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Kern-Carter 1880 Coiled Hair Stella leads July 31-Aug.2 event with $546,250

DALLAS, TX — An 1880 $4 Coiled Hair stella, Judd-1660, Pollock-1860, Low R.7, PR62 NGC – a gorgeous example of the timeless design of George Morgan – realized $546,250 at Heritage Auction Galleries’ July 31-Aug.2 Los Angeles U.S. Coin Auction, leading the almost $25 million event. All prices include 15% Buyer’s Premium.

“We’re certainly pleased with the outcome of this auction,” said Greg Rohan, President of Heritage. “Our three day event was a blockbuster. It brought in more than the top grossing movie of the weekend, which earned a little more than $22 million total. If you factor in that we did it with almost 4,000 bidders, and sold more than 90% of all lots, the figure is even more impressive.”

In past auctions Heritage has only been able to account for eight different examples of the 1880 $4 Coiled Hair stella, but the firm has recently established that the Dallas Bank Collection example makes a ninth distinct survivor. It was believed for many years that just 10 pieces were struck, but it is more likely that 20 pieces were originally coined, which all goes to show that, like the 1879 Coiled Hair and 1880 Flowing Hair coins, the 1880 Coiled Hair is a major rarity from an extremely small mintage.

“The more than half million dollar price tag attests not only to the rarity of this great coin,” said Rohan. “It also speaks to the undiminished popularity and lasting beauty of Morgan’s artistry.”

The number two and three lots in the auction – a spectacular MS65 1933 $10, the Morse-O’Neal example of the ‘Last Collectible Classic U.S. Gold Issue,’ and an 1856-O $20 AU58 NGC, one of the finest known examples – both brought $460,000 from the enthusiastic Los Angeles buyers.

The 1933 $10 is among the most notable rarities of the 20th Century U.S. Mint Gold Series, having survived President Franklin Roosevelt’s early 1933 order halting the release of gold coins from the Mint, and recalling gold coin, gold bullion, and gold certificates, which was made in an effort to halt the downward economic spiral created by The Great Depression. The near-Mint 1856-O $20 is one of the few remaining examples of a mintage that was small to begin with, only 2,250 pieces; it is easily the rarest double eagle from the New Orleans Mint, and ranks alongside the 1854-O and 1870-CC issues as the rarest business strike Liberty $20s.

A true first year of issue super gold rarity, a 1795 $5 Small Eagle S over D MS65 Prooflike NGC, was the subject of much admiration and fierce floor bidding in Los Angeles as it soared to a $345,000 price tag.

“This stunning beauty ranks among the finest Heritage has ever handled,” said Rohan. “In fact, it’s the only Gem example of this early issue that has appeared in any of our auctions since 1993, being a reappearance of lot 3135 in our January 2008 FUN Sale. It’s also the finest Prooflike example that has ever been certified.”

A very rare 1920-S $10 MS66 PCGS, Ex: O’Neal, from the year that marked the first U.S. regular-issue gold coinage since 1916, proved quite popular with collectors at the Los Angeles auction, bringing a healthy $345,000 price realized. In 1920, when 126,500 eagles were struck at the San Francisco Mint, they were already considered one of the rarest of all 20th century $10 gold coins as nearly all were exported in commercial trade, or held in Treasury vaults and eventually melted in the 1930s. No hoards have ever turned up and the coin remains very rare, and popular, to this day.

Further highlights from the auction include, but are not limited to:

A Rare Justh & Hunter Large-Sized, Memorable Gold Ingot, Nearly 15 Pounds, Recovered from the S.S. Central America:

Large Rectangular Justh & Hunter 179-Ounce Gold Ingot (1855-57). This large, deeply-patinated rectangular ingot was among many recovered from the doomed ship S.S. Central America, which foundered in a hurricane in 1857, carrying to the sea floor the present example and many others marked with the Justh & Hunter imprint, as well as those of numerous other assayers. A memorable and historic piece of the California gold rush.
Realized: $322,000

Landmark 1804 Quarter Eagle, 13 Star Reverse, the Rarest Quarter Eagle Major Variety, BD-1,
Possibly Finest Known, AU58:

A strong candidate for Finest Known, this coin is a memorable specimen of one of the rarest major varieties in the U.S. gold series. The BD-1 variety is characterized by the presence of 13 stars on the reverse, compared to the 14 stars of the more available BD-2 variety of this date.

Realized: $322,000

Possibly the Finest Known 1776 Brass Continental Dollar, MS63, Newman 1-B, Hodder 1-A.2, Reverse Double Struck:

About 15 brass Continental Currency pieces are known in all grades, and they are only known from the original engraving or the first modification of Reverse A. Breen recorded an example of the EG FECIT variety in brass; however, that piece has never materialized. Current rarity information indicates that there are three known examples of Hodder 1-A.1, and about 12 known of Hodder 1-A.2, the variety that was offered in Los Angeles.

Realized: $299,000

Excessively Rare 1776 Ornamented Date Dollar, XF45 PCGS. CAC. Newman 5-D, Hodder 4.1-B, W-8480, R.8., Tied for the Finest of Three Known:

Only three examples of the Ornamented Date rarity, including this coin, are known to collectors. The Norweb specimen and the present example appear to be tied for the finest known of the Ornamented Date variety. However, the Norweb coin is now in the collection of a well established New York colonial specialist, and will likely remain off the market for a long time. The present example, which was unknown to older generations, first appeared in the Christie’s sale of November 1990, lot 241, where it was conservatively graded Very Fine. The third specimen appeared in the June 1997 Spink America sale, lot 19, with a provenance to Burdette Johnson, Col. E.H.R. Green, and Waldo Newcomer before him.

Realized: $276,000

A Spectacular 1844 Quarter, PR66 NGC, CAC. Ex: Pittman-Kaufman, Finest Known, the Only Certified Example: The rarity of the 1844 proof quarter is attested to by its certified population of one, this NGC-graded PR66 coin pedigreed to the John Jay Pittman and Phil Kaufman collections. Additionally, Larry Briggs, in his The Comprehensive Encyclopedia of United States Liberty Seated Quarters, says of the 1844 quarter that there are “approximately five proofs,” and Walter Breen, in the Complete Encyclopedia of United States and Colonial Coins, also contends that there are “Five proofs traced.”

Realized: $276,000

For more information on the August 2009 Los Angeles U.S. Coin Auction, to read detailed descriptions of these, and any other lots, and to download full-color, enlargeable images, go online to www.HA.com/1128.

Heritage Auction Galleries is the world’s third largest auction house, and by far the largest auctioneer of rare collectibles, with annual sales more than $700 million, and 450,000+ registered online bidder members. For more information about Heritage’s auctions, and to join and gain access to a complete record of prices realized, along with full-color, enlargeable photos of each lot, please visit www.HA.com.

Want to get the up-to-the-minute updates and breaking news stories about Heritage? Get them as they happen at: www.Twitter.com/HeritagePress; www.Twitter.com/JimHalperin; Facebook: Heritage Auction Galleries. To view a compete archive of Heritage press releases go to: www.HA.com/PR. To link to this press release on your blog or Website: www.ha.com/PR-1717.

Saint-Gaudens Low-Relief Double Eagles 1907-33

United States coinage has never been more beautiful than it was in the early years of the 20th century. The Buffalo nickel . . . the Mercury dime . . . the Standing Liberty quarter . . . the Walking Liberty half dollar-these were among the aesthetically stunning coins that made their first appearance and circulated side by side during that period.

Fittingly, however, the centerpiece of this “golden age” wasn’t a nickel or silver coin, but one made out of gold. The Saint-Gaudens double eagle, or $20 gold piece, stands above the rest as the single most magnificent coin of this-or any-era in U.S. history.

As the 1900s dawned, Augustus Saint-Gaudens was a towering figure in the sphere of American fine arts. Widely acclaimed as the nation’s preeminent sculptor, he was also a man of eloquence and influence who dominated the art world of his day not only by example but also through the exercise of power and persuasion.

His brilliance and renown brought him to the attention of President Theodore Roosevelt, and the two men developed a warm relationship that was at once both personal and professional. In 1905, Saint- Gaudens designed a handsome inaugural medal for the president. Pleased and impressed, Roosevelt then invited him to fashion prospective new designs for the two largest U.S. gold coins, the double eagle and eagle, and also for a one-cent piece (which never reached production). Saint-Gaudens welcomed the challenge and plunged into the project with all his prodigious energy and skill.

Both men admired the high-relief coinage of ancient Greece, and both agreed that U.S. gold coins patterned after that model would be a spectacular achievement. They would also stand in stark contrast to the two undistinguished-looking coins that were being replaced, the Liberty double eagle and the Coronet eagle, both of which had their roots in the first half of the 19th century.

Although his health was deteriorating as the project went along, Saint-Gaudens created superb designs for both gold coins. The double eagle, especially, is a masterpiece. Its obverse features a full-length portrait of Liberty with a torch in her right hand and an olive branch in her left. She is shown in full stride with rays of sunlight behind her and the U.S. Capitol Building to the left of her flowing gown. Encircling her are 46 stars-one for each state in the Union at that time. The coin’s reverse depicts a breathtaking eagle in flight, with the sun below extending its rays upward. Above the eagle, in two semicircular tiers, are the inscriptions UNITED STATES OF AMERICA and TWENTY DOLLARS. High points to check for wear are Liberty’s breast and knee and the eagle’s wing.

Saint-Gaudens placed another required motto, E PLURIBUS UNUM, along the edge of the coin, thus reducing the clutter on the obverse and reverse and reinforcing their clean, open look. He and Roosevelt conspired to omit IN GOD WE TRUST from the first of the new double eagles, but God-fearing members of Congress noticed this and mandated addition of this motto on later issues, starting near the end of 1908. On pieces produced thereafter, it appears above the sun on the reverse.

Roosevelt and Saint-Gaudens intended that the coin would be struck in high relief to bring out each exquisite detail. Unfortunately, though, the artist died in 1907, almost on the eve of the coin’s debut. Meanwhile, Roosevelt was preoccupied with more pressing matters of state. All this, combined with the requirements of mass-produced coinage, gave Mint Chief Engraver Charles E. Barber a chance and an excuse to reduce the coin’s relief. High-speed minting required this, he said-and what’s more, high-relief coins wouldn’t stack.

Fortunately, the beauty of the coin remains dazzling, even in lower relief. And thankfully, Saint-Gaudens’ original art was preserved in its pristine beauty through the minting of small numbers of extremely high-relief patterns and high-relief business strikes in 1907-or rather MCMVII, for the date was shown on these coins in Roman numerals.

The first production pieces were made with high relief. But after striking just 11,250, Mint officials substituted new dies with the modified, lower relief, and these remained in use through the end of the series. As if to underscore the shift from the classical to the commercial, the Mint used Arabic numbers in dating all reduced-relief double eagles.

“Saints” were minted each year from 1907 through 1916. A three-year hiatus followed, after which the coins were struck yearly from 1920 through 1933. The branch mints in Denver and San Francisco augmented the main Philadelphia Mint production, but not in every year. Mint marks appear above the date the designer’s initials (ASG) below.

From 1929 onward, newly minted examples were held almost entirely as part of the nation’s gold reserves, with few being released into circulation. Almost all of these were melted (along with many earlier double eagles) following the gold recall order signed in 1933 by another President Roosevelt-Theodore’s cousin, Franklin. As a result, double eagles dated 1929 through 1932 are exceedingly rare today. The Mint produced nearly half a million pieces dated 1933, but the government maintains that these were never released, and thus it is illegal to own them. That was the end of regular-issue U. S. gold coinage.

Mintages were generally modest, but heavy melting, not low mintage, was primarily responsible for creation of the major rarities, including the 1927-D, the 1920-S, the 1921, the 1930-S and the 1932. The survival of many of these dates is predominately due to the large quantity of gold coins held in Swiss and French bank vaults. Since the 50s, tens of thousands of “Saints” have found their way back to their country of origin and into collectors’ hands. Proofs are very rare as only 687 were offered for sale from 1908 through 1915. They were made with a flat matte finish except for 1909 and 1910 when they were made with a more brilliant Roman or satin finish. This large gold coin is actively sought by a myriad of collectors: from bullion hoarders to type collectors to those challenged by the awesome (and expensive) undertaking of assembling a complete date and mintmark set.

In 1986, the U.S. Treasury paid the “Saint” the highest compliment by placing its obverse design on the American Eagle gold bullion coins, where it has remained ever since.

SPECIFICATIONS:

Diameter: 34 millimeters Weight: 33.436 grams Composition: .900 gold, .100 copper Edge: Lettered E PLURIBUS UNUM Net Weight: .96750 ounce pure gold

BIBLIOGRAPHY: Akers, David W., A Handbook of 20th-Century United States Gold Coins 1907-1933, Bowers & Merena Galleries, Wolfeboro, NH, 1988. Bowers, Q. David, United States Gold Coins, An Illustrated History, Bowers & Ruddy, Los Angeles, 1982. Breen, Walter, Walter Breen’s Complete Encyclopedia of U.S. and Colonial Coins, F.C.I. Press/Doubleday, New York, 1988. Dryfhout, John H., The Works of Augustus Saint-Gaudens, University Press of New England, Hanover, NH, 1982. Taxay, Don, The U.S. Mint and Coinage, Arco Publishing Co. Inc., New York, 1966. Vermeule, Cornelius, Numismatic Art in America, The Belknap Press of Harvard University Press, Cambridge, MA, 1971.

Coin Information Provided Courtesy NGC.

Although photography was invented in 1839, the art world at that time was still very much in the grips of Neoclassicism. To the Neoclassical sculptor or die engraver, modern clothing fashions changed too often, and to portray historically important figures in contemporary clothes could open up such art works to criticism. Instead, they froze their subjects in Classical Greek clothing and copied the stylized busts of known works by ancient sculptors and their later Roman imitators. Neoclassicism liked cold profiles, and the exacting art of die engraving is especially well suited to such a stylistic influence.

In the United States, Mint engraver Christian Gobrecht was strongly influenced by Neo-classicism, which was especially apparent in his use of the classically stylized head of Liberty on the Coronet half eagle that replaced the Classic Head design in 1839. The obverse design of the new coin featured Liberty’s hair tied in a bun and secured by a string of beads. She also wore a coronet in her hair inscribed with the word LIBERTY. The simplicity of the design was largely unaffected by the addition of the date below the bust and thirteen stars around the perimeter. Such a Greco-Roman profile as seen on the Coronet half eagle could be found in any major museum in Europe, and this classically elegant yet simple design remained on the obverse of the half eagle until 1908, when the design was replaced by Bela Lyon Pratt’s Indian Head. The reverse differed little from the spread eagle motif that had been in use since 1807, except that on the Gobrecht reverse the eagle’s wingspan was widened to cover the new coin from rim to rim.

Gobrecht’s Coronet half eagles continued the Mint’s preoccupation with stereotyping the designs on all U. S. coins. This drive for uniformity existed from the Mint’s early days and did not vanish entirely until new, non-Mint designs were implemented early in the 20th century. The Coronet half eagle shared its design with the eagle released in 1838 and the quarter eagle of 1840. Referred to by modern collectors as No Motto half eagles, they were struck in five mints: Philadelphia (no mintmark), Charlotte (C), Dahlonega (D), New Orleans (O), and San Francisco (S). Mintmarks were placed on the reverse below the eagle and above the word FIVE in all but the initial year of issue. In 1839 the C and D mintmarks were placed above the date on the obverse, making these otherwise relatively common coins a very popular and eagerly sought-after year for collectors. Altogether, for the 28 years these coins were struck, a total of 9,114,049 pieces were produced from all five mints.

In the first several years of production minor design changes were made-the head of Liberty was modified slightly after 1839, the diameter was decreased in 1840 and lettering and dates were enlarged in 1842 and ‘43. For the date and mintmark collector these minor design alterations provide variety, although, primarily due to engraver James Longacre’s ineptitude as a die sinker, there are a considerable number of mis-punched dates and overdates within the series that also provide numismatic interest. But the true rarities in this series are the low mintage, low availability issues, especially the branch mint issues from Dahlonega and Charlotte, such as 1842-D Large Date, 1842-C Small Date and 1861-C. There are no standout rarities among the New Orleans issues except, of course, the legendary 1841-O, a coin that is unknown in any collection even though mint records indicate 50 pieces were struck-presumably all were melted after coining. The rarest regular production No Motto half eagle comes from the San Francisco mint: the 1854-S. Only 268 half eagles were struck in this first year the San Francisco Mint was in operation, and today only three pieces are known. The most commonly encountered half eagles from this period are the ones struck in Philadelphia, with AU and mint state coins often available. The scarcest Philadelphia mint half eagles are those struck during the Civil War, when mintages were low and hoarding widespread.

Unlike many other 19th century series, No Motto half eagles are still collected today by date and mintmark. However, most collections contain only EF and AU coins at best; in many cases higher grade examples are either not available or are extremely expensive. Another popular method of collecting this series is to specialize in a particular mint. Several complete collections of Charlotte and Dahlonega half eagles have been formed over the years, this being especially popular with collectors living in the South. However, far fewer southern gold collectors have attempted to complete a set of coins from New Orleans, even though EF and AU pieces are more often available from this mint than from Charlotte or Dahlonega. Type collectors can approach the No Motto series by either attempting to acquire one coin from each of the five mints that issued them, or by obtaining one example (usually from Philadelphia) to represent the entire 28-year type. Proofs were struck only in the Philadelphia mint, and all are very rare with yearly mintages after 1858 ranging from 25 to 80 pieces.

Grading well struck examples of No Motto fives is a rather straightforward process: Look for rubbed spots on the highest portions of the design elements-the hair curls and above the eye of Liberty on the obverse and on the eagle’s wings on the reverse. However, incompletely struck coins from this period are the rule, not the exception, and one should expect softness of strike on the hair curls of Liberty as well as the eagle’s left (facing) leg on all branch mint coins and some of the Philadelphia issues. Certain branch mint issues, especially those from the mid-1850s, may show full mint sharpness but dull surfaces. These “seawater Uncs.” were allegedly salvaged off a sunken Confederate transport ship in the early 1970s. Counterfeits are occasionally seen in the series but are generally not a problem.

No Motto half eagles were minted until 1866, when they were replaced by coins with the newly mandated motto IN GOD WE TRUST on the reverse. The date 1866 provides a useful dividing line for the half eagle denomination. In general, coins struck after 1866 are easier to locate in AU and Uncirculated condition than their No Motto counterparts, and the Southern gold rarities from Charlotte and Dahlonega are limited to the No Motto series. No Motto half eagles remained in the channels of commerce for generations, and it was not until the turn of the century and the advent of mintmark collecting that they began to be appreciated as a series with many valuable rarities and few survivors in high grade.

SPECIFICATIONS:

Diameter: 22.5 millimeters (1839-40), 21.6 millimeters (1840-1866) Weight: 8.359 grams Composition: .900 gold, .100 copper Edge: Reeded Net Weight: .24187 ounce pure gold

BIBLIOGRAPHY: Akers, David W., United States Gold Coins, Volume IV, Half Eagles 1795-1929, Paramount Publications, Englewood, OH, 1979. Breen, Walter, Varieties of United States Half Eagles 1839-1929, Hewitt Brothers, Chicago. Breen, Walter, Walter Breen’s Complete Encyclopedia of U.S. and Colonial Coins, F.C.I. Press/Doubleday, New York, 1988. Vermeule, Cornelius, Numismatic Art in America, The Belknap Press of Harvard University Press, Cambridge, MA, 1971. Winter, Douglas, Gold Coins of the Charlotte Mint 1838-1861, DWN Publishing, Dallas, 1998. Winter, Douglas, Gold Coins of the Dahlonega Mint 1838-1861, DWN Publishing, Dallas, 1997. Winter, Douglas, New Orleans Mint Gold Coins 1839-1909, Bowers & Merena Galleries, Wolfeboro, NH, 1992.

Coin Information Provided Courtesy NGC.

In 1823, little more than a decade after the War of 1812 in which the United States fought for its free use of the seas, President James Monroe issued a foreign policy statement which was to affect the development of the Western Hemisphere for the next century. This Monroe Doctrine expressed in no uncertain terms that the USA would not tolerate European interference, control or influence in North and South America. It was a time when the nation was feeling its political and economic “oats.”

The United States Mint was gearing up to exercise its technological “muscle” also. William Kneass came aboard as chief engraver in January of 1824, and Samuel Moore as mint director later that year. Both men were charged with the task of increasing output and uniformity. To this end, in 1828 Kneass instituted a new process-minting coins within a close, reeded collar to standardize diameters. This practice also eliminated the time consuming method of manually placing reeding on the coin’s edge. Greatly speeding up production, it allowed the coins to stack evenly and discouraged counterfeiting. Total design uniformity was not yet realized however, as dies still required hand punching of numbers, letters and stars, and the devices themselves were different from punch to punch.

The newly designed equipment allowed the Mint to strike planchets of greater thickness. Adhering to the specifications for coin weight and alloy prescribed by the Mint Act of 1792 required the Mint to maintain the same standards as for the thinner and larger coins previously struck. Therefore, the diameters of the half dime, dime and quarter dollar, as well as those of the quarter eagle and half eagle, were all reduced.

Though the proposed reduction in the size of the dime was from 18.8 mm to 18.5 mm, new research shows that actual diameters varied over the years. There is really no consistent distinction between the large and small size diameters, particularly from 1828 through 1834. Due to this variance, this type could more properly be called the Close Collar Capped Bust dime. The main discernible difference from the previous large size or open collar type are the small radial beads inside a raised border, as opposed to the flat, widely spaced denticles of the earlier production. The new coin was also much thicker at the edges.

The Mint’s penchant for uniform designs dictated that all United States coins share one of three basic portraits of Liberty: One for copper coins, a second for silver coins and a third for gold. The Capped Bust portrait of Liberty in use when Moore became Director was the one adopted by his father-in-law, the previous mint director, Robert Patterson. After Patterson hired John Reich as second engraver in 1807, Reich proceeded to redesign all the coins then in use.

The first dime design was Robert Scot’s Draped Bust/Small Eagle motif issued in 1796. It was updated in 1798 with a heraldic eagle reverse, primarily in answer to criticism of Scot’s “scrawny eagle.” Lack of demand, however, caused the Mint to cease production of dimes after June of 1807.

Reich’s new design for the dime first appeared in 1809 and was later copied by Kneass for the reduced version. It featured a left facing bust of Liberty wearing a cap, with a diadem bearing the incused inscription LIBERTY. Thirteen stars are arrayed on the sides of the bust, with the date below. The reverse depicts an eagle with a shield on its breast, clutching arrows and an olive branch. Above the eagle are the inscriptions UNITED STATES OF AMERICA and E PLURIBUS UNUM, with the denomination 10 C. below.

The reduced size Capped Bust dime was introduced in 1828, the same year “Old Hickory,” Andrew Jackson, became president. It ended its run after nine years, shortly after excessive speculation had caused the financial Panic of 1837, which resulted in a collapse in real estate, stock and commodity prices. Total mintage during this period was approximately 6,730,000 pieces. In addition, small numbers of proofs are known for each year.

As with all coins produced at the U.S. Mint during this time, there are some interesting varieties. The 1830/29 overdate and 1829 with a curled base numeral 2 in its date are the most notable. Variety collecting today, however, has few adherents. As coins have become more expensive and widely dispersed over the years, there are few collectors assembling date sets of Bust dimes, let alone variety collections. Most choose to own a representative type example. While circulated pieces are readily available for every year, this design type becomes very elusive above Mint State-64. Small numbers of exceptionally well preserved pieces do exist, however, grading as high as MS-67. The toughest dates to find in high grades are 1828 Small Date, 1830/29 and 1837.

When grading this design, highpoints on the obverse to check for wear are the drapery at the front of the bust, the hair at the forehead and above the ear and the shoulder clasp. On the reverse, check the eagle’s claws, neck and wings. Weak striking is common and should not be mistaken for wear.

Since the first branch mint that produced silver coins was the New Orleans facility, which began operations in 1838, all of the dimes of this type were manufactured in Philadelphia. It is notable that the Philadelphia Mint was moved from its original building on Seventh Street to the new building at Chestnut and Juniper in 1833. The total cost of the new building, ground, machinery and fixtures was $209,230. The original mint property was then sold in 1835 as two parcels for a total price of $10,100. Today, 160 years later, just one or two Capped Bust dimes in gem condition would bring about the same amount.

Director Moore was ultimately replaced in 1835 by the person with whom he had originally competed for the appointment, his brother-in-law Robert Maskell Patterson, son of the former Director, Robert Patterson. The younger Patterson instituted the use of steam powered presses, which greatly increased the efficiency and output of the Mint. Furthermore, he introduced the famous and long lasting Seated Liberty silver coinage designed by Christian Gobrecht, which replaced the Capped Bust dime in 1837.

SPECIFICATIONS:

Diameter: 18.5 millimeters Weight: 2.70 grams Composition: .8924 silver, .1076 copper Edge: Reeded Net Weight: .07734 ounce pure silver

BIBLIOGRAPHY: Breen, Walter, Walter Breen’s Complete Encyclopedia of U.S. and Colonial Coins, F.C.I. Press/Doubleday, New York, 1988. Davis, David J.; Logan, Russell J.; Lovejoy, Allen F.; McCloskey, John W.; Subjack, William L., Early United States Dimes 1796-1837, John Reich Collectors Society, Ypsilanti, MI, 1984 Evans, George G., Illustrated History of the United States Mint, Revised Edition, Philadelphia, 1892. Morris, Richard B., Encyclopedia of American History, 5th Edition, Harper & Row, New York, 1976. Taxay, Don, The U.S. Mint and Coinage, Arco Publishing Co., New York, 1966. Yeoman, R.S., A Guide Book of United States Coins, 47th Edition, Western Publishing Co., Racine, WI, 1993.

Coin Information Provided Courtesy NGC.

Draped Bust/Small Eagle Half Dimes 1796-97,
Photo courtesy Barry

One of the first acts of a sovereign nation has always been to establish a system of currency for use in commercial transactions. In the fledgling United States this was doubly important. Although the accepted standard of value was the Spanish silver dollar and its fractional pieces of eight, English coins of pounds, shillings and pence also were in use throughout the young nation. Efficient trade was hampered at every turn, particularly between the states, as each valued the Spanish coins differently in relation to English issues. By the end of the 1780s, much discussion ensued concerning the necessity and structure of a reliable, non-fluctuating system of coinage.

Thomas Jefferson, along with Alexander Hamilton and financier Robert Morris, had long advocated the use of the decimal system. Introduced by the Dutch inventor Simon Stevin van Brugghe, it used whole numbers to describe fractions and was translated into English in 1608 as Disme: the art of tenths, or, Decimall arithmeticke. Jefferson saw decimal coins as the solution to the conflicting foreign systems already circulating in North America. The gold ten-dollar piece would be roughly equal in value to the British double guinea. The silver dollar and its fractions would correspond to the Spanish eight reales. Copper cents would be equivalent to English halfpennies.

The Mint Act passed by Congress on April 2, 1792, provided that “. . . the money of account of the United States shall be expressed in dollars or units, dismes or tenths, cents or hundredths, . . . a disme being the tenth part of a dollar . . .” It was fitting that this country, born of revolution, should use a revolutionary system for coinage.

The first decimal coins struck were the William Russell Birch designed pattern half dismes of 1792. Only fifteen hundred were minted. Most likely, as the late Walter Breen postulated, minting half dismes was the most economical use possible of the $75 worth of silver bullion that was on hand at the time. But this small mintage was only an experiment.

It wasn’t until 1795 that regular minting of the half dime began, though the first examples were coined from dies dated 1794. Robert Scot’s Flowing Hair design was widely criticized for its scrawny eagle and its portrayal of Miss Liberty in a “fright wig.” (Although Scot’s design-unlike the 1792 coins-did not display the denomination, the spelling of “disme” would evolve over time to the anglicized “dime.”)

After the poor reception afforded Scot’s creation, Mint Director Henry DeSaussure addressed the immediate need of improving the coinage. Going outside the Mint, he engaged artist Gilbert Stuart to submit a sketch for a new Liberty head. Stuart modeled his Liberty after the buxom Mrs. William Bingham of Newport, Rhode Island. Using Stuart’s sketch, transferred to a relief model by John Eckstein, Scot engraved the dies for the new half dime.

Released in 1796, the coin’s obverse design consists of a Draped Bust profile of Liberty facing right, with flowing hair secured by a ribbon. The word LIBERTY is above her head, and the date is below the bust. Stars flank each side. The coin’s reverse depicts an open wreath surrounding a small eagle that is perched on a cloud. The eagle is smaller than the one on the Flowing Hair design of 1794-95, but it has a fuller breast. The inscription UNITED STATES OF AMERICA surrounds the wreath.

The 1796 half dime has eight stars on the left and seven on the right, representing the fifteen states, including the new states of Vermont (#14) and Kentucky (#15). In 1797, a fifteen-star variety was struck, and later a sixteenth star (eight right, eight left) was added after Tennessee was admitted to the Union on June 1, 1796. Director DeSaussure’s successor, Elias Boudinot, realized that they couldn’t go on adding stars ad infinitum, so the last variety of 1797 had only thirteen stars (seven right, six left). Henceforth, thirteen stars would be used to symbolize the original union of states.

There were 54,757 half dimes of this design minted. Only a few varieties exist, and all are rare. Even type collectors find this issue a challenge. In 1796, there is a late die-state example with a broken “B” in Liberty that appears as “LIKERTY” and an overdate, 1796/5. The 1797 coins were minted from only three obverse dies having either fifteen, sixteen or thirteen stars. No proofs were made, but supposedly there is a single 1797 fifteen-star prooflike presentation piece that can be traced back to Mint Director Boudinot. It was sent to Matthew Boulton in England as an example of the Mint’s capabilities. It was last reported in the collection of Harold Bareford but did not appear when his coins were auctioned in 1981.

One reason for the paucity and low quality of coinage during this period was the yearly outbreak of yellow fever in Philadelphia during the summer and fall months. The epidemic was particularly ferocious from 1797 through 1804, and during some of these years the Mint was temporarily closed throughout the yellow fever season. Key employees-engraver Joseph Wright and assayer Joseph Whitehead-succumbed in 1793, and Mint Treasurer Dr. Nicholas Way was felled in 1797. Official procedures were instituted for closing the Mint in these emergencies, including provisions to pay off the workers and instructions for coining or securing the bullion that remained on hand. All dies were to be packaged and sent to the Bank of the United States for safe keeping.

It should be noted that most Draped Bust/Small Eagle half dimes are usually very weakly struck, particularly in the center of the coin. This presents a grading challenge, as the typical specimen may grade only Fine. Wear first shows on the hair above Liberty’s forehead, at the hair over her ear and shoulder and on the area where the bust meets the drapery line. On the reverse, check the center of the eagle’s breast and the ribbon.

Draped Bust half dimes typically show adjustment marks made with a file to bring slightly overweight coins to the proper standard. This process of adjustment was done before the coin blanks, or planchets, were struck by dies into coins. Each blank was weighed, and overweight pieces were filed with strokes across the face of the blank, while underweight pieces were melted. Though adjustment marks are not a major factor in grading, they must be recognized so that they are not interpreted as damage to the coin.

No half dimes were struck in 1798 and 1799. The coin was again minted in 1800 with the same Draped Bust obverse, but with a new reverse by Robert Scot that copied the heraldic eagle device from the Great Seal of the United States.

SPECIFICATIONS:

Diameter: 16.5 millimeters Weight: 1.35 grams Composition: .8924 silver, .1076 copper Edge: Reeded Net Weight: .0387 ounce pure silver

BIBLIOGRAPHY: Bowers, Q. David, United States Coins by Design Types, Bowers & Merena Galleries, Wolfeboro, NH, 1986. Breen, Walter, Walter Breen’s Complete Encyclopedia of U.S. and Colonial Coins, F.C.I. Press/Doubleday, New York, 1988. Taxay, Don, The U.S. Mint and Coinage, Arco Publishing Co., New York, 1966. Valentine, Daniel W., The United States Half Dimes, Quarterman Publications, Inc., Lawrence, MA, 1975. Yeoman, R.S., A Guide Book of United States Coins, 48th Edition. Western Publishing Co., Racine, WI, 1994

Coin Information Provided Courtesy NGC.

Thomas Jefferson, author of the Declaration of Independence, was also the author of the philosophical direction of the United States. He grew up on the edge of civilization in the “hard scrabble” life of American Colonial days, a self-taught, natural student who learned the basics of living from the books he loved. His heroes were not politicians or soldiers, but philosopher-scientists such as Isaac Newton, Thomas Bacon and Adam Smith. Jefferson was living in Paris in the 1780s, absorbing the new spirit of Enlightenment. He embraced a philosophy that taught the unbiased pursuit of knowledge and skepticism of “truths” long taken for granted. The aim was to no longer just reflect on the state of the world or contemplate another, but to change it.

As Secretary of State under George Washington, Jefferson’s public policies reflected his belief in rational change. When it was time for the fledgling United States to create a system of coinage, he knew a decimal system was a scientific and practical necessity, as he followed the work of Simon Stevin van Brugghe who, in the late 16th century, invented the decimal system as an alternative to fractions. Stevin’s pamphlet, De Thiende {1585}, later translated by Robert Norton as Disme: the art of tenths, or, Decimall arithmeticke, was familiar to many of Jefferson’s colleagues, including Benjamin Franklin, Alexander Hamilton and the new Mint Director, David Rittenhouse.

European and Colonial experiences with coinage were based on jerry-built systems established over many years. They were also non-decimal. The British system, for example, traced its origins to Ancient Rome, with a few impositions by the Saxons and Normans. Its unit, the pound, was divided into 20 shillings or 240 pence, with many subsidiary silver and copper units. Spain’s reales, a system of eights, or the French system of livre tournois, divided into sols and deniers, were simple compared to the even greater complexity of the German or Dutch systems. Establishment of decimal coinage in the United States was not only a clean break with the past, but truly revolutionary and consistent with the new philosophies of “The Age of Enlightenment.”

It was fitting that the first silver coins struck at the Federal Mint in 1792 were half dismes, or twentieth-of-a-dollar coins (the spelling “dime” didn’t come into general use until 1837). This one act not only established the decimal coinage system in the United States but had enormous political significance, as the coinage of silver was universally recognized as an expression of national sovereignty. Only 1,500 half dismes were made, and Jefferson gave many away as gifts. President George Washington, in his annual address in November of 1792, referred to the half dismes as “a small beginning” in coinage.

In November of 1793 the Mint hired banknote plate engraver Robert Scot as the new chief engraver. This decision was regretted in future years, as Scot proved to be egocentric, jealous and, as a tenured Mint employee, cantankerous. He had no experience designing device punches for coins and learned as he went. His first attempt-the 1794 Flowing Hair design-suffered from broken punches and was greeted with harsh public criticism. Commentary of the time described Liberty as wearing a “fright” wig, and the bird on the reverse as resembling a turkey more than an eagle.

In 1796, new Mint Director Henry William DeSaussure decided that the coinage designs needed improvement and persuaded the illustrious painter Gilbert Stuart to prepare a new portrait of Liberty. As Scot was too unskilled to translate the buxom portrait to relief, the Mint hired John Eckstein to create the models. Unfortunately, the completed dies degraded Stuart’s portrait, and the finished coins exhibited weakness in the center of the design. This was most apparent on the half dimes. Due to various problems at the mint, including yellow fever epidemics, the design was minted for only two years. No more half dimes were struck until 1800.

Scot’s design for the Draped Bust/Heraldic Eagle half dime of 1800 was first used on the gold quarter eagle in 1796, the half eagle in 1797 and the dollars and dimes in 1798. It features a strengthened and more aesthetic rendering of Stuart’s Draped Bust portrait of Liberty, her hair tied with a ribbon. The inscription LIBERTY appears above her head, and surrounding the bust are seven stars to the right and six to the left. The reverse depicts a large eagle with outstretched wings-the Union Shield on his breast-clutching thirteen arrows and an olive branch. His beak holds a ribbon inscribed with the Latin motto E PLURIBUS UNUM (One made up of many). Thirteen stars are above the eagle, with an arc of clouds above the stars. UNITED STATES OF AMERICA surrounds the periphery.

A total of 124,270 Draped Bust/Heraldic Eagle half dimes were minted from 1800 through 1805, with no coins dated 1804 and no proofs reported. Collectors normally include this coin in a 19th century type set, along with the Capped Bust half dime of 1829-37 and the several varieties of Seated Liberty half dimes (1837-73). High grade pieces are elusive or nonexistent. When uncirculated pieces do appear in the market, they’re most likely dated 1800. The rarest date of the series is 1802, with a mintage of only 3,060. Noted researcher, the late Walter Breen, estimated that only 35 to 45 examples of the 1802 issue survive in all grades, and none in mint state. As counterfeits exist of this famous rarity, authentication is highly recommended. An interesting variety of this short-lived series is the 1800 LIBEKTY issue, made when a defective “R” letter punch was used.

When grading this design take into account that, due to poor striking quality, these coins usually exhibit weakness on one or more high points. It is important to discern the difference between poor strike and actual wear. Weak areas often include Liberty’s hair and drapery, the obverse stars and the stars and clouds above the eagle. The first places to show wear are the hair above the forehead and by the ear, on the drapery just over the date and the drapery lines at the bust. On the reverse, look for wear on the eagle’s wing tips and tail feathers.

Though the half dime denomination was important in commerce as a convenient way to make change, the Mint’s ability to make enough of these coins was limited. Production of the Draped Bust/Heraldic Eagle half dimes ceased in 1805. The markets, and especially the banks, preferred the large quantities of legal tender Mexican silver half reales (valued at about six cents) then in widespread use. The half dime was not minted again until 1829, when the denomination returned with the William Kneass/John Reich Capped Bust design.

SPECIFICATIONS:

Diameter: 16.5 millimeters Weight: 1.35 grams Composition: .8924 silver, .1076 copper Edge: Reeded Net Weight: .0387 ounce pure silver

BIBLIOGRAPHY: Bowers, Q. David, U.S. Coins by Design Types, Bowers and Merena Galleries, Inc., Wolfeboro, NH, 1986. Breen, Walter, Walter Breen’s Complete Encyclopedia of U.S. and Colonial Coins, F.C.I. Doubleday, New York, 1988. Peterson, Merrill D., Jefferson and Religious Freedom (Part I), The Atlantic Monthly, New York, 1994. Taxay, Don, The U.S. Mint and Coinage, Arco Publishing Company, New York, 1966. Valentine, Daniel W., The United States Half Dimes, Quarterman Publications, Inc., Lawrence, MA, 1975.

Coin Information Provided Courtesy NGC.

1835 started off with a bang. On January 30th, an assailant fired two shots at President Andrew Jackson as he was leaving the House chamber. The shots missed. Ironically, a short time later, Samuel Colt patented his revolver. In early spring, Georgia passed the death penalty for anyone publishing anything that could incite slave rebellions. Abolitionists ranted, while most of the South approved. Lots of tension, lots of change.

Changes also led to the Mint becoming a very busy place. For the first time ever, there was a large amount of silver and gold available for use. New steam technology brought the introduction of modern, state-of-the-art coining presses which could strike coins quickly and efficiently in a close collar. These factors were instrumental in the Mint’s entering the modern era.

Newly appointed Mint Director Robert M. Patterson had strong feelings about his own vision of the emblematic Liberty, and it didn’t include portraits, as on the coinage to date. He favored the rendition of Britannia on the English copper coins and immediately assigned Chief Engraver William Kneass to do a sketch using a similar concept. Kneass’ simple sketch was taken several steps further by the artists Titian Peale and Thomas Sully.

Enter Christian Gobrecht. By 1835 the talented engraver and medallist had worked for the Mint for over a decade, but without an official, permanent position. Among other assignments, he was responsible for many of the device punches that were used on the earlier Capped Bust coins. Finally appointed second engraver after Chief Engraver William Kneass’ debilitating stroke in the summer of ‘35, Gobrecht immediately set to work on bringing Patterson’s ideas and Sully’s painting to life. The result was to grace the coinage for over half a century.

The Sully/Gobrecht Seated Liberty design was adapted for use on half dimes and dimes in 1837. It depicted a robed Liberty seated on a rock, holding in her right hand the Union Shield inscribed with LIBERTY and a staff topped with a Liberty cap in her left. Except for the date, the figure sits alone in clear fields. The reverse features a laurel wreath enclosing the denomination HALF DIME, with the legend UNITED STATES OF AMERICA encircling the periphery. As opposed to the later coins issued with obverse stars, the cleanness of the fields gave the coin a powerful, aesthetic impact, often presenting a cameo appearance on higher grade pieces.

On July 25, 1837 the first new half dimes were issued. About 20 or so proofs were struck for presentation to dignitaries and VIP’s. Approximately 12-14 of these are known today, and they can be distinguished from business strikes by particularly bold detail and fully reflective surfaces. Additionally, all true proofs show very clear triple punching on the 8 in the date (this should not be regarded as diagnostic criteria for all proofs, though, since this feature is also seen on early die states of the business strikes).

A total of 1,405,000 Seated Liberty half dimes were struck in 1837. Two distinct varieties are known. The first has a large date with the date in a curved line and a tall peak to the 1 in the date. The second variety has a small date with the date in a straight line and a flat top to the 1 in the date. The Small Date is considerably scarcer than the Large Date, but virtually no premium is accorded to this variety. These 1837 No Stars half dimes, in comparison to other issues of the same era, are much more available in uncirculated grades than one might expect. Apparently, many pieces were saved as first-year-of-issue souvenirs.

In 1838, and for that year only, No Stars half dimes were coined in New Orleans. Some 70,000 pieces were struck, and these represent (along with the similarly dated dimes) the first regular issue silver coins struck at a United States branch mint. The 1838-O half dimes saw heavy circulation and are much rarer than the Philadelphia coins of 1837. Unlike many first-year-of-issue coins, virtually no one saved any pieces as souvenirs. As a result, mint state 1838-O half dimes are extremely rare and almost non-existent in grades higher than Mint State-63.

No Stars half dimes are very popular. Although very few collectors are still attempting to complete Seated Liberty date sets, higher grade No Stars examples have great eye appeal and are highly coveted by type collectors. From an artistic standpoint this coin is one of the most uncluttered coins ever struck in the United States. Due to the rarity of 1838-O, the 1837 issue is the one typically included in type sets.

When grading coins of this type, check the high points of the breast and knees on the obverse and the ribbon bow and tips of the leaves on the reverse. The 1838-O half dime is more difficult to grade. Many pieces were struck from heavily rusted dies. In addition to this die rust, the overall quality of strike was poor. These coins looked worn as soon as they left the die, and even a short stint in circulation left them with a wretched appearance. It is possible to find an 1838-O with minimal die rust and a reasonably decent impression, but they will never compare in overall appearance to the 1837 Philadelphia issues.

In 1838 an arc of thirteen stars (arranged seven to the left and six to the right) was added to the obverse of the half dime. The original hub of 1837 was retained, and the individual stars were hand-punched into each working die. This was done to quell criticism from those who took issue with the lack of the traditional stars signifying the original states.

Although a case could be made for the aesthetic appeal of the No Stars design, the issue was moot after the release of the 1838 Seated Liberty quarter dollar with stars on its obverse. Both the half dime and dime design were then changed to conform to the Mint’s policy of similar designs on all coins of the same metal. Christian Go-brecht’s majestic depiction of Liberty, however, would continue on the half dime until 1873, when Congress stopped production of the tiny silver five-cent piece in favor of the increasingly popular copper-nickel five-cent piece.

SPECIFICATIONS:

Diameter: 15.5 millimeters Weight: 1.34 grams Composition: .900 silver, .100 copper Edge: Reeded Net Weight: .03877 oz. pure silver

BIBLIOGRAPHY: Breen, Walter, United States Half Dimes: A Supplement, New York, 1958. Blythe, Al, The Complete Guide To Liberty Seated Half Dimes, Virginia Beach, VA, 1992. Morris, Richard B., Encyclopedia of American History, 5th Edition, Harper & Row, New York, 1976. Taxay, Don, The U.S. Mint and Coinage, Arco Publishing Co., New York, 1966. Valentine, Daniel W., The United States Half Dimes, Quarterman Publications, Inc., Lawrence, MA, 1975.

Coin Information Provided Courtesy NGC.

During the first third of the 19th century, the average American saw few of his country’s gold or silver coins, if any at all. Strangely enough, in relation to the size of the rapidly expanding nation, not many coins were made. A combination of factors, including Congress’ ill-founded 15-to-1 silver/gold ratio, questionable Mint procedures, fluctuating gold prices and the large domestic supply of Spanish silver pieces, all served to limit the number of U.S. coins in circulation.

By the early 1830s, with Latin-American revolutionary chaos subsiding, Mexican silver exports jumped. This fact, combined with Congress’ new 16-to-1 silver/gold ratio, U.S. coinage flourished. Mintages ballooned dramatically, and the introduction of steam powered coining presses in 1836 only enhanced the Mint’s production capacity. While the ratio change-which favored silver-should have driven those coins from circulation, what actually occurred was an increase in the number of silver coins struck, particularly the smaller issues. Apparently Mexican mine owners found it profitable enough to sell their ore to the convenient and silver-hungry American market, despite the lower price. The U.S. was only too happy to turn their bullion into coins.

Changes were also taking place among Mint personnel: the new director, Robert M. Patterson, hired the exceptionally talented Christian Gobrecht as second engraver to Chief Engraver William Kneass. Gobrecht, a follower of the neoclassical style, was instructed to completely redesign the coinage using the English figure of Britannia as a model. Working from sketches made by Titian Peale and Thomas Sully, Gobrecht fashioned a majestic image of Liberty. In 1836 his Seated Liberty design was first used on silver dollars, the quasi-pattern “Gobrecht” issues. By the next year, working dies were ready, and production of the new half dimes began.

Only the No Stars half dimes (and dimes) of 1837-38 accurately reflect Gobrecht’s original concept. Liberty is seated on a large rock, holding a staff topped with a Liberty cap. The figure sits alone in the field with only the date below, imparting a cameo, medal-like appearance to the coin. The reverse-essentially the same on all half dimes from 1837 to 1859-features the denomination HALF DIME encircled by a laurel wreath, in turn surrounded by UNITED STATES OF AMERICA.

In 1838 thirteen stars were arranged around the image of Liberty, creating the Stars Obverse type, with each star hand-punched into a previous No Stars die. Collectors refer to the coins of 1838-1840-slightly different in appearance than later issues-as the “No Drapery” variety, and these are often included in type sets as a separate design.

In 1840 Robert Ball Hughes made the first of many modifications to come. He added an extra fold of drapery behind Liberty’s elbow and, unfortunately, “fattened” the overall design. Thirteen years later, to combat widespread melting of silver coins following the California Gold Rush, Chief Engraver James B. Longacre added arrowheads on either side of the date, denoting a slight weight reduction. The Stars obverse design, without arrows, resumed in 1856 and continued until 1860, when the Legend Obverse design debuted. The last changes were made in 1859, when engraver Anthony Paquet slimmed Liberty’s arms, reduced the size of her cap and enlarged her head. But the most notable difference of Paquet’s revision is the hollow center of each peripheral star. Some type collectors include this minor variety in their sets. As one of the five major design types of the popular Seated Liberty series, Stars Obverse half dimes are collected by date and mintmark as well as by type. Scarce dates abound, and some are nearly impossible to find, particularly in high grade-most notably 1844-O, 1846, 1849-O and 1853-O No Arrows. Type collectors searching for gem specimens will most frequently encounter the Philadelphia coins of 1857 and 1858.

The series includes two well known oddities, the 1859 and 1860 “transitional” issues. Both were creations of Mint Director James Ross Snowden, whose driving ambition during his tenure was to fill the conspicuous gaps in the Mint’s collection of U.S. coins. He authorized the striking of several “fantasy” pieces, including the Class III 1804 dollars, certain Gobrecht dollar restrikes and the so-called “transitional” half dimes and dimes. These half dimes have the Stars Obverse paired with Anthony Paquet’s Cereal Wreath reverse of 1860. These “coins without a country” (they lack the inscription UNITED STATES OF AMERICA) were traded to local collectors for coins missing from the Mint collection. The 1859 is a proof striking and very rare, with only 12-15 pieces known, The 1860 pieces, however, are business strikes, and with an original mintage of 100 coins they occasionally appear for sale.

A tiny number of proofs-totalling fewer than 1,000 pieces-were struck from 1838 through 1859, with 880 issued in 1858 and 1859 alone. Proof specimens before 1856 are rarely seen. Conversely, with a total of 42.7 million pieces minted, business strikes are quite plentiful, at least in lower grades. Only the Philadelphia (no mintmark) and New Orleans (O) Mints produced this design, with the southern branch mint producing fewer coins but ones that saw immediate and heavy use. For that reason Philadelphia issues appear more frequently, especially in the higher grades. New Orleans mintmarks are above the bow knot of the wreath.

Many weak strikes exist within the series, making those issues more difficult to grade. Unfortunately, the addition of peripheral stars in 1838 only added to striking problems. Coins from New Orleans are usually seen with weak strikes, and Philadelphia issues between 1856 and 1858 are often weakly defined on the central drapery and head of Liberty. Higher grade pieces will first show friction on the obverse on Liberty’s knees and bust. On the reverse, wear first appears on the ribbon bow.

By the time Stars Obverse half dimes ended their run, America stood on the brink of civil war. The coming conflagration would see many of the little coins disappear into hoards and melting pots. Production ended in 1859 to make way for the new Legend Obverse design with the Cereal Wreath reverse. However, Christian Gobrecht’s Seated Liberty lived on until Congress ended the denomination 24 years later with legislation that detractors would call the “Crime of ‘73.”

SPECIFICATIONS:

Diameter: 15.5 millimeters Weight: 1837-53, 1.34 grams 1853-59, 1.24 grams Composition: .900 part silver, .100 copper Edge: Reeded Net Weight. 1837-53, .03877 ounce pure silver 1853-59, .03588 ounce pure silver

BIBLIOGRAPHY: Blythe, Al, The Complete Guide to Liberty Seated Half Dimes, DLRC Press, Virginia Beach, VA, 1992. Bowers, Q. David, United States Coins by Design Types, An Action Guide for the Collector and Investor, Bowers and Merena, Wolfeboro, NH, 1986. Breen, Walter, A Coiner’s Caviar, Encyclopedia of United States and Colonial Proof Coins, 1722-1989, Bowers & Merena Galleries, Wolfeboro, NH, 1989. Breen, Walter, Walter Breen’s Complete Encyclopedia of U.S. and Colonial Coins, F.C.I. Press/Doubleday, New York, 1988. Carothers, Neil, Fractional Money, A History of Small Coins and Fractional Paper Currency of the United States, John Wiley & Sons, London, 1930.

Coin Information Provided Courtesy NGC.