References (in books, articles)
  19. Auction records (list auction house, auction number, lot number, date)
  20. Author’s collection.

Naming  the medal. Every medal has a name, as every other object in the art field does. Yet first-time catalogers have the tendency to use the medal’s title instead of its name. Today you can see examples of this even in published catalogs and current auction catalogs.

An example is Bob Julian’s monumental work on the Medals of the United States Mint, The First Century. I lost the argument with the author before publication, who insisted on the title for each medal, not the name. In the Military Medals section (MI-1 to MI-33) you find 30 medals with a military rank as the first word, General, Brigadier General, Colonel and such. Here is the difference for MI-10 as an example:

Title:   Major General Andrew Jackson

Name: Andrew Jackson Battle of Cowpens Medal

A stand-alone medal with a title doesn’t reveal much (and could be the title for dozens of other Andrew Jackson medals). While a medal with the name in full applies to only this one variety of Jackson medals.

It’s specific. It’s precise. It’s definitive.

Note the medal name eliminates any rank or title (otherwise in an alphabetical list we would have far too many president X medals, or king X medals). It also adds the subject of the medal, and includes “Medal” as the last word in the name.

That last word is like a person’s last name, a family name. In the medallic field we have a dozen or so “families:” medal, medalette, medallion, plaque, plaquette, and the less common ones: galvano, relief, decoration, badge, emblem, ingot, medallic object, multi-part medal, mixed-media medal, paperweight, plate, seal, token, key fob, watchfob. One of these is the last word (or words) in a medal name.

A name identifies precisely what the object is, as a name identifies a person. Say a list of household objects had one medal (say that Andrew Jackson medal). Listing it by its title would be meaningless. Including a medal by name could be listed with any other objects and be immediately identifiable.

It is even more important when the list is composed entirely of medals of one person. This is a challenge for catalogers of Washington, Lincoln or single person catalogs. An attempt should be made, however, to make each name unique if possible. But we recognize with hundreds or more similar specimens, this may be impossible.

Other name hints.  Spell out abbreviations. Spell out Street and Saint. This eliminates confusion. Don’t use nicknames. A medal is a formal document, destined to be around for 10,000 years. An exception was President Carter’s Inaugural Medal. He personally insisted it read “Jimmy Carter” not “James Earl Carter” as had been the custom of previous presidents.

Use minimal punctuation in medal names. (A firm with three or more names with a comma or two in the firm’s name is the only exception that comes to mind.)

Use city identifiers to identify certain types of medals (e.g., storecards) and certain themes or devices; use name of city – and sometimes state where clarity is necessary – in name of a medal to indicated such things as: expositions, monuments, public statues, conventions, buildings, churches, newspapers, Olympic Games (and sometimes bridges). The city of Springfield always needs the state name.

When both city and state are in a name don’t use a comma between the two. It’s a name not a mailing address.

Keep medal name as brief as possible. Keep the number of elements of a name to no more than three such elements if possible. As: the issuing organization, named after person, type of medal or award. (If there are four or more elements, pick the three most important if possible.)

Naming a medal has a proper sequence.  Most medals are easy to name by the person or event featured. Other medallic items have as many as four elements that were necessary to be incorporated in the name, as: the sponsoring organization, its parent organization, the name of the award and perhaps an individual portrayed or honored. Here is an extreme example:

The Edward F. Adolph award in physiology of the School of Medicine and Dentistry at the University of Rochester contains four elements (in 19 words).

Its proper name as a medal (reduced to 13 words):

University of Rochester School of Medicine and Dentistry Edward F. Adolph Physiology Medal

Note: the word “award” does not necessarily have to be included in the name. The medal is the award.

Determining the date of a medal. Most medals bear a date. Use that. There are instances where a medal was struck before that date, or, perhaps, restruck later. Still use the date on the medal. America’s first coin, the Pine Tree Shilling was dated 1652. John Hull struck these for years later and never changed the date.

An astute cataloger should known approximately when the medal at hand was struck. Perhaps he could estimate the quarter century it originated. If exact date is unknown then use “ca” (circa) following an estimated date (no space between). This implies the date should be 12 to 13 years plus or minus from this date as one of the 16 quarter centuries medals have been issued in America. That is a “best guess estimate. Use that. Later research may learn the actual date.

Describing a medal.  Start obverse first. Start in the center or with the most prominent device. Here is where a knowledge of numismatics and the ability to identify a multitude of objects is useful. Use accepted numismatic terms. Know the difference between legend and inscription, for example. (Legend is the lettering around the perimeter of the piece, inscription is all other lettering.)

Know the difference in directional indicators – top and bottom are obvious, right and left are the viewer’s right and left. Also know the difference between above and superimposed. The saint’s halo is above the head, the sacred heart is superimposed on the saint’s chest.

Identify all people and all objects shown on the medal. It is most important to recognize and give full name (and title if appropriate) of any person. Identify any attribute used by artists to aid quick identification of people, as the trident of Neptune.

If an animal is shown identify whether it is generic, or what kind or breed. If any object has a name it should be given in the description.

Proceed from the center outwards. Do not overlook any tiny letters, as these may be mint marks, hallmarks, or makers’ marks – mandatory data for any full description. This identification may require hitting the reference books. If you can’t learn the meaning, start asking experts, a museum curator is a good source to start with.

Follow the obverse with a similar process with the reverse, describing each design element, device, subsidiary device, symbol. Transcribe all lettering exactly as it appears on the medal. If it is in a foreign language, translate and record that (within parenthesis).

Follow the reverse with a description of the edge. Any lettering or symbols on the edge reveal much useful information. Record it all.

Be aware of the total medal; is it different from normal in any aspect?  Could it be a relic medal – made of some relic metal? Is it a box medal – does it open? Has it been plated after it left the mint or medal maker? How is it mounted or housed? If it is in a case, is there a name on the case? Be aware of every scrap of evidence.

This article is only a brief overview. There is much more to the chore of cataloging and describing medals. Learn to ask. And learn to search. The information you are seeking is out there. Your task is to find it.

As a further aid, I have previously written in June 2012 a set of rules and guidelines which may be helpful for you. Check out MEDAL CATALOGING for that list.

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Carl Carson Award

Carl Carson Award

In gratitude for receiving the Carl Carlson Award Medal (shown above) bestowed by the collectors organization Medal Collectors of America at the recent convention of the American Numismatic Association, I would like to offer this article to encourage others to prepare medal catalogs. It will be followed by another article, How To Catalog Medals.

NUMISMATISTS catalog medals for four purposes. Inventory. Collectors’ catalog. Appraisal. Sales catalog. I have prepared all four such catalogs in my medallic career spanning the last four decades.

I tried to calculate how many medals I have cataloged in the last forty years since I was hired by the president of Medallic Art Company to accomplish just that chore – catalog all the medals the firm had made since it produced its first medal in 1907. Since this was accomplished before I left the firm in January 1977, I know that exact number: 6,121.

Of course, medal production is an ongoing statistic. But the number the firm has created since that time is not a fixed number, as the firm passed through two new owners, and their dedication to accurate cataloging records were not always a high priority.

The figure had risen, however, to over ten thousand by the time I returned to the firm 33 years later.

Cataloging archive medals. President Bill Louth had some fixed ideas in mind for a company medal catalog. He made certain I would include these criteria as I planned a cataloging project:

First, the image of both sides of the medal had to be visible (to a human viewer). Second it had to contain useful data for use as a sales tool for future and repeat sales. Third, he wanted it indexed in some way of the pictorial devices shown on the medal. And fourth, he wanted to establish a company archive of one of every medal.

Since I would be cataloging images, each medal’s obverse and reverse, this would entail a photograph, a picture. One of my first consultations was to set an appointment with Ramona Javitz, the head of the print department of the New York Public Library.

By the time I met Ms Javitz, she was in her nineties. She had established this collection in the 1930s and had overseen it ever since. Her suggestions stressed the topics of the images, as that is how she filed the prints in her department.

[The  prints came from many sources, often pages from magazines or books. These were placed in folders with similar prints and these in large envelopes, arranged in trays on long tables – all arranged by topics. If you had a New York Public Library card, you could check out as many prints as you wished. The collection grew in time to over a million prints.]

This collection served artists very well. If fact sculptor Ralph Menconi, who at the height of his medal activity was creating one new medal a week, had his wife searching that NYPL picture collection for the images he required to design and model that many new medals he was commissioned to produce.

Photographic image.  Since my requirement for an image of every medal sounded like a photographic need, I contacted Eastman Kodak for my second consultation. The Eastman representative understood exactly what I needed after what I explained to him we were attempting to do.

His first suggestion was an “aperture card.” This was a photo negative mounted inside a computer card. He wanted to show me how this worked. Time-Life had six million photos on file. He took me to the Time-Life Building cross town and to their photo archives.

Good suggestions both. But not exactly want we needed. Remember this was before the widespread use of the computer. What we needed was a bit more manual, a lot more simple.

In the end we devised our own system. We photographed each side of the medal on 35mm film. From contact prints of these films we cut out uniform 33mm prints. We wrote up the data on a custom form, typed this on a 3 x 5 card and pasted the photo prints on the card.

We then photocopied the card for as many copies as needed to file.

This required a number of special purchases.

  • A wooden 3×5 library card file, with rods to hold cards in the drawer.
  • Special photocopy card stock, four up, with predrilled holes.
  • A photocopy machine.
  • A 35mm camera with a built-in circular mask mounted on a stand.
  • And a punch to cut out exact 33mm circles (noncircular prints were cut with scissors).

While highly labor intensive the process worked. An image of both sides of a medal appeared side-by-side on the card, plus all the data required the sales department needed.

To build the archives, after we took the picture of the medal, we punched a unique number on the edge and placed the medal in trays arranged chronologically.

That number became that medal’s catalog number. Previously the company had a different numbering system for each operation. Dieshells and galvanos had one numbering system. Dies had another. Medals in the storeroom had another. The paper files were unnumbered.

With one catalog number, all numbering systems were replaced by that number. The new number was painted in white paint on the side of all the dies. (I don’t remember how the dieshells were renumbered.) All files were rubber stamped and that catalog number written on the outside of each folder.

In the end every medal had a unique number and any related material to that medal had the same number. It led to greater efficiency. The process continued with only one change. Third owner had that entire card file entered in a database on the computer, still in use at present.

This was an example of inventory cataloging. For this project I utilized the best numismatic principles I could. I had to learn the difference between a medal and a medallion. (European numismatics place the dividing line at 80mm – 3 1/8-inch diameter.) I had to learn how to name a medal. (I will explain that in my next article.)

Most important, I had to learn topics – the headings or categories of medal images. This served a dual purpose: within the company for the sales department, outside the firm, this is how collectors collect medals.

Collectors catalog requires most data.  While an inventory catalog requires selective data for how it will be used, a collectors catalog is the opposite. It requires a maximum amount of data, history of the piece, full description, list of all varieties, citations to numismatic literature (and other catalogs), value in a number of conditions, any related data or scrap of information.

In effect a collectors catalog is a list of every possible medal within the scope of the work. It becomes a “shopping list” for the collector. He will attempt to obtain every one of the pieces listed to complete his collection. (Often he will find specimens unlisted in the catalog, part of the charm, the challenge of collecting!)

Most collectors catalogs are by topics – music medals, architecture medals, world’s fair medals, scouting medals, Masonic medals or such. Or by those medals all of one person, Washington, Lincoln, Kennedy, Columbus. Or types of medals, political campaign medals, so-called dollars, Mardi Gras medals or such. Or geographical.

Also more catalogs are now being produced of all the work of one artist. My experience in this field is with Victor David Brenner, Abram Belskie, Joseph DiLorenzo, and for my Databank of American Artists, the medallic work of over 3,900 artists.

What is interesting to note of perhaps 350 possible topics in which catalogs could be compiled, less than five percent of these subjects have such a published catalog. Collectors catalogs offer an excellent opportunity for the dedicated collector! Best of all, your last name will be tied to the catalog numbers in all future references and listings to these medals. That’s a little bit of numismatic fame!

Appraisal cataloging.  Here we deal with the value of a single, individual specimen. The cataloging must recognize and detail the specific variety of the piece at hand and guarantee its genuineness. Further research must be conducted in auction sales, advertisements, and if it is a rare piece, an attempt to learn of the previous owners, its provenance.

Appraisals are required for insurance purpose, for donations, for division of family assets, or for an owner’s curiosity. Often these become an official document which must be filed with the IRS. Their greatest concern is a current valuation – a fixed dollar amount – at the time of the appraisal

Sales catalogs. Perhaps, the greatest amount of numismatic cataloging is done in the preparation of auction catalogs. True in my case. Here a catalog description must help sell the medal. Somewhat less detail can be given, but the variety and its condition must be identified.

A century ago the name of the medal and its composition was about all a auctioneer felt was necessary. Today, the-more-you-tell, the-more-you-sell principle is in force. So for rare or expensive medals a potential bidder today may find a lengthy description. In contrast, well documented series can be auctioned by their published catalog number and condition.

My estimate.  All told, cataloging 35 of my own auction sales, the medals in Medallic Art’s early archives, appraisals, and artists lists (not in the Databank). I estimated I have cataloged between forty to fifty thousand medals. It is useful information in a useful format. That’s why!

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ONE hundred fifty years ago a catalog listing in an art auction might read “one medal.” Not today. Auction buyers want as much information about a medal up for sale as possible.

Buyers want to know size, composition, who made it, and much about its design and subject matter. Why was it issued? Has it been cataloged in numismatic literature and does it have a catalog number (for easy reference to even more information).

Also they want to know the condition of the piece at hand. While all the previous data applies to all specimens of this variety, condition  applies significantly to the one piece under consideration. If the medal is of precious metal – silver or gold – it is important to know the exact weight as well.

Finally, information about the artist who created the piece – the engraver, sculptor or medallist whose creativity became this work of art in metal. To make all this more meaningful, a photograph is of benefit, adding appeal to the prospective buyer.

This did not come about all at once. But we have one person to thank for the fuller descriptions of numismatic items up for auction. Following World War II a returning veteran who had served in military intelligence, sought a job with a coin firm in New York City. John Jay Ford Junior, worked first for Stacks, then switched to New Netherlands Coin Company joining in partnership with Charles Wormer.

John Ford began writing long descriptions of the coins the firm was offering at auction. His motto was “The more you tell, the more you sell.”

It proved correct. His auction catalogs became models for other numismatic auction firms to emulate. This certainly holds true for medals, even more so because medals are more pictorial and symbolic.

Name That Medal!  The first step to describe a medal is to name it. Medals are like people, they have names, but more importantly they all have a last name, named for the type of medallic item it is. The most common are: medal, medalet, medallion, plaque, plaquette.

Too often numismatists use a title for a medal – not its name. An example is the Julian catalog of U.S. Mint medals. They are all listed by their title, like all the generals who were awarded Congressional medals, are listed by the name of the general, not the name of the medal. [I lost that argument with author Robert Julian in 1976 prior to the publication of the book a year later.]

Next is to determine the date. If it is on the medal, fine. If not hit the literature to see if it has been cataloged and the date is given. If not, does the content of the medal give a clue? All exposition medals are the year the expo was held. You must be resourceful, but if all attempts to date the medal fail, it must be designated n.d. – no date.

Describe one element at a time.  Start in the center of the obverse. Describe the main device first. If several elements are present start at the top and work down. The chart following gives tips for any chore of describing medals.

Rules & Guidelines For Describing Medals

1 Medal Name
1.1 Last Word. All medallic items have a last name. It is the type of item it is. Obviously these include medal, medalet, medallion, plaque, plaquette, and the less common ones: galvano, relief, decoration, badge, emblem, ingot, medallic object, paperweight, plate, seal, token, key fob, watchfob. One of these is the last word in a medal name.
1.2 Put last name first of the name of a person that is also the name of the medal; all other elements of that personal name within parenthesis. A second person’s name in the name of the medal can be given in normal sequence. This rule grew out of a need to alphabetize thousands of names quickly and accurately.
1.3 Capitalize the first letter in each word in the medal name (articles are exceptions).
1.4 Put the name in bold face type in a listing (not necessary the second time it is used or in normal text).
1.5 No abbreviations in the name of medals. Spell out Saint, Street and all abbreviations. This eliminates confusion.
1.6 No personal titles in medal names (no admiral, no doctor, no mister, no reverend, no military rank – exception made for Cardinal, however, use full formal names). (Otherwise we have too many President X or King X medals in alphabetical lists).
1.7 No nicknames in personal names; use full formal names. (Exception: Jimmy Carter who insisted on the use of “Jimmy” on his Inaugural medal [like he wore brown shoes to a black tie function! Names and medal inscriptions are formal, all in capital letters].
1.8 Identify pseudonyms and stage names within parenthesis. If Mark Twain is the name of medal, put Samuel Clemens within parenthesis.
1.9 Use minimal punctuation in names. (A firm with three or more names with a comma or two in the firm’s name is the only exception that comes to mind.)
1.10 City identifiers are used to identify certain types of medals (e.g., storecards) and certain themes or devices; use name of city – and sometimes state where clarity is necessary in the name of medal to indicated such things as: expositions, monuments, public statues, conventions, buildings, churches, newspapers, Olympic Games (and sometimes bridges). The city of Springfield always needs the state name.
1.11 No comma between city and state in medal name (this is a name, not a mailing address).
1.12 Names of things — ships, plays, songs, airplanes, statues, works of art and such — which are italicized in normal text are not italicized in medal names. They can be italicized in the description.
1.13 Omit the word “Award” in a medal name. Such award medals are identified in descriptions by giving data within parenthesis. It is the Pulitzer Medal not the Pulitzer Award Medal.
1.14 Omit the word “Official” in a medal name. A description should be sufficient to identify the medal from any non-official medal.
1.15 Keep medal name as brief as possible. Keep the number of elements of a name to no more than three such elements if possible. As: issuing organization, named after person’s name, type of medal or award. (If there are four or more elements, pick the three most important.)
1.16 Proper sequence in naming a medal.Most medals are easy to name by the person or event featured. Other medallic items have as many as four elements that were necessary to be incorporated in the name, as: the sponsoring organization, its parent organization, the name of the award and perhaps an individual portrayed or honored. Here is an example:

The Edward F. Adolph award in physiology of the School of Medicine and Dentistry at the University of Rochester contains four elements (in 19 words). Its proper name as a medal (reduced to 13 words):

University of Rochester School of Medicine and Dentistry Edward F. Adolph Physiology Medal

Note: the word “award” does not necessarily have to be included in the name. The medal is the award.
2 Date of Items
2.1 The date may appear before the name or after. Before is preferred in a chronological list; after is preferred in a topical or by other format.
2.2 If exact date is unknown use “ca” (circa) following an estimated date (no space between). This implies the date should be 12 to 13 years plus or minus from this date as one of the 16 quarter centuries medals have been issued in America.
2.3 But even if an estimate cannot be made, use “n.d.” (for no date).
2.4 For items bearing a date but struck later give date on item first then (struck xxxx) within parenthesis after the date and before the name.
3 Describe the Items
3.1 Describe obverse first, then the reverse, and finally the edge.
3.2 Start in the center, describe the main device, if there are several devices start at the top and work down.
3.3 Use accepted numismatic terms in all descriptions. Know the difference between legend and inscription. Legend is the lettering around the perimeter of the piece, inscription is all other lettering.
3.4 Know the difference in directional indicators — top and bottom are obvious, right and left are the viewer’s right and left. Also know the difference between above and superimposed. The saint’s halo is above the head, the sacred heart in superimposed on the saint’s chest.
3.5 Describe any subsidiary devices. Mention any logo or trademark or any other symbols or symbolism shown.
3.6 Identify all people shown; most important to recognize and give full name (and title if appropriate). Identify any attribute used by artists to aid quick identification of people as the trident of Neptune.
3.7 Identify everything shown on the medal if possible. For example, if an animal is shown identify generic, or what kind or breed. If any object has a name it should be given in the description.
3.8 Know the difference between panel and cartouche; A panel is any compartment or section of a medal design, usually separated by a frame; a cartouche is an open panel where lettering may be inserted before or after the medal is struck.
3.9 Do not confuse edge, border and rim. Edge is the thickness of the piece; border includes all the elements near the perimeter of the piece; rim is the outermost element of the border, usually flat.
3.10 For large medals identify elements of the border; these have special names and some reference to literature may be necessary
3.11 Do not overlook any tiny letters, as these may be mint marks, hallmarks, or makers’ marks — mandatory data for any full description.
3.12 Describe the reverse in a similar manner as the obverse, identifying as many elements of deign as possible.
3.13 Following the reverse, describe the edge; it is important to include all the lettering — figures, letters and symbols found on the edge. This is useful data for the savvy numismatist.
3.14 Note Orientation; this is the relationship of obverse to reverse, medals are customarily top-to-top, called medal turn, in contrast to coin turn of top-to-bottom for coins.
3.15 Search the literature; be sure to include any catalog number where this medal variety has been the subject of a previous description or history.
3.16 Be aware of the total medal; is it different from normal in some way? Is it a relic medal — made of some relic metal? Is it a box medal — does it open? Has it been plated after it left the mint or medal maker? Be aware.
Good luck describing your medal!

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Last week I bid on and won a lot in the auction of the Dr. Sidney Reingold collection of reliefs, sculptures and paintings. Among the seven pieces in the lot I captured were two very rare galvano plaques. The two were correctly attributed to sculptor Jules Roiné but obviously the terse description did not reveal their full history.

The 16-inch tall plaques are matching portraits of Henry Hudson and Robert Fulton. They were issued – no surprise here – for the Hudson-Fulton Celebration in New York City. This 1909 event was the inspiration for year-long celebrations on the river named for the English explorer, who traversed these waters three hundred years previous, and the steamboat inventor who tested his inventions on these same waters one hundred years previous.

It was also cause for numerous medals and plaques to be issued that year, including the first issue in the medal series, Circle of Friends of the Medallion, by John Flanagan. Chester Beach, Emil Fuchs, among other American medalists, also seized the opportunity to create Hudson-Fulton medals, plaques and badges for this occasion.

The catalog description did mention Medallic Art Company for both pieces, but this is not strictly the case. They were created by Roiné and Weil Company the year before Medallic Art was formed. But Jules Roiné, Henri Weil and Felix Weil, were all closely associated, and their work intertwined, as I will relate in this report.

Jules Edouard Roiné was born in Nantes, France, 1857, and came to America in 1881. He plied his trade as a sculptor as an active member of the New York City circle of sculptors where he met countrymen and brothers Henri and Felix Weil. The trio formed a lasting friendship and bonded with common heritage and professional interests.

Roiné exhibited 28 items at the American Numismatic Society’s Exhibition of Contemporary Medallic Art in 1910, nineteen of which were galvano casts. The others were only a portion of the fifteen known struck medals he had created prior to this time. What is evident from this list is that he was proficient in preparing sculptor’s models which were appropriate for either a struck medal or a bas-relief plaque.

Roiné’s plaques were all electrogalvanic casts (except for a Lincoln portrait which was foundry cast by Gorham in Providence Rhode Island.). He was creating these galvano casts as art objects as early as 1894. This was an ideal method of reproducing sculptors’ small bas-relief models (it was only the size of the tank that limited the size of the object to be replicated).

An electrogalvanic tank was required, plus copper anodes, and a source of low voltage, direct current. The tank had to contain a solution with a high content of copper ions. (It also required a cyanide chemical in the solution to aid the deposition, so the operator had to know what he was doing working with the highly toxic chemical.)

Roiné obviously had knowledge of electroforming, the technology of making galvano casts. Whether he had his own tanks and performed this task himself, we do not know. Whether he taught this to his friends Henri and Felix Weil, we also do not know. It makes sense, however, since the Weil brothers were sculptors’ assistants. They performed any and all chores required of them by the sculptors they worked for.

Felix, younger of the Weil brothers, had just come off a job working for the firm that created and installed all the decorative trim in the public rooms of the Waldorf-Astoria Hotel. Felix was looking for his next assignment. This was about 1908.

Since 1902 Henri had been working for the Deitsch Brothers, a firm of ladies finer accessories specializing in handbags. Their handbags were trimmed with silver findings and Henri had been hired to make these. He cast these at first but learned of the Janvier reducing machine in Paris on a trip there and influenced his employers to obtain one of these machines. It arrived in Summer 1902.

Perhaps Felix wanted something a bit more permanent, instead of relying on work from New York sculptors. But sculpture work was what he knew best. Joining with Jules Roiné as a partner in a sculpture workshop seemed to meet both their requirements. Roiné had more commissions than he could handle himself making Felix an ideal partner.

Lincoln Centennial Medal

Lincoln Centennial Medal

They formed Roiné, Weil and Company in 1908. Their output for the following year was enormous. Not only was it the New York City celebration for Hudson-Fulton, it was also the centennial of the birth of Abraham Lincoln. The pair kept busy providing models and patterns for both these medallic functions to medal manufacturers, including Henri as Medallic Art Company, Whitehead & Hoag in Newark, in addition to Gorham.

Irrespective of whoever received the commission, Henri at Medallic Art or the partners at Roine and Weil, it was Roiné who prepared the model, Felix made the galvano cast. This was taken to Henri, two blocks away to his workshop, where Henri cut the dies. Henri subcontracted striking the medals to one of the metalworking shops nearby and “colored” the struck medals afterwards. He would give them a lacquer coating after applying a French finish highlighting their detail.

This arrangement among the three Frenchmen worked well through the years following the halcyon days during the dual anniversary year of 1909.

While Henri struggled at first to make a success of the infant Medallic Art Company, Roiné and Weil prospered. Without Roiné’s knowledge, the brothers, Henri and Felix, pooled their earnings no matter who made what where. They split their earnings. In effect, Roiné and Weil was supporting Medallic Art Company in the early years of the 1910 decade.

It could be said without question: Without a Julius Edouard Roiné there may not have been a Medallic Art Company had it gone under during those early lean years.

Henri repeatedly asked Felix to join him at Medallic Art to help make the infant firm viable. But Felix was happy in his association with Roiné. This continued until the year 1915 when disaster occurred. Roiné contracted Bright’s disease (kidney failure). His illness precluded him from working further at the level as before.

Roiné wanted to return to France. He bid farewell to their workshop and Felix put his partner and his family on a steamship bound for France. Roiné died the following year, April 11, 1916.

Felix tried to keep the sculpture workshop going on his own, but ultimately succumbed to Henri’s pleas to come join with him at Medallic Art. He did so in 1916.

But Jules Edouard Roiné was as important to the early development of Medallic Art Company as were Henri and Felix Weil. Despite the fact he was not an employee, nor involved other than furnishing the necessary models for Henri to cut the dies. For this reason I have appended the full entry of Roiné from my Databank of American Artists.

ROINÉ, Jules Édouard (1857-1916) French-American medalist.

Correct form: Jules Édouard Roiné.
Born Nantes, France, 24 October 1857. Came to America 1881.

Exhibited frame of medals at the National Academy of Design New York winter show (1908) item 369. Partner with Felix Weil in sculpture firm, Roiné, Weil Company, New York City, 1909-1915; they specialized in bas-reliefs and galvano creations, but also prepared models and designed medallic items as well. Made models for Felix’s brother Henri (at Deitsch Bros) and also for Whitehead & Hoag. Roiné dissolved partnership with Weil after he becoming ill with Bright’s disease (kidney failure); he returned to France 1915.

Died France, 11 April 1916.
Fellow: National Sculpture Society.

1894 Delpech (Marguerite) Galvano Plaque Collection:ANS (IECM) 21
1895 Roiné (Perine) Galvano Medallion (mother of the artist) ANS (IECM) 24
1897 Madonna Galvano Medal ANS (IECM) 20
1897 Natalis Dies Galvano Medal ANS (IECM) 22
1898 Geneviève (Saint) Galvano Plaque ANS (IECM) 25
1900 Baptème Galvano Plaquette ANS (IECM) 5
1900 Fiançailles Galvano Medal ANS (IECM) 12
1900 La Siècle Nouveau Galvano Plaque ANS (IECM) 17
1902 Delpech (Paul et Jean) Galvano Plaque ANS (IECM) 23
1906 Runkle (Bertha) Galvano Medal ANS (IECM) 2
1907 Benedicité Galvano Plaquette ANS (IECM) 6
1907 Chinaman Galvano Medal ANS (IECM) 3
1907 Holt (George Chandler) Galvano Medal ANS (IECM) 5
1908 Divin (Amour) Galvano Medallion ANS (IECM) 3
1908 Lesisohn (Alice) Galvano Medal ANS (IECM) 1
1908 Khayat (Khalil) Galvano Medal ANS (IECM) 6
1908 Sanderson (Mrs Cobden) Galvano Medal ANS (IECM) 10
1908 Sickles (Elizabeth) Galvano Medal ANS (IECM) 4
1909 Fulton (Robert) Galvano Plaque
1909 Auctions: PCA 47:411
Collection: American Numismatic Society 0000.999.44122
1909 Hudson (Henry) Galvano Plaque
Auctions: PCA 47:411
Collection: American Numismatic Society 0000.999.44124
1909 Lincoln (Abraham) Centennial Galvano
Auctions: PCA 57:281, PCA 63:290
1910 Lincoln (Abraham) Circular Plaque (cast by Gorham Company)
Auctions: J&J 27:960; PCA 43:319
1911 Sullivan (Algernon Sydney) Plaque (isued by American Numismatic Society and New York State Bar Association) [dates/issue:1911-1931] ANS (IECM) 2, Baxter 298
Auctions: PCA 43:421, PCA 53:398, PCA 68:609
1909 Hudson-Fulton Celebration Souvenir Badge (by Roiné and Weil; struck by Whitehead & Hoag) Baxter 102
Auctions: PCA 47:1908
Circle of Friends of the Medallion Series:
1911 Circle of Friends Lafayette Medal CoF 5, Baxter 303, Fuld LA 1911.1
Auctions: J&J 22:811; CAL 32:1587; NAS 72:1134; PCA 46:1276, PCA 65:492, PCA 68:610, PCA 74:67
Collection: American Numismatic Soc [>1]. 1909.999.135
Collection: Cornell Univ Johnson Art Gallery. 335
Collection: Maryland State Archives. MSC SC 4680-1-272
Collection: Newark Museum, New Jersey [>1]. 26.2491
Collection: Smithsonian National Numismatic. 667:31
Illustrated: M19 {1963} Chamberlain, fig 52
1887 Sullivan (Algernon Sydney) Plaquette (isued by American Numismatic Society and New York State Bar Association) [dates/issue:1887-1908] (struck by United States Mint (after 1911 struck by Medallic Art Co, see below) ANS (IECM) 2, Baxter 298
Collection: American Numismatic Soc [>1] . 0000.999.4310
Collection: Smithsonian National Numismatic 393:387
1897 Honneur de la Patrie Plaquette ANS (IECM) 15
1898 Ligue des Droits de l’Homme Medal. ANS (IECM) 18
1899 Jour de Naissance Medal. ANS (IECM) 16, Baxter 295
1900 Aux Armes Citoyens (La Marseillaise) Medal ANS (IECM) 4
1900 Floréal Plaquette ANS (IECM) 13
1900 Paris Exposition Universelle Plaquette Baxter 98, ANS (IECM) 9, 10, 31
1900 Souvenir of Marriage Medal ANS (IECM) 26
1900 (ca) New York City Department of Street Cleaning George E. Waring Medal Storer 3719
1903 Venice International Art Exposition Medal ANS (IECM) 27
1905 Rousseau (Louis F.) Plaque ANS (IECM) 19
1907 American Laryngological-Rhinological and Otological Society Gustav Killian Medal (modeled by Roiné; struck both with diamond-D hallmark of Deitsch Bros, and without by Medallic Art Co) Deitsch 07-C, MAco 07-5, Baxter 297, Storer 6807
Collection: American Numismatic Soc [>1] 1940.100.2134
1908 Archdiocese of New York Centennial Medal (withdiamond-D hallmark of Dietsch Bros) MAco 08-2, ANS (IECM) 7, 8, Johnson 17, Belden 52, Baxter 299, ANS 3497
Auctions: CAL 31:309, CAL 35:839; J&J 10:994, J&J 19:837, J&J 20:216, J&J 23:613, J&J 26:578, J&J 27:732; NAS 72:494; PCA 43:417, PCA 46:247, PCA 47:374, PCA 50:391, PCA 54:1837, PCA 56:399, PCA 60:1579, PCA 67:336, PCA 67:889, PCA 68:604, PCA 68:1538-1539, PCA 74:665-666
Collection: Smithsonian National Numismatic 665:10
1908 American Numismatic Society Grover Cleveland Memorial Plaquette Johnson 19, MAco 08-1, ANS (IECM) 14, Belden 54, Baxter 302, ANS 3498-3499
Auctions: J&J 12:518, J&J 20:44, J&J 24:450, J&J 27:735; PCA 46:252, PCA 50:396, PCA 51:355, PCA 54:350, PCA 55:1639, PCA 56:401, PCA 58:1581, PCA 60:392, PCA 80:413, PCA 81:519
Collection: American Numismatic Soc [>1] 0000.999.4385
Collection: Cornell Univ Johnson Art Gallery [>1] 336
Collection: Newark Museum 38.641
1908 Saint Patricks Cathedral Plaquette
Collection: American Numismatic Society 1992.87.1
Hudson-Fulton Celebration:
1909 Fulton (Robert) Dollar HK 375, HK 376, HK 377, HK 378, Baxter 105, Smith 57, DeLorey 76
Auctions: NAS 72:525; PCA 46:134, PCA 48:203-205, PCA 48:259, PCA 63:231, PCA 70:485-487
Collection: American Numismatic Soc [>1] 0000.999.47584
1909 Fulton (Robert) Clermont Medalet J&J 21:389
1909 Hudson (Hendrik) Daalder (designed by Frank Higgins, modeled by Roiné; issued by Thomas Elder) HK 368, HK 369, HK 370, Rulau N22, Baxter 104, DeLorey 74
Auctions: CAL 29:601, CAL 35:636; J&J 9:1183-1187, J&J 16:1429; NAS 65:2215, NAS 72:525; PCA 44:199, PCA 44:1396, PCA 45:162, PCA 45:1158, PCA 48:966-967, PCA 48:255, PCA 49:254, PCA 49:803-804, PCA 50:895, PCA 52:941, PCA 52:117, PCA 53:1091, PCA 54:1450-1451, PCA 55:63, PCA 56:152, PCA 58:201-202, PCA 58:1069, PCA 58:1073, PCA 59:18, PCA 59:213-214, PCA 60:119, PCA 60:965, PCA 61:727-729, PCA 63:228, PCA 64:1485, PCA 65:978, PCA 65:266, PCA 68:112, PCA 72:339, PCA 70:481-482, PCA 81:111
Collection: American Numismatic Soc [>1] 0000.999.47545
1909 Hudson (Hendrik) Gold Daaler (reduced from same Roiné model as the larger daaler, this is gold dollar size) DeLorey 75, HK 371, HK 372, HK 373, HK 374
Auctions: J&J 9:1188-1191; PCA 46:133, PCA 48:201-202, PCA 48:968, PCA 56:153, PCA 70:483-484, PCA 80:101
Collection: American Numismatic Soc [>1] 0000.999.47536
1909 Hudson Fulton Plaquette (signed Roiné & Weil, struck by Whitehead & Hoag) MH 705, Baxter 102
Auctions: CAL 28:244, CAL 30:2038, CAL 35:568; PCA 48:1535
Collection: American Numismatic Soc [>1] 0000.999.44070
1909 Brooklyn Daily Eagle Hudson Fulton Medal (signed Roiné & Weil, struck by Whitehead & Hoag)
Auctions: CAL 28:244
Lincoln Centennial Medals:
1909 Lincoln (Abraham) By His High Command Medal. King 294
Auctions: PCA 47:1665
1909 Grand Army of the Republic Abraham Lincoln Centennial Medal (modeled by Roiné; struck by Davisons, copyright under bust, near edge) King 299
Collection: Smithsonian National Numismatic. 382:302
1909 Grand Army of the Republic Abraham Lincoln Centennial Medal (modeled by Roiné; without artist’s J.E.R. initials, struck by Davisons) King 300
Auctions: CAL 30:533; J&J 18:525; PCA 47:1439, PCA 48:1224
Illustrated: N41{2009} Reed. Lincoln, The Image, p 178
1909 Grand Army of the Republic Abraham Lincoln Centennial Medal (modeled by Roiné; no initials, and truncation of bust is at rim) King 301, 302
Auctions: CAL 28:559, CAL 29:846, CAL 30:534, CAL 30:2082, CAL 33:1648, CAL 35:939; J&J 17:799, J&J 20:235, J&J 23:666, J&J 25:377, J&J 26:634,J&J 27:958; PCA 47:1440, PCA 47:1666, PCA 64:1778, PCA 65:1413, PCA 66:1059, PCA 67:698, PCA 70:1140, PCA 72:1394
1909 Grand Army of the Republic Abraham Lincoln Centennial Medal (modeled by Roiné; King variety 301, but struck from canceled dies by Medallic Art Co) King 310, Baxter 301
Auctions: PCA 66:1059
1909 Grand Army of the Republic Abraham Lincoln Centennial Medal (modeled by Roiné; hung from a pinback header with lettering: Representative, Salt Lake City; made by Davison, Philadelphia) King 321
Auctions: PCA 53:1313, PCA 80:1213
1909 Lincoln (Abraham) Centennial Medal (originally struck by Whitehead & Hoag; issued by American Numismatic Society; later struck by Medallic Art Co) Johnson 21, King: 294, 302, Baxter 300
Auctions: PCA 50:392, PCA 51:155
Collection: Cornell Univ Johnson Art Gallery 333
1909 Lincoln (Abraham) Centennial Medal (struck by Medallic Art Co; issued by American Numismatic Soc) . Johnson 21, King: 294, 302, Baxter 300
Auctions: BMP 2:5725-5726; CAL 30:533; J&J 12:575, J&J 18:525, J&J 23:664; PCA 65:1412, PCA 66:224, PCA 67:339
1909 American Numismatic Society Lincoln Plaquette (by Jules Edouard Roiné; struck by Whitehead & Hoag) Baxter 300, King 302, Johnson 21
Auctions: J&J 16:1904; PCA 46:249, PCA 47:375, PCA 50:392, PCA 59:512, PCA 63:419, PCA 64:213, PCA 65:331, PCA 68:180
Collection: Cornell Univ Johnson Art Gallery 333
Illustrated: N41{2009} Reed. Lincoln, The Image p 179
1909 Lincoln (Abraham) Centennial Medal King 303
Auctions: J&J 25:378
1909 Lincoln (Abraham) Centennial Medal King 305
Auctions: J&J 20:236, J&J 22:994
1909 Lincoln (Abraham) Centennial Medal King 307, MAco 09-5
Auctions: CAL 534:535; J&J 20:237, J&J 23:667, J&J 24:641
1909 Lincoln (Abraham) Centennial Medal (mouned in diecut page in book, The Lincoln Centennial Medal, copyright by Robert Hewitt, published by G.P. Putnam Sons; medal by Roiné; struck by Medallic Art Company) King 309, MAco 09-5
Auctions: CAL 28:560, CAL 29:847, CAL 33:1650, CAL 35:941; J&J 9:736, J&J 14:684, J&J 19:1052; PCA 59:322, PCA 65:1414, PCA 81:302
Illustrated: N41{2009} Reed. Lincoln, The Image, p 172
1909 Lincoln (Abraham) Centennial Plaquette (issued by American Numismatic Soc) Johnson 21, MAco 39-25, Storer 3505-3506
1909 Lincoln (Abraham) Centenary Tribute Medal (modeled by Roiné; with rev quote by HSK – Horatio Sheafe Krans – struck and copyrighted by Medallic Art; bound in book, The Lincoln Tribute Book with A Centenary Medal by Roiné) King 332
Auctions: BMP 2:5705; CAL 28:561, CAL 33:1651; J&J 10:1769; PCA 81:303
Collection: Cornell Univ Johnson Art Gallery 332
Illustrated: N41{2009} Reed. Lincoln, The Image, p 179
1909 Lincoln (Abraham) Centenary Tribute Medal (loose medal, not bound in book) King 332
Auctions: CAL 35:942
1909 Lincoln (Abraham) Centennial Medal [with cancelled die rev inscription] King 347
Auctions: PCA 65:1425
1909 Medals and Statues Reduced and Enlarged Medal (prepared for Dietsch Brothers, NYC, with name Medallic Art Co, illustrated on firm’s stationery and in advertisement run in Monument News, November 1909 to July 1910)
1910 Lincoln (Abraham) Token (designed by Thomas Elder, modeled by Roiné; struck by Henri Weil for Deitsch Brothers, New York) DeLorey 47, King 242
Auctions: PCA 55:65, PCA 56:159, PCA 57:277,PCA 59:19, PCA 70:496
Collection: American Numismatic Soc [>1] .0000.999.48081
llustrated: I N41{2009} Reed. Lincoln, The Image, p 184
1910 Pennsylvania Monument at Gettysburg Unveiling Medal (portrait George R. Meade)
Collection: Smithsonian National Numismatic 665:9
1911 Sullivan (Algernon Sydney) Plaquette MAco 11-4, ANS (IECM) 2, Baxter 298
Auctions:. CAL 33:1611; PCA 43:420, PCA 56:403, PCA 59:506-507, PCA 64:698, PCA 69:366
Collection: American Numismatic Society .0000.999.40648
Collection: Cornell Univ Johnson Art Gallery 334
1913 New York City Street Cleaning Waring Medal
Auctions: PCA 69:1600
1914 Society of Beaux-Arts Architects Medal (dates/issue: 1914-1933) Baxter 304, Maier 233, MAco 1914-011
Auctions: CAL 31:310; PCA 44:349, PCA 49:1150, PCA 51:1083, PCA 55:297, PCA 65:1830, PCA 66:1295
Collection: American Numismatic Soc [>1] 0000.999.43440
Collection: Cornell Univ Johnson Art Gallery 338
1917 To Arms Medal (obv by Roiné, rev by Adolpher Rivet, struck in Paris, probably by Artrus Bertrand, Roiné returned to France from America and created only oneside before his death 11 April 1916)
Auctions: J&J 13:551; PCA 44:1266
1910 Medals and Statues Reduced and Enlarged Medal (with Joseph K. Davison’s Sons name replacing Medallic Art Company name after purchase of Dietsch medal business) Baxter 296, King: 908, King 929
Auctions: J&J 21:392; PCA 74:2187
Illustrated: M40 The Numismatist (October 1984) . p 2073
1927 Lincoln Elder Token Replica DeLorey 48, King 1043
Auctions: PCA 53:1314, PCA 55:66, PCA 57:1306-1308, PCA 59:30, PCA 65:324, PCA 70:497
1928 Medallic Art Company 25th Anniversary Medal (modified from Roiné’s 1909 models for: Medals and Statues Reduced and Enlarged Medal (prepared for Dietsch Brothers, NYC, with name Medallic Art Co on obv, illustratedin advertisement run in Monument News, November 1909 to July 1910); 1928 date added MAco 28-36
1939 Lincoln Elder Token Replica 5DeLorey 49, HK 493
Auctions: PCA 55:64, PCA 56:158, PCA 57:150, PCA 59:41, PCA 59:224, PCA 64:541, PCA 67:219, PCA 68:113, PCA 70:494-49
1958 Lafayette Fellowship Foundation Plaquette MAco 58-72
1962 Sullivan (Algernon Sidney) Foundation Medallion (obv by Roiné, lettering & rev by Ramon Gordils) MAco 62-95
Auctions: J&J 11:624, J&J 18:203
C4 {1912} Comparette 302, 303, p 382; 387 393; 9, 10 665; 31 667.
C14 {1996} Marqusee 332-338, p 65-66, (biography) 95.
E3 {1902-39} Forrer 5:195-196, 8: 169-170
NE1 {1910} ANS 3497, 3498-3499 p 251, 3505-3506 252.
NE2 {1911} ANS (IECM) 1-27, p 263-266 (biography).
S1 {1924} King 294, p 42; 299-302 43; 305-310 44-45; 329-332 48; 333 49; 908 120; 929 125-126; 941 129.
M13 {1928} Newark Museum. Medals Made in Newark, p 5.
Mx {1928} [Trees (Clyde Curlee)] Medallic Art in Commerce, Civics, Philanthropy, Letters and Science. New York: Medallic Art Company (1927) 39 pages.
M14 {1931} Storer (medical) 3719, p 503.
P2 {1943} Saxton (Burton H.) Two Famous Americans: Augustus Saint- Gaudens and \ J. Edouard Roiné. The Numismatist 56:1 (January 1943) p 94-96.
R6 {1950ca}Weil. Unpublished manuscript. (Roiné’s two Lincoln models reducedby Henri Weil; Felix Weil in partnership with Roiné who returns to his nativeFrance because of illness.)
N10 {1958} Adelson, p 149, 181, 183.
M19 {1962) Chamberlain (Georgia Stamm) Circle of Friends of the Medallion 1909-1915, Numismatic Scrapbook Magazine 28:2 (February 1962) pp 303-307; an28:3 (March 1962) pp 667-668. Reprinted in: American Medals and Medalists(1963) pp 127-131; figures 51-54.
101 {1963} Brown (Milton) The Story of the Armory Show. NY: Abbeville Press and Joseph Hirshhorn (1963) 349 pages. 2nd edition (1988).
M20 {1963} Hibler and Kappen 368–378, p 53-54.
S34 {1972} Johnson (Medals of ANS) 17, 19, 21.
M36 {1976} Johnson CoF 5 (Circle of Friends).
S43 {1980} DeLorey 47, 48, p 1350; 49 1351.
E17 {1983} Pessolano-Filos, p 100-101.
M40 {1984} Stahl (Alan) The American Industrial Medal. The Numismatist 97:10 (Oct 1984) p 2066-2073.
BF1 {1985} Falk, p 524.
D33 {1986} Opitz, p 786.
M42 {1987} Baxter 295-304, p 72; (296 illus p 3).
AE1 {1988} Falk 2:412.
MA1 {1988} Stahl (Alan M., editor) The Medal in America. ∙ Joseph Veach Noble”The Society of Medalists” & Circle of Friends of Medallion, pp 223-247.
S52 {1989} Rulau, Discovering America N22, p 269.
AE5 {1990} National Academy of Design, p 444.
BF2 {1999} Falk. Who Was Who in American Art, p 3:2812.
N35 {1999} Schneider, Collecting Lincoln, p 103.
D3a {2006} Benezit. Dictionary of Artists, p 11:1279.
N40 {2009} Kleeberg and Alexander, An Island of Civility; the Centennial History ofThe New York Numismatic Club 1908/09-2008/09. New York: The Club, p 369 (member 1909-12).
N41 {2009} Reed (Fred). Abraham Lincoln, The Image of His Greatness, p 172, 176-179.
M64 {2010} Maier (Nicolas) French Medallic Art, 1870-1940, p 275; 233 p 275, 401 (biblio); passim.

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