Medal Casting & Striking

Casting a medal

This article outlines the stages involved in designing and casting a contemporary medal. As an example, it uses the John Charles Robinson medal that the V&A commissioned from the artist Felicity Powell in 2002. Robinson was Curator of Sculpture at the South Kensington Museum (now the V&A) and acquired many important works for the collection in the 1850s and 1860s.

At its simplest, a medal is cast by pouring molten metal into a mould and letting it solidify. The process usually begins with preparatory drawings. From these, the artist develops a model. This may be made from plaster, beeswax or, as was common in Germany during the Renaissance, carved fruitwood or stone. When the models for each face are complete, a negative mould is taken.

The casting is usually done by a specialist foundry. Gold, silver or, more commonly, a copper alloy such as bronze are the preferred metals. Once the metal has solidified, the medal is freed from the mould and cleaned. Fine detail is enhanced (chased) with metalworking tools and the surface of the medal may be patinated by applying chemical solutions to give different colour effects.

Felicity Powell's sketchbook, 2001-2

Sketchbook
Felicity Powell
2001-2
Graphite on paper
Museum no. E.1034-2003
Given by the artist.

The drawings show Powell exploring an idea that she later translated into the design for the reverse of the Robinson medal. She took the hands from the carved figures in The Annunciation by Arnolfo di Cambio of about 1300. Robinson bought this work for the Museum in 1861.

Model for the reverse of the medal, Felicity Powell

Model for the reverse of the medal
Felicity Powell
2002
Plaster
Museum no. A.7-2002
Given by the artist.

This is one of the models that Powell developed during the evolution of her design.

Bronze Medal (reverse view), Felicity Powell

Bronze Medal (reverse view)
Felicity Powell
Cast by Alan Dunn
London
2004
Cast bronze
Museum no. A.10-2004

The final version was cast using ceramic shell technique, which has originally developed for precision castings. It is ideally suited to casting small-scale objects and was first used by artists in the 1950s. The wax is surrounded by a shell of ceramic particles bound together. As the shell is porous there is no need to construct vents to allow the gas given off during casting to escape.

John Charles Robinson Medal

'John Charles Robinson Medal'
Felicity Powell
2002
Cast by Alan Dunn
London
2002
Patinated cast bronze
Museum no. A.5-2002.
Commissioned by the V&A with funding from an anonymous donor.

Surface treatments greatly affect our appreciation of a medal. Here Powell has applied a copper nitrate solution, under heat, to give a greenish-blue patination (a chemical alteration of a metal surface, resulting in a change of colour). Unusually, she has left the edge unpatinated. Instead, she has polished it and stamped it with Robinson's full name and dates, adding also the cryptic message 'From Few to Many'.

Striking a medal

Struck medals can be made in large numbers. Each medal is formed mechanically by the force of two engraved metal dies pressing the image on to a blank disc of softer metal held between them. Struck medals are generally designed in low relief and have crisp, sharp outlines. Most of the examples here were made for the Great Exhibition, held in London in 1851.

Die for the Council Medal, William Wyon. Museum no. A.80-1921

Die for the Council of the Great Exhibition Medal
William Wyon (1795-1851)
England (London)
1851
Steel
Museum no. A.80-1921
Given by the Royal Commissioners for the 1851 Great Exhibition

This is a hardened steel die for the obverse of the Council Medal. It shows incuse (negative) images of Queen Victoria and Prince Albert.

 

Die for the Council Medal, Pierre Antoine Hippolyte Bonnardel

Die for the Council of the Great Exhibition Medal
Pierre Antoine Hippolyte Bonnardel (1824-56)
Engraved by Joseph François Domard (1792-1858)
England (London)
1851
Steel
Museum no. A.80A-1921
Given by the Royal Commissioners for the 1851 Great Exhibition

The hardened steel die for the reverse of the Council Medal shows incuse (negative) Britannia holding two laurel wreaths, standing before a trophy of flags. Commerce stands at the left and Mercury at the right. The attributes of commerce and industry are also shown.
Legend in Latin, 'For there is a certain country in the great world', with the date in Roman numerals.

 

 

Council Medal, William Wyon

Council of the Great Exhibition Medal (obverse view)
William Wyon (1795-1851)
England (London)
1851
Bronze, struck
Museum no. 6028-1852
Given by the Royal Commissioners for the 1851 Great Exhibition

The obverse of the finished struck medal shows the busts of Queen Victoria and Prince Albert in relief.

View the reverse of this medal

 

 

Council Medal, Pierre Antoine Hippolyte Bonnardel

Council of the Great Exhibition Medal
Pierre Antoine Hippolyte Bonnardel (1824-56)
Engraved by Joseph François Domard (1792-1858)
England (London)
1851
Bronze, struck 
Museum no. I.S. 03642
Given by the Royal Commissioners for the 1851 Great Exhibition

The reverse of the finished struck medal shows showing Britannia holding two laurel wreaths, standing before a trophy of flags. Mercury stands at the left and Commerce at the right. Attributes of commerce and industry are also shown.
Legend in Latin, 'For there is a certain country in the great world', with the date in Roman numerals.

 

Duval Janvier, Medallists

Duval Janvier, Medallists (obverse view)
Alexandre Louis Marie Charpentier (1856-1909)
France (Paris)
1900
Bronze, struck; plaquette
Museum no. A.32-1978
Given by Mrs J. Hull Grundy

The obverse of this Art Nouveau plaquette in celebration of the company Duval Janvier shows a man operating a striking machine.

View the reverse of this medal