Signature Set Overview
Set Category:
Thematic & Topical Coins
Set Name:
Transitional Pieces of 1836-40
Set Theme:
This is a type set of coinage minted from 1836 through 1840. It represents all major type and subtype pieces and includes all denominations minted at the time.
Set Description:
This set represents a new endeavor in my collecting and will take me a long period of time to assemble. My goal is not to collect every date and Mint mark combination in the period or every variety of the period, as some of the date/MM and varietal pieces are quite rare and thus expensive! Rather, my goal is to collect beautiful and original coins that present strong character in representing major type and subtype changes in this transitional period for the U.S. Mint.
The impetus for this set came when studying seated coinage and the seated Liberty effigy in American coinage. There is much to say of the seated Liberty adorning our coinage for so many years of the 19th century, and I'll get to that below. However, there are four seminal figures in Mint History that deserve mention here. The first is the fifth Director of the Mint, Samuel Moore, who in 1831 wrote President Andrew Jackson to lift the sanctions against silver dollar mintage. Nearing retirement in 1835, Moore directed veteran Engraver William Kneass to implement many improvements in the appearance of coinage of the time. Following Moore's retirement from the Mint, Robert Maskell Patterson would become the new Director. (R.M. Patterson was the Philadelphia born son of fourth Mint Director (1805-1824) Robert Patterson, senior). On August 27th, 1835, tragedy struck Kneass who suffered a debilitating stroke that required the new Director to act swiftly on behalf of bringing a new Engraver on board. This was the final impetus to hire Christian Gobrecht as Engraver.
Gobrecht began study of die engraving and was quick to implement changes and improvements in the face of coinage by 1836. A new half dollar design crafted by Gobrecht (based on Reich’s capped bust) appeared in 1836, as well as a new dollar design, which was first minted as a regular issue on December 31, 1836.
Gobrecht implemented many design modifications throughout all denominations from the half cent through the ten dollar gold piece (eagle). Gobrecht is, perhaps, best known for his design of the so-called Gobrecht dollar, which was the first silver dollar minted since 1803. The so-called Gobrecht dollar, which bears a seated figure of Liberty on the obverse, and a flying eagle on the reverse in a field of 26 stars (one for each state in the Union), was largely the brainchild of Director Patterson. Gobrecht’s seated Liberty was modified in 1840 by the skilled hands of Robert Ball Hughes, who is said to have been employed by Patterson to refine the effigy of Liberty, lower the relief of the design, and improve the design for metal flow across the die.
One might claim, rightfully, that the concept of a seated Liberty, a uniquely American interpretation of the allegorical seated figure, belongs strictly to its inventor, Robert M. Patterson. (The concept of a flying eagle in a field (sky, really) of stars is also Patterson’s own concept.) In his book entitled Numismatic Art in America, Cornelius Vermeule states “… the seated Liberty on the obverse of the silver dollar and its divisions is a thoroughly American creation…” Vermeule and others indicate that the portrait of a seated Liberty arose from the effigy of Britannia (defender of England) found on British coins of the time, which was inspired by Greek and Roman forms. Thus, the influence for the development of the seated Liberty figure on American coinage arises in its most primal form from ancient roots.
Gobrecht’s seated Liberty sits on a rock or stone pedestal (plinth). (On English coinage of the time, Britannia sat atop a rock representing the island of England.) The presence of a plinth is in likeness to statues atop a stone pedestal. One might think of this as presenting Liberty in statuesque form, which the high relief of the Gobrecht dollar does, but might also be considered an elevated place of honor, much like a stone throne. Liberty is adorned with a chiton, which is a long, flowing tunic worn typically by rulers and those of high status in ancient Greece. The chiton is buttoned at the shoulder, and the folds of Liberty’s chiton are fashioned to flow naturally, and are quite similar in form to those of the seated Britannia. Liberty holds the shield of the United States before her (as did Britannia hold England’s shield), while resting it firmly in her hand. The thirteen vertical stripes of the shield (or “paleways”) alternate red or gules (stripes in relief) and white or argent (stripes incuse), which stand for the red and white of the flag and symbolize its heraldry or high rank among nations. The horizontal stripes of the top portion of the shield represent blue or azure, indicating a clear, azure sky, the unclouded vault of heaven. Across the great shield is scrolled LIBERTY, which in the antiquity of U.S. coinage is the “parent of science and industry” (industry being the that of the industrious person and personage of the nation). Liberty holds in her left hand the pole and pileus or Phrygian cap (while Britannia held the trident of Neptune), which represents freedom from servitude and independence of all members of a nation, as well as the nation at large. The pileus, like Liberty’s chiton, have roots in ancient Greek symbolism. Last, but not least, Liberty herself is at ease, with stretched out legs that are slightly crossed, yet ready, as indicated by her slight bend forward and a look of vigilance over her shoulder. Her eye is large, as she is the watcher and keeper of a vigilant nation. Simultaneously, Liberty’s face is slightly raised, as if to the azure blue.
If we look back to the roots of Liberty or Britannia, then we find ourselves in the firmament of Roman and Greek symbolism. Indeed, a look through Ancient Greek and Roman Coins, by Zander H. Klawans, K.E. Bressett, Ed., reveals that the Romans had many of their allegorical effigies stamped into seated figures on coins. Among these, I found Chastity/Modesty, Justice, Piety/Dutifulness, Patience/Endurance, Fortune, Indulgence/Mercy, Corn Harvest (Plenty), Peace, and Security/Confidence. What a line-up of virtues! And leaping back even further into similar symbols of the Greeks, one can find the three goddesses – thought in Patterson’s time to be the Fates – seated atop their stone thrones in the east pediment of the Parthenon, circa 432-438 B.C. These, of course, were symbolic of the destiny of the nation and its people. In a deep sense, therefore, the virtue of Liberty is passed to us in a classic form, the seated Liberty, and harkens the destiny of our nation.
Please enjoy this set, as it has so very much to offer a collector and one interested in the history of our coinage. You will note that some slots are filled with dates outside of the date range for the set. This is simply due to the necessity of collecting affordable pieces that are exemplary of what belongs here. I will attempt to add notes to each of the denominations as I find them along the collecting paths –I have a long way to go (and may never finish)! Hoot (Mark Hooten), September 30, 2005.
Owner:
Hoot
Views:
794
Signature Set Details:
| Slot Name | Slot Comment | Certification # | Coin Info | Graded By | Country | Grade | Photo |
| Half Cent - Classic Head | | |
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| Half Cent - Braided Hair | | |
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| Cent - Kneass's Modified Matron Head | Although Robert Scot and/or John Reich are given credit for the Matron Head Cent design, the influence of William Kneass cannot be denied in the subtle improvements of detail that accompany the evolution of this cent in its span of years (1816-35). Note I do not include the 1836 Matron Head, which strictly speaking is the Modified Matron Head, and is the correct visage for this slot in this set. The unique head design of this coin must be attributable to William Kneass, as Director Moore had by early 1835 requested from Kneass a basic refinement of all coin designs and had heavily burdened the Engraver in these tasks. Thus, 1835 is the last year in which Reich’s Matron Head cent appears and the first year in which the “Head of 1836” cent appears. Properly speaking, the Head of 1836 cents (1835-37, and once again in 1839) represent a unique subtype and the first Modified Matron Head cent. This portrait of Liberty was greatly refined from those of Reich's Matron Head of 1816-35. Liberty's neck was made thinner, her nose was made more prominent, her hair made fuller, and the jaw line was improved. This portrait is found in cents dated as late as 1839, each of which are the “plain cord” varieties, speaking of the cord that ties up Liberty’s hair. This portrait is distinct from the “beaded cord” varieties of 1837-39, which show not only the beaded cords in Liberty's hair, but additional refinements of the portrait (by Gobrecht) that included a slightly reduced-size nose and a straighter jaw line, thus giving Liberty a slimmer overall appearance (with the exception of the "booby head" cent of 1839, which was a uniquely blundered modification attempt). Note that the Modified Matron Head subtypes are misconstrued in the Red Book, as those of 1835 and 1836 are included with the Matron Head of 1816-35. Consult your Red Book for some nice comparative photos. | 2502902-001 |
1837 1C MDS MS N-3
| NGC |
United States
| XF 45 MDS |
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| Cent - Gobrecht's Modified Matron Head | | |
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| Cent - Gobrecht's Silly Head of 1839 | | |
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| Cent – Gobrecht’s Booby Head of 1839 | | |
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| Cent - Braided Hair, Petite Head | The first effigy of Liberty’s braided hair bust is a work that is uniquely that of Christian Gobrecht. This new type of the cent first appeared in 1839 and lasted until 1843, the year in which another changeover occurred to the so-called “mature head” braided hair cent, also of Gobrecht’s design. Of the braided hair cents, the petite head pieces are the most lovely, beyond a shadow of a doubt. The delicate lines of Liberty’s profile are that of a true artist and not the outcome of political notions of a commanding profile. Still, Liberty “leans forward” with the petite head, as if in the lead of the ideals of the nation. (Of the five subtypes that appeared in 1839, the petite head ranks in a tie for my favorite along with the “silly head” subtype.) The wreath of the reverse is sharpened over that of previous years or alternative subtypes of 1839, and the letters surrounding the wreath are delicate and pleasing artistically. This coin certainly ranks as the most artistic rendition of the large cents since those of Scot’s draped bust (1796-1807). | 1927391-005 |
1839 PETITE 1C HEAD BN AU N-8
| NGC |
United States
| AU 58 BN |
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| Half Dime - Capped Bust | | |
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| Half Dime - Seated Liberty, No Stars obverse | | |
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| Half Dime - Seated Liberty, Stars obverse, No Drap | Gobrecht’s original seated Liberty rendition is maintained on the half dime through the 1840 “no drapery” subtype. This distinction is important, as I believe that this calls into question the commonly accepted dogma that there are four major “varieties” of seated half dimes, as called out by the Red Book (Guide Book of U.S. Coins). As I see it, there are three major subtypes in the series from 1937 and 1840. (Thus, there would be at least FIVE “varieties,” sensu Yoeman and Bressett.) These include the “no stars” obverse, which dons the “no drapery” Liberty effigy (1837-1838). This rendition of Liberty is unique to Gobrecht, with a distinctly “natural” pattern of flow through the folds of Liberty’s chiton, with no “drapery” falling from the elbow of Liberty. This version of Liberty was left intact through the second subtype (1838-1840) when stars were added to the obverse fields, and not meddled with until after the “drapery” was subsequently added to the elbow of Liberty in 1840 (representing the third subtype). When the “drapery” was added in 1840 to the elbow of Liberty’s left arm by Hughes, the flow of folds in Liberty’s chiton was altered and made entirely unnatural, but this persisted until the series’ end. (Liberty’s head and face were also changed with the third subtype, and made rounder and less graceful.) This slot in the Signature Set is represented by the second subtype of the series, with Gobrecht’s lovely original rendition of Liberty, with stars added to the obverse. The coins of this type are delicate and yet a fair number of very original examples can still be obtained. | 2504552-001 |
1840 5C EDS MS
| NGC |
United States
| AU 58 EDS |
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| Half Dime - Seated Liberty, Stars obverse, Drapery | | |
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| Dime - Capped Bust | | |
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| Dime - Seated Liberty, No Stars obverse | I like to think of the “no stars” variety of the dime and half dime as the obverse of the Gobrecht dollar in miniature! These renditions of Gobrecht’s seated Liberty effigy only show slight modification from the 1836 original dollar design, with lower relief and slight modifications for correct sizing to the coin. However, the visage of Liberty in the open fields of this coin is a powerful and artistically pleasing presentation of the seated design, only to be cluttered up in years to come, and worse, modified by Hughes. The simple wreath of the reverse, surrounding the denominational epithet, is a very pleasing design that lasted until Longacre made a complicated disaster of the wreath in 1860. The “no stars” design was minted only for a short time, in 1837 from Philadelphia and only from New Orleans in 1838. The 1838-O is a significant piece, however, in that it is the first year of mintage of the new Mint of the south. The new Orleans Mint was commissioned for the sole purpose to meet the coinage distributional needs of the growing agricultural and industrial region of the southern U.S., and was logically located in the largest and most populated industrial port of the south. | 10409050 |
1838 10C O MS No Drapery
| PCGS |
United States
| VG 10 |
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| Dime - Seated Liberty, Stars obverse, No Drapery | | |
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| Dime - Seated Liberty, Stars obverse, Drapery | | |
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| Quarter Dollar - Capped Bust | | |
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| Quarter Dollar - Seated Liberty, No Drapery | It’s commonly accepted among those who collect by Red Book (Guide Book of U.S. Coins) standards that there are five “varieties” (correctly, subtypes) of seated Liberty quarter dollars minted from 1838 through 1891. I beg to differ, however, since there are two distinct subtypes found in the year 1840 alone. Indeed, the 1838-1840 “no drapery” subtype is THE unique transitional variety of the seated Liberty effigy in the period. This rendition of Liberty is uniquely Gobrecht’s, with a completely natural flow of Liberty’s chiton, and a lovely, open face of Liberty, whose head is naturally oblong, having not yet been re-shaped into a spheroid by Hughes. Liberty herself is also more slender on the “no drapery” pieces versus the “with drapery” pieces of late 1840 (through 1891). “No drapery” pieces scarcely survive, despite what mintage figures may suggest, with nearly a million minted at Philadelphia in 1838 and ’39, and almost 400k minted in New Orleans in 1840. This denomination was largely hoarded and melted in the years of 1849-1853, and again in the Civil War years. The combination of low survival and a strong demand for “no drapery” transitional pieces of 1838-40, makes it tough to find early seated quarters. Add to that the long-standing practices of removing toning from silver coinage, and it makes finding original-skinned, well preserved pieces, exceptionally difficult. | 22123980 |
1838 25C MS No Drapery
| PCGS |
United States
| XF 45 |
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| Quarter Dollar - Seated Liberty, Drapery | | |
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| Half Dollar - Capped Bust, Lettered Edge | Remarkable changes in John Reich’s bust of Liberty began to appear late in the half dollar series, particularly from 1832-36. A more youthful appearance to Liberty, with a slimmer neck and loftier jaw line, mark the work of an attentive Engraver whose idea of Liberty was to rescue her from the matronly appearance that Reich had imbued on silver coinage, beginning with the half dollar of 1807. Who the Engraver (or Engravers) may have been to implement such changes is open strictly to speculation, but it seems likely that William Kneass was the “culprit.” Given Kneass’s involvement with design modification on other denominations, as well as Director Samuel Moore’s directive to improve the effigy of Liberty depicted on coinage of the period, it is only natural to conjecture that Kneass began modifications to Reich’s Liberty, presenting the more youthful Liberty as early as 1832 on half dollar coinage. (It seems apt to regard the more youthful depictions of Liberty as Kneass’s “modified matron head” in the same manner as one regards copper coinage of 1835-36.) By 1834, a noticeably youthful “modified matron head” (as I shall call it) was to be found on nearly every obverse die of the series (consult Al Overton’s “Early Half Dollar Die Varieties, 1794-1836” for details). Thus, the transitional variety for the terminus of that series is truly the “lettered edge bust half” of 1836. This would be the last year of the lettered edge variety, which would give way to Gobrecht’s modified capped bust of Liberty with reeded edge. The edge lettering of the 1807-36 capped bust coinage reads, “50 CENTS OR HALF A DOLLAR” separated by vertical reeds. These devices were imparted by a “Castaing” machine, which consisted of two parallel metal strips, one with the lettering and reeding in relief (the “third die”), through which the blank was rolled by force with one of the strips moving. This device, of course, pre-dated the close collar, which would be introduced to half dollar coinage in 1837. | 2018559-001 |
1836 50C EDS MS O-102
| NGC |
United States
| AU 55 EDS |
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| Half Dollar - Capped Bust, Reeded Edge, 50 Cents | | |
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| Half Dollar - Capped Bust, Reeded Edge, Half Dol. | The transitional reeded-edge, bust type half dollars of 1838 and 1839 are the work of Christian Gobrecht … continued. Gobrecht’s modifications of the capped bust half dollar, evident in the reeded edge halves of 1836-1837, continued in 1838 with no noticeable differences in the obverse of the new subtype. Indeed, the 1838-39 subtype is revealed on the reverse of the half, most noticeable in the denominational epithet, changed from “50 CENTS” to “HALF DOL.” A closer inspection of the reverse reveals a change in the boldness of the lettering to a much less elegant rendering of the legend and denomination. The 1838-O (New Orleans) Mint marked half dollar is one of the great rarities of early United States coinage, with a mintage of only 20 recorded. At least one die paring in 1839 with "small letter" reverse of 1836/37 is known, but is extremely rare. Although the mintages of Philadelphia issue 1838 and 1839 bust half dollars are widely different (3.5 vs. 1.4 million, respectively), their apparent survivorship is roughly the same. | 22123979 |
1838 50C MDS MS
| PCGS |
United States
| XF 40 MDS |
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| Half Dollar - Seated Liberty, No Drapery | Beyond a doubt, this is my favorite issue of the transitional half dollars of 1836-1840. The visage of Seated Liberty is the closest of any of the subsidiary denominations to the original effigy engraved by Gobrecht. The details of Liberty’s face are the most noticeably different than that of Gobrecht’s dollar and the relief has been lowered, but overall, the similarities are remarkable and the “drapery” (part of Liberty’s chiton) had not yet been added to her left elbow. I believe it is likely that Gobrecht began to modify the portrait of Liberty in order to attain better metal flow by this time, but the modifications were quite subtle. The “no drapery” half dollar of 1839 is a truly unique design among the seated Liberty series and is more delicate overall than any subsequent subtype. (Again, the Red Book is misleading, calling subtypes “varieties” and not properly distinguishing the 1839 no drapery subtype, calling it Variety 1 as a “no motto” piece.) The lettering of the reverse is delicate, like that of the 1836-37 reeded edge half dollars. The portrait of Liberty has a clean look about her (as does the entire coin), and is not overburdened with the seemingly “massive” features of later years that bent to the practical hands of Hughes. The mintage of the no drapery 1839 half is not known, but there are few enough survivors that PCGS and NGC combined have graded less than 300 in all grades. Finding a specimen in high AU or Unc. condition is quite tough, and may require a very long wait for the collector who demands originality. Like quarter dollars (and even dimes and half dimes), this denomination was largely hoarded and melted in the years of 1849-1853, and again in the Civil War years. Thus, there are not likely many survivors of this unique piece floating about. | 22022094 |
1839 50C EDS MS No Drapery
| PCGS |
United States
| AU 55 EDS |
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| Half Dollar - Seated Liberty, Drapery | | 656317-016 |
1840 50C MDS MS WB-102
| NGC |
United States
| AU 58 MDS |
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| Dollar - 1836 Plain Edge, No Stars obv., Stars rev | | |
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| Dollar - 1839 Reeded Edge, No Stars obv., Stars re | | |
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| Dollar – 1840 Seated Liberty, No Motto | When Robert Ball Hughes first modified the portrait of Liberty in 1840, he did so with some subtle grace. The rock on which Liberty sat was made slightly smaller, the shield of the U.S. was tilted more upright and the ribbon bearing LIBERTY was enlarged, thus making it a bit more legible. Unfortunately, Liberty’s simple chiton (of Gobrecht) was embellished with a robe, the outside of which was made to flow from Liberty’s forearm to her lower left knee in a most unnatural form. This absurdity was emplaced for the sole purpose of metal flow across the devices of the die, but looks awful from an artistic viewpoint. The robe was also given all kinds of furls and waves in the lower portion, to which there is no other explanation than Hughes own egotistical enthusiasm, as they are overly commanding of the attention of the obverse devices, taking away from Liberty herself, who is supposedly the central object of the obverse. For some additional reason, the stars of the obverse were made smaller than those of Gobrecht’s design, and the Phrygian cap was made to hang less naturally from the end of the pole. All-in-all, Hughes made a gigantic mess of the obverse design, though overall, the coin remains attractive, likely due to the size of the dollar. (These changes look horrible on the dime and half dime.) 1840 is also the year of the return of the standing eagle of Reich’s basic (1807 half dollar) design. This eagle, often called the “sandwich board” eagle is powerful in presentation and fortunately was not mess with by Hughes, except to sharpen some of the feathers, etc. With no motto to clutter the reverse, the reverse of the 1840 dollar is acceptably artistic, but there remains no explanation for why Gobrecht’s (Peal’s) flying eagle was deleted (until which time it reappeared on the reverse of the Flying Eagle cent of Longacre’s design). Overall, the dollar of 1840 should leave the collector scratching their head, agog with amazement of how one artist can screw up the excellent work of another. | 10019672 |
1840 S$1 MS
| PCGS |
United States
| VG 8 |
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| Quarter Eagle - Classic Head | | |
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| Quarter Eagle - Liberty Head | | 1745106-006 |
1840 $2.5 MS
| NGC |
United States
| XF 45 |
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| Half Eagle - Classic Head | | 9533908 |
1838 $5 EMDS MS
| PCGS |
United States
| XF 45 EMDS |
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| Half Eagle - Liberty Head | | |
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| Eagle - Liberty Head, Portrait of 1838 | | |
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| Eagle - Liberty Head, Portrait of 1840 | | |
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