NUMISMATIC NOTES

AND MONOGRAPHS
No. 5

THE JENNY LIND

MEDALS AND TOKENS
BY LEONIDAS WESTERVELT

THE AMERICAN NUMISMATIC SOCIETY

BROADWAY AT 156th STREET
NEW YORK
1921

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COPYRIGHT 1921 BY
THE AMERICAN NUMISMATIC SOCIETY

Press of T. R. Marvin & Son, Boston

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JENNY LIND.
From a lithograph by
Sarony, New York, 1850,
in the collection of the Author.

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THE JENNY LIND

MEDALS AND TOKENS
BY

LEONIDAS WESTERVELT

THE AMERICAN NUMISMATIC SOCIETY

BROADWAY AT 156th STREET
NEW YORK
1921

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THE JENNY LIND

MEDALS AND TOKENS

By Leonidas Westervelt
Jenny Lind, the famous prima donna,
was born at Stockholm, Sweden, October
6th, 1820, in comparatively humble cir-

cumstances. She received her dramatic

education and early training at the Musical School of the Royal Theatre, where
she made her debut in 1838, singing the

important rle of Agatha in Weber's

Freischtz.

During the following six years she ap-

peared with marked success in Finland,

Denmark, Germany and Austria.
Her first great triumph, however, was

achieved in 1844 at the Court Theatre,

Berlin, where owing to Meyerbeer's influence she had been engaged.

.NUMISMATIC NOTES
i

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2 THE JENNY LIND

On the 1 8th of February, 1847, occurred in Vienna the memorable perform-

ance of Meyerbeer's Vielka. The chief

rle in this opera had been expressly written for Jenny Lind, and at the final fall

of the curtain a graceful compliment

awaited her. Radnitzky, on behalf of
the music lovers of Vienna, had designed
an appropriate and finely concived medal

(see No. 17), which, struck in gold, was

presented to the young Songstress, together with a scroll, encircled by a silver
laurel wreath, bearing the signatures of
leaders in the Viennese Art-world.

The prima donna's noted London debut took place on May 4th of the same
year. She had chosen the part of Alice
in Roberto il Diavolo , one of her most suc-

cessful rles, and the crush caused by

those who clamored to hear her is said

to have been terrific. The Queen, the

Prince Consort, the Queen Dowager, and

other members of the Royal Family

were present, as well as representatives
from almost every important family in
London. The entire performance appears
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MEDALS AND TOKENS 3

to have called forth one long-sustained
ovation.

To mark this epochal event in Jenny

Lind's career, an artistic medal was struck
by Allen and Moore of Birmingham (see

No. 25).

The following Spring, at the request of

King Oscar I of Sweden, Jenny Lind returned to Stockholm, the city which 'ay
so close to her heart, for a brief engage-

ment at the Royal Theatre. She was to

give eight concerts, only ; the tickets were
put up at auction, and the entire profits

generously donated by her to the fund

for the education and support of pupils of

the Royal Theatre School. Thus did the

Nightingale charmingly pay a debt of
gratitude to the theatre which first gave
her voice to the world.

In June, 1848, she received a tribute

illustrating in a remarkable manner the
deep-felt affection of her co-patriots. A

portrait medal (see No. 1), dignified in

conception and graceful in line - much
the finest, in our opinion, of all the Jenny

Lind medals - was designed by the famous

AND MONOGRAPHS

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4 THE JENNY LIND

Swedish medallist Quarnstrom, and struc

in gold, in silver and in bronze at the

Royal Mint. The medals were presente

to the Songstress with an address signed

by the King, the Royal Family, and al

most every person of prominence in Stockholm's cterie of Art and Music.

Thse three medals were treasured by

the recipient throughout her life, and wer

left to the National Museum in Stock-

holm, where they now are.

January 9th, 1850, was a most important day in the career of Jenny Lind, since

it was then she signed the contract for

an American concert tour under P. T.

Bar num' s management ; a venture which

was to bring her fresh laurels and a substantial fortune.

When we consider how she had set all

Europe aflame ; had been admitted to be

the greatest of living singers by the first
musical critics of England, Prussia, Austria, Sweden, and Denmark, and even by

a large portion of the critical press of

Paris ; when we read how people fought

to hear her in London; how in Berlin,

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MEDALS AND TOKENS 5

bouquets were thrown at her feet; how

in Vienna, the students unhitched the

horses of her carriage and drew her

through the streets in triumph ; how the

Queen Dowager of Sweden opened her

jewel casket that jenny might choose a
souvenir; it is hard to believe that mil-

lions of Americans scarcely knew her

name.

Notwithstanding this, Mr. Barnum risked a guarantee of $1 87,500 before the prima

donna set sail. But in his memoirs, he

frankly and shrewdly explains his reasons
for the venture, - which ultimately proved
so enormously profitable :
" I may as well state, that although I relied
prominently upon Jenny Lind' s reputation as a
great musical artiste , I also took largely into my
estimate of her success with all classes of the

American public, her character for extraordinary benevolence and generosity. Without
this peculiarity in her disposition, I never
would have dared make the engagement which
I did."

An observant reporter who interviewed

Jenny about the time f her arrival in

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6 THE JENNY LIND

America furnishes us with a colorful word-

picture of her charming appearance :

" Her figure is commanding, her action majestic, and her voice the freshest and sweetest
ever heard. Her face which is of an oval cast,

has all the characteristics of a Northern clime ;

and one can scarcely fail to recognize the
unmistakable lineaments of birth and country.
Though lacking what the world calls 4 beauty',
her face is nevertheless extremely pleasing and
strongly indicative of a pure and noble character which finds expression in a clear open brow,
an eye of peculiar brightness, and a sweet kind
smile seems forever to linger around her small
and well formed mouth.

** If we add to that, luxurious clusters of

auburn hair, and hands and feet of extreme

smallness, and beauty, you have a faint but in

some measure truthful sketch of sweet, charm

ing, generous, Jenny Lind."

Thousands of people are said to have

covered the shipping and piers in the
neighborhood of Canal Street, and the
wharf was packed with wildly cheering

humanity as the S. S. Atlantic , which

brought her, swung into its berth. The
ever prompt Mr. Barnum had already
boarded the steamer by means of a
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MEDALS AND TOKENS 7

launch, and standing by the side of his

noted visitor, benignly received his full
share of the plaudits.
Mr. Nathaniel Parker Willis, Editor of
the Home Journal, and quite a beau of the
period, no doubt was among the throng
on the pier, for he describes Jenny's ar-

rival in a good naturedly caustic para-

graph :
" All the stars in the Union have dimmed

before the star of Jenny Lind. She walked

like a conqueror from the ship to the dock-gates
under an arcade of evergreens - and at its
entrance the American eagle (stuffed) offered
her flowers. All New York hung around her
chariot on its way to the Irving House where
she was lodged like a princess ; and at midnight
thirty thousand persons hovered about her
hotel. At one in the morning, one hundred and
fifty musicians came up to serenade her, led by
seven hundred firemen, to pump upon the enthusiasm, we suppose, in case it should get red
hot."

The days that followed must have been

exciting ones for the Songstress. Accustomed as she was to homage, the
furore she created in New York and in
other American cities seems to have alAND MONOGRAPHS

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8 THE JENNY LIND

most swept her off her feet. Indeed, s

soon was obliged to leave the Irving Ho
and take lodgings in a quieter part of t
city, to escape an avalanche of invitatio
and attentions.

We hear of a glove supposed to be hers

being sold at a good round price ; of her

shawl which happened to drop from a

balcony, being instantly torn into shreds
by the overzealous crowd below.
" Everything for sale has ' Jenny ' to
it!" remarked a lady in one of the shops.
Judging from the following amusing news
items, clipped from contemporary Boston
papers, we are inclined to agree with her.
One enterprising Journal advertises a
Jenny Lind tea kettle ', which being fill-

ed with water and placed on the fire

" commences to sing in a few minutes " !

" A provision dealer at Lynn," says the
Post, " sells ' Jenny Lind sausages.' "
" On Washington street, near the Roxbury line, there is a bar-room just opened,
under the name of ' Jenny Lind Hotel.' "

" Our foreman," avers a well known

periodical, " made his appearance this
NUMISMATIC NOTES
L

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MEDALS AND TOKENS 9

morning with a red and black plaid coat,

which our i devil ' soon christened as the

6 Jenny Lind coat '. If this is not the age I

of progress, what is it? "

Even the Editors, usually sedate and

sober-minded, appear to have temporarily
suffered from " Jenny Lind mania
" Jenny Lind ", declares an important

weekly, "is the most popular woman in

the world; at the present moment, per-

haps the most popular that ever was in

it." The same paper speaks of the Night-

ingale's warblings as notes "which she

spins out from her throat like the attenuated fibre from the silkworm, dying away
so sweetly and so gradually, till it seems

melting into the song of the seraphim,

and is lost in eternity
To turn once more to the serious side

of the prima donna's career, her first

American concert was held in Castle Gar-

den on Wednesday evening, September

the nth, 1850. Under Mr. Barnum's
direction the 4,484 tickets were sold . at
public auction, the average price paid per

ticket being $6.38. The entire amount

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IO THE JENNY LIND

received was $17,864.05. Mr. John N.

Gennin bid in the first ticket for $225;
regarding this incident, it is an open secret

that he acted on the advice of the wily

Mr. Barnum. The benefit derived was

mutual however, since Gennin's name ap-

peared in every paper in the Union and

his reputation as a fashionable hatter was
permanently established.
The immense success made by the Nightingale in her first concert is a matter of

history and need not be dwelt on here,

but it is interesting to note that true to
her generous heart and wide sympathy,

she freely gave her entire share of the

proceeds of this concert and the second,

over $10,000, to charitable institutions in
New York.

. Mr. Barnum displayed his Yankee

shrewdness by quickly taking advantage
of the advertising value of this act; the
medal struck under his supervision is char-

acteristic of the showmen's craft (see No.

4). For the obverse, he freely borrowed

the head on Radnitzky medal (see No.

17) ; the reverse, forcibly emphasizes the

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MEDALS AND TOKENS u

success of the first Castle Garden concert,

and Jenny's benevolent gift. This medal,
struck in white metal, undoubtedly sold in
large numbers as an interesting souvenir.

After "taking New York by song",

Jenny Lind visited Boston, Providence,

Philadelphia, Washington and other prom-

inent cities in the West and South, also

journeying to Cuba where she remained
a month. Everywhere she met with pro-

nounced success and unqualified praise

from both public and critics.

At the termination of the ninety-fifth

concert she permanently concluded her

engagement with Mr. Barnum, as a clause

in the contract enabled her to do, and

continued the tour under her own man-

agement.

On February 5th, 1852, while in Boston,

she was married to Mr. Otto Goldschmidt,
a friend of her girlhood, and a musician

of note who had been her accompanist

during the latter part of the American
tour.

In the spring, Jenny Lind Goldschmidt

passed through England on her way to

AND MONOGRAPHS

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12 THE JENNY LIND

Germany. She gave occasional concerts

in German and Austrian cities, and in

1863 oice more delighted her admirers in
London at an historic revival of Handel's

music to the Allegro and the Penser oso

of Milton.

During all her wanderings and triumphs, the Nightingale never forgot the
city of her birth. She was made a mem-

ber of the Royal Musical Academy of

Stockholm in 1840, and in 1883, she returned to serve there as Professor of Singing for a term of three years.

. Her death occurred at her home, among

the beautiful Gloucestershire hills of England, November 2nd, 1887.
As a mark of appreciation of the untir-

ing and devoted service of Jenny Lind

Goldschmidt, the Academy in 1891 caused
a very beautiful portrait memorial medal

to be struck in her honor. (See No. 2.)

It was designed by Adolf Lindberg, Engraver of medals to the King of Sweden,

and struck in gold and in silver at the

Royal Swedish Mint.

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MEDALS AND TOKENS 13

DESCRIPTION OF THE MEDALS AND

TOKENS

i Portrait Memorial Medal.

Obv. Draped bust, to left ; legend, jenny

right, name of the engraver, p. h. lu

gren, FEc. ; at left, name of designe
C. G. QUARNSTROM, INV. Plate I

Rev . Four symbolic figures - Genius of

Song (with harp) is seated on throne,

Patriotism (with shield and palm) stands

right, Charity (holding child) left, and
Gratitude, bearing a wreath of immortelles, kneels at foot of throne ; and in-

scribed on its base, the date 3 dec.

1847 I D. 12 aprl . 1848. In exergue,
MINNESGRD | AF TONKONSTENS VANNER I I Stockholm - In memory of the
friends of Lyric Art in Stockholm. The

whole within a border of eight laurel

wreaths, alternating with eight harps;

ribbon streamers between. In the

wreaths are inscribed the chief operatic

rles sung by Jenny Lind, viz : norma
- LUCIE - AGATHA - AMINA - SUSANNAALICE - MARIE - ADINA.

Size 78 mm. Bronze. Plate II

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14 THE JENNY LIND

Struck at the Royal Swedish Mint in

1848.

Ludwig Petersen Lundgren, the engraver of the medal was Mint-engraver at

Stockholm, 1818-1854.

The two dates given on the medal were

the dates of the gifts (approximately

$9,165), made by Jenny Lind out of the

profits of her last operatic season in

Sweden, to the fund for the education
and support of pupils of the Royal Theatre School.

Medals from this design were struck in

gold, silver and bronze. They were presented to Jenny Lind in the spring of
1848, accompanied by the following address which bore the signatures of the
King of Sweden, the Royal Family, and
representatives of every important household in Stockholm :

" To Jenny Lind -

"The lovers of music at Stockholm

have during the present spring, as well

as during the winter season of 1847-1848

enjoyed a succession of memorable

feasts, at which they have admired

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MEDALS AND TOKENS 15

alike the Artist's genius, and the no-

bility of heart wherewith she had dedicated her triumphs exclusively to char-

ity and benevolence, and has thereby

testified that the aim of true Art is

something higher than to please and to

astonish.

" Having been privileged to witness

these festivals of Art where the beauty

of the soul found its expression through

the medium of song, the lovers and

friends of music are desirous that the

great Artist, on leaving her native

country, should carry away with her

some outward token of this period of

her life, of which the inner memory,
which is at all times the companion of
virtue, will follow her through life ; until that other world is unveiled to her,
of which she has been the messenger

to us through the language of music.

" The undersigned have received the
agreeable charge of handing to her this
simple souvenir."

2 Prize Medal of the Royal Mu-

sical Academy, Stockholm.

Obv. Draped bust, to left ; legend, jenNY LIND GOLDSCHMIDT, FDD 6 OKT.
AND MONOGRAPHS

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i6 THE JENNY LIND

1820 dd 2 nov. 1887 - Born Oct.

6th, 1820; died Nov. 2nd, 1887. In

field, back of neck, the name of the

designer, adolf lindberg,

Rev . The Goddess of Genius and Art

seated to right, inscribing a name on a

tablet with a stylus. On the left is a

laurel branch and a lyre ; on the right, an

incense brazier and two books. Above

Symbolic Figure, close to border, anda

och konst - The Spirit of Art. In

the exergue, af kongl . musikaliska
Akademien By the Royal Musical
Academy. The name of the designer

is repeated close to the border at left.

Size 50 mm. Gold. Silver. Plate III

Struck by the Royal Musical Academy
in 1891 at the Swedish Mint.
Adolf Lindberg, the designer was Professor of drawing at the official School of

Art in Stockholm; also, "Engraver of

Medals v to the King of Swden.

3 As last. Bronze.
4 Memorial Medal.
Obv. Head to left ; legend, jenny

LIND.

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MEDALS AND TOKENS 17

Rev. Inscription in two concentric circles, and four parallel lines in field ; a

star above first parallel line: first

CONCERT IN AMERICA | PROCEEDS 35,000

DOLLARS

SEP.

II.

1850

ATTENDED

PEOPLE

LIND TO CHARITABLE INSTITUTIONS

Size 42 mm. White metal. Struck in

New York, 1850. Plate IV
5 As last. Bronze.
6 As last.

Size 40 mm. Cream colored composi-

tion.

7 Jeton or Card Counter.

Obv. Head to left similar to preceding ;
legend, jenny

tion of neck, the name of the die-s

LAUER.

Rev. JETON , lettering slightly oblique,

encircled by two branches of oak leaves
joined below by a knot of ribbon.
Size 22 mm. Gilt bronze. Plate V

Struck in Nuremberg.
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i8 THE JENNY LIND

Ludwig Christopher Lauer was a ce

brated medallist and counter-manufact-

urer of Nuremberg, 1848-1873.

A similar jeton but with laurel branches

instead of oak branches is reported. See

Andorfer and Epstein's Musica in Nummis ,
p. 191.

8 Jeton or Card Counter.

Obv. As last, but unsigned, and with

milled border.

Rev . The word jeton in upright letters

instead of slightly oblique ; oak

branches more bushy. Milled border.

Redder in color, containing more copper alloy. Slightly thicker.
9 Jeton or Card Counter.
Similar to No. 7.

Size 19 mm. Brass. By Lauer.

10 Jeton or Card Counter.
Obv . Similar to No. 7.
Rev. A spread eagle supporting a United
States shield, and holding in its talons a
branch of laurel and a bundle of arrows.
Above, JN UNITATE FORTITU

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MEDALS AND TOKENS 19

- In Unity there is Strength. Below,

1850.

Size 22 mm. White metal. By Lauer.

Plate V

A specimen of this medal without signature is reported. See Andorfer and Ep-

stein's Musica in Nummis. Note to No.

380.

11 As last. Copper. By Lauer.

12 Jeton or Card Counter.
Obv. Similar to No. 7.
Rev . Within a laurel wreath, tendit ad
astra - She directs her course toward
the stars.

Size 22 mm. Copper. By Lauer.

Plate V

13 Jeton or Card Counter.

Obv. Similar to No. 7.

Rev. Within a wreath of laurel and oak

branches tied with a knot, spiel- | pfennig.

Size 21 mm. Brass. By Lauer.

Plate VI

14 Jeton or Card Counter.

Obv. As last. (Not signed.)

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20 THE JENNY LIND

Rev . Within laurel wreath, spiel mark

Size 20 mm. Metal not mentioned. By

Lauer. See Andorfer and Epstein's M

ica inNummis. No. 977.
15 Jeton or Card Counter.
Obv. Similar to No. 7.
Rev. Maltese cross surrounded by rays
within a laurel wreath.

wer wagt * gewinnt - Nothing ven-

ture, nothing have. At bottom, rosette

between two small stars.

Dentelated borders on obverse and reverse.

Size i6 mm. Brass. Plate VI

16 Commemorative Medal.

Obv. Head to left. Legend jenny lind

' behind the head, close to border. At
base of neck is the name of the de-

signer, c. RADNITZKY.

Rev. A swan, the emblem of song, with

branch of laurel; above, the motto
NESGiT * occASUM - Her star remains

in the ascendant. Below, der | hohen

KNSTLERIN | IHRE BEGEISTERTEN |

VEREHRER | MCCCXLVII | WIEN - To

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MEDALS AND TOKENS 21

the famous Artist, from her enthusiastic admirers; Vienna, 1847.

Size 43 mm. Gold.

This medal was presented to JennyLind on the evening of the first perform-

ance of Meyerbeer's opera, " Vi elka,"

(composed expressly for her) in Vienna,
Feb. 18, 1847.
C. Radnitzky, the designer of the medal,
was one of the most talented medallists

of his generation. He was born in Vienna,

1 81 8, and died in 1901.
17 As last, dark red composition.
Plate VII

18 Memorial Medal.

Obv . As last, but the legend jenny lind

is in front of the head and is followed

by a small ornamental scroll. Date,

1850, at back of neck.

Rev . SUCH A SACRED | AND | HOME-FELT

DELIGHT I SUCH SOBER CERTAINTY | OF

WAKING BLISS | I NEVER HEARD | TILL
NOW . I MILTON.

Raised border, obverse and reverse.

Size 40 mm. Bronze. Plate VIII
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22 THE JENNY LIND

Struck in America, 1850.
The head on the obverse of this medal

was copied from the Vienna medal. (No.

16.) The quotation on the reverse is from
Milton's COMUS ; lines 262-264.
19 As last. White metal.
20 Jeton.
Obv. Similar to No. 4.
Rev . Similar to No. 16, except that the
inscription below swan is omitted.
Size 19 mm. Brass. By Lauer.
21 As last. White metal.
22 Medal.

Obv . Similar to No. 4.

Rev . to the queen of song, in laurel

wreath.

Size 14 mm. Milled edge. Silver.

Plate VI

23 Medal.
Obv. Head and bust facing front. Legend, JENNY LIND.

Size 67 mm. Copper shell.

24 Medal.
Obv. Similar to No. 23.
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MEDALS AND TOKENS 23

Rev . Blank.

Size 65 mm. White metal coppered.

25 Commemorative Medal.
Obv. Head and shoulders facing front.
Legend, jenny

right arm close to border, 1847.

Rev. Lyre surrounded by cluster of

and roses; nightingale resting on

twig. Legend, above, nescit * occasum; below, nata 1821.
Ornamental border, obverse and reverse.

Size 54 mm. White metal. Plate IX

Struck in Birmingham, England.
This medal was struck to commemorate

Jenny Lind' s triumphant debut at Her

Majesty's Theatre, London, May 4th,

1847. The year of Jenny Lind's birth as
stated on this medal (1821) is erroneous.
She was born on October 6th, 1820. (See
No. 2.)
26 Similar to No. 25.
Size 55 mm. White metal gilded.
27 Similar to No. 25.
Size 54 mm. 6 mm. thick. Bronze.
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24 THE JENNY LIND

28 Similar to No. 25.
Obv. Date under right arm omitted.

Size 27 mm. Copper.

29 As last. Bronze.

30 Similar to No. 25, except under right

arm instead of date, initials A & M Allen & Moore, the die-sinker's mark.

Size 45 mm. White metal.

Allen & Moore of Great Hampton Row,
Birmingham, England - afterwards Joseph

Moore, Sumner Lane and Pitsford St.,

have an excellent record in die-sinking,

dating from about 1850. They may be

regarded as following the best nineteenth
century artists of the Birmingham school.

31 Similar to No. 30.

Size 38% mm.
32 Jeton.
Obv. Similar to No. 25.
Rev . Similar to No. 25, but nightingale
omitted.

Size 22 mm. Brass,

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MEDALS AND TOKENS 25

No. 2 is in the Royal Musical Academy,
Stockholm ; Nos. 3, 18, 26 and 27 are in
the British Museum, London; Nos. 6, 15,
22 and 31 are from the collection of the
American Numismatic Society, New York ;
Nos. 9, 13, 23, 24 and 28 are from the col-

lection of Mr. Elliott Smith; No. 19 is

from the collection of Mr. C. N. Hinck-

ley ; the remainder are from the collection

of the author.

!
AND MONOGRAPHS

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JENNY LIND Plate I

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JENNY LIND Plate II

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JENNY LIND Plate III

i v

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JENNY LIND Plate IV

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JENNY LIND Plate V

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J JENNY LIND Plate VI

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JENNY LIND Plate VII

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JENNY LIND Plate VIII

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JENNY LIND Plate IX

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