Definition

• Collaboration.  The work of two or more artists on one medallic or numismatic item. Designer and sculptor are most common; prior to the use of the reducing machine, sculptor or designer and engraver collaborated. After 1900 with the widespread use of the die-engraving pantograph artists mostly collaborated as designer and modeler. A number of abbreviations in the signature give evidence of the division of collaborative labor. d, des, del identifies the designer (or delineator), sc is the sculptor (or modeler), f, fec or fecit  for any artist who "made it," or created, often the engraver.  See signature for other signature abbreviations.
  Engraver collaborations.  Numismatic history contains numerous instances of engraver collaborations, most often these are family members. Two initials and the family name appear as one signature. In most of these cases we do not know who did what, both are taking collaborative credit for the work. Among the large Wyon family of engravers, two members occasionally collaborated on a single medallic item.
  In the United States father and son Barbers (William and Charles), were both engravers at the U.S. Mint, Philadelphia, for the decade 1869 to 1879 upon the death of the father. They collaborated on at least seven medals including the Ulysses S. Grant Presidential Medal, 1879 (Julian PR-15). Uncle and nephew Mitchells of the same period collaborated, as well as several of the Lovett family later in the century, five of which were engravers.
  Twentieth century collaborations.  The Frasers, husband James Earle and wife
  Laura Gardin, both accomplished medalists, collaborated on a single topic – for both coin and medal. They created the Oregon Trail Commemorative Half Dollar (Breen 7468-7481) and the Oregon Trail Medal of 1929 (29-39); and signed the same dual monogram for both items. In the last third of the 20th century the team of Paul Calle (as designer) and Joseph DiLorenzo (as modeler) was quite successful.
  Obverse/reverse collaborators.  Often the obverse could be the work of one artist, the reverse another. This is not a recommended solution, since a coin or medal should be the work of one creative mind. There are subtle design elements for example, that can be repeated on both sides, or other artistic concepts of harmony, balance, contrast, rhythm, symmetry, proportion, or perspective, that need both sides to be developed as one work of art.
  The U.S. Treasury must have a policy that discounts this artistic premise. More often than not, new designs of both coins and medals in the 20th century are by two artists, not working together, but often of two nonharmonious designs. If the excuse of Treasury officials is expediency – that they must have the two models within a tight deadline – then better planning is necessary. Or simply give qualified artists the opportunity to meet the deadline with a unified design of both obverse and reverse.
  Multiple artist collaborators.  One U.S. Mint medal has five signatures on it;
  three artists signed the obverse, two of the three signed the reverse. The Duncan Ingraham Congressional Medallion of 1855 (Julian NA-26) is singed on the obverse by Salethiel Eastman as D (designer), Peter F. Cross as SC (modeler), James B. Longacre as engraver. The reverse is signed by Eastman and Longacre.
  Four different artists signed the Madison Bill of Rights silver dollar of 1993: Scott
  R. Blazek as designer and William C. Cousins as modeler on the obverse; Joseph D. Pena as designer and Edgar Z. Steever IV as modeler on the reverse.
  A century earlier, the Milan Columbus Medal of 1892 by Stefano Johnson of Milan Italy was signed by three artists, one of which is believed to be the operator of the reducing machine.
  References:                                                                                                                                 
  NC8 {1988} Breen.

  excerpted with permission from

  An Encyclopedia of Coin and Medal Technology

  For Artists, Makers, Collectors and Curators

  COMPILED AND WRITTEN BY D. WAYNE JOHNSON

  Roger W. Burdette, Editor

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