Metcalfe, Percy (1895–1970), sculptor and medallist, was born 14 January 1895 at Wakefield, Yorkshire, second son of John and Hannah Metcalfe. He began his education in art at the Leeds School of Art (1910–14) where he undertook a general course. Having achieved a royal exhibition (scholarship), he went (1914) to the Royal College of Art, London, and worked under Prof. Derwent Wood, RA. His studies were interrupted when he joined the army (1915–19) but he resumed as soon as the war ended. He was awarded a travel scholarship (1921) enabling him to go to Paris for a time. Back in London he entered the studio of C. S. Jagger, ARA, remaining with him for four years. His talent and hard work was recognised when at the British empire exhibition (1924) he won the bronze medal for his ‘Wembley lion’ design. As a result of his success he received a number of public and private commissions, including medals in bronze for the Wembley exhibition (1925) and to celebrate the visit to England of King Fuad I of Egypt (1927).
In 1926 the Irish Free State coinage act was passed and Metcalfe won the competition for the design of the new coinage. Seven artists, three of whom were Irish, were invited to submit designs in either plaster or metal. A selection committee was chosen, chaired by W. B. Yeats (qv), to advise the government on coinage designs. As Yeats pointed out, it was important to get it right as ‘Ireland is the first modern state to design an entire coinage’ (Coinage of Saorstat Éireann, p. 1). It was deemed essential that the coins should be linked in theme, hence the choice of domestic animals, birds, and fish. The RSAI thought it best to avoid patriotic symbols altogether, and the only traditional symbols retained were the harp (as used on the state seal) and the wolfhound. To assist the artists, some of whom knew nothing of Irish culture, photographs of suggested designs, including two harps, Gaelic lettering, and inscriptions, were provided. Metcalfe's designs – simple, vigorous, and working well together as a set – stood out over the other contestants and were immediately favoured by all six members of the committee. Initially, the committee thought that perhaps the set could be made up by choosing the best design from each artist, but it became evident that the differing styles would have upset the overall coherence. Metcalfe's talent for stripping forms to their bare essentials and filling the given space of the coin gave the designs an appealing modern look and proved him to be an imaginative artist and superb craftsman. His designs were sent for approval to the minister of agriculture because of the importance of animals to the industry, and some minor changes were made. The new coins were finally issued in 1928. The new coinage was criticised in some quarters for its lack of religious symbols and emblems, with one monsignor declaring it unsuitable to represent an ancient Christian nation. However, most people were pleased, and Yeats, speaking in the senate (3 March 1926), called the coins ‘the silent ambassadors of national taste’.
Sir Robert Johnston, KBE, deputy master of the Royal Mint, was impressed by the procedure adopted by the Irish committee to choose ‘worthy designs’ and suggested that the government of the commonwealth of Australia adopt similar procedures. Metcalfe continued to receive important commissions, designed interior decorative bronze and metal work for public buildings and businesses, and was made a Royal Designer for Industry by the Royal Society of Arts (1938). He created the ‘thrift’ design for the nickel-brass threepenny pieces of George VI, first used in 1937, and that year was made a CVO. He designed the commemorative jubilee medal of George V and also the jubilee crown reverse (1935). In 1920 he married Eveline Mabel Smith; they had two daughters. He died 9 October 1970 in London.