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Posts Tagged ‘Jules Edouard Roiné’

What great contribution has Medallic Art Company made to the world of Art? For eight decades the firm served American sculptors by rendering their bas-relief creations in any permanent form those artists required – be that relief plaques in the exact size as their original model, or, by pantographic reduction, to a die to strike multiple impressions – medals or plaquettes – in any size and composition required of that relief model.

The technology of electrogalvanic casting had existed in America, in somewhat crude form (powered by batteries) to make metal copies of sculptural reliefs, called galvanos. But it was employed in America in more refined form for art objects by Jules Edouard Roiné, a French-born sculptor specializing in bas-reliefs.

By applying commercial electric current, which had only recently become available in 1889 (thank you Thomas Edison), Roiné had a consistent supply of low voltage electric current necessary for depositing metal on an artist’s pattern. A tank was required to hold an electrolyte solution, plus a supply of copper metal (from anodes which supplied copper molecules to form the cast piece).

St. Gaudens Galvano

St. Gaudens Galvano 10 3/4 x 14 3/4 inches.

By 1894 Roiné had gathered all the equipment, chemicals and technology knowledge necessary to produce electroforms. He cast his relief model, Marguerite Delpech Plaque, that year, believed to be his first galvano production, at least in America. Where he learned that technology, we do not know for certain. But we strongly suspect it was back in France under the tutelage of Frederic Vernon, who had been producing bas-relief galvanos as early as 1889. Vernon had 28 of the 48 items he submitted to the 1910 Exhibition of Contemporary Medallic Art at the American Numismatic Society were galvanos.

The technology of electrogalvanic reproduction of medallic items was well established by 1910. As 346 items of 2,052 items total on exhibit (17%) were galvanos. (The others were struck, cast or hand engraved.) The technique was widely used in France, as acceptance by artists elsewhere was beginning to occur.

Or perhaps Roiné learned of this technique from Louis Oscar Roty, who was noted for training other medalists. Roty had 82 items on exhibit at ANS in 1910, with only two galvanos, preferring foundry casts instead. So he was aware of the technology to pass on this knowledge.

Roiné and Weil Partnership. Irrespective of where Roiné learned the skill of making galvanos from his bas-relief models, by the 1910 ANS Exhibition he was active in its use. Also he had just joined with Felix Weil the previous year to form the sculptural partnership of Roiné, Weil and Company.

This partnership was ideal. Not only were the two Frenchmen friends, their skills complimented each other. Roiné was kept busy designing and modeling, Felix Weil was kept busy manning the tanks. He quickly gained skill in electrogalvanic casting. This was not an easy task because of the many variables: chemical composition of the electrolyte solution, its temperature, pH factor, and control of the electric current.

Roiné modeled in clay. Either one of them could make a plaster cast from the clay model. The image on the plaster cast was coated with powered graphite. This is where the copper will deposit and build up to make the solid copper galvano. The plaster would serve as the core pattern (called a mandrel in electroforming parlance) upon which ions of copper would leach from the copper anode and deposit on the pattern (which would be the cathode).

The core pattern would be wired in contact with the graphite with a wire to be attached to a bus bar over the tank from which the prepared pattern was hung. The copper anodes were hung from another bus bar at the side of the tanks to descend into the electrolyte solution. This was prepared to contain copper ions in the solution, as well as cyanide to aid the deposition.

Since electricity from an outlet is alternating current, a rectifier is necessary to change AC to DC and to lower the voltage. A complete circuit is required. Once the electric current was turned on it travels from the rectifier to the bars at the side of the tank to the anode, through the solution, onto the cathode, up the connecting wires to the overhead bus bar back to the rectifier. It required three days or more to build up the copper medal thick enough to sustain a permanent galvano.

Felix became a master electroformer, with a required knowledge of chemistry, metallurgy and electricity.

Early success. That first year Roiné and Weil prospered for all the activity in New York City in 1909. Not only was it the Hudson-Fulton Celebration, a year-long activity honoring Henry Hudson and Robert Fulton, it was also the centennial of the birth of Abraham Lincoln. Plaques, badges – and medals! – were required of both.

Where a medal was required Roiné would design and model, Felix would make a dieshell – by the same process as making a sculptural plaque. The only difference: a dishell was made from a positive model, a plaque was made from a negative model. The electroforming process reverses polarity.

For a medal job Felix would then deliver the required dieshell to brother Henri at his workshop blocks away in lower Manhattan. In 1909 Henri still worked for the Deitsch Brothers (he didn’t acquire the Medallic Art Company until the following year).

Henri mounted Felix’s dieshell on the Janvier he operated in the Deitsch workrooms, cutting a die the required size. The pair would do this for both obverse and reverse. Once the dies were cut and approved, Henri would contract the striking of the medals to one of the metalworking shops nearby [Felix mentions the name Leidel as such a shop in his memoirs]. The struck medals were delivered to Henri who would them “color” them.

This took the form of sandblasting, relieving, or torch finish, as required by the customer, with a final step of a light lacquer coating to preserve the patina and protect the metal surface.

Roiné and Weil made six works that first year for Hudson-Fulton and at least ten for the centennial of Lincoln’s birth. They weren’t limited exclusively to making models for brother Henri at Medallic Art. They even made models and dieshells – but only one each – for Davisons in Philadelphia, and Whitehead & Hoag in Newark.

History of electrolysis in America. A German physicist and engineer working in Saint Petersburg, Russia, Moritz Herman Jacobi (1801-1874) develops the electrolysis process he called “galvanoplasty” in 1837. Three years later in England John Wright, a Birmingham surgeon conducted chemical experiments and developed the use of potassium cyanide in the electrolyte solution (replacing earlier acidic solutions).

In 1840 British cousins George Richards Elkington and Henry Elkington, working with and using John Wright’s process deposit a contrasting coating of metal on a base metal to effect electroplating. They receive the first British patent for silverplating, marking the date 1840 the first commercial development of electroplating. Such early electroplating was done with primitive batteries.

In 1842 Franklin Peale makes the first electrotype in America at the Philadelphia Mint of the Anthony Wayne Stony Point Medal (Julian MI-3) perhaps as early as January 1842. He had undoubtedly learned this technology at mints in Europe. That same year other electrotypes made at the Mint by William E. Du Bois (1810-1881) of rare coins in the Mint collection to illustrate a book by Eckfeldt and Du Bois, A Manual of Gold and Silver Coins of All Nations published in 1842.

These electrotypes Du Bois made served as patterns to be mounted in an instrument similar to a rulling machine to prepare drawings – the process known as anaglpytography. The drawings exhibit the rise and fall of relief on the patterns. By using electrotypes the original coin or relief was not damaged by the tracing stylus.

Outside the Mint, in Waterbury, Conn. Scovill Manufacturing, in 1844 became the first American firm to import electyrolysis process for electroplating. It uses this technology to plate copper, silver, nickel, zinc replacing the firegilding process of antiquity that the firm used as early as 1820. More than likely Scovill acquired this technology from England and the Elkingtons.

The electroplating process for the tableware industry is brought to America, acquired from the Elkingtons in England by Rogers Brothers in 1847 who incorporate this date in their trademark.

Beginning in 1851 of an active period of electrotyping of U.S. coins at the Philadelphia Mint mostly by William E. Du Bois for various purposes. Later that decade saw the first use of electroplating in the jewelry industry in America for the production of costume jewelry.

But the most notable use in America was made by a New York City electrotyper and gilder Samuel H. Black (active 1859-61). He fashioned plaques – some as large as 18 x 13 inches – from existing medals adding extensive lettering. He also made store-cards smaller than one inch. These were made in either of two ways: (1) he strikes or cast these in lead and copperplates, or (2) he makes copper shells and backs with lead fill-in.

The technique declined then for two decades. Not until 1884 was it resurrected by Alfred Vester when he established Providence Galvanic Art Company with Antonin Tabouret. It became the first active private firm in America devoted entirely to electroforming. The firm was in business until 1896 (in 1890 John Garst brought in the firm).

Previously a diesinker in Providence, Rhode Island, Vester was somewhat self-taught as an electrotyper. We have record of only two medals the firm produced – 1884 New Orleans World’s Industrial and Cotton Centennial Exposition Medal (HK 144) and 1886 Providence Rhode Island Mayor Thomas Arthur Doyle Memorial Medal – but unaware of any other galvano products.

Medallic Art Company’s early galvanos. Other than Roiné’s productions before and after the turn of the 20th century, little was made of this technique in America. As onetime sculptors’ assistants both Henri Weil, working alone, and Felix Weil, with partner Jules Edouard Roiné, were ideal candidates to encourage the use of this technology among the sculptors of their acquaintance.

The trio were still active among the New York City circle of sculptors early on in the 20th century. News of their new and useful technique spread among the field’s practitioners. Sculptors had a choice of sending their bas-reliefs to a local foundry – or even to Gorham in Providence – to be foundry cast. Or they could turn over to their reliefs to the Weils to be electrolytically cast. They had somewhat the only game in town.

The cost between the two methods of reproduction were similar, but there was a dramatic difference in detail. Because of the nature of molten metal, foundry casting could reproduce detail down to a 100th of an inch. Electrolytic casting could reproduce detail down to the width of a molecule!

For large reliefs, as for the sides of buildings or monuments, such detail was unnecessary. But for smaller reliefs – and for medals! – such minute relief was a blessing. Sculptors learned it gave a sharp, crisp edge to their reliefs which often improved the total appearance.

They learned the mantra: “If it’s in the model – meaning even the tiniest detail – it’s in the medal.” That held true for plaques as well.

The same artists who had medals made by the Weils – both during the time when Henri was working alone, and 1915 when Felix joined him after his partner Roiné became ill and went back to France – also had the Weils make their plaques.

Present situation. Unfortunately the galvanos were never cataloged by the company. We have record of virtually every medal the company made – the author was charged with this responsibility 1966-76 – but we do not have this knowledge about the galvanos. And yet these plaques have now found their way into museums and collectors’ hands.

While a great may dies are in the company’s die vault, the galvano molds are only those made of metal and only a portion of the galvanos made over the years. A few original plaster molds may be in the vaults but since plaster is not permanent even these may not be serviceable or even recognizable.

The last time the author saw these galvanos was in an airplane hangar in Sioux Falls, South Dakota. To his credit, Bob Hoff, owner of the company at the time, had rented a vacant hangar, directed an employee to lay these out to be organized, and made a computer entry for each of these. This is the “G-number” in the company’s archives databank.

Yet the task remains for these galvano reliefs to be cataloged by a person knowledgeable in art. These are, indeed, art objects of the finest form, by the finest American sculptors of the 20th century.

These galvanos are, indeed, the greatest contribution of Medallic Art Company to the field of American Art.

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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.

GALVANOS
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
CAST RELIEFS
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
BADGES
1909 Hudson-Fulton Celebration Souvenir Badge (by Roiné and Weil; struck by Whitehead & Hoag) Baxter 102
Auctions: PCA 47:1908
MEDAL SERIES
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
MEDALS
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
Auctions:
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
REPLICAS AND REISSUES
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
COLLECTIONS
C4 {1912} Comparette 302, 303, p 382; 387 393; 9, 10 665; 31 667.
C14 {1996} Marqusee 332-338, p 65-66, (biography) 95.
REFERENCES
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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