Artists
ContentsArtist's Names and Initials
ARTIST'S NAMES are spelled as completely as possible. Sometimes an artist preferred to spell his own name in a different way or shorten it. For example, Augustus "St Gaudens" chose his name to be abbreviated; his brother Louis chose Saint-Gaudens with Saint spelled out. (Sorry Gus, we spell out everything.)
"Mc" and "Mac" are filed as if the name was spelled out. The French names "de" and "di" and Dutch names with several elements are filed as if there were no space between the elements (in contrast to what the computer wants to do!).
A few items are listed by the initials only where the identity of the artist still remains unknown. These are alphabetized by the letter believed to be the last name. (The number of these initials tend to follow the popularity of last names, with but one exception – the last initial F – which may indeed be the abbreviation for fecit, Latin word for he or she made it.)
In a few rare instances only the last name is given as the entry name if the full name remains yet unknown. It is hoped future research can uncover the identity of every unknown initial signature and every artist's full name.
Monograms – the initials of the artists that appear on coins and medals – are not listed here in full, though some initial signatures are indicated in the biographical text. For many monograms in medallic art it is important to show the style (type style) of the lettering and the interletter spacing between the letters. Coin and medal signatures are kept in a separate databank and have been published as a separate work.*
"Mc" and "Mac" are filed as if the name was spelled out. The French names "de" and "di" and Dutch names with several elements are filed as if there were no space between the elements (in contrast to what the computer wants to do!).
A few items are listed by the initials only where the identity of the artist still remains unknown. These are alphabetized by the letter believed to be the last name. (The number of these initials tend to follow the popularity of last names, with but one exception – the last initial F – which may indeed be the abbreviation for fecit, Latin word for he or she made it.)
In a few rare instances only the last name is given as the entry name if the full name remains yet unknown. It is hoped future research can uncover the identity of every unknown initial signature and every artist's full name.
Monograms – the initials of the artists that appear on coins and medals – are not listed here in full, though some initial signatures are indicated in the biographical text. For many monograms in medallic art it is important to show the style (type style) of the lettering and the interletter spacing between the letters. Coin and medal signatures are kept in a separate databank and have been published as a separate work.*
Dates of Birth And Death
|
All dates are given in the military or European style – day-month-year – for its precise nature. Artist's date of birth, always an important datum, places the artist in the correct generation, perhaps beginning his or her career twenty to thirty years or more after this birth year.
However, the artist's date of death is even more important: this gives an exact date for the cessation of his original work. Any item produced after this date is generally a replica or reissue (the only exceptions, perhaps, is a die never struck or a model never made into a die during the artist's lifetime) – or a medal award program extending beyond the artist's death. |
Artist's Date of Death |
Test For The Correct Artist
|
Further use of dates of birth and death are an integral test for validating any item made by that artist. The dies, models or patterns must have been made during the artist's lifetime. As obvious as this is, often these facts have been ignored.
An earlier collection of U.S. Mint artist biographies contained many misattributed items in which these facts were ignored. Jean Duvivier, for example, was listed as the artist for the "Siege of Boston Medal." It was created and struck by the Paris Mint in 1790. Jean Duvivier died in 1761 thus it was impossible for him to engrave this medal. Had that author been a student of history he would have known the Siege of Boston occurred 19 April 1775; again 14 years after Jean Duvivier's death! Not only must the artist have been alive but he must have been in the right place at the right time. This is the Law of Propinquity. |
What Is The Law of Propinquity? |
Artist's Era of Work
The dates of the items are listed in chronological order indicating the period in which the artist worked. However those American artists whose work occurred before the Civil War are noted specially. Early engravers faced the chore of creating medals by hand engraving, often setting the standard for later engravers.
American artists whose major work was done before 1776 are termed “Colonial American” and this is listed on the same line as their name and dates. Artists whose major work was done before the Civil War, before 1861, are called “Early American.” This is included as an aid to collectors with topical interests in these periods.
American artists whose major work was done before 1776 are termed “Colonial American” and this is listed on the same line as their name and dates. Artists whose major work was done before the Civil War, before 1861, are called “Early American.” This is included as an aid to collectors with topical interests in these periods.
Artist's Nationality
Those artists who were not born in America are designated as a "hyphen" nationality, as German-American. Born in another country they emigrated from there to America to live and work here. When known, the year is given in the artist's biography when they first came to America. Generally, their American work would occur after this date.
Foreign artists who created medals of American interest (and did not move or live here) are designated by their native nationality only. If no nationality is given, it can be assumed the artist was, or is, a native-born American.
Foreign artists who created medals of American interest (and did not move or live here) are designated by their native nationality only. If no nationality is given, it can be assumed the artist was, or is, a native-born American.
Artist's Biographical Data
Additional information is given for each artist appropriate to his or her work as an artist of coins, medals or tokens. This includes training, relationships to other artists (was any family member an artist?), memberships in art and numismatic organizations (any office held?), any book or article by the artist as the author, and such.
- For some 19th century artists it might include relocations to another city, and perhaps employment with a firm in that city. Mention might be made of other professions which can be both inside and outside the art field. Often artists are teachers or instructors at educational institutions.
- A discussion of the artist’s style or mannerism is useful. Or perhaps critical comment or praise of the artist’s glyptic work. Also what archives houses the artist’s papers. Biographical data, in short, can be any facts which expand on the life or work of the artist listed.
Type of Artist and Artists' Professions
The term artist means many things. Artists can be classed by their end product (painter, sculptor, medalist), or their chosen profession (illustrator, draftsman, etcher, ceramicist, cartoonist), by the media in which they work (watercolorist, wood carver), even who they work for (factory artist, faculty artist).
Designer is applied only to designing the coins and medals listed by that artist. Designers of American numismatic convention medals, for example, are termed: “designer, numismatist.”
A few other professions are noted on the name line. These are usually other forms of art in which the artist engaged (e.g. sculptor, painter, engraver) or nonart vocations that are applicable to his coin and medal work.
Designer is applied only to designing the coins and medals listed by that artist. Designers of American numismatic convention medals, for example, are termed: “designer, numismatist.”
A few other professions are noted on the name line. These are usually other forms of art in which the artist engaged (e.g. sculptor, painter, engraver) or nonart vocations that are applicable to his coin and medal work.
|
In a few instances the artist is termed an amateur. These are the designation of others, not those of the compiler Hannibal De Bellis, a physician by profession, called himself an amateur medalist throughout his lifetime, for example; this despite the high quality of his medallic work.
In some instances, professions outside of the art field are listed. See Other Professions below. Not all of the artist's professions are listed. |
What Exactly Determines a Medalist? |
Collaboration of Artists
When two artists prepare the work of one piece, both are listed. A notation is usually given what the listed artist did (as, perhaps, the obverse or the reverse). Or one was a designer, another was the engraver or modeler. The sharing of these duties are varied, and are defined as follows:
- Delineator – The person who sketches or outlines a coin or medal design; the maker of the first rough idea. These are often quickly made and frequently crude drawings, and are sometimes not the work of an artist, but that of the customer or sponsor of the piece.
- Designer – The artist who executes the accepted coin or medal design (this may be the two-dimensional graphic design, or the three-dimensional glyptic design).
- Diesinker – This term once meant the person who not only made the dies but also struck the piece; now the term means the person who made the die (by any method).
- Engraver – The person who hand cuts a die; a hand engraver; recently the name of the position even though the artist creates bas-relief models that are pantographically reduced. (U.S. Mint coin artists in the 20th century are called engravers, but are actually modelers who prepare bas-relief sculpture models.)
- Transfer Die Engraver – Operator of the pantographic reducing machine (as a Janvier).which cuts the die from a larger pattern.
|
Every Artist Identified |
United States Mint Engravers
Beginning in 1792 the United States Mint has always had one or more artists – engravers – on staff to engrave their dies. In 1836 the Philadelphia Mint obtained the technology from Europe to model oversize rather than engrave every die exact size. Immediately Mint officials began obtaining these oversize patterns from sculptors outside the Mint.
However, the Mint commissioned only the device portion of the coin design to be prepared by these outside sculptors. Their oversize pattern was reduced by the Contamin die-engraving pantograph they had obtained from France in 1836. The machine reduced the device only to the proper size for the intended coin or medal. This device was then sunk into a blank die where the staff engravers added the lettering, dates, symbols, and border design by punches to complete the total surface of the die.
Thus Philadelphia Mint artists, who were always called "engravers," were these diesinking technicians up until 1920. By then the technology had advanced so the entire design – lettering and all – could be in the model. This was due in large part by the use of the Janvier die-engraving pantograph that the Mint had obtained in 1905. After 1920 the mint engravers were sculptors, instead of engravers, who prepared oversize models in plaster (completely intact with lettering and all) which were then reduced by one of their Janvier die-engraving pantographs.
However, the Mint commissioned only the device portion of the coin design to be prepared by these outside sculptors. Their oversize pattern was reduced by the Contamin die-engraving pantograph they had obtained from France in 1836. The machine reduced the device only to the proper size for the intended coin or medal. This device was then sunk into a blank die where the staff engravers added the lettering, dates, symbols, and border design by punches to complete the total surface of the die.
Thus Philadelphia Mint artists, who were always called "engravers," were these diesinking technicians up until 1920. By then the technology had advanced so the entire design – lettering and all – could be in the model. This was due in large part by the use of the Janvier die-engraving pantograph that the Mint had obtained in 1905. After 1920 the mint engravers were sculptors, instead of engravers, who prepared oversize models in plaster (completely intact with lettering and all) which were then reduced by one of their Janvier die-engraving pantographs.
U.S. Mint Seeks American Artists To Furnish New Coin Designs.
In several instances in the past the U.S. Mint has sought new coin designs from American artists. The news clipping at right documents the first such public solicitation. Issued by U.S. Mint Director James Ross Snowden on 26 July 1853, it states the designs will be given an impartial examination and offers "liberal remuneration" for three designs "best fitted for the object in view."
The search proved fruitless. No new coin designs were received that were placed into production. And it was not until 1892, thirty-nine years later, that new type coins were introduced (after another public solicitation for proposed designs) and these were again created by the Mint's own staff engravers.
From 1800 until 2000 one of these artists/engravers at the Philadelphia Mint was the Chief Engraver. This artist must be a seasoned engraver who could perform all the die preparation work required by a coin manufacturing plant (in addition to the administrative duties this office required). He had to posses the knowledge of art (for creating attractive designs), of diemaking technology (including an intimate knowledge of iron and steel), the technical requirements of all the minting machinery within the mints, and management skills (to oversee staff engravers).
Creating coin dies had the highest priority for these Philadelphia Mint engravers, creating medals had somewhat lower priority. A policy existed, almost from the beginning, where mint engravers had permission to do private medals if this work did not interfere with their official coin and medal die activities. There was even a scandal in the early 1850s, where mint officials, led by Franklin Peale, pocketed funds from striking private medals. This practice of engraving nongovernmental medals by mint engravers did not cease, however, until 1948
The search proved fruitless. No new coin designs were received that were placed into production. And it was not until 1892, thirty-nine years later, that new type coins were introduced (after another public solicitation for proposed designs) and these were again created by the Mint's own staff engravers.
From 1800 until 2000 one of these artists/engravers at the Philadelphia Mint was the Chief Engraver. This artist must be a seasoned engraver who could perform all the die preparation work required by a coin manufacturing plant (in addition to the administrative duties this office required). He had to posses the knowledge of art (for creating attractive designs), of diemaking technology (including an intimate knowledge of iron and steel), the technical requirements of all the minting machinery within the mints, and management skills (to oversee staff engravers).
Creating coin dies had the highest priority for these Philadelphia Mint engravers, creating medals had somewhat lower priority. A policy existed, almost from the beginning, where mint engravers had permission to do private medals if this work did not interfere with their official coin and medal die activities. There was even a scandal in the early 1850s, where mint officials, led by Franklin Peale, pocketed funds from striking private medals. This practice of engraving nongovernmental medals by mint engravers did not cease, however, until 1948
Staff Artist vs. Freelance Artist
Most 19th century diesinking firms were composed of one or two engravers. It was the proprietors who prepared most of the dies: Wright & Bale, Smith & Hartman, Henning & Eymann, S.J. Quint, August Frank. This continued somewhat into the 20th century. The few major medal firms may have had a staff artist but most such firms would utilize the services of outside (nonemployee) freelance sculptors. Thus freelance artists produced most of the notable, and what many believe the more attractive, coins and medals of the 20th century. This included the work of Augustus Saint-Gaudens, Adolph A. Weinman, James Earle Fraser and others.
There is good reason for this. With one or two staff artists, all the work of a medal firm was of one style – it all looked alike. Even with a number of artists on the staff (called factory artists), the work becomes homogenized and lacks the varied style of artists working independently (often alone in their own studios).
With the policy of using freelance artists, the work was varied, with numerous styles, any one of which could surely appeal to the most demanding client. Such was the policy of Medallic Art Company, for example, which reproduced the relief medallic work of more than three hundred commissioned sculptor artists.
There is good reason for this. With one or two staff artists, all the work of a medal firm was of one style – it all looked alike. Even with a number of artists on the staff (called factory artists), the work becomes homogenized and lacks the varied style of artists working independently (often alone in their own studios).
With the policy of using freelance artists, the work was varied, with numerous styles, any one of which could surely appeal to the most demanding client. Such was the policy of Medallic Art Company, for example, which reproduced the relief medallic work of more than three hundred commissioned sculptor artists.
Unsigned Work
|
A large body of medals (and other glyptic items that could be listed here) are unsigned, and these are often unattributed and some will never be attributed to their creators. There is no requirement for an artist to sign his work, and some medallic manufacturers, it seems, even forbade their artists to sign their productions.
Thus what is listed herein are coins and medals that we know for certain who the creator was – they are documented – irrespective of whether the piece was signed. The source for much of the unsigned work is records of the artists themselves, the manufacturers or by documentary research. In rare instances some artists preferred anonymity. The Franklin Mint, to their credit, identified the artists of all their issues for the first decade (1965-75), only occasionally thereafter. A few artists requested not to be identified, however. The 1971 Still (William) Medal in the Franklin Mint's American Negro Commemorative Society series (ANS-38) was such a case of an anonymous artist. |
Eighty Percent Unsigned |
Attribution of Unsigned Work
Numismatic scholars have, after much study, occasionally identified the unsigned work of an artist and attributed this to a particular artist. This is difficult to do because many artist's work resemble each other. However, inherent in such a study, the proper criteria of time and place must be considered (the Law of Propinquity!) in addition to style and fabric of the unsigned piece.
Most notable scholars, however, who have attributed such unsigned work include Charles McSorley, who studied U.S. campaign medals for a lifetime. Others include medal dealer H. Joseph Levine, who has handled such a large quantity of such pieces that he has developed a sixth sense for certain medalists. The present compiler has also attributed a few unsigned pieces. In each case, the name of the person who has made the attribution (or the compiler's initials, DWJ) have been included with the listing of that item.
Most notable scholars, however, who have attributed such unsigned work include Charles McSorley, who studied U.S. campaign medals for a lifetime. Others include medal dealer H. Joseph Levine, who has handled such a large quantity of such pieces that he has developed a sixth sense for certain medalists. The present compiler has also attributed a few unsigned pieces. In each case, the name of the person who has made the attribution (or the compiler's initials, DWJ) have been included with the listing of that item.
Student Work
For those artists the compiler has had the opportunity to contact directly, he has left up to the artist the option to list his work as a student. Some artists are embarrassed by these early ventures into the medallic world. Others, are just as proud of their early work as those professionally done later in their career.
Thus some examples are given with the notation: [student work]. An example is by the Denvill New Jersey artist Avram Lerner: 1970 Jerusalem Is One Medal [student work].
Thus some examples are given with the notation: [student work]. An example is by the Denvill New Jersey artist Avram Lerner: 1970 Jerusalem Is One Medal [student work].
"Listed Artist"
Dealers in art objects, particularly antique dealers, often use the phrase in touting their wares, that the object was created by a "listed artist" (as if this had some cachet of desirability or authenticity). Most often this means they found the name on the object and a similar name is found in one of any number of reference works. This is perhaps the limit of their knowledge or the extent of their research on the item.
The intent of the compiler here is to list every coin and medal artist. Further, by the use of the citations and references, this leads to further research by the vendor – and certainly it is the ardent wish of the compiler this research is extended by each new owner. Being "listed" should have only one meaning, that the artist is known to the compiler before publication (and that being unlisted means only one thing: we had not learned of the artist yet).
It is the further hope of the compiler that any new owner of an American coin or medal will accept the challenge to research that piece and add more knowledge to the total numismatic field. Use of the listings and references in this work would be such a starting place for this research.
The intent of the compiler here is to list every coin and medal artist. Further, by the use of the citations and references, this leads to further research by the vendor – and certainly it is the ardent wish of the compiler this research is extended by each new owner. Being "listed" should have only one meaning, that the artist is known to the compiler before publication (and that being unlisted means only one thing: we had not learned of the artist yet).
It is the further hope of the compiler that any new owner of an American coin or medal will accept the challenge to research that piece and add more knowledge to the total numismatic field. Use of the listings and references in this work would be such a starting place for this research.
Design by Comittee
Perhaps the three worst words uttered in art history are "designed by committee." Any work or object in which collective decision making and compromise is involved is bound to result in a product less satisfactory than one from the creative and fertile mind of an individual artist trained in the media to form the item. The difference can be as dramatic as a childish scrawl versus an Albrecht Dürer sketch.
Organizations often delegate the design of a medal or similar item to a committee whose every member often wants to have an input into its final appearance. Instead, the committee should spend their time finding a qualified artist and give the artist full reign in the design creation.
The committee can be most helpful if they help do the research for the artist (to allow him more time for creative cognition). What is the purpose of the intended medal? What is the event? What is to be symbolized? (Not create the symbols, as that is the artist's job; use the organization's logo or trademark but don't over emphasize it.) Find the best portrait or several portraits of any person to be portrayed. Put the concepts into words on one sheet of paper and hand this with the portrait copies to the artist. That's the most effective committee action possible.
Organizations often delegate the design of a medal or similar item to a committee whose every member often wants to have an input into its final appearance. Instead, the committee should spend their time finding a qualified artist and give the artist full reign in the design creation.
The committee can be most helpful if they help do the research for the artist (to allow him more time for creative cognition). What is the purpose of the intended medal? What is the event? What is to be symbolized? (Not create the symbols, as that is the artist's job; use the organization's logo or trademark but don't over emphasize it.) Find the best portrait or several portraits of any person to be portrayed. Put the concepts into words on one sheet of paper and hand this with the portrait copies to the artist. That's the most effective committee action possible.
Medallic Typecasting
Often, and sometimes without trying, medalists became typecast, much like actors. They would prepare one or more medallic items so well that other sponsors, issuers or medallic firms would want them to do additional items in the same theme or subject – or in the same style – for them. The following are most notable:
•In modern times, New Jersey medalist Abram Belskie became type cast as a medical sculptor. Any new medal on a medical theme, or of a doctor, or a hospital, or even a medical convention, his name would come to mind first. (He once revealed to the compiler he wanted to make a model of the human heart the size of a house, so the viewer could walk through it like the paths blood flows.) He did so many medical medals, he was ultimately chosen to prepare a series of these for Presidential Art Medals. A museum named in his honor was erected in his hometown of Closter, New Jersey after his death.
•Eleanor Platt liked to do portraits. She did several of judges and lawyers. In time she was commissioned to do more of these and became type cast for any portrait medals in the field of law and justice.
•In the 1920s a Japanese-American sculptor, Gozo Kawamura, did several medals for the American Jersey Cattle Club – showing a cow. Then other similar organizations wanted him to do their bovine medals: Holstein-Friesian Association and the Massachusetts Jersey Cattle Club. He was typecast as a cow medalist!
Sculptors sometimes try to prevent being typecast. It gets boring doing the same thing over many times. However on the positive side, it could provide a steady stream of commissions.
•In modern times, New Jersey medalist Abram Belskie became type cast as a medical sculptor. Any new medal on a medical theme, or of a doctor, or a hospital, or even a medical convention, his name would come to mind first. (He once revealed to the compiler he wanted to make a model of the human heart the size of a house, so the viewer could walk through it like the paths blood flows.) He did so many medical medals, he was ultimately chosen to prepare a series of these for Presidential Art Medals. A museum named in his honor was erected in his hometown of Closter, New Jersey after his death.
•Eleanor Platt liked to do portraits. She did several of judges and lawyers. In time she was commissioned to do more of these and became type cast for any portrait medals in the field of law and justice.
•In the 1920s a Japanese-American sculptor, Gozo Kawamura, did several medals for the American Jersey Cattle Club – showing a cow. Then other similar organizations wanted him to do their bovine medals: Holstein-Friesian Association and the Massachusetts Jersey Cattle Club. He was typecast as a cow medalist!
Sculptors sometimes try to prevent being typecast. It gets boring doing the same thing over many times. However on the positive side, it could provide a steady stream of commissions.
Unaccepted and Rejected Models
If the criteria for inclusion for listing in this book is "If it exits it should be included," then unaccepted and rejected models should be listed as well. In many cases these models take on a life of their own. They become something they were not originally intended: a new medal, a stock item, a reissued of some sort at a later time. Many examples can be cited:
•Olin Levi Warner's model for the first United States commemorative coin, the Columbian Exposition Half Dollar coin – rejected for U.S. Mint engraver Charles Barber's design – was so exquisite in design it became a badge struck by Tiffany & Co for the Lady Managers of the Columbian Expo.
•Runner up winners and rejected models for a Medallic Art Company 50th Anniversary Medal contest became a 60th Anniversary Medal a decade later and a handful of stock designs, ultimately to become numismatic organization award medals.
•Laura Gardin Fraser's rejected model for a 1932 George Washington Quarter became a five-dollar gold piece 67 years later in 1999.
More often, however, these models rest in the artist's studio until they are destroyed, or enter the numismatic marketplace, often after the artist’s death, as oversize curios.
•Olin Levi Warner's model for the first United States commemorative coin, the Columbian Exposition Half Dollar coin – rejected for U.S. Mint engraver Charles Barber's design – was so exquisite in design it became a badge struck by Tiffany & Co for the Lady Managers of the Columbian Expo.
•Runner up winners and rejected models for a Medallic Art Company 50th Anniversary Medal contest became a 60th Anniversary Medal a decade later and a handful of stock designs, ultimately to become numismatic organization award medals.
•Laura Gardin Fraser's rejected model for a 1932 George Washington Quarter became a five-dollar gold piece 67 years later in 1999.
More often, however, these models rest in the artist's studio until they are destroyed, or enter the numismatic marketplace, often after the artist’s death, as oversize curios.