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 Wednesday, March 26, 2008
Artists needed—please report for duty
Posted by bob
Recently, U.S. Mint Director Ed Moy said, “We want to spur the highest level of artistic excellence in American coin design.” He made the statement along with the announcement of the Mint’s plans to recreate the 1907 Saint-Gaudens ultra high relief gold $20. It will be quite the chal  lenge and one that promises to produce a popular collectible. It was the dream of President Theodore Roosevelt, along with the help of noted sculptors such as Augustus Saint-Gaudens, James Earle Fraser, Adolph Weinman, Hermon MacNeil and others, to dramatically improve the look of U.S. coins. Roosevelt went so far as to envision a U.S. coin with the same high relief as found on some ancient coins, thus leading to the experiments with the height of the relief on the Saint-Gaudens gold $20 issued in 1907. It was argued, however, that such a relief, which took some press time to achieve, wasn’t suited to high-speed coinage. So, the plan was shelved, and the gold $20 took a much lower relief. It was a shame, and, as I said, the new effort should prove a noble one—at least from the technical side. Plus, if I can afford one, I’d like to have one in my collection. I’ve written about Sa  int-Gaudens and his design in the past, and it is one of my favorites. However, I have one little concern. If we’re really striving for artistic excellence in U.S. coinage design, why do we need to return to the past (and in this case a century ago) to spur this on? Don’t we have artists who could produce a representation of Liberty that could compete with Saint-Gaudens, Weinman, or MacNeil? Frankly, it looks to me like we’re running out of designs to bring back. First we recreated the Saint-Gaudens gold $20 obverse in low relief on the gold American Eagle in 1986. That same year we added a silver American Eagle with Weinman’s obverse from the Walking Liberty. In 2001, we brought back Fraser’s design from the Buffalo nickel. It is now also available on a gold $50. About all we’ve got left to recreate from circulating coins from that period of artistic excellence is MacNeil’s Standing Liberty, Weinman’s Mercury dime, Pratt’s gold $2.50s and $5s, and Saint-Gaudens’ gold $10. Are they next? Again, where are the artists? I like all of the prior mentioned designs and applaud Moy’s efforts to improve U.S. coin design. I’m just wishing for more originality and wondering where our generation of artists of the same ilk as Saint-Gaudens, MacNeil, Weinman and Fraser are hiding out. We need you! Please report for duty.
Wednesday, March 26, 2008 2:20:38 PM (GMT Standard Time, UTC+00:00)
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 Friday, March 14, 2008
It's show time
Posted by bob
Coin Chat Radio goes live today at 11 a.m. Central at coinchatradio.comGive a listen. I think we have some interesting features in our first show. Future broadcasts will at 11 a.m. Central on Thursdays.
Friday, March 14, 2008 1:11:50 PM (GMT Standard Time, UTC+00:00)
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 Wednesday, February 27, 2008
Rats evicted from Old SF Mint
Posted by bob
Well, the rats have been cleaned out of the Old San Francisco Mint. No, these weren't disreputable people. Rather, they were real rats, according to a report datelined Feb. 18 from the San Francisco Chronicle by Anastasia Ustinova.  Ustinova quotes Erik Christoffersen, executive director of the San Francisco Museum and Historical Society, as noting that since the beginning of the Chinese Lunar Calendar's Year of the Rat, there have been no more rats spotted in the historic building at Fifth and Mission streets. The Old Mint, famous for having survived the 1906 San Francisco earthquake, has now apparently withstood an invasion of furry four-footed creatures that have been entering the building through small holes. The Chronicle notes that although the Old Mint has had rat problems for a number of years, more have moved in over the past year "after employees stopped using rat poison during some interior demolition work and a nearby vacant building was rehabilitated." Therefore, a team of professional exterminators was brought in to rid the facility of the unwanted guests. Renovation of the Old Mint, which was built in 1874, is currently underway. Plans call for the structure to house a cultural museum, details of which are highlighted at www.themintproject.org.
Wednesday, February 27, 2008 8:02:23 PM (GMT Standard Time, UTC+00:00)
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 Tuesday, February 19, 2008
Back from the exhibit
Posted by bob
I'm back from my trip to Minneapolis and the opening of the Anders Zorn (see prior posting for details) at the Swedish American Institute.  It was fun, and I was able to snap shots that will come in handy in the future. Among Zorn's subjects, which ranged from common folk to U.S. presidents, was Augustus Saint-Gaudens. Saint-Gaudens designed the gold $10s and $20s that circulated in the United States in the early part of the 20th century. Shown here is detail from one of Zorn's etchings of Saint-Gaudens that is currently on exhibit.
Tuesday, February 19, 2008 10:08:39 PM (GMT Standard Time, UTC+00:00)
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 Tuesday, January 29, 2008
Zorn etching a key
Posted by bob
February should prove to be a busy and fun month for me. On Feb. 5 I head to Minneapolis for the opening of an art exhibit titled "From Peasants to Presidents: Sweden's Greatest Etcher" and later that month my wife and I have tickets to see Blues legend B.B. King in concert at the Fox Valley Performing Arts Center in Appleton, Wis. Then it's off to the Wisconsin Coin Expos show in Oshkosh, which is always fun and enjoys a good attendance. The art exhibit for which I am attending a reception for is of the Hagans' family collection of etchings by Swedish artist Anders Zorn. During his prolific career, Zorn sket  ched many citizens, including Augustus Saint-Gaudens, designer of the early 20th-century U.S. gold $10s and $20s so popular with collectors today. The interesting thing about Zorn's etching, which shows Saint-Gaudens with a nude in the background, is the identity of the model. She was Hettie Anderson, a cousin of William Hagans. William Hagans has found that Hettie Anderson was posing the day of the Zorn etching for Saint-Gaudens's "Victory" figure at the head of the Sherman Monument in New York. Over the years, few have doubted that "Victory" was the inspiration for figure on the gold $20. It's just that several different models were named as likely to be the real model employed by Saint-Gaudens for the coin. Among these  were an Irish lass named Mary Cunningham and Saint-Gaudens' mistress, Davida Clark. Even Saint-Gaudens's son, Homer, chimed in that the model could have been a "woman supposed to have negro blood in her veins." That was Hettie Anderson, who was African-American. Hagans has written extensively on the topic, including his feature, titled "Saint-Gaudens, Zorn, and the Goddesslike Miss Anderson," which appeared in the Summer 2002 edition of American Art, the journal of the Smithsonian American Art Museum, and is reproduced at Hagans' Web site about Zorn (linked below). Zorn did etchings or oil paintings of other important Americans, including President Grover Cleveland and Mrs. Grover Cleveland, President William Howard Taft, President Theodore Roosvelt, Andrew Carnegie, and Mrs. Potter Palmer of Chicago (the force behind the 1893 Isabella commemorative quarter). You can learn more about Zorn and his subjects at the Hagans' Web site on the topic: www.zorninamerica.com. They also have a section on Zorn and his dealings with Saint-Gaudens. And on the the opening page, you can see the etching of Saint-Gaudens with Hettie Anderson in the background. Info on the exhibit, which runs from Feb. 6-June 1 at the Amercan Swedish Institute, can be found at: www.americanswedishinst.org/exhibits.htm
Tuesday, January 29, 2008 2:09:17 PM (GMT Standard Time, UTC+00:00)
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 Thursday, December 27, 2007
I'll take it in Trades
Posted by bob
Much of my collecting lately focuses on drafts, checks, receipts, etc., related to the Comstock Lode, in Virginia City, Nev., and the Bank of California. Although I have acquired items of value pertaining to famous personages active on the Comstock during its heyday, my favorites in the collection are some that didn't cost much but have interesting backgrounds.  This draft from the Agency of the Bank of California at Gold Hill (on the Comstock Lode) is one such item. It only cost me $11, and you can see that a portion of the draft is missing. So it is certainly not a high-grade specimen. However, what's unusual about this draft is what it was payable in. Many of these drafts indicated they were payable in gold. This one, however, goes out of its way to designate payment in U.S. Trade dollars. And it does so in four different places. One appears in parenthesis, next to "One Hundred & Fifty." Another is at the lower left, after the numeric designation of $150. And it can be found twice in red ink, vertically across the draft, as "Payable in Trade dollars." What further interested me is that the draft is dated June 17, 1876. A little more than one month later, the Trade dollar's legal-tender status was revoked by Congress. Originally intended for u  se in the Far East, shortly after issue, the coins became a nuisance in the United States, where they were legal tender only in small amounts. Silver had by then begun to fall in value, and by 1876 the silver in the Trade dollar wasn't worth a dollar, even though the coin was still being paid out at full value—at a loss to most who took it. That same year (according John M. Willem Jr.'s The United States Trade Dollar: America's Only Unwanted, Unhonored Coin), the Aug. 3 issue of the Virginia City Territorial Enterprise reported that there had been a meeting of area saloon owners, at the Delta Saloon in Virginia City, to discuss the fate of the Trade dollar. Only 24 of the businesses (or a scant one-seventh of those in this hard-drinking town) were represented. Some barkeeps called for total refusal of the Trade dollar in payment for liquor. Others suggested taking the coins at 90 cents or as low as 87-1/2 cents.  Considering the obvious problems with Trade dollars (and their shameful lack of acceptance even for basic necessities such as fine two-bit liquor), it's probably a wonder you could have found anyone who wanted payment in Trades rather than gold.
Thursday, December 27, 2007 9:27:09 PM (GMT Standard Time, UTC+00:00)
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 Friday, December 14, 2007
Mind your Ps, Ds, and Ss
Posted by bob
With silver above $14 an ounce, it is a good time to check any old coins you may have lying about. Most people know that even common-date dimes, quarters and half dollars dated 1964 and prior have most of their value tied to their bullion content. I recently had the opportunity to go through a hoard of coins. Unfortunately, there were no rarities, but there was considerable value just from the bullion. Included were silver dimes, quarters, half dollars, 10 or 11 silver dollars, and one common-date gold $5. Up until 1964, dimes, quarters and half dollars were being minted in 90 percent silver. What's lesser known by many in the general public, and the reason some silver can still be found, is that although 1964 was the last year for 90 percent silver halves, they continued to be coined in 40 percent silver through 1970 and still show up in searches of rolls at banks. Another coin to watch for is the silver war nickel. These were issued during Wor  ld War II to save on copper for the war effort. Thus, the normal 75 percent copper/25 percent nickel composition of all nickels before and since was changed to one that featured 56 percent copper/35 percent silver/a  nd 9 percent manganese. Fortunately these are easy to identify. I should say that they were easy for most to identify, with the exception being one ill-fated counterfeiter—Francis Leroy Henning. In the 1950s, Henning decided to produce counterfeit Jefferson nickels. Noted for being overweight, of poor quality and color, and sporting a defect in the "R" of "PLURIBUS," some of Henning's nickels had a more glaring error. He failed to observe that genuine wartime silver nickels (1942-1945) displayed a large mintmark above the dome of Monticello on the coin's reverse (see the color photo).  It was the first time the Mint had used a mintmark to identify coins struck at Philadelphia. Up until that point, Jeffersons from Philadelphia had no mintmark, while those from Denver and San Francisco showed a small D or S mintmark on the coin's right side, next to Monticello. Hennings, who turned to producing other non-silver dates as well, before being arrested in 1955, was eventually sentenced to a few years in jail and fined $5,000. The black and white photo here is of a Henning's counterfeit.
Friday, December 14, 2007 4:42:35 PM (GMT Standard Time, UTC+00:00)
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 Friday, November 30, 2007
Is that foul-looking fowl really an eagle?
Posted by bob
Next year, when the state quarter program ends, the plan is for the quarter’s reverse to revert to showing an eagle, as it had prior to 1999. That’s not a bad thing. Though Benjamin Franklin argued for adop  ting the turkey as the national bird (he thought the bald eagle was of “bad moral  character”), an eagle has appeared on most U.S. silver and gold coins since the opening of the U.S. Mint in 1792. This national symbol, however, has not always been shown at its best—at least not according to would-be art critics of the past. Take for example the scrawny creature on the back of the half disme in 1792 or the underfed bird on the 1794 dollar. Both of these birds ruffled some feathers. But they were not alone.  When the Flying Eagle cent was released, in the 1850s, some termed it the “buzzard” cent.  In the 1920s, the eagle on the back of the Standing Liberty quarter was shamed in a press dispatch out of New York that complained that it faced the wrong way, which signified cowardice. The fact that it was winging across the coin didn't help. That, according to the dispatch, symbolized speed, meaning it was: “A coward and a fast running one.” Adolp  h Weinman’s eagle on the half dollar, released in 1916, also raised a flap. An ornithologist claimed Weinman had made the bird look like it was “wearing o  veralls and marching through tar.” A Chicago newspaper thought the eagle on the back of the Peace dollar looked like a tom turkey. (Franklin would have been proud.) Some of the criticisms were fair. Others were not. If I had to criticize one eagle on a U.S. coin, my choice would be the bizarre-looking creature on the 1936 Bridgeport commemorative half dollar. It’s definitely modernistic in design. But it hardly looks like an eagle.   For some reason, it has always reminded me of a whale with its mouth wide open. Of course, you have to ignore the legs. Commemorative authority Anthony Swiatek has noted that, if you turn the coin upside down, the eagle looks like a shark. Again, the legs are a problem. But let's talk turkey (or in this case, whale- or shark-like eagle). Either way, that’s one foul fowl.
Friday, November 30, 2007 8:27:24 PM (GMT Standard Time, UTC+00:00)
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 Tuesday, November 27, 2007
Ever see 1 million silver dollars?
Posted by bob
Have you ever seen 1 million silver dollars? It was long before I began collecting coins, but the tale of the Million Silver Dollar Exhibit at the 1962 Seattle World's Fair is fascinating nonetheless. Three Washington numismatists were behind bringing the coins to the fair. The three, who had formed Northwest Historic Medals Inc. to strike a series of medals commemorating the great water-power dams in the Pacific Northwest, had approached the Century 2  1 committee, organizers of the fair, with plans for producing a set of medals to promote each of the seven planned exhibits at the fair. Along with an already-authorized U.S. Mint medal, Northwest said the eight-medal set would make a great souvenir of the fair. To cinch the deal, they had one other idea that really got the committee enthused. “If numismatics is going to take part in this Fair, the three reasoned, it ought to take part in a big way. The more money the better,” as the September 1962 issue of Coins magazine explained. “Almost everyone dreams and talks about a million dollars, but how many people have ever seen that amount of cash in one place at one time? "Why not have a display featuring one million silver dollars? Here, all in one, would be the most money the visitors would ever see, coupled with an intriguing chapter of American history." Having received encouragement from the committee, the next step was to find the 1 million silver dollars. Although the silver dollar is today well liked by collectors, high mintages and a lack of use led to bags upon bags remaining in government vaults through much of the 20th century. So getting the coins was a financial and logistical concern, but not impossible. Another concern was: If they could win approval to obtain the coins from the government, where would they store them? The problem was solved when Northwest’s president saw an ad for steel buildings in a trade magazine and decided to approach the advertiser, Behlen Manufacturing Co., Columbus, Neb., with a promotional idea. Northwest proposed that Behlen construct a building to be placed at the fair to house the silver dollars. “The proposal, startling at first, sounded like a winner, and, after discussing it with other company executives, Behlen went to work,” Coins reported. “Within weeks, the idea had been cleared all the way to Miss Eva Adams, director of the Mint…and plans made to transport the coins from Philadelphia to Seattle.” The coins would earn interest for the government while they were on loan to the exhibit. While details were being worked out on shipping the coins, and construction began on the building in which to hold them, Northwest went about designing and striking the medals, including a new one honoring the Million Silver Dollars Exhibit. The fair’s opening date was April 21, 1962, and Behlen worked quickly to construct the corrugated steel building, while two Chevrolet diesels were employed to carry 500,000 each of the silver dollars, still in mint-sealed bags, from the Philadelphia Mint to the fair. “Pinkerton guards rode with the trucks, state troopers and local police drove guard as the semis roared westward, following the trail cut by free-spending miners and frontiersmen who’d rather get rid of their bulky silver dollars than lug them around in their pockets,” explained Coins. Once at the fair, 800,000 of the coins (Morgan dollars apparently, as the Coins' article notes they were in bags sealed between 1910 and 1915) were stacked in the center of a Behlen corn crib enclosed in glass. “Then over and around the bags were poured a clinking cascade of 200,000 Peace dollars: 1,000,000 silver dollars, just for looks, just sitting there gathering 167 dollars a day in interest,” Coins wrote. “But that’s not the only k  ind of interest the $1,000,000 display gathers. Each day the Fair is open this summer, more than 25,000 visitors pass through the steel building and gaze wide-eyed at the most money they’ve ever seen. On busy days 40,000 pairs of eyes repeat the performance.” In June, when the 1 millionth fair visitor walked into the exhibit, a California resident, she was presented with 100 of the silver dollars from exhibit. Interestingly, if you wanted, besides the nine-medal set, housed in blue Whitman bookshelf album, you could also purchase silver dollars from the exhibit. As Northwest's president explained to Coins: “‘They’re for sale. Anyone interested in picking up a Mint-sealed bag of dollars minted prior to 1910 can put down $200 and pay the balance by the 5th of October. We’ll deliver by the 22nd.’” An advertisement on the back inside cover of the November 1962 issue of Coins offered individual silver dollars from the exhibit, “mounted in an attractive World’s Fair holder,” for $1.95 postpaid. The limit on the bags was five bags per person (at $1,500 per bag of 1,000 silver dollars), to be shipped after the exhibit closed. Shown here are the coins in the corn crib, along with the trucks that brought them to Seattle, parked in front of the exhibit building at the Seattle World's Fair.
Tuesday, November 27, 2007 5:44:25 PM (GMT Standard Time, UTC+00:00)
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 Thursday, November 15, 2007
Worn to perfection
Posted by bob
Today everyone wants ultra-grade coins. Many of
those who buy directly from the U.S. Mint quickly send off these coins
to one of the third-party grading services to see if they can
score a coin in a high mint state or high proof grade and then sell it for a
fortune. What ever happened to the good old days of collecting,
when a coin's grade wasn't always the most important factor in whether
or not it was collectible?  I remember when I started collecting,
I liked to carry around an Eisenhower dollar with just one goal—to see how
worn down I could get it. I eventually had it well worn, but then
misplaced it. It was, however, not as worn as the Eisenhower
dollar in this photo. It's obvious this collector was going for the
worst of the worst. His hang-up on grade was in finding the worst
specimen of various types of large U.S. dollar coins. And it looks to
me like he did an admirable job. In the top row is an
1803 Draped Bust dollar, next to it is broken apart 1850 Seated Liberty
dollar, followed by an 1877 Trade dollar. In the bottom row are a
Morgan dollar, Peace dollar and an Eisenhower dollar. The dates on
these are all too worn to read. No need to rush these bad boys
in for slabbing. Borrowing a grading term from the 1800s I used in an
earlier posting, these start out at "wretchedly poor" at best.
Thursday, November 15, 2007 9:55:45 PM (GMT Standard Time, UTC+00:00)
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