Medals related to the First World War

The medal's obverse bears American eagle holding arrows and olive branch in its talons on shield over crossed cannon barrels and fasces; large round knob at top.

The reverse bears a scroll for dedication and two protruding bearings, unholed.

It is unknown whether Manship created this design for a commission, a design competition, or independently from a sense of patriotic fervor. Manship certainly was a fierce patriot who did what he could to support the war effort. The exact date for this design is also not known but one of the other designs, the Army Valor decoration, has a sample date of 1918 inscribed on the reverse.  They all date roughly to the end of World War I, probably 1918 or 1919.

The cast bronze measures approximately 64.3mm x 79.5mm and weighs 251.7g.

The medal's obverse bears dolphins over anchor, over crossed cannon barrels and fasces; large round knob at top.

The reverse is bare.

It is unknown whether Manship created this design for a commission, a design competition, or independently from a sense of patriotic fervor. Manship certainly was a fierce patriot who did what he could to support the war effort.

The exact date for this design is also not known but one of the other designs, the Army Valor decoration, has a sample date of 1918 inscribed on the reverse.  They all date roughly to the end of World War I, probably 1918 or 1919.

The cast bronze measures approximately 67mm x 79mm and weighs 238.5g.

The medal's obverse bears American eagle holding arrows and olive branch in its talons on shield over crossed cannon barrels and fasces; large round knob above cartouche with VALOR at top.

The reverse bears a cartouche with ARMY under ball at top and a scroll inscribed with AWARDED TO / JOHN / DOE / 1918.

It is unknown whether Manship created this design for a commission, a design competition, or independently from a sense of patriotic fervor. Manship certainly was a fierce patriot who did what he could to support the war effort.

The sample inscription on the reverse indicates that he created the design in 1918 but he could certainly have used the prior year's number in a later design.

The cast bronze measures approximately 76.8mm x 96.9mm and weighs 273.7g.

This massive plaque bears nude child in crucifixion pose with cloth draped over sex and Eagle with spread wings in support. Around top, CHILDREN'S YEAR; across lower left, APRIL 6·1918· / APRIL·6·1919·; signed around lower right, Beach

The Children's Year was a campaign laucnhed by the Children's Bureau to save 100,000 infants who would normally die from childhood diseases. The date was significant because it marked the first anniversary of America's entry into the First World War and this campaign was very much part of the national war effort.  The effort would include the registration of every child born, prenatal care for mothers, regular weighing and examination of babies, and the creation of a bureaucracy at the state and city level to support these measures.

The plaque represents the obverse of a medal, produced by the Medallic Art Company as well, that also commemorated the first Chidlren's Year.

The circular plaque is mounted on a large mahogany board. The galvano cast plaque itself measures 489mm in diameter and was produced by the Medallic Art Company of New York. No numbers are rported, but there can't be many of these.

References:   Baxter 243

The galvano bears allegorical figure of America emerging from threatening clouds, stretching arms out protectively over children reading and playing at her feet; radiant beams of light behind figure. In exergue, · AMERICA · AIDS · THE · / · CHILDREN · OF · / · FRANCE · ; signed along left bottom, · P · MANSHIP · / © 1918

The French Heroes' Fund was established by Americans to rehabilitate wounded French soldiers, to help their families, and to aid children orphaned by the First World War. The fund purchased the childhood château of the Marquis de Lafayette–America's ally in the  Revolutionary War–and raised hundreds of thousands of dollars on behalf of the French.

The allegorical figure of America wears the Phrygian cap and classical gown that also symbolizes Marianne, France's version of America's "Lady Liberty." 

This design was used as the reverse on a medal struck by the Medallic Art Company. The circular galvano relief measures 124.6mm in diameter.

Many thanks to the curators and editors of the excellent website of the Smithsonian's American Art Museum, which provided a lot of the content for this relief.

The uniface emblem bears laurel-crowned, helmeted head in center field. Around, UNITED STATES OF AMERICA

This little emblem is probably a trial cast that goes with Manship's designs for World War I decorations. It is a small, convex, shield that was probably designed to go in the center of a cross that would have been suspended from the devices pinned to the uniform or worn on a ribbon. The Smithsonian collection has a piece that shows a very similar device affixed to a cross.

The circular emblem measures 36.6mm in diameter.

The medal's obverse bears soldiers advancing past a fallen comrade on a battlefield strewn with wildflowers and fleurs-de-lis, the ancient badge of French glory; explosions and smoke filling background. On scroll around bottom, THE · FRENCH · HEROES' · FUND

The reverse bears allegorical figure of America emerging from threatening clouds, stretching arms out protectively over children reading and playing at her feet; radiant beams of light behind figure. In exergue, · AMERICA · AIDS · THE · / · CHILDREN · OF · / · FRANCE · ; signed along lower left, · P · MANSHIP · / © 1918

The French Heroes' Fund was established by Americans to rehabilitate wounded French soldiers, to help their families, and to aid children orphaned by the First World War. The fund purchased the childhood château of the Marquis de Lafayette–America's ally in the  Revolutionary War–and raised hundreds of thousands of dollars on behalf of the French.

The allegorical figure of America wears the Phrygian cap and classical gown that also symbolizes Marianne, France's version of  America's "Lady Liberty." 

The circular medal measures 65.1mm in diameter and was struck by the Medallic Art Company of New York. No mintage is reported.

References:   Baxter 366, MACo 1918-006, Murtha 104

The obverse bears bust of Robert P. Perkins in Red Cross uniform, facing left. Around, · ROBERT · P · PERKINS · - · ROMA · MCMXVIII ·

The reverse bears group of mother and three children in center. Around, (cross) AMERICAN (cross) RED (cross) CROSS (cross) IN (cross) ITALY (cross); below, CARITAS; signed above group, · P · M ·

Robert P. Perkins (1862-1924) was president of the Bigelow-Hartford Carpet Company and served as the American Red Cross commissioner in Italy during World War I.

Manship also served in the Red Cross in Italy but nearly died from pneumonia brought on by dreadful weather and a major bout of influenza. He was sent to a hospital in Padua and when he was finally well enough to travel, to Rome, where he stayed at the Grand Hotel, the only one in the city with heat. Manship got to know Perkins while recuperating in Rome.

With this design Manship expressed his gratitude to Perkins and the Red Cross, but also his compassion for the fatherless families left behind in war-torn Europe. The images do not do justice to this medallion's massive presence. The bust rises another 11mm over an already thick base for a total height of 20mm; a typical electronic coin scale will capitulate before the medallion's weight.

This medallion probably represents an early cast of Manship's design and is likely unique. It was most likely cast from his preliminary plaster after he returned to the States. It is larger than the 105mm medallion and differs from that version in legend and signature placement.

The medallion measures 112mm in diameter and was cast in bronze by the artist. It is probably a unique specimen and one of the prize pieces in any collection of 20th Century American Medallic Art.

The obverse bears bust of Kaiser Wilhelm II with necklace of skulls and iron cross; rifle with bayonett to left. Around, THE FOE OF FREE PEOPLES; below, HIS / ROSARY.

The reverse bears German soldier abducting helpless Belgian woman, callously stepping over child on ground. Around, KULTUR IN BELGIUM; below, MURDER PILLAGE.

The edge is marked MEDALLIC ART CO. N.Y.

This medal was clearly a response to German artist Karl Goetz' satirical war medals which depicted the allied side in a bad light. Goetz' medals were reviled by the Allies and caused a huge backlash, particularly his infamous Lusitania medal. Artistically, Goetz was on the leading edge of realism while French, British, and American sculptors were still depicting war in terms of carefully crafted Art Nouveau imagery, the horror of war often represented by an angel of death, a weeping widow or a cemetery.

Manship obviously decided that Goetz' medals deserved retaliation in kind. His medal is a true masterpiece of propaganda art, yet it was received with some ambivalence. The June, 1918 issue of the American Magazine of Arts reported:

"In some of the shop windows on Fifth Avenue, New York, is now to be seen a bronze medal designed and executed by Paul Manship representing the outrages perpetrated by the German army upon women and children in invaded territory, particularly in Belgium. This is offered for sale at $10.00 a piece and puts into permanent form those things which if possible should not be remembered, but if remembered not visualized."

The medal measures 66.2mm (2 5/8in) in diameter and was struck in bronze by the Medallic Art Company of New York.

References:   Baxter 365, MACo 1918-005, Murtha 103

The medal's obverse bears conjoined busts of Marie Depage and Edith Clavell, facing left, with laurel branch behind them. Around, MARIE DEPAGE - EDITH CAVELL; signed on truncation, A BONNETAIN / 1919

The reverse bears legend only, 1915 / REMEMBER

Marie Depage and Edith Cavell were heroines of World War I on the Allied side. Marie Depage was the wife of the prominent doctor Antoine Depage, who was a surgeon to the Belgian King.  In 1907 she founded a laicised non-denominational medical institute in 1907, the Berkendael Medical Institute (also known as L'École Belge d’Infirmières Diplômées), in Uccle near Brussels, with British Edith Cavell as head nurse.

Depage travelled to the US in January 1915 to raise funds for the L'Océan hospital. After raising $100,000 in a few weeks, she received news that her middle son Lucien would be joining her eldest son Pierre at the front, and decided to return to Belgium. She booked passage on the RMS Lusitania, leaving New York on 1 May 1915 for Liverpool via Queenstown in the south of Ireland. The ship was torpedoed by German submarine U-20 at about 2:10 pm on 7 May 1915, and rapidly sank. Depage assisted other passengers to board lifeboats, and treated some injured on the deck of the sinking vessel. As the ship sank, she became entangled in ropes and drowned, one of nearly 1,200 killed from almost 2,000 aboard.

Edith Cavell continued to work at the Berkendael Medical Institute, where she helped hundreds of allied soldiers escape.  Her humanitarian actions, which she freely confessed after her arrest, rendered the normal protections accorded to medical personnel void. She was court-martialed, sentenced to death for treason and, despite international pleas for mercy, executed by firing squad.

Both women were celebrated as martyrs and heroines and monuments as well as medals commemorate their lives and deaths.

The circular medal measures 58mm in diameter and was struck in bronze by Jules Fonson and Company. No mintage is reported.