What makes early saints have a satiny luster?

[stinkycheese1]

I noticed to a coin show I recently went to, that ALOT of the 1908 saints and early date saints have more of a satin luster, barely any cartwheel luster, it's there, it's just more of a satin finish. On the other hand, I saw many later date saints that had BLAZING luster. Just take a look at chad's saint, it's incredible. So what contributes to this? I remember my friend looking at my saint, saying it is 'late die state'. I'm thinking of perhaps selling my saint, and picking up a more eye appealing one.

 

[Oldtrader3]

The minting of coins prior to the three year ceasing of mintage at the end of 1916, was with dies prepared with a satin finish for striking. I sold a MS65, 1916-S Saint last year that had a satin finish. My Saint set which I sold a few years ago had mostly satin finish coins before the last issue of 1916. I also believe that die state and number of coins struck per year has something to do with surface finish. Coins minted after 1920, when Saint production started again, were struck with dies that had a surface finish consistent with other coins of the era. The later coins have more luster.

[stinkycheese1]

Oldtrader, can you explain why the PCGS book says this?

 

"An interesting note as it pertains to luster for all late era gold coinage is that the coins in the 1907 to 1915 period often display a flat or dull luster, whereas the later dates (1916 to 1933) display a more frosty,, satiny, fresh luster. There are always exceptions, such as the 1909 D half eagle, the 1907 arabic numberals dou ble eagle, and the 1908 no motto double eagle."

 

 

It says the exact opposite of what is logical.

 

 

[BillJones]

I believe that the satiny luster was consistent with the artistic standards that Augustus St. Gaudens and other artists advocated at the time. At the end of 19th century the French got the idea that bright, lustrous surfaces distracted the appreciation of a medalist’s designs and artistry. These artists characterized coins and medals with bright surfaces as having a “cheap appearance.”

 

Accordingly French medals and then American medals were given matte finishes. This trend eventually extended to American Proof coins as the designs were changed from works of Longacre and Barber to those of Brenner, Frazer, Pratt and St. Gaudens.

 

To the extent that is was possible this duller matte finish appeared on the early examples of the business strike coins as well. Anyone who collects the early Mercury dimes and Walking Liberty half dollars as well as the gold coins of the period will notice this change.