The Henrietta
Szold Medal, issued in 1976
It is often a challenge for medalists to find good pictures
for use as reference. Thus Ms. Wiener writes (3/22/75): “I had already done a bit of research in the Jewish Department of the Public Library, and had
learned about all the things she had done – but – no picture. Even in the
picture collection of the library there was no picture of her. On Monday I
shall call the Hadassah office (Women’s Zionist Organization founded by
Szold in 1912) to find out where I could get a picture or pictures of her,
and as soon as I have this I shall start making sketches for the medal.” Gerta
continues (11/21/75): “On the 5 photographs ‘Hadassah’ sent me, she (Szold)
looks like 5 different people. I tried to make a sort of composite of the
impressions I have from the photos and knowing what she has done. While I wait
for the slides to come back I’ll start on the other side of the medal.”
On December 6, 1975, Ms. Wiener sent Wacks a photo of the
portrait modeled in clay, writing: “She looks serious but with a little smile,
as I imagine she may have looked. As she was a writer I think that the book is
a good touch.”
Szold original
clay model (12/6/75)
But Gerta was not completely satisfied with the portrait,
and made changes (4/5/76): “Here is a photo of the portrait side of Henrietta
Szold – all finished to go to Medallic Arts (sic). As you see I have changed it
greatly from the clay original. You will agree it’s better, and I think it is a
good relief. The other side is not ready to be photographed, but it’s coming
along nicely. It’s a he.. of a lot of hard work, I assure you!”
Most artists have opinions about their peers, and so Gerta
critiques (3/22/75) two earlier Jewish-American Hall of Fame medals: “I like
the Gershwin (by Robert Russin, issued in 1972) very much, but I wish Herbert
Lehman’s (by Jacques Schnier, issued in 1974) shoulders could be corrected –
which they unfortunately cannot --! They give me a pain in the neck and
shoulders every time I look at the photo.”
In addition to the quest for good portraits, there were also
searches for quotes to be inscribed on the medals. Ms. Wiener writes to Wacks (5/15/75): “I hope you can find time to either dig up a nice quotation from her (Szold’s)
speeches or books – or whatever you think would properly represent her
contributions.”
The usually good-tempered artist was upset when an official
of Hadassah suggested dramatic design changes – after the modeling was
complete. A “furious” Wiener wrote (5/3/76), giving great insight into her
reverse design: “The motto you gave me (“Make mine eyes look towards the
future”) is a fine thought and goes well with Szold’s activities, and I
designed it to fit in just right with the other elements on the medal. To fill
in those 3 lines of incised lettering and replace it with others would mean a
horrible mess and very much work. To change 2 children into a nurse and a
doctor seems so funny to me that it’s not worth talking about it! IT’S O.U.T! I
designed those children so that each one would be just right in size, line and
proportion, and each one would have a character of its own, expressed by its
gait, the way it holds its head, and the movement of its body, as most of them
are shown from the back. At the same time they were to form a coherent group,
not attracting attention away from Henrietta, the main person, whose posture
and place in the design draws your eyes to the motto.”
Later in this 4 page letter, Gerta concludes that “the only
compromise I’m willing to make is to add 3 or 4 (at most) hebrew words. I think
I can manage that without spoiling the entire composition …” Four days later,
Ms. Wiener wrote: “Just now I received your letter with the Hebrew motto. I was
much relieved to see that it’s short, and I will be able to fit it in nicely
without its looking like an afterthought.” The 3 Hebrew words were the Hadassah
motto: “The healing of the daughter of my
people.”
Szold plaster models for obverse and reverse (5-3-76)
For some reason, Medallic Art Company extended the bottom of
the obverse design, which became apparent when the Henrietta Szold medals were
delivered. Gerta was not happy, complaining in a rare typed letter (8/29/76): “WHY did they have to add a piece at the bottom? And if, for some
incomprehensible reason a piece had to be added, why not ask me to do it? I
wonder if it is permissible to change the signed design of an artist without
consulting him! The alteration made on this medal is so poorly executed that it
will damage my reputation as an artist if it goes out like this.” But it did,
and no one, except those concerned, ever mentioned it.
When asked by Gerta, “Medallic Art’s Miss Carol Cipos(?)
answered saying that NOTHING had been changed on my design, and that you should
have shown me the proof medal before you gave the O.K.” (Contained in Gerta’s
letter of 8/8/76.)
Ms. Wiener continued to complain about Medallic Art’s
modification of her design (11/14/76): “The top was cut off – misplacing the
“Henrietta Szold” which was exactly parallel to the outline of the medal – and
the barely finished addition at the bottom making the dates much too small and
high up under the book.”
Szold silver medal
