leeg

Thanks Roger.

It seems that Congressman or Senator Vestal advised them to have the coin done at the Mint because he informed the Walloon Commission that the artists who had made designs did not understand reductions of coins and made the models too high so that the coins had to be struck several blows before they were perfect, therefore, the models should be made at the Mint. (Mr. Morgan has gotten in his good word against the artists again). Mr. Vestal should be informed that any model can be reduced by the pointing machine to any thickness of relief without changing the design and at the same time preserving the character of the modeling except for the flattening of the surfaces which will come in their proper relations. It seems to me perfectly disgusting that this inane and lying criticism should go on constantly. You will recall when the new dollar came out that instead of reducing the coin in relation to a low relief so that it would strike properly, Mr. Morgan hammered the surfaces of the electroplate with a flat board and then reduced the model again. That, in spite of the fact that he had been informed of the proper method of handling the models by reducing them properly. It seems stupid for me to explain this situation which you know so well but I thought possibly Mr. Vestal might be prevailed on to believe that medalists of international fame and experience might know as much of the method of reduction and what would happen to a coin model as Mr. Morgan of the Mint. Very sincerely yours. Moore seems to have taken Fraser’s letter to heart, for on the 7th he wrote to Congressman Vestal: Dear Mr. Vestal: You are familiar with the attempts that have been made since the days of Roosevelt and Saint-Gaudens to bring the United States coins and the work of the Mint generally into the category of artistic achievement rather than commercial production. There have been times in the history of the Mint when the work produced there was of high excellence from the standpoint of the artist, but during the past twenty years there has been a hostile attitude toward the artists, so that while we have developed in this country medalists of high class, we have never reached the highest standards at the Mint. Even when artists have been employed to design the coins their work has been hampered always and frequently nullified within the Mint. I remember quite well the experience when you and I were both members of the Commission to examine the Mint a few years ago. You will recall that while much was said about counting and fineness and rapidity of production and all that, not one reference was made about the artistic quality of the coins; in fact that subject was and has been so far as I can find out ignored, and yet in the collection of coins at the Mint are specimens of the beautiful coinage of all ages. Most civilized nations regard the coinage as an opportunity to teach the people standards in beauty. By dint2 of many struggles our silver coinage, the nickel, and the penny, have been brought up to a fair standard as compared with other leading nations. The only questions now in relation to those coins are questions of quality of work in producing the coins themselves. But there is a later class of coins now coming into being to commemorate historical events. It goes without saying that these coins should be of the highest possible excellence. Indeed artistic quality is the only element which excuses the interruption they make in the regular coinage. I am enclosing a copy of a letter from Mr. James Fraser, the sculptor member of the Commission of Fine Arts in which letter you are quoted by the Huguenot-Walloon New Netherland Commission. I know from my conversations with you that you are in entire sympathy with the artistic side of coinage matters and I am sending you the letter with a view to an understanding in the future work on memorial coins. You realize that the frequent shifts in the Office of the Director of the Mint make it necessary for the incoming Director to spend a very large amount of his time in familiarizing himself with the duties of the Office. Our friend, Mr. Raymond Baker, really took an interest in these problems and I think got to enjoy the work very much after he became acquainted with it. I hope the present Director will also get some enjoyment out of his position. Sincerely yours. Having had their say, the Commission of Fine Arts blandly approved Morgan’s models, which were then returned to the Mint for reduction. Although a photograph of Morgan’s original obverse has not been preserved, the adopted model leaves ample room for criticism. The heads, whether taken individually or as a composition, are poor, and it seems incredible that they were made by the same hand as was the Lincoln head on the Illinois Centennial coin. 2. He succeeded by dint of hard work. Morgan’s initial reverse is to be found in the archives, and shows a floundering ship facing the opposite direction from that in the adopted design. This was the engraver’s last work, for in January 1925 he passed away and was succeeded in office by John R. Sinnock.”2 2 From An Illustrated History of Commemorative Coinage, Don Taxay, ARCO Press, New York City, 1967, p. 89, 90, 95-102. Object Details: United States Mint; Designer: Morgan, George T.; Location, Currently not on view; 1924; ID Number 1985.0551.0806; catalog number 1985.0551.0806; accession number 1985.0551; Object Name coin, coin, commemorative; Physical Description bronze (overall metal), 0 (overall die axis), 0 (overall die axis measurement), struck (overall production method); Measurements overall: .3 cm x 4.13 cm; 1/8 in x 1 5/8 in; place made United States; place of issue United States. See more items in Work and Industry: National Numismatic Collection National Museum of American History, Record ID nmah_1100353, Usage of Metadata (Object Detail Text), CC0 GUID (Link to Original Record). Courtesy of The Smithsonian Institution.

Presentation of Huguenot half dollar to President Coolidge by Officers of the Commission. Washington, February 21, 1924. (From left to right: Rev. E. O. Watson, A. E. Hungerford, Hon. Jules J. Jusserand, the President, Rev. Charles S. McFarland, Baron de Cartier de Marchieune, Hon. A. D. C. de Graeff, Rev. John Baer Stoudt.) Image courtesy of The Huguenot-Walloon Tercentenary, by Antonia H. Froendt, Secretary, the Huguenot-Walloon New Netherland Commission, 1924. A book in my personal library. “To the Director of the National Huguenot-Walloon Commission John Baer Stoudt from the Acting director of the Mint Mary O’Reilly on November 24, 1923, regarding the models of the Huguenot Walloon Tercentenary Half Dollar. Referring to your letter of October 25 submitting a design for the memorial coin authorized by Congress to commemorate the settling of New Netherlands Wallons [sic] under the Dutch West India Company in 1624, please be advised that in accordance with the Executive Order of the President dated July 28, 1921, the models were submitted to the Fine Arts Commission for advice as to their artistic merit. The Executive order of July 28, 1921, with reference to the submission of coins to that body, reads as follows: ‘It is hereby ordered that the essential matters relating to the design of medals, insignia and coins, produced by the executive departments shall be submitted to the Commission of Fine arts for advice as to the merits of such designs before the executive officer having charge of the same shall approve thereof.’ The models have been returned to this Bureau with the following letter from the Fine Arts Commission: ‘The models for the Huguenot–Wallon [sic] Tercentenary coin, submitted by your Bureau under date of October 26, 1923, received the attention of the Commission of Fine Arts at their meeting on November 15. While the ideas intended to be expressed are excellent, the execution is bad. The lettering is poor, the heads are not well modeled and the ship is ill designed. The workmanship is below the standard of excellence attained in previous coins. The models are therefore not approved. The models are herewith returned.’ No further action will be taken by this Bureau until advised by you as what disposition you desire to have make [sic] of the models left by you at this Bureau. To the Chairman Executive Committee Chas. S. Macfarland from the Treasurer on October 2, 1924, regarding returning some of the Huguenot Walloon Tercentenary half Dollars. With reference to your letter of the 27th ultimo, addressed to the Secretary of the Treasury and referred to this office under date of the 30th ultime, [sic] by the Director of the Mint for appropriate action, stating that you desire to return to the United States Mint for redemption 22,000 of the Huguenot Half Dollars struck this spring in commemoration of the Huguenot Tercentenary and that you would appreciate it if it were possible for the mint to hold them for a short while in stock in order that you might order them from time to time if desired, you are advised that you may ship at your risk and expense for transportation, preferably by express, prepaid, the Superintendent of the United States Mint, Philadelphia, the coins stated. The superintendent of the Mint has been instructed to hold the coins unmelted until November 15 next. Upon receipt in this office of information from the Superintendent of the Mint that the coins have been received and verified a check for the amount thereof will be sent you by this office in payment thereof.”1 “The running conflict between Mint engraver George Morgan and the Commission of Fine Arts is nowhere more evident than in the issue of the Huguenot-Walloon half dollar. After the letter above was received back at the Mint it was finally agreed that Morgan would revise his models under Fraser’s supervision, an arrangement that could hardly have been relished by either man. Nevertheless, the work progressed slowly, and on January 3, 1924 Fraser wrote to Moore: My dear Mr. Moore: The Walloon Coin Commission came to me for criticism of the models, which I gladly gave them. You will recall that the design was not bad in itself. I criticized the modeling, construction, etc., of the heads. Then they brought them again for other criticisms which I gave them and at last they are considerably improved and I should say passable. They are to show me the reductions and I believe they will not be bad. 1 From The Authoritative Reference on Commemorative Coins 1892-1954, Kevin Flynn, published by Kyle Vick, 2008, p. 283-284.

In February thru April, 1924, 142,080 pieces were coined at the Philadelphia Mint with 80 pieces reserved for annual assay and 87,000 sold for a $1 each to the public. A quantity of 55,000 pieces went back to the Treasury Department, which placed the coins into circulation. Designed by George T. Morgan chief engraver of the mint, used designs suggested by Dr. John Baer Stoudt (a Numismatist-LG). Distributed by the National Huguenot-Walloon New Netherland Commission, Inc., Rev. John Baer Stoudt, director. Associated with the Federal Council of Churches of Christ in America. A coin in my collection. Approved by Congress on February 26, 1923 and issued in commemoration of the three hundredth anniversary of the settling of New Netherland, the Middle States, in 1624, by Walloons, French and Belgian Huguenots, under the Dutch West India Company. Coin Description: Obverse: Profiles of Admiral Coligny and William the Silent, with their names, in small letters, below. Inscription above, ‘United States of America.’ Below, ‘Huguenot Half Dollar.’ To right of busts, ‘In God We Trust.’ Reverse: Ship Nieu Netherland, in which the first 30 families of settlers came to New York, with the dates at the sides, 1624 and 1924. Inscription above, Huguenot-Walloon Tercentenary. Below, Founding of New Netherland. In February thru April, 1924, 142,080 pieces were coined at the Philadelphia Mint with 80 pieces reserved for annual assay and 87,000 sold for a $1 each to the public. A quantity of 55,000 pieces went back to the Treasury Department, which placed the coins into circulation.1 Designed by George T. Morgan chief engraver of the mint who used designs suggested by Dr. John Baer Stoudt. Distributed by The National Huguenot-Walloon New Netherland Commission, Inc., Rev. John Baer Stoudt, director. Associated with the Federal Council of Churches of Christ in America. 1. Cf. p. 29 of Coinage of Commemorative 50-cent pieces (U.S. Government Printing Office, 1936) and a letter from Secretary of the Treasury Andrew W. Mellon to Hon. Randolph Perkins, chairman of the House Committee on Coinage, Weights and Measures, January 31, 1930, which states that 55,000 were returned to the mint and then placed into circulation. Courtesy of the Commission of Fine Arts Minutes of Meeting held in Washington, D. C., November 15 and 16, 1923. The following members were present: Mr. Moore, Chairman, Mr. Greenleaf, Mr. Fraser, Mr. Ayres, Mr. Bacon, Mr. Mowbray, Mr. Medary, Also Mr. H. P. Caemmerer, Secretary and Executive Officer. Original model by George T. Morgan for reverse of Huguenot-Walloon Tercentenary half dollar. Taxay p. 71. Huguenot-Walloon Memorial Coin: Under date of October 26, 1923, the Director of the Mint, Treasury Department, submitted to the Commission models made at the United States Mint, of the Huguenot-Walloon Memorial 50-cent piece, which is to be minted by authority of Congress for the Huguenot-Walloon Tercentenary celebration in 1924. The obverse of the model showed the portrait of Coligny and William the Silent, and the reverse a design of the ship New Netherland. The Commission inspected the models. Mr. Fraser felt that the composition of the design was good but that the execution was bad. The Commission decided that the work on the models does not conform to the standards set by the Commission and disapproved them. (Exhibit A). EXHIBIT A November 19, 1923. Dear Sir: The models for the Huguenot-Walloon Tercentenary coin, submitted by your Bureau under date of October 26, 1923, received the attention of the Commission of Fine Arts at their meeting on November 15th. While the ideas intended to be expressed are excellent, the execution is bad. The lettering is poor, the heads are not well modeled and the ship is ill designed. The workmanship is below the standard of excellence attained in previous coins. The models are therefore not approved. The models are herewith returned. Very respectfully, yours, Charles Moore, Chairman The Director of the Mint, Treasury Department, Washington, D. C.

Much thanks Coinbuf! Here is an example of the reverse of a Hallmark Slab Quintus Arrius.

Nice blue and rose highlights:

Super Connnecticut arrived today!! Three days west to east coast and well packaged. Much thanks!

Thanks. 65

SUPER COINS ALL! Found this piece:

1926 Declaration of Independence Sesquicentennial Half Dollar. Courtesy of the President Calvin Coolidge State Historic Site, P.O. Box 247, Plymouth, Vermont 05056. “Cornelius Vermeule writes: The fact that this coin, the silver half dollar commemorating the sesquicentennial of American independence in 1926, is in such low relief was the response of officialdom—not the innocent designer—to the experiments of Augustus Saint-Gaudens and Henry Hering. The edge is relatively high and the flan curves up to meet it, but there are scarcely any surfaces on the compressed busts of Washington and the austere Calvin Coolidge beyond him (fig. 184). Although it is fashionable to cite this as the first time a living president appeared on U.S. coinage, the point is unimportant, for likenesses of current presidents had graced official medals from the Mint for many years. John R. Sinnock, who became first engraver at the Mint in 1925—the year in which Morgan died and the coin commemorating the sesquicentennial was authorized—had enjoyed nearly a decade of producing such government medals under Morgan. The stepped rim on the outer part of the reverse breaks the potential monotony of delicate lettering. The bell and its inscriptions are jewels of precision. Rosettes on either side of LIBERTY on the obverse are an unnecessary reminder that monumental bronze relief often guides a coin design, for they are similar to ornaments on the corners of countless war memorials and other commemorations involving lists of names or epigraphy of sorts. 1926 Sesquicentennial quarter eagle. Jewelry piece. AU. This commemorative gold coin is housed in a 10K bezel and is the host to a gold enameled symbol of the Knights of Pythias. An unusual item which is bound to receive an interesting reception from potential bidders. Courtesy The John A. Van Arsdall, M.D. and the Antelope Valley Silver Dollar Collections. Bowers and Merena, Inc. Lot 1645 ($132.00 price realized), January 7 & 8, 1993, p. 228. It had been a coin in the regular series, the precise, extremely sensitive work could not have taken the punishment of constant size, but as a commemorative piece that would not circulate it is arresting as a total concept in its difference from the 50-odd other such half dollars that would comprise the ‘classic’ series. The gold quarter eagle for the sesquicentennial of 1926, also by Sinnock, reverts in part to the allegorical iconography of the 19th century. Liberty stands on a globe and holds both the torch of freedom and a scroll, presumably the Declaration of Independence (fig. 185). The view of Independence Hall falls into the category of straightforward illustrations of buildings on American coins, Monticello in 1938 and the Lincoln Memorial in 1959 being the common examples. Liberty is statuesque and pseudo-Attic, in that classical drapery reveals human form in the manner of the Venus Genetrix on coins of Hadrian or its monumental source in the sculpture of Athens during the Peloponnesian Wars. The upper part of the garment has been made into a Doric chiton with loose, zigzag overfold, a type of Greek transitional or pre-Parthenon classicism. This style would also preoccupy the Mint’s new chief engraver in the reverses of his presidential medals for Calvin Coolidge and Herbert Hoover. Despite these Grecian details, Liberty’s total impression is thoroughly dated; she looks like a flapper of the 1920s. Her cloth cap accentuates this resemblance, and her position as she steps forward, head in profile, recalls the obverse of Hermon MacNeil’s quarter dollar of 1916 to 1931. Considering the size of the coin, John Sinnock has produced a good design that has the lettering of Weinman’s 1916 dime and the obverse monumentality of the same sculptor’s half dollar (figs. 159 and 160). The torch of freedom and scroll together are perhaps too bookishly symbolic and too little like Liberty. One of the traditional attributes of the 1870’s, the shield or an eagle beside Liberty, would have been no less symbolic and much less abstract. It was not until 1946 that the ‘torch of freedom’ found its true home in Sinnock’s repertory, when it was used on the reverse of the Roosevelt dime (fig. 230).14 “8 14. The sketches for the sesquicentennial of American Independence half dollar attributed to John Frederick Lewis in Taxay’s Commemorative Coinage, 111-117, are obviously from the hand of John Sinnock; the credit for the coin, therefore, must remain his. (Taxay got information from the National Archives. LG) 8 Numismatic Art in America; Aesthetics of the United States Coinage, 2nd edition, Cornelius Vermeule, Whitman Publishing, LLC, 2007, p. 160-161.

Much thanks! I spend my time on research for the sake of all collectors. Been working on this project (early commemoratives) off and on for about ten years now.

“To the Director of the Mint Robert Grant from the Chairman of the Pennsylvania Academy Committee of Fine Arts John Lewis on May 5, 1926, regarding the Sesquicentennial of Independence Commemorative coins. Following out [sic] telephone conversation of this morning, I respectfully request that the first Sesqui Centennial coins struck off from one up to twenty be preserved in order in envelopes as I have no doubt that the Hon. W. Freeland Kendrick, Mayor of Philadelphia, will desire to use these first issues for official presentation. With reference to the half dollar, I presume he will desire the first coin struck off should go to the President of the United States. I like your unofficial suggestion that when the actual coinage begins that the Mayor should be present at the Mint, when you are there, and an appropriate photograph could be taken at the time. With reference to both the half dollars and $2.50 gold pieces, I understand that it is customary to put some mark, almost microscopic, on the first 1,000 coins struck off, and I write to request that if doing this is possible, a microscopic ‘K,’ which will stand for the Kendrick administration, be put in an inconspicuous place on both coins. This will be preactically [sic] the only mark identifying the issue with Philadelphia. I understand that with reference to the delivery of the coins and the payment therefore, arrangement will be or has been made with the Federal Reserve Bank, which will then distribute the coins to the different banks of the City as needed. It is the wish of the Management of the Sesqui-Centennial Exhibition Association to put the coins on sale as promptly as possible. At the end of May and the first day or second of June, there will be probably be 200,000 Shiners in Philadelphia holding a National Convention and if it be possible to have both coins for sale at that time such a market would not be missed. I particularly thank you for your assurance that you will do everything possible to speed the completion of the dies and the actual coinage of money.”5 5 The Authoritative Reference on Commemorative Coins 1892-1954, by Kevin Flynn, published by Kyle Vick, 2008, p. 325-326. “The first Sesqui-Centennial commemorative half dollar was struck at the Philadelphia mint at noon May 19 by Mayor Kendrick. The coin was given to him, and he will present it to President Coolidge when the latter visits the Sesqui-Centennial exposition. The remainders of the first thousand coins were turned over to the mayor for distribution. Fifty thousand were struck the following day, and 400,000 in all are expected to be coined.”6 6 The Numismatist, First Sesqui Half Dollars Struck, May 19th, p. 285. “The Sesqui-Centennial Exposition at Philadelphia closed its gates on November 30 last. Exposition officials announced that a profit of about $125,000 had been realized on the sale of the commemorative coins. . . The first coin was struck by Mayor Kendrick on May 28, 1926, and the second was minted by E.J Lafferty, City Purchasing agent and vice-president of the Sesqui-Centennial. Immediately after the entire supply of coins had been minted they were distributed through the Federal Reserve Bank. Booths were erected in various sections of the Exposition grounds for the distribution of the commemorative pieces.”7 7 The Numismatist, Sesqui Coins net the Exposition About $125,000. January, 1927, p. 36.

Hi. I prefer to keep this lesson focused on the 1926 event. Thanks

Minutes of Meeting held in Washington, D. C., March 25, 1926. The following members were present: Mr. Moore, Chairman, Mr. Greenleaf, Mr. Mowbray, Mr. Medary, Mr. Delano, Mr. Taft, Mr. Garfield Also Mr. H. P. Caemmerer, Secretary and Executive Officer. Sesquicentennial $2.50 Gold Piece: By letter dated February 27, 1926, the Director of the Mint submitted sketches for the Sesquicentennial $2.50 gold piece authorized by Congress. They were referred to Mr. Taft, who regarded the composition acceptable, but felt certain changes could be made in the interests of the design. The obverse represented a figure of Liberty holding a torch and the reverse Independence Hall. Attention was called to the difficulty of showing a building on a coin which is smaller than a ten cent piece, and Mr. Garfield suggested using possibly only the cupola or the center portion of the building; but it was thought that any such change in the design would interfere with the composition. Mr. Medary said that the sun and its rays should be omitted from the back of the building, as this would indicate that the sun rises on the north side of the building, which is contrary to fact. The Commission indicated desired changes on the sketches and submitted a report to the Director of the Mint. (Exhibit A). Exhibit A: March 26, 1926. Sir: The Commission of Fine Arts, at their meeting on March 25, 1926, approved the sketches of the Sesquicentennial $2.50 gold piece, which you submitted with your letter of February 27th, with the suggestion that the obverse show the years 1776 and 1926, as indicated in the sketch, also the ‘E Pluribus Unum’ be omitted from the obverse. Sketch marked ‘A’ is preferred for the reverse, with the suggestion that the sun and its rays be omitted. The Commission would be pleased to see models of the obverse and reverse of the proposed coin. The sketches are herewith returned to you. For the Commission: Very respectfully yours, Charles Moore, Chairman, Hon. R. J. Grant, Director of the Mint, Washington, D.C. Sesquicentennial Half Dollar: The director of the Mint submitted models for the Sesquicentennial half dollar, showing on the obverse the portraits of Presidents Washington and Coolidge and on the reverse the Liberty Bell. The models were approved. (Exhibit B). Exhibit B: March 26, 1926. Sir: The Commission of Fine Arts, at their meeting on March 25, 1926, approved the models for the Sesquicentennial half dollar. The models are herewith returned to you. For the Commission: Very respectfully yours, Charles Moore, Chairman, Hon. R. J. Grant, Director of the Mint, Washington, D.C. Minutes of Meeting held in Washington, D. C., April 29, 1926. The following members were present: Mr. Moore, Chairman, Mr. Greenleaf, Mr. Mowbray, Mr. Medary, Mr. Delano, Mr. Garfield Also Mr. H. P. Caemmerer, Secretary and Executive Officer. Sesquicentennial $2.50 Gold Piece: The Director of the Mint submitted models for the obverse and reverse of the Sesquicentennial $2.50 gold piece, made according to the designs passed upon at the meeting of the Commission on March 25th. The models were approved. Mr. Garfield suggested a slight change in the lettering so as not to interfere with the figure on the obverse. The Commission advised that the rosettes on the models be removed. (Exhibit A). Exhibit A: April 30, 1926. Dear Sir: The Commission of Fine Arts, at their meeting on April 29, 1926, approved the models submitted by you of the $2.50 gold piece for the Sesquicentennial Exhibition. The Commission recommends that the word ‘Liberty’ on the obverse be swung around a little and the letters E and R reset, so as not to touch the figure; also the rosettes on both obverse and reverse should be removed. The Models are herewith returned. For the Commission: Very respectfully, yours, Charles Moore, Chairman, Hon. R. J. Grant, Director of the Mint, Treasury Department, Washington, D.C.

“At the insistence of the National Sesquicentennial Exhibition Association both coin designs were executed in very shallow relief with the result that the pieces struck up poorly. Q. David Bowers, Encyclopedia. LG”5 5 Q. David Bowers, Encyclopedia. Courtesy of the U. S. Commission of Fine Arts Minutes of Meeting held in Washington, D. C. September 3, 1925. The following members were present: Mr. Moore, Chairman, Mr. Greenleaf, Mr. Ayres, Mr. Mowbray, Sketch by John Sinnock for Sesquicentennial of American Independence quarter eagle. Taxay’s Commemorative Coinage (he pulled from the National Archives), 113. Mr. Medary, Mr. Delano, Mr. Taft, Also Mr. H. P. Caemmerer, Secretary and Executive Officer. Sesquicentennial Coins: Mr. Medary stated that Mr. McAleer, secretary of the Exposition Commission, had informed him that the new designer at the Philadelphia Mint is at work on the designs, which have not yet proved satisfactory; and that further effort will be made at the coming session of Congress to secure authority for minting a $1.50 souvenir coin; that it had been their desire to have 13 different souvenir coins made. Mr. Medary said he advised Mr. McAleer that it was the desire of the Commission of Fine Arts to have the designs submitted before they are prepared fully. Models by John Sinnock for Sesquicentennial of American Independence quarter eagle. Taxay’s Commemorative Coinage (he pulled from the National Archives), p. 114. It was suggested that a letter be written to the Director of the Mint asking him as to the average number sold of the souvenir coins that had recently been made, as the Stone Mountain, the Norse-American, the Huguenot-Walloon, the Vancouver, and the California Diamond Jubilee coins. The Commission felt that souvenir coins are beneath the dignity of the United States, and that this is a matter which also should be taken up with the Committee on Coinage, Weights and Measures of the House. The Commission felt that souvenir coins should be more strictly limited to events of great national historical interest.

Much thanks Roger! I learned from the best.

Thanks all so far for the comments. John Frederick Lewis sketches for the Sesquicentennial of American Independence half dollar. Taxay’s Commemorative Coinage (he pulled from the National Archives), p. 115. For the Commission: Very respectfully. Models for the quarter eagle were submitted to the Commission on April 24 and approved a few days later. On the 30th, Moore advised Director Grant: Dear Sir: The Commission of Fine Arts, at their meeting on April 29, 1926, approved the models submitted by you of the $2.50 gold piece for the Sesquicentennial Exhibition. The Commission recommend that the word ‘Liberty’ on the obverse be swung around a little and the letters E and R reset, so as not to touch the figure; also the rosettes on both the obverse and reverse be removed. The models are herewith returned. For the Commission: Very respectfully, yours. Sesquicentennial of American Independence half dollar modeled by John Sinnock. Taxay p. 116. In view of the fact that the Independence half dollar was designed by John Frederick Lewis, one may well question the Mint’s accuracy in attributing the coin, without qualification, to its own engraver. Perhaps after these forty years, it is time for a new credit line.”4 4 An Illustrated History of U.S Commemorative Coinage, Don Taxay, Arco Publishing Company, Inc., New York, 1967, p. 111-112, 117.

"To Milton Medary from the Secretary of the Commission of Fine Arts H.R. Caemmerer on August 28, 1925, regarding the design of the Sesquicentennial of Independence Commemorative coin. Under date of August 10 I asked Mr. Mc. (sic) McAleer of the Sesquicentennial Commission as to whether any action has been taken with regard to the proposed gold and silver coins, and concerning which we wrote him on May 6 – copies of the letters enclosed. I have received no reply from him to date. I would appreciate it if you would find out from Mr. McAleer what they have done about the matter.”3 3 The Authoritative Reference on Commemorative Coins 1892-1954, by Kevin Flynn, published by Kyle Vick, 2008, p. 325. AUTHORIZED on March 3, 1925, by the act that created a National Sesquicentennial Commission, the Independence coins are, historically speaking, our most important memorial issues. They are also remarkable in the story of their artistic development, beginning with the Mint’s furtive handling of the affair to the final, deliberate misattribution of the artist who designed the half dollar. . . I have received no reply from him to date. I would appreciate it if you would find out from Mr. McAleer what they have done about the matter. Sincerely yours. Medary replied on the 31st: Dear Mr. Caemmerer: I have your letter of August 28th and this morning I called on Mr. McAleer in connection with the gold and silver coins. He informs me that the new designer at the Philadelphia Mint is at work on the designs which have not yet proved satisfactory. He also informs me that the Association has not yet given up hope of securing Congressional authority for the $1.50 gold piece and that there is some thought of having a series of designs representing different periods in the growth of the country, as for instance, the original colonies, the Louisiana Purchase, the California and Texas accessions, etc. The whole matter is still on his desk and he had expected to communicate with the Commission when it had assumed more definite form. Sincerely yours. Apparently dissatisfied with the designs by Mint engraver John Sinnock, the Sesquicentennial Committee engaged artist John Frederick Lewis to do the work. On December 8, exposition director Asher C. Baker submitted Lewis’ designs to Charles Moore, 1 who forwarded them, on the 11th, to Mint Director Grant: Dear Sir: The Commission of Fine Arts, at their meeting on December 10, 1925, approved the enclosed sketch of the Sesquicentennial half dollar, received from Mr. Asher C. Baker, Director in Chief of the Sesquicentennial International Exposition Commission, Philadelphia, Pennsylvania. The sketch was approved with the understanding that the models will be prepared by a competent medalist and submitted to the Commission. The Commission understands that the sketch awaits your approval and that of the Secretary of the Treasury, after which it is to be returned to Mr. Baker. The models for this coin come to the Commission of Fine Arts through the Office of the Director of the Mint, as is usual. Very respectfully. Since there is no mention of any quarter-eagle sketches, it is possible that they were not approved by the Commission. Or it may be that Baker’s reference to ‘coins’ in connection with Lewis’ designs was an error, and that only those for a half dollar were actually submitted. In any event, Sinnock’s sketches for the quarter eagle were sent to Moore on February 27, 1926 and, five days later, forwarded for criticism to Lorado Taft. On March 13, while the Commission of Fine Arts was still deliberating over Sinnock’s design, Mint director Grant submitted the engraver’s models for the half dollar. Though these were undoubtedly approved by the Commission, the next letter we find, on March 26, mentions only the quarter eagle. Moore wrote to Grant: Sir: The Commission of Fine Arts, at their meeting on March 25, 1926, approved sketches of the Sesquicentennial $2.50 gold piece, which you submitted with your letter of February 27th, with the suggestion that the obverse show the years 1776 and 1926, as indicated on the sketch, also that ‘E Pluribus Unum’ be omitted from the obverse. Sketch marked ‘A’ is preferred for the reverse, with the suggestion that the sun and its rays be omitted. The Commission would be pleased to see models of the obverse and reverse of the proposed coin. The Sketches are herewith returned to you. 1. Baker wrote to Moore: ‘I have received from John Frederick Lewis, Esq., the designs for the coins which, at his request, I submit for your inspection and approval.’

Just a bit of history: Half dollar coinage of 1,000,528 during May and June of 1926, with 528 coins for assay and 859,408 melted. Designs by John Frederick Lewis.1 modeling by John R. Sinnock. Sponsored by the National Sesquicentennial Exhibition Commission, Asher C. Baker, Director in Chief. Image courtesy of Ira and Larry Goldberg Auctions. Quarter Eagle coinage of 200,226 with 226 coins for assay, 154,207 melted. Designed and modeled by John R. Sinnock. Image courtesy of Stefanie, coinsarefun, on the PCGS Coin Forum. Authorized by Congress on March 3, 1925 and issued to celebrate the one hundred and fiftieth anniversary of the signing of the Declaration of Independence and other purposes. 1 An Illustrated History of U.S Commemorative Coinage, Don Taxay, Arco Publishing Company, Inc., New York, 1967, p. 117. Design: Half Dollar Obverse: Accolated busts of President Washington and President Coolidge, to right; in lower field, IN GOD WE TRUST; at top, around border, LIBERTY; at bottom, around border, UNITED STATES OF AMERICA. The sculptor’s initials appear at bottom of Washington’s bust. Half Dollar Reverse: The Liberty Bell; in left field, 1776; in right field, 1926; on slightly raised band around entire border, SESQUICENTENNIAL OF AMERICAN INDEPENDENCE . HALF DOLLAR . in upper, E. PLURIBUS UNUM. The bell is inscribed with Leviticus 25:10, ‘Proclaim liberty throughout all the land unto all the inhabitants thereof.’ The verse refers to the Year of Jubilee when slaves were to be set free in accordance with Hebrew tradition. The inscription on the Bell is in very small letters and is given herewith in the form in which it appears upon the coin, as well as with the complete text, with the portions not shown in brackets: As the Bell was created to commemorate the golden anniversary of Penn's Charter, the quotation ‘Proclaim Liberty throughout all the land unto all the inhabitants thereof, from Leviticus 25:10, was particularly apt. For the line in the Bible immediately preceding ‘proclaim liberty’ is, ‘And ye shall hallow the fiftieth year.’ What better way to pay homage to Penn and hallow the 50th year than with a bell proclaiming liberty? 2 ½ Dollar Obverse: Figure of Liberty, to left, holding in right hand a torch and in left hand a scroll, the latter emblematic of the Declaration of Independence, and standing on a segment of globe; in lower left field, 1776; in middle right field, 1926; at top, around border, UNITED STATES OF AMERICA; at bottom, around border, LIBERTY. 2 ½ Dollar Reverse: Independence Hall, Philadelphia; in upper field, IN GOD WE TRUST; below, E PLURIBUS UNUM; at top, around border, SESQUICENTENNIAL OF AMERICAN INDEPENDENCE; at bottom, around border, 2½ DOLLAR. The artist’s initials JRS are incused above right wing of the Hall. “If all the proposed new United States commemorative coins are issued, collectors will be able to add a number of new ones during the coming year to this interesting and rapidly growing series. First in importance, but which will probably be the last of the new ones to be issued, are those commemorating the sesquicentennial of the Signing of the Declaration of Independence. Authority for these is vested in Senate Joint Resolution 187, introduced by Senator Pepper, of Pennsylvania. As introduced, the resolution provided for the issue of 500,000 $1.50 gold pieces, 500,000 silver 50-cent pieces, and the Secretary of the Treasury was also authorized to issue notes of $1 denomination of special design. As passed, the resolution provided for a $2.50 gold piece, a silver 50-cent piece, and the section authorizing the special $1 note was omitted. The resolution also creates a commission, to be known as the National Advisory Commission to the Sesquicentennial Exhibition Association, to be composed of the Secretary of State and the Secretary of Commerce and two citizens from each of the several States and each of the United States possessions. The commission is to confer with and advise the officers and directors of the Sesquicentenial Exhibition Association in connection with the holding of a national and international exhibition in Philadelphia in 1926 in celebration of the one hundred and fiftieth anniversary of the Signing of the Declaration of Independence. The usual features of the coinage laws apply to this issue of coins.”2 2 The Numismatist, New United States Commemorative Coins, April 1925, p. 200-201. More to follow.

Much congrats!!

Thanks all. That's a beauty above!

The "P" coin in NGC 67 FT is a bear to find for a reasonable price. This will have to do for now (POP 2/0):

Very nice Gold! Snagged this piece yesterday: POP 13/0