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A Centennial Cabinet

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ISBN 978-1-105-77531-4

Edition of 11 November 2013 (Veterans’ Day)

Baselined from the online version CM 131126.

ISBN 978-1-105-77531-4.

9 781105 775314

90000

Configuration Management 131119

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Acknowledgements

It has been said that too many cooks spoil the soup. Not so! This concoction is the end product of more fine numismatists than I can ever name, and every one contributed his or her own indispensible piece de resistance.

So here goes....

Dave Baldwin	John Markham
Nancy Bercaw	Levi Masker
Bowers and Merena Auctions	Jane Miller
Gene Brandenburg	Steve Nathan
Daniel R. Brown	Chris Papadakis
Tom Brown	Bill Parron
Jonathan Brecher	St. Marie’s Coin Club
Richard DeLeo	Dave Schenkman
Tom DeLorey	Erica Schlather
Dick Doty	Matthias Schmitt
Ed Erickson	Jeff Shevlin
Nancy Green	Bob Slawsky
Hallenbeck Coin Gallery	Eric Spencer
Kristy Hansen	Stacks Auctions
Heritage Auctions	Stacks Bowers Auctions
Fred Hilken	Terry Stahurski
Fred Holabird	Stacey Swigart
Wayne Homren
Gene Hynds
Gabriel Iliescu
Dick Johnson
Malcolm Jones
Andy Kaufman
Anthony Kim
Rusty King
Ed Kucia
iNumis.com
Joe Levine
Jon Mark

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Table of Contents (Listed by Filename)

Introduction

Title Page and Copyright Dedication and Acknowledgements Table of Contents Introduction Preface Prologue The Cabinet

National Commemoratives Declaration of Independence Centennial Awards The Centennial Exhibition Exhibition Visitors Exhibition Buildings Struck at the Exhibition Centennial Woods Organizations Foreign

Historical Figures Historical Events Patriotic S5mibols Personal

1876 Centennial?

Appendices

Holland’s 1876 Listing Frossard’s 1876 Listing Cross-references Glossary

American Revolution Chronology Alloys

Diameter Conversions Bibliography

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Introduction

The Cabinet

Just as a book is made up of chapters that hold words, a cabinet contains drawers that hold collectibles. This is a cabinet of Centennial medals, and each drawer holds a different category of medal.

Medal vs. Token

The distinction between medals and tokens is so blurred that they often appear to be synonymous. A dealer once told me in response to my question that he couldn’t define the difference, but he knew which was which when he saw one. Since this volume includes medals but excludes tokens, it becomes important to know the difference, if only within this cabinet.

Let’s start with the definitions that the American Numismatic Association uses in their exhibit competition rules. Class 3, the Medals category, includes “Medallic items not used as a medium of exchange, or not having trade value” Class 4, the Tokens category includes “Items, including encased postage, issued unofficially as a medium of exchange for goods and services or for advertising purposes, but excluding American colonial items included in class 1 (United States Coins). Includes substances used in lieu of metal, other than paper.” “Wearable” medals are included in Class 5, the military medals, decorations, orders and badges category, thus seeming to be excluded from the Medals category. Nevertheless, such medals are included in this volume, since 1 consider the distinction of wearability to be meaningless; because many of the Centennial souvenir medals were issued holed and unholed, looped and unlooped, offering the obvious option of being worn by the proud new owner.

What’s good enough for the ANA is good enough for me. This cabinet concentrates on medals, for the simple reason that Centennial medals have as their primary purpose the commemoration of the United States Centennial. Tokens, on the other hand, have as their primary purpose the conduct of business during which the Centennial presented itself first as an advertising opportunity and secondarily as an historic occasion.

For example, this cabinet includes what 1 call the Linng medals (mules of the nine Centennial designs produced by Lingg Brothers Jewelers), but excludes the myriad of Linng tokens with their Centennial obverses and businesses advertising on the reverses.

The previous statement points up another distinguishing characteristic between medals and tokens. Medal collectors refer to the image side of a medal as the obverse; the inscription side, the reverse. Token collectors on the other hand consider the merchant’s (i.e., business-card) inscription side as the obverse, because tokens are typically collected by merchant. Thus, a token collector would refer to the inscription of a Lingg token as the obverse and the Centennial design side as the reverse. It is a moot point, however, with Lingg medals because both sides display a Centennial design, so either side could be listed as the obverse.

When 1 open up a cabinet of Centennial tokens, 1 will honor the token collectors’ conventions.

Categories

Categorizing Centennial medals has turned out to be a much more difficult and complex task than I had first expected. My first clue should have been how many times 1 had sorted and re-sorted my own collection.

As with any collection, allowing the individual specimens to suggest their own categories works, but only for a while. Soon, new additions to the collection nominate new categories, which tempt the collector to reorganize. Usually the only thing gained by reorganization is not new clarity but simply greater familiarity with one’s own collection.

The biggest challenge with categorization is that many medals logically fit into two or more categories equally well. For example, the George Washington/Brooklyn Sunday School medal, could easily fit into multiple categories, such as Washington Portraits, Religious Organizations, or, simply. Organizations. 1 followed Goldilocks’ logic and put it into the Organizations category because a Washington category was “too large,” and Religious Organizations was “too small,” but the Organizations category was “just right.”

The medals from the Centennial Exhibition posed a significant classification challenge, which 1 resolved by creating no less than five categories of Exhibition medals.

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Altogether, there are 14 categories of National Commemoratives

Declaration of Independence

Exhibition Award Medals Exhibition Medals Exhibition Visitors Exhibition Buildings Struck at the Exhibition

U.S. Centennial medals. They are:

The Centennial medals authorized by the February 12, 1873, Act of Congress authorizing national commemorative medals.

Medals that commemorate the 100* birthday of the Declaration of Independence.

Medals awarded to exhibitors at the Exhibition.

Medals commemorating the Centennial Exhibition itself.

Medals honoring visitors to the Centennial Exhibition.

Medals depicting the buildings of the Centennial Exhibition.

Medals struck on-site at the Centennial Exhibition.

Centennial medals struck in black walnut or cherry wood.

Centennial medals commissioned by organizations.

Centennial medals struck by foreign governments.

Medals depicting historical persons.

Medals commemorating Centennial events.

Centennial medals depicting patriotic s5nnbols.

Centennial medals commissioned by individuals.

This is the fifteenth drawer in the Centennial cabinet. It is a proto-category referred to as “Maybe Centennial, maybe not.” This drawer is a placeholder for medals that have yet to be certified as actual Centennials. I invite reader collaboration on these medals. Confirmed Centennials will be added to the catalog, while non-Centennials will be removed.

The sixteenth drawer in the cabinet is currently empty, reserved for?

Images and Sizes

After much deliberation, I have decided that visual detail is more important than scale illustrations. Thus, this volume is illustrated with the best photographs available to me, and medals are depicted as large as page format permits (i.e., two 3.2-inch diameter images side by side). In most cases, this means that medals are shown larger than life-size. The exact size of each medal is listed in the data section under Diameter and the ratio of the photograph’s size to that of the actual medal appears below the photo within parentheses, such as (2.2 x). This means that the 3.2-inch image is 2.2 times the size of the actual medal. Thus, medals smaller than 3.2 inches will have an x value greater than one; those more than 3.2 inches in diameter will have an x value less than one. Medal sizes are shown in millimeters. A conversion table, which lists equivalent values such as inches, medal sizes as in Holland and Frossard, and watch sizes can be found in the Appendices.

Thickness and Weight

With the exception of the medals struck by the U.S. Mint, Centennial medals tend to vary, sometimes quite widely, in thickness and weight. The Mint was and is required by Congress to maintain accurate records and follow strict standards in all their activities. Private minters, on the other hand, were and are in business primarily to make money. As a result and in contrast with the excellent standards of most modern private mints, nineteenth-century private manufacturers of medals often did not hesitate to use planchet material that varied in composition and thickness, depending on cost and availability. The result is that many Centennial medals can be found in a wide range of thicknesses and weights. At opposite ends of some of

Centennial Woods Organizations Foreign Medals Historical Figures Historical Events Patriotic S5nnbols Personal Medals Centennial?

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these ranges, one might be tempted to list thick and thin or light and heavy varieties, as earlier catalogers have sometimes done. Thicknesses and weights vary so much in privately-struck medals that 1 have decided not to list either measurement as part of this cabinet. Individual collectors are invited to use their own judgment in this matter with their own collections.

Catalog Numbering

Holland and Frossard numbered their medals using Roman numerals, blithely ignorant that one day their Roman numbering schema would drive computers (and this author) crazy. Ergo, 1 have taken the liberty of translating their Roman numerals into Arabic numerals when citing from their catalogs. My conscience pricks me for the intellectual infidelity, but convenience outweighs the guilt.

The numbering system in this catalog follows a simple rule. Each die pair used to strike a medal gets a new number. Die varieties are subjective. How much difference between successive dies does it take to call it a new die, a new design? Usually, if it appears that the intent of the diesinker was to duplicate the previous die, but noticeable differences exist, that will be considered a die variety, and the catalog number will not change. Examples of this are the three ray varieties and two date varieties on A-20, the small Commemorative Medals. On the other hand, the two varieties of the large Commemorative Medal differ so widely that separate numbers have been assigned.

When the difference between dies appears to have been intentional in order to create a different medal or to serve a different purpose, then a separate number is given to the resultant medal. Mules are an obvious example of this. So are the cases where the sculptor has placed his name or initials on one die and not the other. Another example would be the Soley “Struck in the Centennial Buildings” series which can be found with three distinct reverse dies: with and without “No.” and with “Soley” in exergue under the date.

In the beginning, the numbers in this catalog all started out ending in zero; i.e. each medal’s number skips ten to the next medal’s number. This numbering scheme is driven by the expectation (and the hope) that medals unknown to me at the time of publication will be brought to my attention after publication. When that happens, the “new” medals can be inserted wherever they best fit into the cabinet without changing any already assigned numbers. By skipping ten numbers, there should be plenty of room for new insertions.

The alloy from which a medal has been struck is designated in the catalog by a two-letter abbreviation subscripted next to the catalog number. The alloys used in this book are listed below: Synonymous alloy names are shaded, and the abbreviations used in their stead are listed.

AUoy	Abbrev.
Albata(cf.\l’hite Metal]	WTSl
Black Walnut Wo o d	b%v
Brass	bs
Bronze	bz
CherTpAVood	ch
Composition	cm
Copper (cf. Bronze]	bz
Copper-nickel	cn
Clay (cf. Terracotta]	tc
Earthemvarv* (cf Terracotta]	tc
Enamel	en
Celluloid	ge
Gilt	gi
Gold	go
Graphite	sr
Gutta Percha

Alloy	Abbrev.
Hard Rubber	hr
Lead	Id
Leather	Ir
Milk Glass	mg
Xickel	ni
Xickel-plate	np
Oreide	or
Pe%\ter (cf ^’^Tl[te Metal]
Porcelain	pn
Silver	si
Silver Plate
Tin (cf^\Tlite Metal]
Type Metal (cf Lead]	Id
\'ermeil	^■m
^\Tlite Metal
Wo 0 d (unsp e cifie d varietv^]	%vd

Style

Anyone who has attempted to describe a medal or to identify a medal from someone else’s description knows that sculptors and engravers of medals (not to mention authors) are held to no grammatical standard. There is no consistency of spelling, punctuation, or abbreviation. 1 have attempted to describe the medals in

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this cabinet using a consistent standard which is simple to state but more difficult to follow. The standard will, as much as possible, obey the following rules:

• The obverse will be described before the reverse. In most cases, the obverse is easily distinguished, but in some cases the decision is not so simple. In fact, even published authors sometimes differ as to which side is the obverse and which is the reverse. In such cases, 1 get to make the decision, and while 1 may be arbitrary, 1 will do my best to be consistent. For example, among the many medals that have the Liberty Bell on one side and Independence Hall or some other edifice on the other, 1 will consistently assume that the Liberty Bell is the obverse.

• Legends, if any, will be described literally, as follows:

> Upper and lower case in the description will mirror the case as used on the medal.

> The text of a legend, including its punctuation, if any, will be enclosed in double quotation marks. If the legend includes quotation marks actually on the medal, the entire legend, including its double or single quotation marks, as appropriate, will be enclosed in the opposite quotation marks (single if double on the medal, double if single on the medal).

> Thus, ' “WHAT A GLORIOUS MORNING!” ' indicates that the legend on the medal contains double quotations and that the exclamation mark also appears on the medal. “WHAT A GLORIOUS MORNING!” would indicate that there are no quotation marks on the medal (but the exclamation point does appear).

> Superscripts and subscripts, if any, will be depicted in the description as on the medal. For example, “100™” indicates that the “TH” is depicted on the medal as a superscript; “lOOTH” indicates that the “TH” is not a superscript on the medal but is the same size and on the same level as the rest of the text.

> A forward slash (/) indicates the end of a line in a multi-line inscription.

> Figures, edifices, and designs will be described from major to minor, larger to smaller, inner to outer, etc.

> Dates will be described depending on where they appear on the medal: if in the legend, then as part of the legend; if in the design, then as part of the design.

Rarity (to be added to catalog after collaboration online)

One of the wonderful things about medals is that they are almost always issued in relatively small quantities that would make numismatists salivate over the prospect of owning such relative rarities. For example, there are 15 known examples of the 1804 Silver Dollar, and we all know that it would require a bid in seven figures to purchase the next one that comes up for auction. However, equally scarce medals can commonly be purchased in high grade for under $100. (1 have done it many times!). The reason for this is simple: the demand for 1804 dollars far exceeds their supply. Apparently, the demand for some equally rare medals is lower even than the limited supply, which presents a happy opportunity to those who know their medals.

Repetitive Descriptions

One of the things 1 find very difficult to follow is the use of “Same as the obverse (or reverse) of xxx” in the description of the obverse or reverse of a medal. This was taken to an extreme in many catalogs of the 19™ Century. For example, Holland number LXXVll says “Same as No. LXXIII,” which says “MACHINERY HALL and view, otherwise, same as last” (LXXl), which says “AGRICULTURAL HALL and view, otherwise, same as last” (LXX), which says “HORTICULTURAL HALL and view, otherwise, same as last” (LXIX), which says “Memorial Hall with foreground and beneath MEMORIAL HALL, otherwise, same as last” (LXVlll), which finally gives the full description. Humbug, I say!

I realize that the purpose of such frustrating circumlocution is to save space, and paper, and therefore money in the world of books. In the world of electronic media, 1 think the extra effort of sometimes-repetitive descriptions is outweighed by the convenience of being able to read a complete description with each medal. Therefore, in most cases, I have provided complete descriptions wherever possible.

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Proxy Pix

Many sets of Centennial medals share common dies. Take, for example, the depiction of the presentation of the Declaration of Independence by the Committee of Five, copied from Trumbull’s famous oil painting. There are four known die varieties of the Trumbull die, muled with five other dies to create at least twelve known die pairings in the set. Three of them are merchant tokens, and nine of them are Centennials. Of these nine that are known to exist, 1 have so far been able to obtain photos of only four. However, 1 do have images of all the dies in the set, so rather than leaving readers with only the text descriptions of the obverse and reverse, 1 have assembled “Proxy Pix” from these available images to serve as graphic examples of such a medal until 1 have the opportunity to obtain matching images. Mules # 2, 6, 7, and 8 of this set in the Declaration of Independence drawer are Proxy Pix.

By the way, one of the goals of this iBook is to solicit the donation of missing images from my fellow collectors. Those who provide such images with permission for me to use them will receive grateful acknowledgement and the honor of owning the plate medal in this catalog.

Pagination

Some compromises are inevitable and necessary in a web-book, such as this, that straddles the worlds of both electronic and paper books. In order to make browsing as convenient and quick as possible on-screen, each medal is listed on a new page. This facilitates using the “page down” arrow in Acrobat Reader to scroll down through the document medal by medal. 1 admit this makes for a lot of white space in the printed version. However, this will be rectified at a later date. If there is enough demand for a high-quality printed book at some time in the future, 1 have a fine-press publisher who has expressed interest in printing and binding a fine edition. If/when this possibility comes to fruition, it will be announced on the website and every other venue 1 can utilize.

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Preface

My name is Ron, and I am an exonumist.

“If there's a book that you really want to read, but it hasn't been written yet, then you must write it.” Toni Morrison, Pulitzer Prize winner, Nobel Prize recipient, and Presidential Medal of Freedom awardee.

There are many numismatic authors who would have done a far better job of writing this book than I, if only one of them would have. However, none of them, not even one, has stepped forward to relieve me of this presumptive burden to fulfill my wish that there were a comprehensive reference on the Centennial medals of 1876.

I have been a coin collector since the fourth grade when my father gave me two brand-new blue penny folders and the pennies from that day’s commerce at his pharmacy. He told me I could keep the pennies that would fit into the albums’ empty holes. What’s not to like? That continued until I had filled all the common openings. After several weeks of not being able to add a single penny to my collection, I did the only thing an inveterate collector could do; I decided to collect nickels. However, Dad told me I’d have to do it out of my allowance, and that was the beginning of the problem. From that moment on, my taste in coins slowly but inexorably overhauled my ability to afford them. Starting new collections worked for a while, but inevitably I was drawn to that combination of rarity and quality that I could never quite afford. I know, I know. A man’s reach should exceed his grasp, or what’s a heaven for, but what self-respecting collector has that kind of patience?

Fast-forward to 2002. My collections (Bust Halves, Morgan Dollars, Trade Dollars, and a U.S. Type Set) had challenged my wallet to the point where I had not added a single coin in two years. It wasn’t for lack of interest. I attended my local coin club regularly, went to dealer shows, and read the standard monthly periodicals, but nothing grabbed my acquisitive attention. Then, at the June club meeting. Bill Parron, a best friend, part-time dealer, and fellow Navy veteran, showed me four medals in a fitted leather box and asked me if I would research them for him. He did not do this on purpose. He had no idea that exonumia can be contracted from just such a lovely set as this. I thought I was just doing a favor for a friend when I offered to research them for him so he could set a fair price on the set. Thanks to the Internet and eBay, I was able to tell Bill at the next meeting that he had a set of four of the medals struck by the U.S. Mint to commemorate the 1876 Centennial. I had found a similar set in a past auction, and I told him the selling price. He offered the set to me at that price, but I was too cagey for him. Besides, who cared about medals? They weren’t even money - just metal disks whose practical function could only be as paperweights. Definitely beneath my numismatic station.

When Bill offered the set again in August, I resisted, but those four medals piqued my curiosity for some perverse unexplainable reason. I resolved to do a little more research. I discovered that there were a lot of commemorative medals issued in 1876 and that they fit into many collecting categories, such as Mint medals, Washington portrait medals, and so-called dollars, to name only a few. But what really floored me was how rare even the common ones were. If they were coins, I couldn’t afford any of them, but they were only medals, with a much smaller pool of collectors, and the law of supply and demand meant that I could not only afford that set of four, but I might even be able to put together a nice collection. I bought the set from Bill at the September meeting, and the die was cast. (I must go on record here to pronounce that I bear Bill no malice. He had no idea what that simple transaction had started. Even my wife does not blame him.)

From just that inauspicious occasion, I discovered a whole new world of numismatics, one that theretofore had never appealed to me. After all, I was a coin collector, a U.S. coin collector, a specialist!

If it wasn’t a Morgan or Trade Dollar, or a Bust Half, it just didn’t count. And then. . . hmm. . . these medals were beautiful, with detail and depth of field that I had never seen in a coin, truly hand-held sculptures with beauty, history, and authenticity. After all, they were struck in the Philadelphia Mint. So

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I told Bill what Fd found out, and, with my fingers crossed in my pocket, 1 asked him what he would sell them for. His reply took me aback. 1 expected a higher price, one that 1 truly could not afford, because 1 had learned that these medals were far scarcer than any coin 1 had ever owned, rarer than any dollar or half dollar I could ever hope to afford. 1 bought those medals on the spot, and they launched me on the most exciting, interesting, and enjoyable experience of my collecting career.

Overnight, 1 had become an exonumist. 1 had discovered the beauty, the rarity, and the relative affordability of medals. At first, new acquisitions came slowly as 1 discovered, to my chagrin, that very few dealers knew an5^hing about Centennial medals, let alone had an5^hing in their inventory. Enter eBay, the new marketplace to the world, and my collection began to take off. It was time to start a new library, but 1 couldn’t find any books on Centennial medals. Next stop - the ANA Library and their wonderful lending and research program for members. To my surprise, Nancy Green, that absolute peach of a librarian, confirmed that no book dedicated to Centennial medals had yet been published, but there were some references that included some Centennials. 1 spent the next few weeks accumulating and reading those wonderful works by Rulau, Fuld, Julian, Loubat, Hibler-Kappan, Slabaugh, and Storer. Then came the illuminating discovery that H.W. Holland and Edouard Frossard had published contemporaneous lists of Centennial medals from 1876 through 1878 in the American Journal of Numismatics and the Coin Collector’s Journal, respectively. Once again, Nancy came to the rescue and mailed me photocopies of those periodical articles, along with her plea that someone, maybe even I, should finally write the definitive work on Centennial medals.

That suggestion both thrilled and intimidated me. There was no way 1 considered myself qualified to write a definitive work on an5^hing, let alone something I so far knew so little about. But the simple possibility of maybe someday writing something, anything, did spur me to do research more thoroughly and to take better notes, if only for the self-discipline of it. Now, years later, this book is the result of all those serendipitous bits and pieces that came together in their own unpredictable way, and 1 offer this book as my contribution, however humble, to the literature of exonumia, in the hope that those luminaries who preceded me will not look too far down their noses at my efforts.

It has always been surprising to me that no one has published a reference dedicated to the medals and tokens of the 1876 Centennial. There is certainly no shortage of collectors of exonumia from world’s fairs, politics, Washington portraiture, the U.S. Mint, Masonry, labor unions, churches, Sunday schools, charities, you name it. The 1876 Centennial has it all, and more. The Centennial Exhibition in Philadelphia was America’s first world’s fair and the biggest, most, and best attended up to that time.

The presidential election of 1876 was so close and confusing that not even the Twelfth Amendment to the Constitution was up to the task of resolving it. The first four sets of National Commemorative Medals authorized by Congress under the Act of February 12, 1873, were Centennial medals. And, without question, George Washington’s portrait was the most frequent subject to grace Centennial medals and tokens.

So why has a Centennial effort such as this taken more than a century? Good question. I don’t know the answer, but maybe we’ll all find out soon, depending on the success or failure of this attempt at a definitive Centennial reference. Whatever the explanation. Centennial medals deserve more attention from the collecting frarority. (What is a “frarority,” you may, and should, ask? Well, since there are ladies as well as gentlemen who collect Centennial medals, both “fraternity” and “sorority” would be sexist, so let’s call ourselves a frarority. It won’t be the first new term necessitated by our exonumial hobby.)

Speaking of definitions, what do 1 mean by “Centennial”? Webster defines the word as “of or relating to a hundredth anniversary,” which, of course, 1876 was. Not every medal or token with the date 1876 is Centennial, nor do all Centennial medals and tokens display the date of 1876. Similarly, some items dated 1875 are Centennial, as are some that have no date at all. This reference even includes four medals that anticipate the Centennial, namely the 50*, 94*, 98* and 99* anniversaries. Typically, any medal or

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token that was issued to commemorate, celebrate, mark, or simply take advantage of the 100* birthday of the Declaration of Independence can be considered to be Centennial.

One of the factors that contributed to the variety and range of medals and tokens during our 100* birthday celebration was the unalloyed patriotism and pride that were the hallmark of the Centennial. Only a little more than eleven years had elapsed since the end of the Civil War, and no country has ever undergone and survived a more divisive threat to its existence. With the threat of America’s total dissolution averted, the process of reunification, known as Reconstruction, threatened to prolong de facto division indefinitely. It was no coincidence that the Centennial contributed to the end of Reconstruction and the ultimate healing of the country. It was the disputed election of 1876 (and, I maintain, the near-universal sense of patriotism that hallmarked the Centennial) that resulted in a compromise that ended Reconstruction once and for all.

Contrast this euphoric pride with the situation exactly 100 years later. As chronicled by Lynne Cheney in The Eagle Screams, written in 1976:

“Witness our own inability — unwillingness, perhaps — to put together a similar Bicentennial celebration. Philadelphia worked on Bicentennial plans for sixteen years, twice as long as it took to free the colonies from England, making and unmaking plans for an exhibition, discarding one site after another, trying to please social activists who wanted jobs for the poor instead of a party, businessmen who wanted the revenue from an exposition, homeowners who didn’t want the disturbance. The American Revolutionary Bicentennial Commission, which rejected Philadelphia’s $6oo-million final plan, was still trying to define its role six years after its creation, in a confused debate constantly interrupted by conflicting demands for “relevance" — relevance to the past, relevance to present difficulties, relevance to everybody’s problems.”

Take, for example, the Centennial Exhibition in Philadelphia that was open in 1876 for exactly six months from April 10* to November 10*. Despite the difficulties presented by nineteenth-century transportation, one out of fifteen American citizens attended the fair. This is equivalent to 20,583,085 attendees based on our population in the 2010 census, which would be 3.430,505 attendees per month, which would be equivalent to 114,350 attendees every single day for six months! Add to this the fact that, though admission to the fair was only fifty cents; but, with inflation taken into account, that is equivalent to $27.37 today! [Source: http://www.halfhill.com/inflation.html1 That would be a daily gate of over $3 million dollars a day, or a gross revenue for the entire exhibition of $563,359,036, over half a billion dollars! Going to the fair was no trivial matter in 1876.

In this day of mixed opinions in our country about our country by our own countr5mien, will we ever again be able to match the pride of our ancestors as described once again by Lynne Cheney:

“The Centennial celebration was full of incongruities that to a twentieth century eye have an adolescent quality, a certain painful awkwardness that we have little desire to repeat. Yet it was also informed by an enviable enthusiasm and exuberance that we. . . seem little likely to achieve. The image of the country that our centennial ancestors projected in their celebration was not objective, or realistic, or all-inclusive. But . . . their party was full of vigor and spirit and life.”

Hear! Hear!

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Mcgillin’s Prologue

It was an exciting time to be an American, especially in Philadelphia. The air fairly crackled with anticipation, and every day brought news and stirred gossip that gave shape to the events to come. The U.S. Patent Office buzzed with a not unexpected increase in requests to register and protect new ideas and designs to commemorate (and profit from) the occasion. Businessmen and laborers alike crowded smoke-filled taverns where every conversation carried the common thread of the topic on everyone’s mind. Back home, their wives dug into blanket chests and rustled through linen closets to find the cherished flag and tri-color bunting that would soon mark the patriotic fervor of every home and place of business.

The Bell in Hand Door Pull

Indeed, springtime in the City of Brotherly Love was an exciting place to be in the year of our Lord 1875. The light was dim and the air redolent of pipe and cigar smoke, just the way the patrons liked it in the Bell in Hand Ale House. The barkeep, William McGillin, less portly and more taciturn than the average barkeep, carried four foam- crested pewter steins to the end of the bar where his regulars, the Corner Gang, always congregated. The argument had started up again, regular as clockwork these days, it seemed.

“It’s 1876, 1 tell you. Any fool who knows how to add and subtract will tell you that,” fumed one customer.

William McGillin

“Nonsense! It’s an anniversary celebration, not just another birthday of some snot-nosed brat. Anyone with a jot of sense knows that our hundredth year starts on July 5* 1875.”

McGillin shrugged, resigned to another round in the never-ending clash between the mathematically and the philosophically inclined. He knew that the good citizens of Philadelphia would start celebrating this coming July 4* and not stop until the great Philadelphia Exhibition in Fairmount Park ended the following year. He smiled inwardly as he contemplated the brisk trade that the entire year and more would bring. Yes, the Centennial would be good for business from July 5* 1875, until the end of 18761.

(The Bell in Hand Ale House opened for business in 1860 at 1308 Drury Street in Philadelphia. William McGillin lived upstairs in with his wife and 13 children. Wdliam died in 1901, and his wife operated the tavern until 1907, when she sold to new owners, who expanded it to its present location of 1306-1310 Drury Street and renamed it McGillin's Old Ale House. It remains open to this day, and is the fifth oldest tavern in continuous

operation in America.)

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Prologue 131111

The Centennial Commemorative Medals

On February 12, 1873, Congress authorized the striking of National Commemorative Medals by the United States Mint. The first four issues authorized under that Act celebrated the impending Centennial of the United States of America.

The first National Commemorative issue authorized, struck, and sold were the medals in two designs and sizes for the U.S. Centennial Exposition to be held in Philadelphia. They were authorized by Congress on June 16, 1874, struck later that same year, and first offered for sale on March 24, 1875.

The second commemorative issue celebrated the Centennial of the Battle of Lexington, which took place on April 19, 1775. The first order of 2 gold, 25 silver, and 200 bronze medals was rushed into production on April 15, 1875, in order to be available for the Centennial celebration in Lexington, Massachusetts, on April 19* and 20*, 1875.

The third issue commemorated the Centennial of the Mecklenburg Declaration of May 20, 1775. The first reverse die produced by the Mint drastically misspelled the name of the county as “Mechlenburgh,” which delayed production until May 5, 1875. The medals were introduced to the public on the 19* and 20* of May, 1875, at the Mecklenburg Declaration Centennial Celebration in Charlotte, North Carolina.

The fourth and last set of Centennial medals issued under the Act of 1873 was the Nevada Exposition medal, commissioned to be sold as a Centennial Exhibition souvenir at the California and Nevada State Building. Production started on June 20, 19876, and ended on November 11, 1876. According to a cer- tificate signed by A. Loudon Snowden, U.S. Mint Coiner, that accompanied the first 147 medals, “the Nevada Exposition medals. . . are made of pure silver, crushed from Nevada ores, at the Nevada quartz mill in the Centennial Exposition grounds, and subsequently refined at the United States Mint.

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10. U. S. Centennial Large Commemorative Medal (Variety 1)

(1.4 x) (1.4 x)

Obverse: Lady Liberty wears a long gown with a long shawl or veil billowing behind; resting on her right knee; sword in her right hand pointed to the ground; left hand pointing upwards; above her head a glory (halo of 13 stars from which radiate a number of lines representing beams of light); in exergue "1776"; surrounded by a circle of small beads, outside of which is inscribed: "THESE UNITED COLONIES ARE AND OF RIGHT OUGHT TO BE FREE AND INDEPENDENT STATES."; all surrounded by a circular solid line just inside the rim.

Reverse: A standing female figure of Columbia, representing the United States, in a long off-the-left- shoulder full gown, wearing the liberty cap, with a sheathed sword at her left side, and supporting the shield of the United States leaning against her left leg, holds a beribboned crown in each outstretched arm. With her left hand, she crowns a kneeling female figure representing Art, depicted with her right hand resting on a sculptured bust, holding a modelling stick in her left hand, and next to her lies a pallette, brushes, and a maulstick. With her right hand, she crowns a kneeling female figure representing Manufacturing, depicted with a hammer in her right hand, supporting a large cog-wheel, and next to her a large anvil. In exergue: "1876". All surrounded by a rope or beaded ring; outside the ring: "IN COMMEMORATION OF THE HUNDREDTH ANNIVERSARY OF AMERICAN INDEPENDENCE."; below: "ACT OF CONGRESS JUNE 1874."; all surrounded by a circular solid line just inside the rim.

The official trade card of the Centennial Board of Revenue explained the symbolism of the official Centennial medal designs as follows: "The design of the obverse on all of the medals represents the Genius of American Independence rising from a recumbent position, grasping with her right hand the sword which is to enforce her demands, and raising her left in appealing pride to the galaxy of thirteen stars, which, indicating the original colonies and States, are blazing in the firmament. Beneath is the date 1776. The reverse displays the Genius of Liberty, with the now ornamental sword buckled to her girdle, the shield of the Stars and Stripes leaning at rest, while with either hand she extends a welcome and a chaplet to the arts and sciences assembled with evidences of their skill and craft to do honor to the date 1876, which is inscribed upon the platform. The history of our great nation is depicted in these two designs, and as a work of art, a memento of the Centennial, or as a means of contributing to its celebration, these Memorial Medals should be objects of universal appreciation."

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The official broadside that marketed the medals (q.v.) indicates that the Centennial Board planned to sell seven Mint medals: the large medal in gilt, bronze, and white metal; the small medal in silver, gilt, and bronze; and an Independence gilt medal. Later versions of the same broadside do not mention the Independence medal, so it is probably safe to say that it was never issued.

Cross-refs: F-1; H-9; J CM-11, L-82

Diameter: 57.6 mm.

Edge: Plain

Alloy No. Weight Note

Gold lOgo 150.6 gm This medal is unique. It was presented to the President of the

U.S. Centennial Board of Finance, at the public ceremony held on the Exhibition grounds on July 4, 1876. It was last sold at auction in the John Ford Sale, Part V, Lot 193, on October 12, 2004, where it realized $54,625.00.

Silver lOsi 81.2 & 77.9 gm These medals were struck in .990 fine silver. One specimen,

weighing 81. 2g, was presented to Dr. Henry Linderman, the Superintendent of the Mint. Ten lighter specimens, also in .990 fine silver, but weighing only 77. 9g, were struck. In 1881, two of them remained in the Mint and were melted down.

Gilt lOgi 103.2 gm

Bronze lObz 103.2 gm

White Metal lOwm 74.2 gm

Gilded copper. 2,123 were struck.

Mint records indicate that all of the copper medals were intended to be gilded. However, Holland lists this medal in copper, but not in gilt. While it is possible that one or more copper planchets got out of the Mint without being gilded, it is more likely that Holland was less than strict in distinguishing between copper and bronze. 7,010 specimens were struck.

Modern availability would indicate that many more than the Mint's documented 583 white-metal specimens were struck, perhaps by private contractors. It is estimated that about 9,000 specimens were struck, making this one of the most common Centennial medals.

Terra Cotta lOtc

See below.

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20. U. S. Centennial Large Commemorative Medal (Variety 2)

(1.4 x) (1.4 x)

Obverse: Similar to #1, with several significant differences. There are fewer rays in the glory over Liberty"s head. The hair behind and below Liberty's left arm is less detailed. The surface on which Liberty kneels has discernible six-petaled flowers in it. The hem of Liberty's gown is noticeably less well defined. (See the Variety 1 and Variety 2 comparison chart below.)

Reverse: Similar to #1, with several minor but important differences. The most obvious is that the artist's pallette at Columbia's left foot does not have the four daubs of paint visible in #1. There is no star at the hilt of Columbia's sword. The topmost of the three paintbrushes is longer, with its left end breaking the outer edge of Lady Liberty's shield. Columbia stands on a flowered carpet, vice the plain surface of Variety #1. (See the Variety 1 and Variety 2 comparison chart below.)

Variety 2 Vermeil

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Cross-refs: Swoger 3Ibv^ (the vermeil example) Diameter: 57.6 mm. Edge: Plain

Alloy No.

Vermeil 20vm

Bronze 20bz

Wt Note

llO.Sgm This medal was struck in silver and then gilded. Only one is known to exist. It appears to have been struck from original Mint dies, but its weight of 110.3 grams vice 77.9 grams for the silver Variety 1 versions indicates that it may have been struck outside the Mint.

Joe Levine, of Presidential Coin and Antique has handled three of the bronze Variety 2 pieces, one of which was sub- sequently consigned to Stack’s. This specimen is shown be- low.

White Metal 20wm 62.3gm Bill Swoger states in his recent book on National Commem-

orative Medals that 583 of these Variety 2 medals were struck in white metal. He bases this hypothesis on the fact that Mint records indicate that the Centennial Board of Fi- nance ordered a late batch of medals after the original dies had been destroyed at the end of the Centennial Exhibition. He suggests that, in order to fill this order, the Mint had to cut a second set of dies, which accounts for the many differ- ences between the two varieties. If he is correct. Variety 2 seems much scarcer than one would expect of a run of 583 medals. Though Mint records state that 583 medals were de- livered, it is possible that fewer were actually distributed, and the rest were lost.

Variety 2 Bronze

Images courtesy of Stack's

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LARGE OFFICIAL MEDAL VARIETIES

^'ariei^^ I

1 . Star on sword hilt.

2. Single fold in hem.

3. Straw beneath America's feet.

4. Four daubs of paint on palette. Center bmsh longer to left.

5. Rounded date numerals.

■6. Shorter ribbon ends.

\'arieni~ 2

1. No star on hilt

2. Double fold in hem.

3 . Tap e suy b ene ath fe et.

4. No paint daubs on palette. Center bmsh shorter.

5. Flat date numerals.

6. Longer ribbon ends.

The Obverse

^ariet^- 1

7. More rays, hand closer to stars. S. Hair locks ^ide apart.

9. Ground co’^-ermore random. 10. Distinct hem in goiL\ri.

Variel^ 1

7. Fewer rays, hand farther.

S. Hair locks close together.

9. Ground co^-er more parallel.

10. No hem in goT\n.

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Variety 2 Obverse

Differences in Varied- 1

Diffe re nee sin Vatic t}- 2 20 rays in the glon- .

Only three rays to the light of the ami. Hair tresses not separated.

La^n has six -petal flo^Yers in it.

The go'oi.Ti has a hem in it.

1 . 29 rays in the glory .

2. Five rays to the right of the arm.

3. Hair tresses widely separated.

4. No six -petal floii^ers in thela^n. 5., No hem in the go^n.

Variety 1 Obverse

The Centennial Commemorative Medals

I

©

Variety 1 Reverse

©

Variety 2 Reverse

1. Star on the hilt of the s'^^ord. 2. Ribbon endt different.

3. America stands on a plain surface.

4. Left end of the middle bmsh is longer.

5. Four daubs of paint on the artist’s pallet. The bmshes right ends touch the rope

1.

2.

3.

4.

5

6.

Diffe re iicesia Variety- 2 No star on the liQt ofthe s^^'ord.

Ribbon ends different.

America stands on a parquet surface.

Left end ofthe middle bmsh is shorter.

No daubs of paint onthe artist’s pallet.

The bmshes right end do not reach the rope

Differeacesin Varietj- 1

The Centennial Commemorative Medals

30. (Fantasy of) U. S. Centennial Large Commemorative Medal

(2.26 x) (2.26 x)

Obverse: Similar to A20, though poor in its execution.

Reverse: Similar to A20, though poor in its execution.

This medal is an electrotype of a poor quality original fantasy medal. There is an obvious, irregular seam along the edge, which indicates that the medal was probably made in two halves and then assembled. Though it is only 36 mm in diameter, it weighs 22.4 grams, slightly heavier than the 37.7-mm A40 of the same thickness. This could be explained if the medal were constructed from two electroplate copper shells, filled with lead, and then assembled. The purpose for which the original and this electrotype were struck is unknown.

Cross-refs: Not listed.

Diameter: 36 mm. Edge: Plain

Alloy No.

Bronze 30bz

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40. U. S. Centennial Small Commemorative Medal

(2.16 x) (2.16 x)

Obverse: Lady Liberty wears a long gown with a long shawl or veil billowing behind; resting on her right knee; sword in her right hand pointed to the ground; left hand pointing upwards; above her head a glory (halo of 13 stars from which radiate a number of lines representing beams of light); ray variety 1 has a total of 29 rays with one ray passing through the rightmost star of the halo; in exergue "1776"; surrounded by a circle of small beads, outside of which is inscribed: "THESE UNITED COLONIES ARE AND OF RIGHT OUGHT TO BE FREE AND INDEPENDENT STATES."; all surrounded by a circular solid line just inside the rim.

Reverse: In eight lines: "IN // COMMEMORATION // OF THE // HUNDREDTH // ANNIVERSARY // OF // AMERICAN // INDEPENDENCE" (lines 2, 3, and 8 curved; lines 1 and 4-7 straight); around, a laurel wreath; outside the wreath in a circle is inscribed: "BY AUTHORITY OF THE CONGRESS OF THE UNITED STATES"; below: "1876"; all surrounded by a circular solid line just inside the rim.

A large coining press was brought to the Exhibition in Fairmount Park, and the silver impressions were struck in situ and retailed for $3 each (in contrast, bronze and gilt pieces were struck within the Mint and were sold for $1). (from http://www.harrybassfoundation.org/basscatalogs/BASSSALEl/bl-3-e.htm)

Cross-refs: F-2, H-10; J-CM-10; HK 20-22a. L-83.

Diameter: 37.6 mm.	Edge:	Plain
Alloy	No.	Wt	Note
Silver (.999)		22.0 gm	Unique, disposition and whereabouts unkown.
Silver (.900)	40si	24.7 gm	10.133 pieces were struck.
Gilt	40gi	21.4 gm	10,863 struck.
Bronze	40bz	21.4 gm	11,163 struck.
White Metal	40wm	Joe Levine has handled three white metal specimens in his Presidential

auctions. He purchased all three from the Barber family, where they had been in he personal collection of Charles Barber, the son of William Barber, the engraver.

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Small U.S. Commemorative Medal Varieties

It appears that there are several obverse die varieties for the small U.S. Commemorative medals. There are three distinct ray patterns in the glory above America’s head and two different placements of the 1776 date below her feet.

Ray Varieties. The three distinct ray patterns are referred to as Rl, R2, and R3.

Ray Variety 1: Rl consists of 29 rays with one ray passing directly behind the rightmost and

leftmost stars.

Ray Variety 2: R2 consists of 30 rays with two rays penetrating the rightmost and leftmost stars.

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Ray Variety 3: R3 consists of 45 rays with three rays penetrating the rightmost

and leftmost stars.

Date Varieties. The date varieties are referred to as D1 and D2. D1 and D2 differ in the placement of the date 1776 relative to the inscription below it.

Date Variety 1: In Dl, the “1” of n”1776” is positioned almost directly above the

“T” of “THESE.”

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Date Variety 2: In D2, the “1” in “1776” is positioned weel to the right of the

“T” in “THESE.”

With three different ray patterns and two different date positions, one might assume that there would be six possible combinations (three times two). However, this is not the case, because the ray pattern and date position are not independent, since they both appear on the same obverse die. Therefore, it is not a matter of arithmetic but merely of how many differing dies the Mint created. I cannot explain how these varieties occurred. The distribution of the varieties across this issue’s alloys is summarized in the table below. Note that so far I have found only nine of the possible 18 combinations, and theyt include only four of the possible six dies: D1R2, D1R3, D2R1, and D2R2.

	Ray 1	Ray 2	Ray 3
Silver Date 1		Si D1R2	Si D1R3
Silver Date 2	Si D2R1	Si D2R2
Gilt Date 1
Gilt Date 2	Gi D2R1	Gi D2R2
Bronze Date 1			Bz D1R3
Bronze Date 2	Bz D2R1	Bz D2R2

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The Boxed Centennial Set

This is the boxed set that started me out as an exonumist and a collector of Centennial medals. Little did 1 know!

The set of four medals in the extra fitted case does not specify exactly which of the six medals were to be included. The case could hold any two of the small and any two of the large medals. 1 have seen the case of four offered with varying contents. There is, of course, no way to be sure if an extant “set” is in fact, original to the case.

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This early broadside announcing the sale of the official Centennial Memorial Medals includes an “Inde- pendence Gilt Medal” for twenty-five cents. Later broadsides omit this reference, leading one to suspect that it was initially planned but later canceled for some unknown reason. For what it’s worth, 1 have nev- er seen one.

INTERNATIONAL EXH1B[T10N,

“CJiT

Centennial J^emorial JAedals.

N i7Ji[:ionsi: to a miivririal ]>C'tJiila3' [:>:[] rtyaioii :ii an acc of

t]h: iioarii of to Fc at ihc

United States Mini, a sei'ieb of Medals co enable evei'y ono to in the

fiiliiro :in ini-|jcri:>liab]c momtiiiaS of iJw: Centennial year and the Intern aLLOlial Exhibit ion ^ TlLL\se Medals are of various si^es and materia U. ami ^vill bo faiind iLnocNonie w^>rk>^ of art, asidt from tlioir intriil.H-ie vakie and intorofft as COiitJllOinos^tive Of tbt luia-. dro<lth aiiniveLsary of the foandation of tlie Anies ican Ivviny ritiKt:!

fiesiire Lo [joasess and liaiid <[o-^vn Lu his cliildi^;]! soine iiiejnenio ol an oucaslon vlilcb lias flttraccefl the atcention gf iho world, o^'ory sCsran^^tir will wisli Eg carry iioioe wkli linis Loktin of his visilj and nolliia^ nioi'e a[3]>ro|3i'iate for .sudi ]>ui']>ofie can he ^lortir^d than theKo cnibl&matic modnls.

Under tlig :ic5 of Con^iro^^ the lufintifacUire os- sale ol' Memorial i\h:daR, Ollier dinni those issued by llie Centeiiniai BoaitI of I'liianco, [imhibitJCid njider thg sac3u: jjgnaltics in charred for COUJltarreihn.^- the cohl of tht; States, ajg

iherefoi'o the ^>tL]y official medals obtain ahlt:. and at tlie close of she ].tshibLhon die dies ■will be ilottnuyrnL

Tile Medals are ofifered fii il^e foilowaii^ prices, cases incliKled:

Silver Mgdal, ______

L^u'^e Gilt Me(lal^ . _ _ . _

l.arg'g )lroai;:t: MgLlaS, - _ . _

l^rge White Metal Medal. . _ _ _ .

Small f.hit Medal,

Saiiall UrOal^e ]\led;ib - r -

JiidejKnideiice Gilt Medab -----

Secs of foiM', tni _ . , - -

^.oo

?.oo

[.gc^

.50

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The Commemorative Medals Die Trial Set

Fred Berson tells an interesting tale about the Centennial Commemorative medals, which he related in the June 1976 issue of the TAMS (Tokens and Medals Society) Journal. In 1974, Fred was on the prowl searching for the same boxed four-medal set of Commemorative medals that got me started into collect- ing Centennials. His information was that the Centennial Exhibition Commission, in order to bolster flagging sales of its Commemorative medals, offered two large and two small medals in a fitted leather case for $11, the same as the combined price of the four medals. Apparently, this promotion was not very successful, since only 60 or 70 boxed sets were sold in all.

In the course of his search, a dealer in New York called to announce that they had one of his desired sets. When Fred arrived in New York, he stared appreciatively at a near-mint box containing perfect medals, but —and this was a big “but” - the box (he called it a casket) contained not four but five medals. The casket had a beveled glass cover, a purple plush-lined interior, and a rear-panel with a trick opening mechanism.

As he made the rounds of dealers and other experts, no one was able to identify or explain Fred’s find, un- til a visit to the New York City Numismatic Museum. Their medals expert. Dr. Brady, was unable to ex- plain the set, but he did introduce Fred to another gentleman in the reading room, who turned out to be Don Taxay, the renowned numismatic author. As befits the reputation of and expectation from one of numismatic’s most respected experts, it was not long before Mr. Taxay could announce his conclusion. The five-medals constituted a die trial set! Upon lifting the fitted lining out of the box, there on the bare wood was the number “2” in pencil. Though this may indicate that there was a #1 set, Mr. Taxay doubts that it survived, but who can know for sure?

The die trial set in the casket consisted of two large medals, one gilt, the other silver-washed lead; and three small medals in gilt, bronze, and silver. Except for the lead example, the other four medals could have been circulation strikes were it not for their thicknesses. Mr. Berson states in his article that the large medals were 3/8 inch (9.53 mm) thick; the small medals, 1/8 inch (3.18 mm) thick. This is consid- erably thicker than their issued counterparts (9.5 mm vs. 4.8 mm for the large, and 3.1 mm vs. 2.5 mm for the small). For most medals, this variance (98% for the large and 24% for the small) would not be re- markable, since private issuers were not held to strict standards, but for the U.S. Mint this is a big deal. One can be fairly confident that Commemorative medals this thick will be die trails and not circulation strikes. After all, the number “2” hints that there might be a number “1” out there, and that would mean five more die trials yet to be found. Happy hunting!

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50. Battle of Lexington Centennial

(2.1 X) (2.1 X)

Obverse: The Lexington town seal, featuring a minuteman, standing left, powder horn in his right hand and musket in his left,on a shield-shaped landscape with a two-story farm house nestled in foothills behind which the sun rises on a pair of oxen yoked to a plow; around the shield, a center disk formed by two thin circular lines; above the shield: "1776" in glory on a plain field; on a field of narrow vertical lines emblematic of night, to left in two vertical lines: "1642 / CAMB. FARMS"; to right in two vertical lines: "1713 LEXINGTON"; below: "APRIL 19TH"; around, between the rim and the disk, clockwise from 8:30: " "WHAT A GLORIOUS MORNING FOR AMERICA" "; below, counterclockwise from 7:00: ’’LEXINGTON".

Reverse: In seven lines, the first and last curved: "CENTENNIAL / CELEBRATION / OF THE / BATTLE / OF / LEXINGTON / APRIL 19.1875".

Lexington was originally settled in 1642 as the Cambridge Farms parish of Cambridge, Massachusetts, and later incorporated as Lexington in 1713. The Battle of Lexington, on April 19, 1775, was the first engagement of the Revolutionary War. At sunrise, local Patriot militia initially confronted 700 British regulars in search of American supplies. After the first skirmish, the outnumbered militia fell back to the North Bridge in Concord, where they were reinforced and subsequently defeated three British companies and forced their retreat back to Boston. Despite the fact of American victory, the battle's casualties were one-sided, with eight Minutemen killed and ten wounded, compared to only two British wounded. However, during the retreat back to Boston, the British were harrassed from every quarter by farmers and rebels along the way, suffering over 250 caualties. The following day, Samuel Adams excalimed to John Hancock, "What a glorious morning for America!"

Cross-refs: F-34, H-2; J- HK-16-18, CM-24.

Diameter: 38.5mm. Edge: Plain

Alloy	No.	Weight	Note
Gold	50go	36.4 gm	Struck at the U.S. Mint., Proof. 4 struck.
Silver	50si	26.7 gm	100 struck at the U.S. Mint.
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Gilt	50gi	312.4 gm	Jonathan Brecher reports two gilt versions. The first is gilded white metal, holed; the second, probably gilded copper.
Bronze	50bz	31.4 gm	200 struck at the U.S. Mint.
White Metal	50wm	22.9 gm	Julian states that the Mint refused to strike the white metal versions requested by the engraver, Henry Mitchell, who then had them struck outside the Mint. Quantity unknown. The unholed version is considerably scarcer.

This is the leather case in which the Battle of Lexington medal was presented.

(Photo courtesy of Joe Levine)

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60. Mecklenberg Declaration Centennial

(2.67 x) (2.67 x)

Obverse: In the center, the dates: "1775 1875"; above, a branch of a tree bearing on the left a hornet's nest with six hornets flying beneath and on the left a Phrygian cap marked: "LIBERTY"; below, two clasped hands; the whole surrounded by a glory of rays; within a denticled rim.

Reverse: In a center disk formed by a beaded circle: "20 / MAY / 1775"; outside, clockwise around from 7:00: "MECKLENBURG DECLARATION OF INDEPENDENCE"; with a denticled rim.

This medal celebrates the centennial of the signing of the Mecklenburg Declaration in Mecklenburg County, North Carolina, on May 20, 1775, more than a year before the sigining of the Declaration of Independence. Whether this signing ever occurred is a matter of controversy among historians. Suffice it to say that the state of North Carolina assumes the veracity of the tradition and uses the date of May 20, 1775 on both its flag and seal. The hornet's nest is taken from a remark by Colonel Tarleton to General Cornwallis during the occupation of Charlotte in Mecklenburg County in 1780: "Ah, general, I think you've gotten into a hornet's nest." The Phrygian cap is symbol of liberty that dates back to ancient Rome. The clasped hands signify the reconciled and reunited North and South after the Civil War.

Cross-refs: H-3; J-CM-28.

Diameter:	30.4 mm.	Edge: Plain
Alloy	No.	Weight
Silver	60si	12.5 gm 1,010 struck.
Copper	60cp	According to Swoger “a small number of [copper] patterns were struck.”
Bronze	60bz	11.1 gm 1,025 struck

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70. Nevada Centennial

(2.16 x) (2.16 x)

Obverse: In the center, the cracked Liberty Bell without beam on a bank of clouds; to the left, a soldier in Revolutionary uniiform at "Present Arms" with a musket; to the right, a soldier in 19th-century uniform at "Present Arms" with a rifle; above, on a bannoer: "CENTENNIAL"; to the left in a vertical line: "1776"; to the right: "1876"; the whole surrounded by a single circular line; around, from 8:00 to 4:00: "LET GOD BE WITH US AS HE WAS WITH OUR EATHERS."

Reverse: Inside a singular circular line, a view of a silver mine with a shaft and minecar to the left, a logging train, a wagon and team of horses, a logging train passing over a vaulted stone bridge, and a smelting works; in the foregorund, a plow and a sheaf of wheat; in the background, the sun rises over the Sierra Nevada mountains; above, "NEVADA"; clockwise around from 8:00 to 4:00: "MADE EROM NEVADA ORE AT INTERNATIONAL EXHIBITION"; counterclockwise" "ALL EOR OUR COUNTRY" flanked left and right by a five-pointed star.

Cross-refs: H-110; HK 19, 19a, J-CM-36;.

Diameter: 37.7 mm. Gold 70go

Silver 70si

Bronze 70bz

Edge: Plain

Two were struck. * 2,531 were struck. * Six are known. *

* Data courtesy of Rusty King.

Silver Production at the Centennial Exhibition

(Photos courtesy of Ered Holabird.)

In 1873, a select committee of influential businessmen and local politicians recommended to the state government in Carson City that the state of Nevada should consider participating in the great Centennial Exhibition in Philadelphia in 1876. The Comstock Lode in Virginia City had just produced record amounts of silver and gold, and it was a matter of great pride to trumpet the success of the state’s mines and good business to expand the market in Nevada silver and gold. The state legislature appropriated

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The Centennial Commemorative Medals

$20,000, the fourth largest appropriation among the states, behind only Pennsylvania, Massachusetts, and New York. The sum was so generous that the committee decided to erect a quartz stamp mill to demon- strate the transformation of Comstock ore into refined silver and gold. To this end, tons of roughly crushed ore were shipped by rail over the three thousand miles to Philadelphia, where exhibition visitors could see for themselves the almost magical process of turning nondescript stone into gold and silver, al- most before their very eyes.

Upon entering Machinery Hall, visitors could hear the Nevada exhibit before they ever saw it. Five 775-

pound hammers took turns dropping from a height of

A Stamping Mill, c. 1876

eight inches ninety-five times every minute, reduc- ing the incoming ore to gravel. The gravel was then carried to the stampers, 120-pound steel dies and shoes that smashed the gravel into a great cast-iron mortar, until it could sift through screens as fine as 120 holes per square inch. Af- ter water was added, the sand slurry was fed into grinders, where the mixture spent three hours be- ing turned into putty. Then, mercury was added and a process of amalgamation went on for an- other four and a half hours. Once the water was filtered out, the silver-gold-mercury amalgam was heated, splitting out the gaseous mercury for reuse, and concentrating the gold and silver into bullion to be sent to the U.S. Mint, where it was smelted into pure ingots. The silver was used to strike the Nevada silver Centennial medals, and the gold defrayed the expenses of minting the silver and bronze medals. The finished medals were then sold in the California and Nevada Building on the exhibition grounds.

The quartz mill at the exhibition could process twenty tons of ore in a single day, and $200 worth of silver and gold (about 130 Troy ounces at 1876 prices) were extracted from each ton, for a maximum total of 2,600 ounces per day. At this rate, the mill could have produced a maximum of about 413,400 Troy ounces during the course of the Centennial Exhibition in the 159 open days between May 10 and Novem- ber 10, 1876. Since Mint records (according to Swoger) indicate that 2,531 of the silver medals were struck using only 2,010 Troy ounces, it is clear that the mill was more than capable of supplying all the silver required for the entire run of silver medals, with plenty left over to fund the entire operation.

Obverse

Belcher Ingot

It is probable that some of the output from the mill in the form of bullion ingots was placed on display both at the exhibit in machinery Hall and in the California and Nevada Building, where the medals were sold. None of these original ingots produced at the exhibition are known to have survived, but two ingots produced in Nevada and shipped to the exhibition are known to exist: one from the Belcher mine and the other from the Consolidated Virginia mine, both of which extracted bullion from the Comstock Lode in Virginia City. These are thought to be the only such marked survivors of the Centennial, with the possi- ble exception of uncataloged and, thus, unknown ingots in institutional collections.

Obverse

Consolidated Ingot

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Declaration of Independence Medals

Introduction

In my family, we have a saying: “Birthdays are a season, not just a day.” There is, of course, the birthday day itself, and those who can will celebrate with the honoree on that day. However, those who cannot be present on that one day insist on sharing the occasion either before or after. The good news is that everyone gets their chance, and the honoree usually gets more than one celebration.

The same was true during America’s Centennial. There were too many players and too many events to fit into one day, July 4, 1876, the actual 100* birthday of the United States of America. As happened with our Bicentennial in 1976, the recognition and celebration of the 1876 Centennial began long before the birthday, and continued for some time after. It became more of a “Centennial of Important Events in America’s Revolutionary War” season, and it lasted from at least 1874 until 1877.

This “Declaration of Independence” category of Centennial medals includes those medals dedicated to the “birthday” event; that is, the actual anniversary of the signing of the Declaration of Independence on the Fourth of July, 1776, and selected events surrounding that momentous occasion. Who “selected” those events, you might ask? Simple. Anyone who comissioned or struck a medal that fits our definition.

They did their job. Now it’s our job to collect them!

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80. 98*^ Anniversary/” Long May It Wave”

(3.3 x) (3.3 x)

Obverse: Inside a denticled rim, within a raised inner circle and surrounded by cloud-like swirls: “JULY 7 4/ 1874”; below at 6:00, a raised pellet separating the beginning and the end of the inscription: “98™ ANNIVERSARY OF AMERICAN INDEPENDENCE”.

Reverse: Inside a smooth raised rim, the American flag flying left on a staff with halyard; around clockwise from 9:00 to 2:00: LONG MAY IT WAVE; around from 2:30 to 7:00, 13 stars. This design is sometimes referred to as the “Union League flag,” though even the Union League knows of no explanation for the designation.

Cross-refs: Not listed.

Diameter: 24.8 mm. Edge: Plain

TUloy No.

White Metal 80wm

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90. Begin our 100*^ Year

(2.7 X)

Obverse: In the shape of a 12-pointed star, inside a depressed circular field, the cracked Liberty Bell with suspension yoke; above around from 10:00 to 2:00” LIBERTY BELL.”; a dashes-and-dots graphic element at 8:00 and 4:00; below: “1776”; outside the circular field, the star points exhibit a raised waffle design.

Reverse: Inside a depressed, vaguely octagonal, field, an 8-pointed star, in the center of which is the inscription: “JULY / 5 /1875” surrounded by cloud-like swirls; outside that inscription, beginning at the top: BEGIN / OUR / 100™ / YEAR”; the star points outside the octagon exhibit the same waffle design as the obverse.

This medal is pictured on page 17 in “American Centennial Tokens and Medals” by Arlie Slabaugh, where the author refers to it as a size 14 medal. That is because the obverse is struck with the size 14 die, Lingg design number 10 (Liberty Bell with dashes). Holland lists this medal as his number 158 and states its dimensions as size 19 (about 30 mm.).

Cross-refs: H-158.

Size: 30 mm. x 30 mm. Edge: Plain Alloy No.

White Metal 90wm

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100. Liberty Bell/Century of Liberty

(6.4 x) (6.4 x)

Obverse: The cracked Libetry Bell with suspension yoke; rope design around rim; to left:"1776"; to right: "1876".

Reverse: The numeral "1" within a laurel wreath of two branches crossed and tied at the bottom; clockwise around from 8:00: "A CENTURY OF LIBERTY"; rope design around the rim.

Cross-refs: F-540, H-170

Diameter: 12.8 mm. Edge: Plain

Alloy No.

Bronze lOObz

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110. Thomas Jefferson / July 4*^ Commemoration

(X) (X)

Obverse: Inside a denticled rim, a half-figure to left of Thomas Jefferson; clockwise around from 10:00: “TH. JEFFERSON BORN AP. 2. 1743. DIED JULY 4. 1826”.

Reverse: Within a denticled rim, the union shield inside a semi-wreath of two laurel branches tied at bottom; below the wreath a decorative device; clockwise around from 8:00: “TO COMMEMORATE JULY 4 . 1776”.

Cross-refs: Not listed.

Diameter: mm. Edge:

Alloy No.

White Metal llOwm

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120. An Appeal to Heaven

(2.9 x) (2.9 x)

Obverse: A shield-shaped medal with raised flat rim and integral loop. An obelisk resembling the Washington Monument (which was not yet completed in 1876) flanked by two flags, the left depicting a tree with “AN APPEAL” above “TO HEAVEN” below; the right with 13 stars (twelve encircling one) and seven stripes, 3 plain and four hashed; above the obelish the Federal shield; inscription above the obelisk: “OUR” to left and “FLAG” to right; to left of the obelisk: “1776”; to right: “1876.”

Reverse: Between two diagonal lines: ”U.S. / CENTENNIAL / MEDAL.”; to left and right of the “U.S.” is a vine-shaped device; above the upper line is a parallel row of 19 trefoils; below the lower line a row of 18 trefoils; above the upper diagonal line is another Federal shield.

Cross-refs: Not listed.

Size: 35.6 mm high x 28.0 mm wide Edge: Plain Alloy No.

White Metal 120wm

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130. Eagle/1776-1876

(2.8 X)

Obverse: Inside a denticled rim, an eagle with outstretched wings holding 3 arrows in its left claw and an olive branch in its right claw; 10 stars around and above; pennant below (if any words on pennant, unreadable in my specimens).

Reverse: Inside a denticled rim, a five-pointed star in center between finials to left and right; "1776" above and "1876" below.

Crudely executed; even the diameter varies from sample to sample, as well as on individual medals, which are often out of round.

Cross-refs: Not listed.

Die-sinker: Dorman

Diameter: 29.2 mm. Edge: Plain

Alloy No.

Bronze 130bz

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140. Our Republic/Blank

(1.8x) (1.8x)

Obverse: An oval medal depicting a spread eagle, head right, with a laurel branch in its right talon, four arrows in its left talon; above in two lines "OUR / REPUBLIC"; below in one line: "100 YEARS OLD"; outside on a sloped border are 13 five-pointed stars.

Reverse: Blank

The obverse is black, darker than it appears in the obverse photo. The contrast and brightness have been increased to improve legibility.

Cross-refs: Not listed.

Size: 43.2 mm wide x 53.6 high. Edge: Plain Alloy No.

Gutta Percha 140gp

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150. Abraham Lincoln/Centennial of American Independence

Photos courtesy of Heritage Auctions

(2.0x) (2.0x)

Obverse: Bust of Abraham Lincoln to right; to left: “ABRAHAM”; to right: “LINCOLN”.

Reverse: Within a border of raised triangles, in eight lines, the last curved, “OUR / NATION'S / FREEDOM / ACHIEVED BY / WASHINGTON / AND / PERPETUATED BY / LINCOLN; clockwise around from 7:00: “CENTENNIAL OE AMERICAN INDEPENDENCE 1876”; at 6:00, three six- pointed stars ;

Cross-refs: E-24, H-35, HK-73 Diameter: 39.7 mm. Edge: ?

Alloy No.

Silver ISOsi

Bronze ISObz

White Metal ISOwm

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160. Washington & Grant/" Dedicated to the People..."

(1.9 x) (1.9 x)

Obverse: Shield of the U.S. with thirteen stripes and thirteen stars in chief; perched atop, a rampant eagle, head left, three arrows in its left claw, an olive branch in its right; in its beak, a banner emblazoned with "E PLURIBUS UNUM'; to left stands George Washington in uniform, head right, drawn sword in right hand, left hand on the shield; to right stands Ulysses S, Grant in civilian attire, right hand on the shield; beneath and around the shield, a ribbon emblazoned: "WASHINGTON / 1776" on the left and "U.S. GRANT / 1876" on the right; the shield and both figures standing on a ground field, in exergue: "CENTENNIAL"; near the rim at 6:00: "F X KOEHLER"; around, clockwise from 8:00, are 25 five- pointed stars.

Reverse: Within a laurel wreath, tied at 6:00, with a five-pointed star at 12:00, in eight lines, the first curved: DEDICATED / TO THE / PEOPLE OF THE / UNITED STATES / AS A MEMORIAL / OF THE FIRST / CENTURY OF / LIBERTY"

Cross-refs: B-409, H-90, HK-118-118b.

Diameter: 42.2 mm. Edge: Plain

Alloy	No.
Silver	160si
Gilt	160gi
Bronze	160bz
White Metal	ISOwm

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170. Stephen Douglas/Declaration of Independence

(4.2 x) (4.2 x)

Obverse: Inside a denticled rim, bust of Stephen Douglas in civil dress, slighly right; around, clockwise from 8:30: "STEPHEN A" and from 2:00: "DOUGLAS"; inside that, clockwise from 8:45: "LITTLE" and from 2:00: "GIANT".

Reverse: Inside a denticled rim, in six lines: "THE DECLARATION / OF / INDEPENDENCE / WAS ADOPTED / JULY 4 / 1776"; the top line curved and the remaining five straight.

Cross-refs: Not listed.

Diameter: 19.3mm. Edge: Plain

Alloy No.

White Metal 170wm

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180. Jefferson-Adams/Declaration of Independence

(4.2x) (4.2x)

Obverse: Inside a denticled rim, in eight lines: "JEFFERSON / WAS ITS / HONORED AUTHOR / & / ADAMS, / THE / PILLAR / OF ITS SUPPORT"; the top three lines curved, the next three straight, and the last two curved.

Reverse: Inside a denticled rim, in six lines: "THE DECLARATION / OF / INDEPENDENCE / WAS ADOPTED / JULY 4 / 1776"; the top line curved and the remaining five straight.

Cross-refs: Not listed.

Diameter: 19.3 mm. Edge: Plain

Alloy No.

Silver 180si

Bronze 180bz

Brass 180bs

White Metal 180wm

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"Declaration of Independence, July 4, 1776” by John Trumbull

Perhaps the most iconic image that comes to mind when we think of the Declaration of Independence is the magnificent painting by John Trumbull. This work of art is the subject of the next series of Declaration of Independence medals. It was commissioned in 1817, completed in 1819, and hung in 1826 in the Rotunda of the United States Capitol in Washington, D.C., where it resides to this day.

The painting is very often inaccurately described as the signing of the Declaration of Independence, but in fact it depicts the scene in which the draft Declaration is presented by the Committee of Five to John Hancock, the President of the Second Continental Congress. The Committee consisted of the original authors of the draft: John Adams of Massachusetts, Benjamin Franklin of Pennsylvania, Thomas Jefferson of Virginia, Robert Livingston of New York, and Roger Sherman of Connecticut.

Trumbull includes 42 of the 56 signers of the Declaration, plus 5 non-signers, for a total of 47 figures in the scene. His goal had been to paint all of the signers from life, but he was only able to manage 42, so he filled in with five non-signers who had been involved in the debate but were not themselves signers. The issue is somewhat moot, however, since there was never a time when all the signers had ever been in that room of Independence Hall an5way.

On the next page is a picture of the painting, and below that is the U.S. Government’s listing of who’s who in the painting.

For an interactive version of the painting, where you can simply click on each figure, go to: http://www.quiz-tree.com/Declaration-of-Independence-Trumbull.html.

On the page after the painting begin three diagrams, the first two describing the four different dies in the series of Centennials that depict Trumbull’s painting, and the third shows the nine die marriages (mules) in the set. Note that three of the mules are merchant tokens, not medals, but they are included for completeness. Also, two of the mules (#5 and #7) do not depict the painting, but they are part of the “family tree “ of this set.

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BIEClLAlRAnriKIDIT dDF HHUDEFIEKIIDIEHCIE

In Coi^gress. etl the Indqpcridence Hall, Philadelphia, Juty 4^ 177&

1. George Wythe, Virginia

2. William Whipple. New Hampshire

3. Josiah Bartlett. New Hampshire

4. Benjamin Harriaon, Virginia

3. Thomas Lynch. South Carolina

6. Richard Henry Lee. Virginia

7. Samuel Adams, Massachusetts •8. George Clinton, New York

9. William Paca, Maryland

10. Samuel Chase. Maryland

1 1 . I;ewi$ Morris, New York

12. William Floyd, New York

13. Arthur Middleton, South Caroliru M. Thomas Heyward. Jr., South Carolina 1,3. Charles Carroll. Maryland

16. George Walton, Georgia

17. Robert Morris, Pennsylvania *18. Thomas Willing, Pennsylvania

19. Benjamin Rush. Pennsylvania

20. Elbridgc Gerry. Massachusetts

21. Robert Treat Paine, Massachusetts

22. Abraham Clark, New Jersey

23. Stephen Hopkins. Rhode Island

24. William Ellery. Rhode Island

23. George Clymer, Pennsylvania

26. William Hooper, North Carolina

27. Joseph Hewes, North Carolina

28. James Willson, Pennsylvania

29. FraiKis Hopkinson, New Jersey

30. John Adams, Massachusetts

31. Roger Sherman, Connecticut *32. Robert R. Livingston, New York

33. Thomas Jefferson, Virginia

34. Benjamin Franklin, Pennsylvania 33. Richard Stockton. New Jersey

36. Francis Lewis, New York

37. John Witherspoon, New Jersey

38. Samuel Huntington, Connecticut

39. William Williams. Connecticut

40. Oliver Wolcott. Connecticut

41. John Hancock, Massachusetts •42, Charles Thomson, Secretary,

Pennsylvania

43. George Read, Delaware *44. John Dickinson, Pennsylvania 43. Edward Rutledge, South Carolina

46. Thomas McKean. Delaware

47. Philip Livingston. New York

There were 36 signers of the Declaration of Independence. The painting portrays only 47. The 3 men whose names do not appear in the painting.

are surred were not .signers. The portraits of the following 14 signers

Matthew Thumton, New Hampshire George Taylor. Pennsylvania

John Hart. New Jersey George Ross. Pennsylvania

John Morton, Pennsylvania Caesar Rodney, Delaware

James Smith. Pennsylvania I'homas Stone. Maryland

1'homas Nelson, Jr., Virginia Button Gwinnett. Georgia

Francis Lightfoot Lee, Virginia Lyman Hall, Georgia

Carter Braxton. Virginia John Penn, North Carolina

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Type 1a (without “Demarest”)

Type 2a (without “Demarest”)

Two separated heads

Four seated figures

Two joined heads

Three seated figures

Four seated figures

Fourstanding figures

Three seated figures

Three standing figures

Total depicted: 35 (17 standing, 18 seated)

Total depicted: 33(17 standing, 16 seated)

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Type 1 b (with “Demarest”) Type 2b (with '‘Demarest”)

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Known Trumbull Declaration Mules

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Declaration of Independence Medals

190. (Mule 1) Committee of Five / George Washington

(X) (X)

Obverse: A copy of Trumbull's painting depicting the Declaration of Independence committee submitting its report to Congress in 1776; above, in two straight lines: "THE // DECLARATION"; below in two straight lines: "OF INDEPENDENCE // 1776"; without "DEMAREST. SC." Type la of the Trumbull depictions, without "Demarest SC" and without the standing figure to immediate right of rightmost window on rear wall.

Reverse: Undraped bust of George Washington to right; "Lovett" in truncation; above, around clockwise from 7:00: "TO COMMEMORATE THE lOOTH ANNIVERSARY OF"; below, counterclockwise around from 7:00 in two lines: "THE DECLARATION OF INDEPENDENCE"; around the outside an ornamental border consisting of a repeating sequence of three elements: 1) four horsemen galloping to left, 2) three platoons of infantry, and 3) a four-petaled floret; arranged in the following sequence, each element separated with a floret, clockwise from 12:00: two infantry, two horsemen, infantry, horsemen, infantry, horsemen.

Cross-refs: B-389, F-22, H-33, HK-78-79b.

Diameter: 42.1. Edge: Plain Alloy No.

White Metal 190wm

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200. (Mule 2) Committee of Five / George Washington

(X) (X)

Obverse: A copy of Trumbull's painting depicting the Declaration of Independence committee submitting its report to Congress in 1776; above, in two straight lines: "THE // DECLARATION"; below in two straight lines: "OF INDEPENDENCE // 1776; in exergue: DEMAREST. SC." Type lb of the Trumbull depictions, with "DEMAREST, SC" and without the standing figure to immediate right of rightmost window on rear wall.

Reverse: Undraped bust of George Washington to right; 42 mm.Lovett" in truncation; above, around clockwise from 7:00: "TO COMMEMORATE THE lOOTH ANNIVERSARY OF"; below, counterclockwise around from 7:00 in two lines: "THE DECLARATION OF INDEPENDENCE"; around the outside an ornamental border consisting of a repeating sequence of three elements: 1) four horsemen galloping to left, 2) three platoons of infantry, and 3) a four-petaled floret; each element separated with a floret, arranged in the following sequence,: clockwise from 12:00: two infantry, two horsemen, infantry, horsemen, infantry, horsemen.

Cross-ref: Baker 388, HK 75-77.

Diameter: 42.1 mm.. Edge: Plain

Alloy No.

Bronze 200bz

White Metal 200wm

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Declaration of Independence Medals

210. (Mule 3) Committee of Five / Declaration Signers

Photos courtesy of Joe Levine

(1.8 x) (1.8 x)

Obverse: A representation of John Trumbull’s 1819 painting of the Committee of Five presenting the draft Declaration of Independence to Congress. Abovein two lines: “DECLARATION // OF” and below in two lines: “INDEPENDENCE // JULY 4™ 1776.” In small letters below” "DEMAREST. SC." Type lb.

Reverse: A composite of the signatures of the Signers of the Declaration of Independence.

Cross-refs: Not listed.

Diameter: 42.1 mm. Edge: Plain

Alloy No.

Bronze 210bz

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220. (Mule 4) Committee of Five / Hancock Quote

Photos courtesy of Malcolm Jones

(1.8 X)

Obverse: A copy of TrumbuH's painting depicting the Declaration of Independence committee submitting its report to Congress in 1776; above, in two straight lines: "THE // DECLARATION"; below in two straight lines: "OF INDEPENDENCE // 1776; in exergue: DEMAREST. SC." Type lb of the Trumbull depictions, with "DEMAREST, SC" and without the standing figure to immediate right of rightmost window on rear wall.

Reverse: In the center, a facsimile of John Hancock's bold signature; above near the rim, clockwise from 10:00, in two lines: "WORDS SPOKEN BY JOHN HANCOCK, AFTER SIGNING // THE DECLARATION OF INDEPENDENCE"; below that, an arc of 13 six-pointed stars; below the signature, in five lines, the last two curved: "THERE! JOHN BULL // CAN READ THAT NAME // WITHOUT SPECTACLES, // NOW LET HIM // DOUBLE HIS REWARD".

Levine described this in Lot # 6901 223 as follows:: JOHN HANCOCK SIGNATURE MEDAL, 1876. Baker 391G. 42.3mm. White Metal. Abraham Demarest. Sc. Uncirculated with a proof-like surface. The obverse bears a large signature of John Hancock and the defiant quotation, “There John Bull can read that name without spectacles, let him double his reward.” The reverse is a depiction of Trumbull’s painting of the Report of the Committee of 5 with the Declaration of Independence. In small letters at bottom: DEMAREST, SC. There are a number of long die breaks at the bottom of the reverse. R-F’s 391G is described as also having a reverse die with the name DEMAREST omitted, (the reverse of Baker 389). This die, with the name present, was used as the reverse of Baker 388.

Cross-refs: B-391G.

Diameter: 42.1 mm. Edge: Plain Alloy No.

White Metal 220wm

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230. (Mule 5) Committee of Five / Hancock Quote

(1.8 x) (1.8 x)

Obverse: A copy of Trumbull's painting depicting the Declaration of Independence committee submitting its report to Congress in 1776; above, in two straight lines: "THE // DECLARATION"; below in two straight lines: "OF INDEPENDENCE // 1776. T5^e la of the Trumbull depictions, without "DEMAREST, SC" and without the standing figure to immediate right of rightmost window on rear wall.

Reverse: In the center, a facsimile of John Hancock's bold signature; above near the rim, clockwise from 10:00, in two lines: "WORDS SPOKEN BY JOHN HANCOCK, AFTER SIGNING // THE DECLARATION OF INDEPENDENCE"; below that, an arc of 13 six-pointed stars; below the signature, in five lines, the last two curved: "THERE! JOHN BULL // CAN READ THAT NAME // WITHOUT SPECTACLES, // NOW LET HIM // DOUBLE HIS REWARD".

Baker describes this as a variety under his number 391G by sa5dng: Obverse as reverse of 391 [the Hancock signature die]. Rv. As reverse of 389 (Declaration scene, DEMAREST omitted)..

Cross-refs: Variety of B-391G.

Diameter: 42.1 mm. Edge: Plain

Alloy No.

White Metal 230wm

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240. (Mule 6) 100*^ Anniversary/Hancock Quote

(1.8 x) (1.8 x)

Obverse: Undraped bust of George Washington to right; "Lovett" in truncation; above, around clockwise from 7:00: "TO COMMEMORATE THE lOOTH ANNIVERSARY OF"; below, counterclockwise around from 7:00 in two lines: "THE DECLARATION OF INDEPENDENCE"; around the outside an ornamental border consisting of a repeating sequence of three elements: 1) four horsemen galloping to left, 2) three platoons of infantry, and 3) a four-petaled floret; arranged in the following sequence, each element separated with a floret, clockwise from 12:00: two infantry, two horsemen, infantry, horsemen, infantry, horsemen.

Reverse: In the center, a facsimile of John Hancock's bold signature; above near the rim, clockwise from 10:00, in two lines: "WORDS SPOKEN BY JOHN HANCOCK, AFTER SIGNING // THE DECLARATION OF INDEPENDENCE"; below that, an arc of 13 six-pointed stars; below the signature, in five lines, the last two curved: "THERE! JOHN BULL // CAN READ THAT NAME // WITHOUT SPECTACLES, // NOW LET HIM // DOUBLE HIS REWARD".

Cross-refs: B-391, F-51, H-37.

Diameter: 41.8 mm. Edge: Plain

Alloy No.

Silver 240si

Bronze 240bz

White Metal 240wm

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250. (Mule 7) 100^^ Anniversary/Colonial Independence

(1.9 x) (1.9 x)

Obverse: Undraped bust of George Washington to right; "Lovett" in truncation; above, around clockwise from 7:00: "TO COMMEMORATE THE lOOTH ANNIVERSARY OF"; below, counterclockwise around from 7:00 in two lines: "THE DECLARATION OF // INDEPENDENCE"; around the outside an ornamental border consisting of a repeating sequence of three elements: 1) four horsemen galloping to left, 2) three platoons of infantry, and 3) a four-petaled floret; arranged in the following sequence, each element separated with a floret, clockwise from 12:00: two infantry, two horsemen, infantry, horsemen, infantry, horsemen.

Reverse: Around, clockwise from 9:00: "UNITED STATES OF AMERICA"; beneath, in seven straight lines: "IN // COMMEMORATION // OF THE // CENTENNIAL // OF // COLONIAL //

INDEPENDENCE // 1876"; below, counterclockwise around from 7:00: "PAT.NOV.3.1874 H&L".

Cross-refs: B-390

Diameter: 40 mm. Edge: Flip:

Alloy No.

Bronze 250bz

White Metal 250wm

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260. (Mule 8) Committee of Five / Colonial Independence

(1.8 x) (1.8 x)

Obverse: A copy of Trumbull's painting depicting the Declaration of Independence committee submitting its report to Congress in 1776; above, in two straight lines: "THE / DECLARATION"; below in two straight lines: "OF INDEPENDENCE / 1776". T5^e 2a of the Trumbull depictions, without "DEMAREST, SC" and with the standing figure to immediate right of rightmost window on rear wall.

Reverse: Around, clockwise from 9:00: "UNITED STATES OF AMERICA"; in seven straight lines: "IN // COMMEMORATION // OF THE // CENTENNIAL // OF // COLONIAL // INDEPENDENCE // 1876"; below, counterclockwise around from 7:00: "PAT.NOV.3.1874 H&L".

Cross-refs: HK-74-74b

Diameter: 42.1 mm. Edge: Plain

Alloy No.

Bronze 260bz

Brass 260bs

White Metal 260wm

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270. (Mule 9) Committee of Five la / Committee of Five lb

Obverse: A copy of Trumbull's painting depicting the Declaration of Independence committee submitting its report to Congress in 1776; above, in two straight lines: "THE // DECLARATION"; below in two straight lines: "OF INDEPENDENCE // 1776; Type la of the Trumbull depictions, without "DEMAREST, SC" and without the standing figure to immediate right of rightmost window on rear wall..

Reverse: A copy of Trumbull's painting depicting the Declaration of Independence committee submitting its report to Congress in 1776; above, in two straight lines: "THE // DECLARATION"; below in two straight lines: "OF INDEPENDENCE // 1776; in exergue: DEMAREST. SC." Type lb of the Trumbull depictions, with "DEMAREST, SC" and without the standing figure to immediate right of rightmost window on rear wall..

This is an unusual medal, in that one seldom sees two suxch similar designs muled. Together.

Cross-refs: Not listed.

Diameter: 40 mm. Edge: Plain Alloy No.

White Metal 270wm

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mOXIAL

KEDAI.S!

aolid PJairv^inLI id.

«tOD.. JiTtijb

SOLID SILVER OR GOLD

FrwnEjnj^^ Trir]e«y*J fittUtifol !□

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TffE :hiOSD VililTABLE

KVPE- IStilJEU.

GOOD AGENTS WANTED

In Cit^ tbo T;. S.andCrimd^

td TbQLi. e^dJtLsVd KtriborjT Yi^iiL befrived, U dc- *iT\dp

Et^TlIL rBlCE;S.--FtiT Ibe Altetf. ElIvco-. with. l^ilti $aj. Ld box. Ua^aJ diicimnt t4

A com jpktd &ulQt OT TTiARdilLH'Qt Bamplfti for a*cr4fp fn ulin or o*Lwit.lid^ tdaw^c* i,Ad^ COBtltoEHK Six dlD'<■^^:nt d^i^-ns* OSie

f;LIjU flua table lor Jewiei^raL. iJibw irlndo-w^ tit., on rmdp^ of draft o? Fpm(-d(H« Order for or Till abip hs VrpE^^ C. Op Pp DMCftdtiva Cipciila? Price Liit nnd oi^P^ani- pla ubt upon h}ce1p't -&0 eta. Immrrue ProJlti-

Sella dt siftht. C<TOfpoiljdl]IWt bolidlort. JnJbr- ElitloB fnee. Smniiva Iktda for enleirrjK, Addrt^il alltOIB-ffiUdiCBCjODB

U. S. KEIIALLIOJT CO.,

!!L£ BItOjLIIiTrA.T,

e.o. jSMiso SEW TO nil.

This advertisement appeared in the Macon (Georgia) Telegraph and Messenger on May 21, 1876. The other side of the pictured medal is not shown, so we cannot tell exactly which Trumbull-inspired Declaration of Independence medals might exist in gold- and silver- plated albata (German silver), but it is something to look for. One possible way to distinguish between plated albata medals and plated white-metal medals would be by their specific gravities. The specific gravity of albata is 8.6, and that of white metal is 7.1.

For a more detailed study of the Committee of Five Types, see the diagrams below.

For a detailed interactive study of the original painting by John Trumbull, check out:

http://www.quiz-tree.com/Declaration-of-Independence-

Trumbull.html

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280. Signing of the Declaration of Independence

(2.6 x)

Vignette from Trumbull's "Declaration of Independence"

(2.6 x)

Obverse: The inscription from 8:00 through 4:00 states: SIGNING OF THE DECLARATION OF INDEPENDENCE”; that may be, but the scene depicted is a dead ringer (see vignette above) for Trumbull’s painting. From left to right, Thomas Jefferson, Benjamin Franklin, John Adams, Robert Livingston, and Roger Sherman present their draft of the Declaration to John Hancock (seated). President of the Second Continental Congress, while Charles Thomson, the Secretary looks on. (The inscription is incorrect. This is not the signing but rather the Presentation of the Declaration by the Committee of Five, as confirmed in the vignette of Trumbull’s painting of that title.)

Reverse: Blank

This medal may not have been issued for the Centennial, but if it is, and until it can be established that it is not, this is where it belongs.

Cross-refs: Not listed.

Diameter: 31.8 mm Edge: ? Alloy No.

Bronze 280bz

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290. Declaration of Independence Signers/Text

(X) (X)

Obverse: Per Frossard 74: “Forty-eight figures of the signers, each one a correct likeness, are disposed in two horizontal lines; an upper, irregular; and a lower, nearly straight. The upper figures from left to right, appear in the following order; Wm. Paca, Samuel Chase, Richard Stockton, Lewis Morris, Wm. Floyd, Arthur Middleton, Steph. Hopkins, William Ellery, Geo. Clymer, John Adams, Roger Sherman, Rob. R. Livingston, Th. Jefferson, Benj. Franklin, Wm. Williams, Oliver Wolcott, Chas. Thompson, John Hancock, Geo. Read, John Dickinson, Edward Rutledge. The lower figures, from left to right, in a nearly straight line, represent the following signers: George Wythe, Wm. Whipple, Joseph Bartlett, Thomas Lynch, Jr., Benj. Harrison, Richard Henry Lee, Sami. Adams, George Clinton, Thos. Ha5ward, Jr., Chas. Carroll of Carrollton, Robt. Morris, Thomas Willing, Benjamin Rush, Elbridge Gerry, Robert Treat Paine, William Hooper, Joseph Hewes, Geo. Walton, James Wilson, Abraham Clark, Francis Hopkinson, Thomas Nelson, Jr., Francis Lewis, John Witherspoon, Samuel Huntington, Thomas M. Kean, Philip Livingston.”

Reverse: Per Frossard 74: “The text of the Declaration of Independence, with the names of signers, arranged on two tablets, surrounded by arabesque scrollwork.”

Per Frossard: “This is an electrotype of an ivory carving copied from Trumbull’s painting of the signing of the Declaration of Independence.”

Cross-refs: F-74

Diameter: 152.4 mm. Edge:

Alloy No.

290

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300. 100^^ Anniversary/Centennial of Independence

(X) (X)

Obverse: Per Holland 114: “Head of Washington to L. wreath of oak and olive tied, lOOTH ANNIVERSARY OF THE DECLARATION OF INDEPENDENCE * JULY 4, 1876 *”

Reverse: Per Holland 114: “Naked bust of Washington to R. surrounded by thirty-four stars in a circle, and outside, THE CENTENNIAL YEAR OF OUR NATIONAL INDEPENDENCE 1876.”

Cross-refs: H-114.

Diameter: 33.3 mm. Edge: ?

Alloy No.

Silver 300si

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310. Wash Bust R/grain and tools in wreath

Obverse: Per Holland 143: ‘Head of Washington to right, surrounded by thirteen stars, 1776; around, "FIRST IN WAR, FIRST IN PEACE, FIRST IN THE HEART OF HIS COUNTRYMEN"’.

Reverse: Per Holland: “A stack of grain and agriculture implements 1876 in a wreath tied.”

Per Holland: “The medal is of some soft metal gilt; and hangs by two eagle heads from a silken U.S. flag attached to a pin marked CENTENNIAL and on the back MORSE & CO 5 COURTLANDT ST N Y Size 19. The execution is very poor.”

Cross-refs: H-143.

Diameter: 30.2 mm. Edge:

Alloy No.

Gilt 310gi

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320. Washington Bust L/"First in War..."

(1.8x)

(1.8 X)

Obverse: Large undraped bust of Washington to left; at the left, around near the rim: " GEORGE"; at the right, around, near the rim: "WASHINGTON"; in the truncation: "U S M CO".

Reverse: In seven lines, the first three and the seventh curved: "FIRST IN WAR // FIRST IN PEACE, // FIRST IN THE // HEARTS // OF THE // AMERICAN // PEOPLE"; beneath that, counterclockwise around from 9:00: BORN, FEB. 22, 1732 DIED, DEC. 14, 1799"; beneath that, clockwise from 6:00: IN COMMEMORATION OF THE lOOTH ANNIVERSARY OF AMERICAN INDEPENDENCE, 1876"; the underline of the "TH" in "lOOTH" consists of a small dot under each letter; finally, there is a six-pointed star at 6:00 separating the beginning and the end of the text.

“First in war, first in peace, and first in the hearts of his countrymen” was written by Congressman Henry Lee III, in 1799, as part of a proclamation adopted by Congress on the death of George Washington. This was the same Henry Lee who earned the nickname of “Lighthorse Harry” in recognition of his superb horsemanship while serving as a Lieutenant General in command of a mixed corps of infantry and cavalry that came to be known as “Lee’s Legion” during the Revolutionary War. The quote was later used by soon-to-be Chief Justice John Marshall, who, as Washington’s personal friend, offered Washington’s eulogy to Congress.

Cross-refs: B-406, F-55, H-91.

Diameter: 42.2 mm. Edge: Alloy No.

Silver 320si

Gilt 320gi

Bronze 320bz

White Metal 320wm

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330. GW Nude Bust R/GW Draped Bust L

(2.7 X) (2.7 X)

Obverse: Undraped Washington bust to right; at left: "GEORGE"; at right: "WASHINGTON"; around clockwise from 8:30: "FIRST IN WAR, FIRST IN PEACE"; below that clockwise from 10:00: "AND FIRST IN"; counterclockwise from7:300: "THE HEARTS"; below that counterclockwise from 8:30: OF HIS COUNTRYMEN".

Reverse: Within a wreath of two olive boughs, crossing at 6:00, civilian draped bust of Washington to left; outside the wreath, around, counterclockwise from 11:00: "WASHINGTON THE FATHER OF OUR COUNTRY"; at 12:00 is a raised dot, perhaps used to mark the spot for a suspension hole.

Cross-refs: B-471M

Diameter: 28 mm. Edge: Flip: Rim:

Alloy No.

White Metal 330wm

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340. Von Steuben/Washington

(2.5x) (2.5x)

Obverse: Within a denticled rim, unclothed pigtailed bust of Washington to right; to left: "17"; to right: "76"; below: "GEORGE WASHINGTON"; clcokwise around from 8:00: IN GOMMEMORATION OF OUR INDEPENDENGE", flanked left and right by a five-pointed star.

Reverse: Within a denticled rim, a military-uniformed bust of Von Steuben, three-quarters left; to left: "17"; to right: "76"; below, BARON FRIEDRICH WM VON STEUBEN; clcokwise around from 9:00: IN COMMEMORATION OF OUR INDEPENDENCE", flanked left and right by a five-pointed star.

Usually seen with a soldered loop at 12:00 for susoension. Joe Levine opines that this is indeed an 1876 medal.

Cross-refs: Not listed.

Diameter: 32.4 mm. Edge: Plain Alloy No.

Gilt 340gi

Bronze 340bz

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350 Eternal Vigilance/Thank Providence

(2x) (2x)

Obverse: A standing robed Lady Liberty hold a wreath over the head of a genuflecting Vigilance in the person of a Roman Centurion; to right, a pedestal, against which lean a sword and American shield, supports a bust of Washington; around clockwise from 8:30: "ETERNAL VIGILANCE IS THE PRICE OF LIBERTY"; in exergue: "GEO. WASHINGTON // 1776.

Reverse: Within a laurel wreath: in nine lines, the top one curved: THANK PROVIDENCE // REFOICE! // 100 YEARS // A FREE REPUBLIC // BLESS IT IN FUTURE // WITH PEACE & // PROSPERITY //JULY 4™ // 1876; above, an eagle displayed, standing on a U.S. shield with three arrow points to left and a laurel wreath to right..

Cross-refs: B-A393.

Sculptor: Carl Stubenrauch.

Diameter: 40 mm. Edge:

Alloy No.

Bronze 350bz

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360. GW Draped Bust L/ln Memory of The Centenary

(3 x) (3 x)

Obverse: Draped bust left, above around "GEORGE WASHINGTON 1876"; below "* 1876 *"

Reverse: Eagle with half-spread wings surmounts a U.S. shield with 13 stars in chief; a scroll above a lettered: "E PLURIBUS UNUM"; around, "IN MEMORY OE THE CENTENARY".

Cross-refs: B-407

Diameter: 25 mm. Edge: Reeded and Plain Alloy No.

Gilt 360gi

Bronze 360z

White Metal 360wm

According to Rich Hatzog in his Mail Bid Sale 11 7 NOV. 2006, Lot #2521, "In Memory of the Centenary George Washington Medal, 1876: Baker, Collins. Rulau, and Euld were all mystified about this piece. The mystery is solved by comparing it to the Spade Guinea Imitations in the Brunk collection, some of which are the same style, and like this piece are holed for suspension to be worn at celebrations.”

The similarity between this medal and the original spade guinea (and its imitations) is striking, as can be seen when comparing it to the 1787 original at the right.

Photos courtesy of Stack's

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370. GW/Independence Hall

(2.5x) (2.5x)

Obverse: Independence Hall with outbuildings to left and right; above, clockwise around from 9:00 in two lines: “IN REMEMBRANCE OF THE CENTENNIAL // JULY 4™, 1876”; in exergue, in three lines: “INDEPENDENCE HALL // AS IN // 1776”.

Reverse: Bust of George Washington in civil dress, three-quarters left; above, clockwise around from 9:00 in two lines: “FIRST IN WAR, FIRST IN PEACE, FIRST IN THE / HEARTS OF HIS

COUNTRYMEN”; BELOW: “G° WASHINGTON” with two dots below the letter O.

Cross-refs: B-393.

Diameter: 32 mm. Edge: Plain

Alloy No.

Bronze 370bz

White Metal 370wm

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380. Lib Bell/Indep Hall as in 1876, large (22.8 mm)

(3.6 x)

Obverse: Independence Hall with its two flanking outbuildings; around the denticled rim, clockwise from 8:30: "IN REMEMBRANCE OF THE CENTENNIAL 1876"; below, in three lines, the first two curved and the third staright: "INDEPENDENCE / HALL / AS IN 1776".

Reverse: The cracked Liberty Bell without its yoke; on the bell: "1753", the year in which it was first hung, first rung, and cracked; along the denticled rim, below, counterclockwise from 7:00: 1776-1876" flanked left and right by two five-pointed stars; clockwise from 7:30: "PROCLAIM LIBERTY THROUGHOUT ALL THE LAND".

All inscriptions are in a font with serifs. Cross-refs: Not listed.

Diameter: 22.8 mm. Edge: Plain

Alloy	No.
Gilt	380gi
Silver Plate	380sp
Bronze	380bz
White Metal	380wm

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390. Lib Bell/Indep Hall as in 1876, small (22.2 mm)

(3.4 X)

Obverse: Same as above with four exceptions: smaller in diameter (22.2 mm vs. 22.8 mm), thinner (1.3 mm vs. 2.2 mm), plain rim (vice denticled), and the inscriptions are rendered in a sans serif font. Thus: the cracked Liberty Bell without its yoke; on the bell: "1753", the year in which it was first hung, first rung, and cracked; along the plain rim, below, counterclockwise from 7:00: 1776-1876" flanked left and right by two five-pointed stars; clockwise from 7:30: "PROCLAIM LIBERTY THROUGHOUT ALL THE LAND".

Reverse: Same as above with five differences: smaller and thinner with sans serif font, plus the inscription below Independence Hall is in two (vice three) straight lines, and the rim is plain (vice dentilced):. Thus, Independence Hall with its two flanking outbuildings; around the plain rim, clockwise from 8:30: "IN REMEMBRANCE OF THE CENTENNIAL 1876"; below, in two straight lines: "INDEPENDENCE HALL / AS IN 1776".

The inscriptions are in a sans-serif font.

Cross-refs: F-69, H-156.

Diameter: 22.2 mm. Edge:

Alloy No. Note

Gilt 390gi

Bronze 398bz

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400. GW/Fit Keystone

(2.6 x) (2.6 x)

Obverse: In a circular disc surrounded by a continuous oak wreath, an undraped bust of George Washington right; the whole within a keystone-shaped tablet; above, part of the Washington crest consisting of griffin rising from a crown; to left: "1732"; to right: "1799"; below, Washington's monogram: "GW".

Reverse: Above, around from 9:30 to 3:30, an arch consisting of a keystone in the center and two blocks on either side; the first block is inscribed: "1776 // I. F. W // DES "; the second blockis inscribed: "WASH"; the capstone "IN"; and the next block "GTON", togethewr spelling out "WASHINGTON"; and the final block in three lines: "1876 // G. H. L // FEC"; beneath, in six lines, the first and last two curved: "FIT KEYSTONE // IN THE // TRIUMPHAL // ARCH // WHICH SPANS // THE NATION’S CENTURY".

(Collins 325) Struck by George Hampden Lovett and published by Isaac E. Wood, both of New York. Cross-refs: B-408.

Diameter: 31.4 mm. Edge: Plain Alloy No.

Silver 400si

Bronze 400bz

White Metal 400wm

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410. GW Lover of Peace/Washington Elm

(2x) (2x)

Obverse: In a depressed disc surrounded by a raised border: an undraped bust of George Washington right; in truncation: LOVETT"; above, clockwise from 10:00: "1776 — 100 YEARS — 1875"; below, counterclockwise from 8:00: "I.F.W. DES."; from 5:00: "G.H.L. EEC."; in the raised border: at 9:00 and 3:00, a sword and olive branch crossed; clockwise from 10:00: "THE LOVER OF PEACE'; counterclockwise from 8:30 in two lines: "FOR THE COLONIES' BIRTHRIGHT // HE ESPOUSED THE SWORD".

Reverse: Undraped bust of George Washington right; in truncation: "LOVETT"; below: "G.H.L"; around to left: "GEORGE"; to right: "WASHINGTON". (Same as obverse of Baker 296.)

Cross-refs: B-436.

Diameter: 39.8 mm. Edge: Plain Alloy No.

Bronze 410bz

White Metal 410wm

The story of George Washington formally taking command of the Continental Army in the shade of an elm tree in Cambridge Common in Cambridge, Massachusetts, on July 3, 1775, has been around since the 1830s. It is known that Washington did indeed take command in Cambridge on July 3, 1775, but there is no evidence that it took place under a specific elm tree. The story received the imprimatur of historical fact when the Ladies Centennial Committee published the fictitious Diary of Dorothy Dudley in 1876. No harm was intended, though, since this type of literary convention was common in the nineteenth century, and George Washington was a particularly popular subject for allegorical stories intended to inspire readers. (Two other Centennial medals commemorate a similar example in Washington’s “I cannot tell a lie” cherry-tree confession, which was invented by Parson Mason Weems, an Anglican minister and itinerant bible salesman, who used the story as a parable on honesty.)

Fittingly, the Washington Elm and its legend suffered nearly simultaneous demises. The tree succumbed to disease in 1923, and two years later the Cambridge Historical Society officially debunked the legend.

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Stating that the plaque which still marks the site of the original elm is there not because Washington ever stood there, but as a monument to the belief that he did. But legends are indeed stubborn things. In 1945, a newly published bibliography of American historical diaries written before 1861 received wide distribution to libraries and colleges nationwide. To this day, school textbooks, “authoritative” histories, and even modern websites retell as fact the story of the Washington Elm.

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420. GW Lover of Peace/GW Undraped Bust Right

(2.9x) (2.9x)

Obverse: Undraped bust of Washington to right; on truncation: “LOVETT”; “GW” monogram below; around: “1775 - 100 YEARS - 1875 / l.E.W. DES. G.H.L. EEC.”

Reverse: Undraped bust of George Washington right; in truncation: "LOVETT"; below: "G.H.L"; around to left: "GEORGE"; to right: "WASHINGTON". (Same as obverse of Baker 296.)

Cross-refs: B-437.

Diameter: 27 mm. Edge: Plain

Alloy No.

Bronze 420bz

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430. George Washington Undraped Bust Right / Martha Washington Bust Left

(2.9x) (2.9x)

Obverse: Undraped bust of Washington to right; on truncation: “LOVETT”; “GW” monogram below; around: “1775 - 100 YEARS - 1875 / l.F.W. DES. G.H.L. EEC.”

Reverse: Undraped bust of George Washington right; to left: "GEORGE"; to right: "WASHINGTON"; above, clockwise from 8:30 in two lines: "FIRST IN WAR, FIRST IN PEAGE // AND FIRST IN"; below, counterclockwise from 8:00, also in teo lines: "THE HEARTS // OF HIS COUNTRYMEN; a dash separates the two inscriptions. (As obverse of Baker 240.)

Cross-refs: B-437M.

Diameter: 27 mm. Edge: Plain

Alloy No.

Bronze 430bz

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440. GW Nude Bust R/MW Bust L

(2.9x) (2.9x)

Obverse: Undraped bust of George Washington right; "LOVETT" on the truncation; below: "G.H.L."; to left, clockwise from 8:30: "GEORGE"; to right, clockwise from 2:00: "WASHINGTON".

Reverse: Bust of Martha Washington left, in blouse and bonnet, within a wreath of two crossed laurel branches, untied; around, clockwise from 7:00: "THE lOOTH. YEAR OE OUR INDEPENDENGE"; below: "1876". There is a small pellet at 12:00 near the rim, perhaps a mark for piercing.

Cross-refs: B-413.

Diameter: 27.7 mm. Edge: Plain Alloy No.

Bronze 440bz

White Metal 440wm

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450. GW Draped Bust L/MW Bust L

(2.9x) (2.9x)

Obverse: Draped bust of George Washington to left within a wreath of two crossed laurel branches, untied; around, counterclockwise from 11:00: "WASHINGTON THE FATHER OF OUR COUNTRY". There is a small pellet at 12:00 near the rim, perhaps a mark for piercing.

Reverse: Bust of Martha Washington left, in blouse and bonnet, within a wreathof two crossed laurel branches, untied; around, clockwise from 7:00: "THE lOOTH. YEAR OF OUR INDEPENDENCE"; below: "1876". There is a small pellet at 12:00 near the rim, perhaps a mark for piercing.

Cross-refs: B-414.

Diameter: 27.7 mm. Edge: Plain Alloy No.

Bronze 450bz

White Metal 450wm

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(2.9x) (2.9x)

Obverse: Bust of Martha Washington left, in blouse and bonnet, within a wreathof two crossed laurel branches, untied; around, clockwise from 7:00: "THE lOOTH YEAR OF OUR INDEPENDENCE"; below: "1876". There is a small pellet at 12:00 near the rim, perhaps a mark for piercing.

Reverse: Within a similar, larger, laurel wreath, a scroll disposed in six folds, inscribed: "MARTHA // WASHINGTON // MEMORIAL // MEDAL".

Cross-refs: F-63, H-149. Diameter: 27.7 mm. Alloy No.

Silver 460si

Bronze 460bz

White Metal 460wm

Composition 460cm

Edge: Plain

Note

Holland 149 (q.v.) states “The Rev. was also struck in a composition, colored blue and red, with no obverse.”

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470. "Martha Washington Memorial MedarVBIank

(2.7 X) (2.7 X)

Obverse: According to Holland, in describing his #149, "the reverse [of the Martha Washington Memorial Medal] was also struck in a composition, colored blue and red, with no obverse; thus: within a similar, larger, laurel wreath, a scroll disposed in six folds, inscribed: "MARTHA // WASHINGTON // MEMORIAL // MEDAL".

Reverse: Blank

Cross-refs: Variety of H-149.

Diameter: 26.5 mm. Edge: Plain

Alloy No.

Composition 470cm

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480. Seated Liberty/General Washington

(2.2x) (2.2x)

Obverse: A representation of Liberty designed by Soley, reminiscent of the Trade Dollar; seated facing left, an olive branch in her right hand offering peace to a ship sailing towards her; at her left side is a keystone-shaped shield on which a set of scales and a square promise justice; behind her are two flags unfurled over the land on which a train steams toward her and a plow rests in a field; above around from 10:00 to 2:00: "FREE AND UNITED STATES"; below: "1876".

Reverse: Large undraped bust of George Washington to right; at left: "GENERAL"; at right: "WASHINGTON"; in the truncation of the neck: "1776.".

Cross-refs: B-405, F-314, H-39, HK-52-55a.

(As can be seen from the reverse image, Holland 39 is in error when it states that the date in truncation under the bust of Washington is “1776.”)

Diameter: 37.7 mm. Edge: Plain

Alloy	No.
Silver	480si
Gilt	480gi
Bronze	480bz
White Metal	480wm

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(2.2x) (2.2x)

Obverse: Per Holland: “Large undraped bust of George Washington to right; at left: "GENERAL"; at right: "WASHINGTON"; in the truncation of the neck: ‘1876’.”

Reverse: Per Holland: “Blank, with a border of arabesque curves.”

Cross-refs: H-98.

(Though 1 have not seen this medal, 1 suspect that Holland intended “1776” vice “1876” in his description of the obverse, as also found in H-38 and H-39.}

Diameter: 37.7 mm. Edge: Plain

Alloy No.

Silver 490si

Bronze 490bz

White Metal 490wm

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500. Seated Liberty/Independence Hall "Birthplace"

(2.2x) (2.2x)

Obverse: A representation of Liberty designed by Soley, reminiscent of the Trade Dollar; seated facing left, an olive branch in her right hand offering peace to a ship sailing towards her; at her left side is a keystone-shaped shield on which a set of scales and a square promise justice; behind her are two flags unfurled over the land on which a train steams toward her and a plow rests in a field; above around from 10:00 to 2:00: "FREE AND UNITED STATES"; below: "1876".

Reverse: Independence Hall with its outbuildings right and left as in 1876; above, clockwise from 10:00: "BIRTH PLACE OF AMERICAN"; below in two lines: “INDEPENDENCE / 1776".

Cross-refs: F-313, H-41, HK-48-51.

Diameter: 37.7 mm. Edge: Plain

Alloy No.

Silver SOOsi

Gilt SOOgi

Bronze SOObz

White Metal SOOwm

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510. Seated Liberty/Blank with border

Obverse: A representation of Liberty, reminiscent of the Trade Dollar; seated facing left, an olive branch in her right hand offering peace to a ship sailing towards her; at her left side is a keystone-shaped shield on which a set of scales and a square promise justice; behind her are two flags unfurled over the land on which a train steams toward her and a plow rests in a field; above around from 10:00 to 2:00: "FREE AND UNITED STATES"; below: "1876".

Reverse: Blank, with a border of curves.

Cross-refs: H-100.

Diameter: 37.7 mm. Edge: Plain Alloy No.

Silver SlOsi

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520. Liberty Head/Spread Eagle

(3.5 x) (3.5 x)

Obverse: Draped bust of Liberty to left, similar to the Braided Hair cent of 1839-1857; "LIBERTY" in crown; surrounded by thirteen five-pointed stars.

Reverse: A spread eagle, head to left; laurel branch in its right talon, three arrows in its left; above, clockwise around from 11:00: "1876"; below, counterclockwise from 8:00: "CENTENNIAL".

Crudely executed; even the diameter varies from sample to sample, as well as on individual medals, which are often out of round.

Cross-refs: H-154.

Diameter: 23.5 mm. Edge: Plain

Alloy	No.
Gilt	520gi
Bronze	520bz

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530. Spread Eagle/Blank

(X) (X)

Obverse: A spread eagle, head to left; laurel branch in its right talon, three arrows in its left; above, clockwise around from 11:00: "1876"; below, counterclockwise from 8:00: "CENTENNIAL".

Reverse: Blank.

Cross-refs: Variety of and listed under H-154. Diameter: 23.8 mm. Edge:

Alloy	No.
Gilt	530gi
Bronze	530bz

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Declaration of Independence Medals

540. Liberty/Shield

(X) (X)

Obverse: A circle of 27 stars surrounds a figure of Liberty holding a flag and a shield inscribed LIBERTY.

Reverse: : 4TH JULY CELEBRATION 1776 * 1876 around a circle enclosing a radiant shield.

According to Holland, this celebration was held at Cincinnati, Ohio; available with integral loop and without the loop, though probably pierced. According to Levine in his auction 6901: " in white metal, bright AU, slightly bent, rare — the first we have seen."

Cross-ref: Holland 171

Diameter: 28.6 mm. Edge: ?

Alloy No.

White Metal 540wm

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Declaration of Independence Medals

550. Wash Bust Draped L/Standing Female

Proxy Pix (reverse courtesy of Dave Baldwin)

(X) (X)

Obverse: Draped bust of George Washington left, within a wreath composed of a palm branch left and an oak branch right, crossed and tied below; above, around, clockwise in two lines: "lOOTH. ANNIVERSARY OF THE DECLARATION / OF INDEPENDENCE"; below, around counterclockwise, flanked on each side by a six-pointed star" "JULY 4, 1876" (same obverse as Baker 271).

Reverse: Standing female facing right, with her left hand chiseling an inscription into a large rock; behind her, a globe rests on two stacked books.

Cross-refs: Baker 415C

Diameter: 34 mm. Edge: Plain

Alloy No.

White Metal 550wm

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560. Diplomatic Medal Restrike

hoto courtesy of Heritage Auction Galleries

(1.2 X) (1.2 X)

Obverse: On a seaside quay, America (in the person of a barely draped Indian princess) sits on a throne, extends a cornucopia, and invites Commerce (in the person of a nearly naked Mercury) to survey bundles of merchandise ready for export while a ship steams into the scene from the right; around, clockwise from 9:30: "TO PEACE AND COMMERCE"; below the quay: "IV JUL. MDCCLXXVI." (4 July 1776); in tiny letters below Mercury's left foot: "DUPRE.F." (Augustin Dupre made it); in even smaller letters near the rim counterclockwise from 7:00: "C. BARBER." (the sculptor) and from 5:00, the date "1876."

Reverse: The Arms of the United States; around, clockwise from 7:00: "THE UNITED STATES" and from 2:30: "OF AMERICA." followed by a small four-petaled rosette.

Cross-refs: J-CM15, L-19

Diameter: 67.5 mm. Edge: Plain

Alloy	No.
Silver	560si
Bronze	560bz

The 1876 Restrike of the 1791 Diplomatic Medal

In the latter part of the eighteenth century, it was the custom for host countries to present their departing diplomats with lavish gifts, usually containing precious metal valued as high as $2,500 (over $150,000 at May 2010 gold prices). Apparently, this did not set well with President George Washington, as evidenced by his diary entry dated April 29, 1790, noting that he had directed his 5ecretary of 5tate Thomas Jefferson to order the design and striking of a gold medal and chain for presentation to “Diplomatic characters when they return from that employment in this Country,” valued at about $500. Jefferson turned the matter over to his charge d’affaires in Paris, William 5hort. Jefferson’s instructions for the design specified a diameter of 30 lines (67.65 millimeters) and that one side of the medal must depict the arms of the United 5tates. He provided a description and several wax impressions of his vision for the arms. 5hort hired Augustin Dupre, who designed and struck the initial run of medals. In 1792, the dies and the medals (two in gold, six in bronze) were sent to America. The two gold medals were

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presented to the Marquis de la Luzerne (French Minister to the United States from 1779 to 1784) and to the Count de Moustier (French Minister to the United States from 1787 to 1791). Both recipients were forced to emigrate during the French Revolution, and it is presumed that their medals were ultimately melted. Of the six bronze examples, three are known to have survived, one in the Princeton Numismatic Collection, and two in private collections. The disposition of the dies is unknown, but they were lost and never found. The so-called Diplomatic Medal had a short life, destined to be just a footnote in numismatic history.

Here is where a gentleman named Jules Marcou entered the picture and rescued the Diplomatic Medal from oblivion. In 1867, Marcou purchased a collection of American medals from a Parisian coin dealer named Bal. Included in the lot was “a lead proof in two parts, waxed on a piece of board and in a frame, as the engravers of medals arrange the proofs of dies.” Marcou was enticed by the proof because he had never seen nor heard of such a medal. With BaTs help he eventually traced the medal to the son of Augustin Dupre, who possessed silver and bronze versions of all his father’s medals. Unfortunately, Dupre was ill and Marcou was never able to view his collection. He was able to view the collection of a close friend of Dupre’s, Jacques Edouard Gatteaux, who had two of the medals in bronze. Gatteaux was unwilling to part with either medal at any price. At this point, the seeming curse of the Diplomatic Medal struck again. Shortly after Marcou’s visit, Gatteaux’s entire collection was destroyed when the Communists burned his hotel in May, 1871, during the French civil war. Even more unfortunately, the younger Dupre’s probably even more extensive collection was also somehow lost to the collecting world.

Having learned that Congress had made an appropriation to strike medals for the Centennial Commission, Marcou wrote a letter on June 10, 1874, to Dr. H. R. Linderman, then Director of the Mint, and offered his original lead proof of the medal for the purpose of having it re-engraved and struck once again for the Centennial. Two days later. Dr, Linderman replied and accepted the offer. On October 10, 1874, Marcou sent the proofs to the Mint, and William Barber began work on a set of copy dies. On December 6, 1875, the dies were completed in April, 1876. A total of 86 pieces were struck.

The story does not end with the 86 medals struck in 1876. The Diplomatic Medal proved to be very popular, and it has been restruck frequently by the Mint, even to the present day. Those struck in the 19* century are essentially indistinguishable from the 86 struck in 1876, but later restrikes do not exhibit the lovely chocolate-brown that we expect from the 19* century, and modern versions can be identified by their much lighter toffee color.- In spite of the fact that the original 1792 versions of the Diplomatic Medal are unobtainable (only three are known to exist), and the deep chocolate brown restrikes are definitely rare, the modern Mint restrikes ensure that every Centennial collection can (and should) include an example of this fascinating medal.

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Comparison of 1792 and 1876 Diplomatic Medals

Obverses

1792 Original

1876 Restrike

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Declaration of Independence Medals

Comparison of 1792 and 1876 Diplomatic Medals

Reverses

1792 Original 1876 Restrike

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570. Washington Suspender Medal

(2.3x) (2.3 ^

Obverse: Undraped bust of Washington to left on a shield; flanked by flags left and right; surmounted by an eagle displayed (wings outstretched). Hanging from a suspension hook embossed with a wing-high eagle to right; below, “1776” to left and “1876” to right.

Reverse: Blank. The suspesion hook is a shell with the reverse being a negativeof its obverse. Cross-refs: Not listed.

Diameter: 36.1 mm. Edge: Plain Alloy No.

Bronze 570bz

White Metal 570wm

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Centennial Awards

Introduction

The Centennial Exhibition was America’s first World’s Fair. As such, its primary purpose was to showcase America on the occasion of its 100* birthday. The attitude in America in 1876 during the Centennial could hardly have been more different than it was in 1976 for the Bicentennial. In 1876, America stood up and shouted to the world, “Hey, world, take a look. We’re America - proud, competitive, innovative, and ready to prove it! Bring us the best you’ve got, and let’s see whose is better.”

America’s competitive spirit and pride in its accomplishments made the Philadelphia Centennial Exhibition not only a world-wide contest but also a competition among the states. Forty-nine countries accepted our invitation to display their best, and nineteen built their own buildings at the fair. All 38 states of the newly reunified union were represented, and nineteen had their own buildings, if you count Tennessee’s tent!

Nowadays, the most likely “innovation” to make headlines at state and county fairs is the latest and wierdest entry in the “deep fat frying category” - fried Snickers, fried Twinkies, even fried butter! At the Centennial Exhibition, on the other hand, Alexander Graham Bell introduced the telephone, H.J. Heinz debuted catsup, and Charles Hires introduced the world to root beer. The Remington typewriter, the Otis passenger elevator, Pullman railroad cars, Goodyear tires, Pratt & Whitney engines, the Corliss steam engine, the sewing machine, the General Leroy Stone’s steam-powered monorail, bananas served in tin foil, and the Statue of Liberty (at least part of it) were all showcased.

George B. Grant even demonstrated a mechanical calculator! It measured 5 feet by 8 feet, wieghed 2,000 pounds, had over 15,000 parts, and could calculate only 10-12 terms per minute. As for the Statue of Liberty, despite its being intended as France’s Centennial gift to America, all that was completed in time were the head and the right arm holding the torch. The head was displayed in Paris, while Philadelphia fair-goers could pay fifty cents to climb a ladder into the balcony around the torch.

Not ever5^hing introduced at the 1876 world’s fair turned out to be a success, though. The kudzu vine made its first American appearance as part of the landscaping in the Japanese Pavilion. It quickly became popular as a forage crop and a soil cover; but, due to its aggressive growth upward and outward as much as a hundred feet a season, it is now known as the “plant that ate the south,” where it is rumored that the best way to plant kudzu is to drop it and run.

With all these new introductions and inventions, it’s no surprise that competition, judging, and awards became a dominant element in the course of the exhibition, which ran from May 10, 1876, until November 10, 1876. There were so many judges, judging categories, and competitive events that the judges had their own building (Judges’ Hall), and the final list of awards filled several volumes after the fair. Perhaps it was the sheer staggering volume of it all that prompted the judges to come up with a novel way to streamline the process. In lieu of the traditional gold, silver, and bronze medals to be awarded on the basis of merit, there would be only one official award medal, and it would be made of bronze. Every exhibitor deemed worthy of mention would receive the same medal. Any differences in quality would be recognized in the text of an accompanying certificate (often called a diploma) where the relative merits of the entry would be cited.

As a result, the official Centennial Award Medal is arguably the most common Centennial medal of all, because over 12,000 identical 3-inch bronze medals were awarded at the Centennial Exhibition. Fortunately for us collectors, Julian lists three versions of the medal, and there were lots of contemporary reproductions manufactured for award recipients to use as advertising and marketing pieces. In addition, there were several “private but official” award medals, because the judging rules stated that privately- produced medals could be awarded as long as they were provided to the judges in advance and given only to the competitors selected by the judges. Interestingly, these private award medals are among the rarest of all Centennials, with some of them being unique and perhaps no longer extant.

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Centennial Awards

580. Trial (4”) Commission Award with Reverse Inscription

Proxy Pix: Obverse of A-580 with enlarged reverse of A-600.

(0.8 x) (0.8x)

Obverse: In the center, a female figure, representing the United States, seated facing left on a brick wall, holds a crown in her extended right hand; her left hand rests on an oval shield emblazoned with the national eagle and shield; behind her is a factory with smoking stack and before her are implements of manufacture and art: a cog wheel, a bow saw, a vase, and a sculptured bust. On a slightly raised margin, with the inner edge beaded, are four oval panels interspersed with stars, clockwise as follows: top oval, 9 stars, right oval, 10 stars, bottom oval, 10 stars, left oval, 9 stars. The ovals depict seated female figures representing geographic regions: the top oval depicts America, seated facing right, with an eagle and rising sun; the right oval depicts Africa, seated facing right, with palm trees and pyramids; the lower oval depicts Asia, seated facing right, with Indian and Chinese temples; and the left oval depicts Europe, seated facing left, with Grecian temples and Gothic spires. In exergue, HENRY MITGHELL DES. & SC. BOSTON, U.S.A.

Reverse: Within a wreath of two laurel branches open at the top and crossed at the bottom: "AWARDED BY / UNITED STATES /CENTENNIAL / COMMISSION", outside the wreath, within a beaded border: "INTERNATIONAL EXHIBITION, / PHILADELPHIA, MDCCCLXXVI."

After a few (Holland says five) trial pieces of this 4-inch medal were struck, the Director of the Mint, James Pollock, decided that it was too large to be struck in the quantity and timeframe required. He ordered smaller, three-inch, dies to be engraved.

Cross-refs: H-96, J-AM12. Diameter: 101.5 mm. Alloy No.

Bronze 580bz

Bronzed WM 580wm White Metal 580wm

Edge: Plain

Lot #1776„NASCA Kessler-Spangenberger Collection, April 1981 Lot #1775„NASCA Kessler-Spangenberger Collection, April 1981

Copper uniface shells of the obverse and the reverse from these dies are known (Lot 1774, NASCA Kessler-Spangenberger Collection, April 1981 and Lot 771, Bowers and Ruddy Willing Collection Sale, June 1976)

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Centennial Awards

590. Trial (4”) Commission Award without Reverse Inscription

(0.8x) (0.8x

Obverse: Same as the preceding. In the center, a female figure, representing the United States, seated facing left on a brick wall, holds a crown in her extended right hand; her left hand rests on an oval shield emblazoned with the national eagle and shield; behind her is a factory with smoking stack and before her are implements of manufacture and art: a cog wheel, a bow saw, a vase, and a sculptured bust. On a slightly raised margin, with the inner edge beaded, are four oval panels interspersed with stars, clockwise as follows: top oval, 9 stars, right oval, 10 stars, bottom oval, 10 stars, left oval, 9 stars. The ovals depict seated female figures representing geographic regions: the top oval depicts America, seated facing right, with an eagle and rising sun; the right oval depicts Africa, seated facing right, with palm trees and pyramids; the lower oval depicts Asia, seated facing right, with Indian and Chinese temples; and the left oval depicts Europe, seated facing left, with Grecian temples and Gothic spires. In exergue, HENRY MITCHELL DES. & SC. BOSTON, U.S.A.

Reverse: Outside a wreath of two laurel branches open at the top and crossed at the bottom, within a beaded border: "INTERNATIONAL EXHIBITION, / PHILADELPHIA, MDCCCLXXVL" Inside the wreath is engraved: “TO / Edward Schippen Esq. / for Services.”

After the last of the three-inch medals were struck, the Mint received private orders for the four-inch medal. These medals omit the inscription inside the laurel wreath on the reverse and have the longer exergual line below the seated figure. Between September, 1877, and June, 1878, 23 silver and 123 bronze medals were struck in this larger, more impressive size.

Cross-refs: J-AMll.

Diameter: 101.5 mm. Edge: Plain

Alloy No.

Silver 590si 27 silver large award medals were struck by the mint.

Bronze 590bz 123 bronze medals were struck by the Mint.

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Centennial Awards

The "Unique” Four-inch Silver Award

In 2009, Stack’s offered at auction the only known remaining silver four-inch award medal. The following is taken from the lot description of that offering:

“Initial planning for this important celebration included the bestowing of substantial numbers of award medals in this imposing 4-inch diameter in silver and bronzed copper. Engraver Mitchell finished the massive steel dies in early October 1876, and the first 4-inch medal was struck at the Philadelphia Mint on October 16. However, Coiner Oliver C. Bosbyshell soon notified Director James Pollock that it would be impossible to produce a sufficient quantity of medals in this imposing size in a timely manner using the Mint's existing equipment.

“He recommended reducing the size of medals for award to three inches. Hubs for this smaller size were received on June 30, 1877, and working dies were made in early March. Even these smaller medals had to be subcontracted to the prominent Philadelphia concern of Peter L. Krider in order to assure a sufficient supply. Krider struck several thousand pieces.

“The four-inch medals began their career as rarities. Julian states that only 27 Silver and 123 bronzed copper four-inch medals were struck by the Philadelphia Mint between September 1877 and June 1878. In 2009, however, only one Silver example is known to exist with absolute certainty, and that is the medal offered here. Institutional collections including the Smithsonian Institution do not contain this imposing medallic rarity.

“A clue to this amazing rarity's existence is provided by the name, rank, and titles of its recipient, Charles Henry Gordon-Lennox, Duke of Richmond, Duke of Gordon, Earl of March, Baron of County York; Duke of Lennox, Earl of Darnley Baron Methuen, and Earl of Kinrora. He was President of Board of Trade (1870-1876) and served as Secretary for Scotland in 1885-1886. The Duke was an intimate friend of Queen Victoria and the Prince of Wales.

“When the great International Exhibition was opened in Philadelphia, the Duke was already far advanced in the world of British politics and government. He played a leading role in planning and directing the British exhibits at the Philadelphia gathering. The British pavilion and associated exhibits were by far the most extensive of any participating nation. The Duke's reception of this glorious medal was a testimony to his stature at the event and in the wider world. The reverse is engraved 'His Grace / the Duke of / RICHMOND & GORDON KG’. KG denotes that he was a Knight in the Order of the Garter.” The medal, uncirculated in its original case sold for $11,500.

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However...

On 7 September 2012, Jeff Dan sent the above photos of the second known 4” silver Award Medal. This second specimen, which is in VG condition and appears to have been cleaned, without its case, sold on eBay for $5,100.

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Centennial Awards

600. Trial (4”) Commission Award Uniface

(0.8x) (0..8x

Obverse: Same as the preceding. In the center, a female figure, representing the United States, seated facing left on a brick wall, holds a crown in her extended right hand; her left hand rests on an oval shield emblazoned with the national eagle and shield; behind her is a factory with smoking stack and before her are implements of manufacture and art: a cog wheel, a bow saw, a vase, and a sculptured bust. On a slightly raised margin, with the inner edge beaded, are four oval panels interspersed with stars, clockwise as follows: top oval, 9 stars, right oval, 10 stars, bottom oval, 10 stars, left oval, 9 stars. The ovals depict seated female figures representing geographic regions: the top oval depicts America, seated facing right, with an eagle and rising sun; the right oval depicts Africa, seated facing right, with palm trees and pyramids; the lower oval depicts Asia, seated facing right, with Indian and Chinese temples; and the left oval depicts Europe, seated facing left, with Grecian temples and Gothic spires. In exergue, HENRY MITCHELL DES. & SC. BOSTON, U.S.A.

Reverse: Blank.

Diameter: 101.5 mm. Edge: Plain Alloy No.

White Metal 600wm

It appears from the look of the reverse that this die trial is the product of what is called powder metallurgy. It started either as an obverse shell that was filled with fine powdered metal, compacted into the shell, and then sintered, or as a planchet that had been formed by powder metallurgy and then struck with the obverse die.

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Centennial Awards

610. Production (3”) Award Medal

(l.lx) (l.lx)

Obverse: In the center, a female figure, representing the United States, seated facing left on a brick wall, holds a crown in her extended right hand; her left hand rests on an oval shield emblazoned with the national eagle and shield; behind her is a factory with smoking stack and before her are implements of manufacture and art: a cog wheel, a bow saw, a vase, and a sculptured bust. On a slightly raised margin, with the inner edge beaded, are four oval panels interspersed with stars, clockwise as follows: top oval, 9 stars, right oval, 10 stars, bottom oval, 10 stars, left oval, 9 stars. The ovals depict seated female figures representing geographic regions: the top oval depicts America, seated facing right, with an eagle and rising sun; the right oval depicts Africa, seated facing right, with palm trees and pyramids; the lower oval depicts Asia, seated facing right, with Indian and Chinese temples; and the left oval depicts Europe, seated facing left, with Grecian temples and Gothic spires. H. MITCHELL. SC. on exergual line to left.

Reverse: Within a wreath of two laurel branches open at the top and crossed at the bottom: "AWARDED BY / UNITED STATES /CENTENNIAL / COMMISSION", outside the wreath, within a beaded border: "INTERNATIONAL EXHIBITION, / PHILADELPHIA, MDCCCLXXVL" Engraved, “FOR SERVICES” between the inner iscription and the wreath. This was a relatively common practice when the Centennial Exhibition Board of Fimnance wished to honor someone for services rendered.

This is the smaller three-inch medal ordered by the Director of the Mint after deciding that the four-inch version would be impractical in the numbers required. The Mint struck about 3,000 of these and commissioned Philadelphia medallist Peter Krider to produce about 9,000, for a total of 12,000 medals, which were awarded to the exhibitors at the Philadelphia Exposition. Julian states that the medals were awarded with no names engraved on them, but examples are known with awardees' names engraved on the reverse and on the edge, most likely by the recipients themselves. The pictured example was presented by the Centennial Commission to someone (unnamed) for services rendered to the Centennial Exhibition.

Cross-refs: F-320, H-97, J-AM-10.

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Centennial Awards

Diameter: 76.4mm.	Edge: Plain
Alloy	No.
Bronze	eiobz	3.000 bronze medals were struck by the Mint, and the other 9.000 were struck under contract to Peter Krider, a Philadelphia medallist
Gilt	eiogi	The example pictured below was most likely gilded outside the Mint, either comtemporaneously by an award recipient, or in more modern times, in which case it should be considered an altered original or complete counterfeit. Collectors should decide for themselves. In either case, it measures 75.14 mm in diameter and and 10.6 mm thick at the rim.

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Replica Award Medals

While there were about 12,000 bronze award medals handed out at the Centennial Exhibition, only one medal and one certificate were given to each recipient. But, business is business, and, common though the medals were, the advertising opportunities associated with winning an award were too good to settle for only one medal, and creative entrepreneurs were only to happy to satisfy the demand. In fact, in a letter dated 1 November 1876, only nine days before the end of the Centennial Exhibition, The Rand Avery Company, Boston printers, circulated the following letter to award recipients:

V*-. ^ .m

Rand. Avery & Co.

Printers, Boston

Boston,

/Voo'. 1, 7376

71^ accompanying a/^c ^acsimtC o7 th> Mcdais am/^d i>y tkc (dnf^ Btatcs o&ntcnniaf Commission mack to tkc cjcact me 0^ tke onminais,

Wc siaW 3e pieased to inconpo/‘'a^ tkem into any m/^£ you. may kave yno(ciny out o^ tke /‘csuit 0^ youj^ C}ckikit and can yuaf^^antee you as eieyanv an outdit o^ adve/disny matten as you can obtain y^-om any o0/ce in tke Count/y, Pyiced iou) to suit tke t/mid Ti‘'ustiny m may 3e hu-o/^ed u/ith a miued Of‘iJk/^,

Wc /*t-main ^ou/^ odt / ^ded'entj sc/nmnt

Band. Ave/y Co,

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Centennial Awards

The Rand Avery facsimiles discussed above are similar to the next two medals. Since they are replicas of actual medals, they are not given numbers in this catalog.

Commission Award Cast Copy

('-I. lx) ('-I. lx)

In white metal, in two known diameters, 75 mm. and 72.5 mm, though there might well be others. One should not expect high QA standards for objects that are marketed as copies. Compared to the original struck medals with a diameter of 76.2 mm., and keeping in mind that molten metal shrinks slightly after cooling in a casting mold, it appears that the 75 mm. was cast from an original medal; and that the 72.5 mm. copy might have been cast from one of the 75 mm. (or smaller) copies.

Both of the copies that 1 have examined have plain edges with signs of machining marks, including a uniformly straight mark indicating that the medals were cast in obverse and reverse halves, then joined (in metallurgy, referred to as lapping), and machined to smooth the edge. This machining could also account for some of the variability in diameter.

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Below is a photo of a reverse half with flashing still attached. This example appears to be made of lead and then bronzed. Though I have not seen an example, it would be possible for a bronzed obverse and reverse to be joined with the edge then milled. In such a case, the diameter might vary from the Mint standard of 76.2, and the edge would most likely exhibit milling markes, especially at the joint line.

Diameter: 75.6mm (the round portion). Edge: Plain Alloy Bronzed lead

Another common example of award medal advertising pieces is the uniface plaque. They can be found in both obverse and reverse examples, and the blank back side can be plain or fitted with some sort of attachment mechanism, such as the stud and the binder clip below.

Diameter: 76.1mm. Edge: Plain

Alloy Bronzed lead

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Centennial Awards

Other Advertising Replica Awards

Diameter: 75.2 (the round portionmm. Edge: Plain Alloy Bronzed lead

Diameter: 75.6 (the round portionmm. Edge: Plain Alloy Bronzed lead

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Centennial Awards

Another type of advertising award medal is a shell depicting either the obverse or the reverse, with the back consisting of a negative impression of the front. The shell illustrated below has four bendable tabs used for mounting. It is approximately the size of a silver dollar.

Diameter: 39.9 mm Edge: Plain Alloy Brass

Framed Award Electroplate

Obverse: An electroplate shell of the reverse that measures 1-5/8” in diameter mounted in a decorative frame with bottom and side tabs that, when bent backward, allow the frame to stand vertically. With the tabs removed or wrapping around a backing mount, the frame could be hung from the center hole.

Reverse: A negative of the obverse.

Overall Size: 6 Vi inches wide x2Vi inches high

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Centennial Awards

Another company that offered facsimile award medals was Russell & Richardson, also of Boston. The composite reproduction (front and back) of their advertising broadside is reproduced below. Of course, the mere existence of a piece of advertising ephemera is evidence but not proof of the existence, past or present, of the items being advertised. 1 have not seen any of the advertised pieces, a complete collection of the advertised items would be interesting indeed. The set would consist of at least nine pieces, including representations of two separate unifaces (obverse and reverse) as well as joined, all three available in three different diameters: four inches, two inches, and one inch. The broadside does not mention additional alloys in which the facsimiles might be available, but each additional alloy would add nine more possible facsimiles to the collection.

Or THH IN'TnRKATIONAL EXHIBITION, Philadi;i.[>iiia. i8

The abora eng«avin2 of iJio Medal AWA,dcd by the ^entemiaf is the eiaet

lizo of the odgifial

It has been engraved by RuSSELL & RiCHAHKOH, of Boston, under the persona! supervision of Hemrv Mstchell, Esq.. by whom the Design and Die were made, and is the O.UY CORRECT tmd AUTHORIZED ropwientalion.

To meet the wants of Exhibitors and Advertisers the cuts have boon made of three sixes, vii :

No. 1, — Full Size, or Four inches DT*t<E.itiK.

No. 2,— HaI.F StZEjCR Two TNCHEa DiAXETEIt.

No. 3,— One- Fourth, or One inch Diameter.

WE ARE authorized TO FURNISH ELECTROTYPES AT THE FOLLOWING PRICES:

*f I Oneside, 3 « fW, tj, | ^ \ i\U. t), | ^

Tto Elsetroi. seewey picliad and ready for tAo print*., ^1! bs sent free of eipem*. u> any psn of the United SUtet. on receipt of price.

Adpkess;

8ii careful to deiigjujto Siie and Slylo desired.

RUSSELL & RICHARDSON.

DESrONERS AND ENGRAVERS,

194 Washington st., Boston.

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3S

Centennial Awards

620. Porcelain Commission Award Copy

(1.3x) (1.3x)

Obverse: An excellent copy of the original medal, right down to the not quite legible but still decipherable “H. MITCHELL. SC.” in exergue beneath America’s feet! A side-by-side comparison leads me to suspect that a reducing jig of some sort was used to produce the mold from an original medal.

Reverse: Blank

Cross-refs: Not listed.

Diameter: 64.6mm. Edge: Plain

Alloy No.

Porcelain 620pn

This specimen has been framed in wood, as below:

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Centennial Awards

630. Machinery Exhibitors Medal

(0.56 x) (0.56 x)

Obverse: According to Holland: "In the gold field is 1776-CENTENNIAL-1876 surrounded by thirty- seven platina stars. Around it is AMERICA EUROPE ASIA AFRICA in relief, with engraved emblems of Agriculture, Science, Art, and Commerce between."

Reverse: According to Holland: "A wreath of laurel and oak clasped by an American shield in colored enamel; and within it PRESENTED TO F.S. PEASE BY EXHIBITORS OF MACHINERY MDCCCLXXVL Outside is INTERNATIONAL EXHIBITION PHILADELPHIA. And engraved Glory to God in the highest, and on earth peace, good will toward men. At top a globe, flags, and eagle in gold."

According to an article in the Boston Globe in 1876, Mr. Francis Stebbins Pease manufactured fine lubricating and heating oils. He not only exhibited his oils at the Philadelphia Exposition, but he provided the lubrication for all the machinery at the Exposition, including about three miles of shafting and 20,000 journals and bearings. He received three award medals for his exhibits, and his fellow exhibitors presented him with a special award and certificate for his exhibits as a matter of scientific value. The medal was manufactured by the jewelers and silversmiths Theodore Starr and Hermann Marcus of New York City. It is likely that this award is the medal cited by Holland as number 123 and that the medal is, therefore, one of a kind. I do not know whether it still exists.

Cross-refs: H-123.

Diameter: 136.5 mm. Edge: Flip: Rim:

Alloy No.

Enamel 630en

Cross-ref: Holland 123

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Centennial Awards

640. National Butter and Egg Association Award

(X) (X)

Obverse: Unknown Reverse: Unknown

As reported in the October 25. 1876 issue of the New York Times, "The Centennial Judges on Dairy Products began their examination of the butter and cheese display in the Dairy Building yesterday. Upon their decision depends not only the award of the Centennial Commission, but also the solid gold medal for the best exhibits of butter voted by the National Butter and Egg Association." The Autumn Butter and Cheese Special Display at the Centennial Expo took place from October 17th to October 21st. On October 18. 1876, the NY Times reported that at a meeting of the National Butter and Eggs Association "a discussion was also held relative to a gold and silver medal which the association desires to award for the best display of butter and cheese, and it was decided to refer the matter to the Centennial Jusges in Dairy Products." This was in keeping with the USCC requirement that non-USCC medals can be awarded during the Centennial, but only if they are provided to the Judges in advance and if the awards are based on the decision of the Centennial Judges. No other information is known to this author about these medals.

Cross-refs: Not Listed.

Diameter: ?. Edge: ?

Alloy No.

Gold 640go

Silver 640si

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Centennial Awards

650. Philadelphia Bundesschiessen

(Photo courtesy of Stack's)

(1.6 x) (1.6 x)

Obverse: In the center, a spread eagle in glory perched on a marksman's target with two crossed muskets behind, the whole within crossed oak branch left and laurel branch right; emblazoned on a banner below the target and in front of the wreath stems: "CONCORD"; around, cloCkwise from 12:30" schiessen"SCHUTZENBUND DER VEREINIGTEN STAATEN VON NORDAMERIKA" (Protective Eederation of the United States of North America).

Reverse: In three lines, the top and bottom curved: "BUNDESSCHIESSEN / 1876 / PHILADELPHIA." (Eederal Shooting Match, 1876, Philadelphia).

In the 22 March 1876 issue #12 of Deutsche Schiitzen und Wehr Zeitung, Zeitschrift zur Besprechung von Schiitzen (German Shooters and Defense Newspaper, a Magazine for Discussion among Shooters), there is an article announcing the "North American Eederal Shooting Match on June 26 to July 3, 1876 in Philadelphia." It is likely that this medal came from that match. There were at least three national shooting matches in the U.S. held in honor of the Centennial. There was this one at Philadelphia, the NRA's Centennial Match held on the Creedmoor range in New York on September 13, 1876, and another on September 25 on Benning's range in Washington D.C. for which the Irish and Australian Centennial Shooting Medals (q.v.) were awarded.

Cross-refs: Not listed.

Diameter: 48.2 mm. Edge: ?

Alloy No.

White Metal 650wm

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Centennial Awards

660. Washington Shooting Match Irish Award

(X) (X)

Obverse: A five-pointed star in gold with a diamond embedded in each point; in the center, an engraving of the Capitol building; to the left: "1776"; to the right: "1876"; below, a black and white enameled target with a diamond as its bullseye; above, two crossed rifles joined together at the top and secured to the upper point of the star by a minature laurel wreath in gold; hanging from a pin in the form of a solid gold eagle with outstretched wings with an American flag in one talon and an Irish flag in the other.

Reverse: Presumed to be blank.

The description of this medal is taken directly from an article in the NY Times dated September 25, 1876, describing the rifle matches held that day at Benning's range in Washington D.C. between the American team and challenging foreign teams. The Irish residents of the District of Columbia presented the Irish medal to the member of the Irish team with the highest score. The medal weighed sixty penn5weights (93.3 grams) and was valued at $300 at the time of its award. The medal was won by Major Fenton, who scored 173 out a possiblel 200 points. It is likely that this medal is unique, if it still exists.

Cross-refs: Not listed.

Diameter: ? mm. Edge: ?

Alloy No.

Gold 660go

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Centennial Awards

670. Washington Shooting Match Australian Award

(X) (X)

Obverse: “A pin in the forni of an eagle; the pendant is a six-pointed star. At the top of the star is a view of the Capitol in enamel, and a target with a diamond for the bull;s-eye. Beneath are two rifles crossed and the figures "1876". A golden ribbon runs through the six points of the star and encircles the whole.”

Reverse: Presumed to be blank.

The description of this medal is taken from an article in the 1 October 1876 issue of the NY Times. The Australian medal was won by a man named Slade, who scored 170 out of a possible 200 points. Like the Irish medal, it is likely that this medal is unique, if it still exists.

Cross-refs: Not listed.

Diameter: ? mm. Edge: ?

Alloy No.

? 670go

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Centennial Awards

680. New York Shooting Match Palma Medal

Artist's rendition of the Palma medal taken from a 1976 Bicentennial box of Winchester ammo.

The 1923 Palma medal, claimed to be the same design as the original 1876 medal.

Obverse: A replica of an ancient Roman Legion standard, consisting of a banner draped with a chain of nine rings, above which stands the Roman eagle displayed (wings outstretched) holding in its talons a palm wreath. In front of the wreat is a tablet on which is engraved “PALMA,” representing victory.

On the banner is the inscription: “IN THE NAME OF THE UNITED STATES OF AMERICA TO THE RIFLEMEN OF THE WORLD."

Reverse: Blank.

This International Long Range (1,000 yards) Rifle Match was sanctioned by the US Centennial Commission, sponsored by the National Rifle Association, and held at the NRA-operated Creedmoor Range on Long Island on September 13 and 14, 1876. The NRA awarded the winning team the American Centennial trophy, which was a full-sized replica of a Roman Legion standard seven and one half feet tall produced by Tifany and Co. in gold, silver, and bronze at a cost of $1,500. The original trophy was lost sometime after 1964, and a duplicate has since replaced it (at a cost of $32,500!). The Palma Match is the longest continuously running international rifle match in history.

Four teams participated. America finished first, followed by Ireland, Scotland Australia, and Canada, in that order. Each of the eight members of the winning team received the Palma medal representing (and designed after) the trophy, as well as a Centennial Award Medal and adiploma from the United States Centennial Commission..

Cross-refs: Not listed.

The Centennial Trophy

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Centennial Awards

690. International Rowing Regatta

(X) (X)

Obverse: A single male oarsman facing right rowing a one-man scull, bare-chested, wearing belted shorts and a bandana; above, a cartouche bearing the SN (for Schuylkill Navy) monogram with a five- pointed star beneath, a pair of crossed laurel branches and a large banner, the left and right end folds of which read: "1776" and "1876", respectively; below, a second pair of crossed laurel branches surmounted by a second cartouche with two swords; the whole enclosed by a band composed of eight concentric rods bound with fourteen double lashes separating the bundle into thirteen segments, each of which holds a five-pointed star.

Reverse: Inside the same decorative lashed 13-star border as on the obverse is inscribed, clockwise from 9:30: "INTERNATIONAL REGATTA" and counterclockwise from 8:00: "PHILADELPHIA . 1876 ."; two five-pointed stars separate the two inscriptions. The center is blank for engraving to the recipient.

Cross-refs: Not listed.

In 1876, the U.S. Centennial Commission sponsored international regattas as part of the official Centennial celebration, a yacht regatta in New York Harbor and a rowing regatta in Philadelphia. The Centennial Commission awarded their Commission medals and diplomas to the victors in both events. In addition, the Schuylkill Navy, which hosted the rowing regatta on the Schuylkill River, offered gold, silver, and bronze medals to winning participants.

The Schuylkill Navy is a group of rowing clubs in Philadelphia, Pennsylvania. It takes its name from the Schuylkill River (pronounced then as now by Philadelphians as Skoo-kull) along which the clubs' elegant Victorian boathouses are located. Founded in 1858, the Schuylkill Navy is the oldest governing body for amateur sporting clubs in the United States. To this day Philadelphia is one of the main centers of sport rowing in the United States, and the rowing clubs of the Schuylkill Navy are important institutions in the traditional social life of the Philadelphia gentry.

The regatta was sanctioned by the National Association for Amateur Oarsmen, which was the first national governing body for any sport in the United States. Founded in 1872, its name was changed in 1982 to the United States Rowing Association. The International Regatta of 1876 was the largest ever held in the United States up to that time. The races took place from August 20 to September 15, 1876.

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The races were run over a l-Vi-mile course on the Schuylkill River in view of the grounds of the International Exposition in Philadelphia.

Diameter:	mm.	Edge:
Alloy	No.
Gold Silver	690go 690si		^ According to page 639 of Vol. VIII of the U.S. Commission’s “Reports
Bronze	690bz		and Awards.”

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Centennial Awards

700. French Govt Participation

Photos of the gold medal courtesy of a private collector.

(1.6x) (1.6x)

Obverse: Athena Pallas, Greek goddess of war (Minerva in Roman mythology) in helmet and gown, seated on a throne, holding a wreath in her extended right hand and another in her lap with her left hand; around, clockwise from 8:00: "EXPOSITION INTERNATIONALE DE PHILADELPHIE EN 1876"; in exergue in two lines: "PARTICIPATION DE LA / ERANCE.".

Reverse: Near the rim, clockwise around from 8:00: "MINISTRE DE L’AGRICULTURE ET DU COMMERCE" surrounding a closed wreath, tied at the bottom with a ribbon, on top of which is a button with a five-petaled floret; the central area is blank, intended for engraving.

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According to Levine: “Although unsigned, this medal shows the workmanship associated with the Paris Mint. T he seated figure of Minerva is an almost identical rendition of one done by Bertrand Andreau in 1810. The inscription in the exergue suggests that the medal was intended as the premier award for French exhibitors at the Centennial Exhibition. It is extremely rare in any metal. When we offered a silver example in our 1987 Whitehead Collection, we noted that the piece was unknown to Spangenberger and other 1876 specialists.

Cross-refs: Not listed.

Diameter: 50.8 mm. Alloy No.

Gold 700go

Silver 700si

Bronze 700bz

Edge: Lettered.

Note

Edgemarked "OR" with the hallmark of a bee.

Edgemarked "ARGENT" with the hallmark of a bee.

Edgemarked "CUIVRE" with the hallmark of a bee.

The French Participation medal was presented in leather cases with the name of the awardee embossed in gold on the cover.

Mr. M. GAUTIER BELLON exhibited silk velvets.

Mr. BITTERLIN FILS P. was Paul Bitterlin, Jr., a painter, engraver, and glassbiower in Paris in 1876., who exhibited glassware at the Exhibition

Mr. BOUCHET GRAVET exhibited ornamental clocks in Group XI, Jewelry, silverware, watch cases, silver, bronzes, etc. (case pictured left).

Photo courtesy of Gabriel Iliescu.

Photo courtesy of an anonymous donor.

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Centennial Awards

710. Westchester Scholarship Medal

(2.1x)

Obverse: In the approximate shape of a Polonais escutcheon with diamond-shaped devices left, right, above, and below; within a clover shaped sunken field, ornately engraved in six lines: “Centennial Medal / for /Scholarship / and / Good / Deportment.”

Reverse: Within a similarly shaped area sunken field, in seven lines: “TO / Annie Stoddart / Dis" / N- 1 / Westchester, / N.Y. / July 4* 1876.”

Cross-refs: Not listed.

Size 54 mm high X 38. 1mm. wide Edge: Plain

Alloy

Silver

No.

700si

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Centennial Awards

720. Morris Selz Academic Award, Type 1

(2.1x)

Obverse: In the shape of the Liberty Bell, in seven lines: SELZ / LIBERTY BELL MEDAL / 1776 / AWA5RDED FOR / PROFICIENCY IN / SCHOLARSHIP AND DEPORTMENT / SELZ. CHICAGO.” Suspended from a pin-backed bar inscribed: “AWARDED FOR / HIGHEST AVERAGE”.

Reverse: Suspended from the pin-backed bar, in two lines separated by a sunburst: “DONATED BY / SELZ,CHICAGO.”

Suspended from a pin inscribed: “AWARD FOR / “HIGHEST AVERAGE”. The pin and the medal are most likely interchangeable, depending on the awardee.

Cross-refs: Not listed.

Size Medal: 38 mm high x 37.6 mm.wide Hanger: 32.4 mm wide x 8.9 mm high Edge: Plain Alloy No.

Bronze 720si

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Centennial Awards

730. Morris Selz Academic Award, Type 2

(2.1x) (2.1x)

Obverse: In the shape of the Liberty Bell, in six lines: “FOR / PROFICIENCY / IN / SCHOLARSHIP / AND / DEPORTMENT”; below, the Selz logo: a parallelogram with “SELZ / CHICAGO” superimposed on a circle with a crown above and “U.S.A.” in a rectangle below. Suspended from a pin-backed bar inscribed “LIBERTY BELL / MEDAL”.

Reverse: Suspended from the pin-backed bar, in THREE lines: “DONATED / BY / MORRIS SELZ, / CHICAGO.”

Suspended from a pin inscribed: “LIBERTY BELL / MEDAL”. The pin and the medal are most likely interchangeable, depending on the awardee.

Cross-refs: Not listed.

Size Medal: 38 mm high x 37.6 mm.wide Hanger: 32.4 mm wide x 8.9 mm high Edge: Plain Alloy No.

Bronze 730si

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740. Morris Selz Academic Award, Type 3

(2.1x) (2.1x)

Obverse: In the shape of the Liberty Bell, in seven lines: MORRIS SELZ / LIBERTY BELL MEDAL / 1776 / AWA5RDED FOR / PROFICIENCY IN / SCHOLARSHIP / AND DEPORTMENT”. Suspended from a pin-backed bar inscribed: “AWARDED FOR / HIGHEST AVERAGE”.

Reverse: Suspended from the pin-backed bar, the Selz logo: “SELZ / GHICAGO” a parallelogram superimposed on a circle with a crown above and “U.S.A.” in a rectangle below.

Suspended from a pin inscribed: “AWARD FOR / GIGHEST AVERAGE”. The pin and the medal are most likely interchangeable, depending on the awardee.

Cross-refs: Not listed.

Size Medal: 38 mm high x 37.6 mm.wide Hanger: 32.4 mm wide x 8.9 mm high Edge: Plain Alloy No.

Bronze 740si

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The Centennial Exhibition

America’s First World’s Fair

The fair has long since ceased to exist in living memory, but the medals live on!

Following the end of the American Civil War, Americans began to prepare for the celebration of the nation's 100th birthday in 1876. Various citizens of Philadelphia proposed that an exhibition should be held in that city and a resolution to that effect was adopted by the Select and Common Councils in January 1870. Subsequently, the Legislature of Pennsylvania supported this resolution and a request was submitted to Congress. Early in March 1870, a bill was presented to the House of Representatives and was adopted by Congress on 3 March 1871.

This Act created a Commission composed of one delegate from each state and territory appointed by the President to one-year terms. The chief duty assigned the Commission was to "prepare and superintend the execution of a plan for holding an exhibition, and, after conference with the authorities of the city of Philadelphia, to fix upon a suitable site within the corporate limits of the said city where the exhibition shall be held."

The Commission was charged to hold its meetings in Philadelphia. During 1871, President U. S. Grant appointed the various commissioners, and the first meeting was held on 4 March 1872. The Commission was incorporated by an Act of Congress of 1 June 1872, which also created the incorporated Centennial Board of Finance. The Commission met in only nine sessions, from March 1872 until its final adjournment. Its responsibilities were carried out chiefly by an Executive Committee formed in May 1872 and composed of thirteen members who in turn chose a Director-General to whom all subsidiary bureaus and committees were required to report. Acting in cooperation with the Directors of the Centennial Board of Finance, the Executive Committee maintained control of the basic functions of the gathering, display, and judging of exhibits.

The Exhibition was financed largely by the sale of stock to the public (see certicate on next page).

The grounds to be used by the International Exhibition were acquired by the City of Philadelphia as part of Fairmount Park. On 4 July 1873, a tract of approximately 450 acres overseeing the west bank of the Schuylkill River was formally transferred to the United States Centennial Commission for use as the exhibition grounds. Exactly one year later, the ground was formally broken for the Exhibition buildings. At the request of Congress, the President invited foreign nations to participate in the Exhibition on 5 June 1874. Despite fears of a European boycott and high American tariffs making foreign goods not worthwhile, no European country declined the invitation. In fact, all thirty-four states were represented; and twenty-six had their own buildings. Forty-nine countries were represented; nineteen had their own buildings. Of the total of 30,864 exhibitors, 22, 689 were from countries outside the United States!

The International Exhibition of Arts, Manufactures and Products of the Soil and Mine opened to the public on 10 May 1876 and closed on 10 November 1876. It quickly became known simply as the Centennial Exhibition (aka Centennial Exposition). The United States Centennial Commission continued in existence until all of the financial accounting was completed, and their final session was held on 15 January 1879.

Quite the Contrast!

The efficient involvement of the Federal government in exhibition business in the 1870s contrasts sharply with the fiasco of our Bicentennial celebration 100 years later. As Lynne Cheney wrote in her essay “1876: The Eagle Screams”: “Witness our own inability — unwillingness, perhaps — ^to put together a similar Bicentennial celebration. Philadelphia worked on Bicentennial plans for sixteen years, twice as long as it took to free the colonies from England, making and unmaking plans for an exhibition, discarding one site after another, trying to please social activists who wanted jobs for the poor instead of a party, businessmen who wanted the revenue from an exposition, homeowners who didn’t want the disturbance.”

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The Centennial Exhibition

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Photo courtesy of Matthias Schmitt at www.hwph.de

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The Centennial Exhibition

Notable Events at the Exhibition:

Philadelphia’s International Exhibition astonished the world with a lot more than just the largest buildings ever built for a world’s fair. The marvels displayed in those buildings proclaimed that America, that brash upstart of a new country, was ready to take center stage in the arts, sciences, manufacturing, and agriculture. Included in this tour de force were innovations running the gamut from the magnificent, as represented by the largest steam engine in the world, to the sublime, in the Statue of Liberty, to the merely prosaic, such as ketchup.

George Corliss brought his giant double vertical rotative steam engine, which powered virtually every exhibit at the fair. George Pullman rolled in his luxurious Palace Car. Alexander Graham Bell demonstrated his new telephone. Charles Hires introduced root beer. Henry Heinz announced his newest food product - ketchup. Wallace Farmer fired up his Electric Dynamo, while Thomas Edison contented himself with demonstrating the quadruplex telegraph, which allowed simultaneous bidirectional transmission of multiple telegrams over the same wire. Meanwhile, kudzu, future scourge of southern landscapes, quietly decorated the Japanese pavilion. George Westinghouse introduced the air brake, Samuel Colt test fired his 45-caliber pistol, and Cyrus McCormick showed off his new wire-baling reaper. Charles Goodyear hawked his new rubber tires, while Amos Whitney and Francis Pratt claimed their engine could make those tires roll faster. In addition, the exhibition visitors were treated to many new introductions to America. Among them were bananas, kindergarten, the first municipal water treatment plant, a monorail, and the tallest penny-farthing bicycles yet seen.

The National Woman Suffrage Association established their Centennial Headquarters in Philadelphia. In preparation for the opening of the Centennial Exhibition on July 4* 1876, Susan B. Anthony, Elizabeth Cady Stanton, and Matilda Joslyn Gage wrote their Declaration of Rights of the Women of the United States by the National Woman Suffrage Association. Their request to read it at the opening ceremonies was declined. Nevertheless, Ms Anthony and four other suffragettes attended the opening ceremonies, and after the U.S. Declaration of Independence had been read from the podium, they marched to the speakers’ rostrum where they presented their own declaration to Vice President Thomas Ferry. Then they returned down the aisle, distributing copies of their declaration “to all and sundry”; whereupon they continued to Independence Hall and read their declaration aloud to an assembled crowd.

The fair has long since ceased to exist as a living memory, but its legacy lives on into the 21^^ century.

Bell Telephone, Heinz Foods, Hires Root Beer, Edison’s General Electric, McCormick’s International Harvester, Otis Elevator, Westinghouse, Colt Firearms, Pratt & Whitney, and Columbia Bicycles all cut their teeth at the Philadelphia International Exhibition and still cut a wide swath in the world’s economy. And for exonumists, the medals of the exhibition live on.

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The Centennial Exhibition

750. "GEORGIUS WASHINGTON"/"lnternational Exhibition"

(1.5 x) (1.5 x)

Obverse: Undraped bust of George Washington to right; in truncation of neck in two lines: "LOVETT / PHILA."; around from 7:00 to 5:00: "GEORGIUS WASHINGTON PRAES. PRIM. RER. GONE. AMER. MDCCLXXXIX"; same as the obverse of the Bailey and Co. Japanese Embassy Medal (Baker 368).

Reverse: Around the outside from 6:30 to 5:30: "TO GOMMEMORATE THE HUNDREDTH ANNIVERSARY OF AMERICAN INDEPENDENCE"; inside that, a circle of thirty-eight stars; in the center, in seven curved lines: "INTERNATIONAL / EXHIBITION / HELD AT / FAIRMOUNT PARK / PHILADELPHIA / MAY 10. TO NOV. 10. / 1876".

Cross-refs: B-424, F-47, H-75.

Diameter: 53.1 mm. Edge: Plain

Alloy No.

Bronze 750bz

White Metal 750wm

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The Centennial Exhibition

(1.9x) (1.9x)

Obverse: .George Washington, three-quarters bust, partially right, in civil dress with a sword cradled in his right arm; to left from 10:00: “1776”; to right from 1:30: “1876”; below from 9:00 to 3:00, an arc of 13 5-pointed stars; all within an olive wreat of two braches tied at the bottom.

Reverse: Memorial Hall viewed from the right front corner; above in two curved lines: “A GOVERNMENT OF THE PEOPLE, BY THE / PEOPLE, AND FOR THE PEOPLE.”; below in two curved lines: CENTENNIAL EXPOSITION / PHILAD- P- U.S.A.” (The underscores of the superscripted “A’s” are actually round dots.)

Cross-refs: B-429, F-65, H-92.

For B 429, Rulau-Fuld state: “The Washington bust in civil dress on this piece is after the Gilbert Stuart portrait, and the medal is German in origin. Only a very limited number were made. R7.”

Diameter: 42.2 mm

Alloy

Silver

Bronze

White Metal

Terracotta

Leather

Wood

No.

760si

760bz

760wm

760tc

7601r

760wd

Edge: Plain Notes

Dre5Tuss sale, 4/12/86; Charles Kirtley sale, 2/17/87, lot 26. NASCA, 4/28-29/81, lot 1738.

NASCA, 4/28-29/81, lot 1739.

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The Centennial Exhibition

770. Liberty/Independance

(3.5x)

Obverse: Bust of Liberty to left in Phrygian cap, draped, with a star at her bosom; "PHILADELPHIA" to left; "EXPOSITION" to right; "1876" below. With an integral (i.e., part of the planchet) loop for suspension. Sometimes seen with the loop filed off. With and without the suspension loop. The example I have without the loop looks like the loop may have been clipped off.

Cross-refs: Not listed.

Diameter: 23.3 mm. Edge: Plain Alloy No.

Bronze 770bz

White Metal 770wm (in the ANS collection)

Reverse: In five straight lines: "CENTENNIAL / ANNIVERSARY / OF THE INDEPENDANCE / OF THE UNITED STATES / JULY 4TH 1876"; with a straight horizontal bar below. (Note the misspelling of "Independence.")

With the intesral susoension loon.

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The Centennial Exhibition

780. Jnternational Exhibition

(3.2x) (3.2x)

Obverse: A crude eagle facing forward, head right, with outstretched wings; on its breast a shield emblazoned "REPUB UNI", a ribbon in its beak, clutching ten arrows in its right claw, an olive branch in its left; curving above "CENTENNIAL"; curving below "1776-1876"; the whole surrounded by a beaded circle . The planchet includes an integral loop for suspension.

Reverse: Inside a beaded circle, curving above "JNTERNATIONAL", curving below "EXHIBITION"; with a six-petaled flower at 9:00 and 3:00. Note the misspelling of "International" with a leading "J."

Cross-refs: Not listed.

Diameter: 25.7 mm. Edge: Flip: Rim:

Alloy No.

Gilt 780gi

Silver Plate 780sp

Bronze 780bz

White Metal 780wm

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The Centennial Exhibition

790. Washington Bust R./"Union Forever"

(2x) (2x)

Obverse: In the center, undraped pig-tailed bust of George Washington to right; above and around, thirteen six-pointed stars; above and aroound: "TO COMMEMORATE THE lOOTH ANNIVERSARY OF THE" (there is a dot beneath the "T" and "H" of lOOTH); beneath in two curved lines, separated left and right from the previous inscription by a diamond: "DECLARATION / OF INDEPENDENCE".

Reverse: In the center, a woven ring containing a pair of clasped hands surrounded by a glory; above, around" "UNION"; beloe, around: "FOR EVER"; outside the ring clockwise from 7:00 to 5:00" "INTERNATIONAL EXHIBITION AT PHILADELPHIA"; below. "1876"; the whole surrounded by a circular oak wreath.

Cross-refs: B-425, H-95. Diameter: 39.8 mm.

Alloy

Silver

Gilt

Silver-plated Bronze White Metal

No. Wt

790si

790gi

790sp

790bz

790wm

Edge: Plain SG

Note

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The Centennial Exhibition

800. Danish Medal MDCCLXXXVI

(1.5 x) (1.5 x)

Obverse: In the center, a standing female figure representing America, wearing a Phrygian (liberty) cap presents wreaths to Art seated on her left and to Mechanics, sighted at her right, while Commerce and Agriculture stand behind ather left and right, repsectively; in exergue, "H. OLRIK INV." to left and "F. SCHMAHLFELD FEC." to right; above, clockwise around from 11:00: "INTERNATIONAL EXHIBITION"; below the figures: "PHILADELPHIA . 1876" Below that: "V. CHRISTESEN."

Reverse: Head of Washington to left in an oval panel within a wreath of oak to the right and laurel to the left, tied at bottom; a winged cberub on each side together bear a circlet of thirteen stars with tbeir inner hands and palm branches in their outer hands; below, a spread eagle facing left and holding olive branches in its rightclaw and four arrows in the left; behind the eagles claws, a banner inscribed with "E PLURIBUS UNUM"; above, clockwise around from 11:30: "MDCCLXXVI."; around, counterclockwise from 9:30: "EIRST IN WAR, EIRST IN PEACE, EIRST IN THE HEARTS OE HIS COUNTRYMEN."

These medals are often referred to as the "Danish" medal because Schmahlfeld, the maker, Ohlrik, the diesinker, and Christesen, the publisher, were Danish by nationality. They produced the medals in the United States, however.

Cross-refs: B-426, F-309.

Diameter: 52.7 mm. Edge: Plain

Alloy No.

Silver 800si

Gilt 800gi

Bronze 800bz

White Metal 800wm

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The Centennial Exhibition 131111

The Centennial Exhibition

(1.5x) (1.5x)

Obverse: In the center, a standing female figure representing America, wearing a Phrygian (liberty) cap presents wreaths to Art seated on her left and to Mechanics, sighted at her right, while Commerce and Agriculture stand behind ather left and right, repsectively; in exergue, "H. OLRIK INV." to left and "F. SCHMAHLFELD FEC." to right; above, clockwise around from 11:00: "INTERNATIONAL EXHIBITION"; below the figures: "PHILADELPHIA . 1876" Below that: "V. CHRISTESEN."

Reverse: Closely similar to the last, but with differences in the obverse inscriptions. Head of Washington to left in an oval panel within a wreath of oak to the right and laurel to the left, tied at bottom; a winged cherub on each side together bear a circlet of thirteen stars with their inner hands and palm branches in their outer hands; below, a spread eagle facing left and holding olive branches in its rightclaw and four arrows in the left; behind the eagles claws, a banner inscribed with "E PLURIBUS UNUM"; above, clockwise around: "LET US HAVE PEACE.."; below, counterclockwise around: "1776. THE CENTENNIAL YEAR OF THE UNITED STATES OF AMERICA. 1876."

Cross-refs: B-427, E-79, H-77. Diameter: 52.7 mm. Edge: Plain Alloy No.

Silver 810si

Bronze 810bz

White Metal 810wm

The Centennial Exhibition 131111

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The Centennial Exhibition

820. Danish Medal “Centennial Year”

Proxy Pics: Obverse borrowed; Reverse Photoshopped.

(1.5 x)

Obverse: In the center, a standing female figure representing America, wearing a Phrygian (liberty) cap presents wreaths to Art seated on her left and to Mechanics, sighted at her right, while Commerce and Agriculture stand behind ather left and right, repsectively; in exergue, "H. OLRIK INV." to left and "F. SCHMAHLFELD FEC." to right; above, clockwise around from 11:00: "INTERNATIONAL EXHIBITION"; below the figures: "PHILADELPHIA . 1876" Below that: "V. CHRISTESEN."

Reverse: Closely similar to the last, but with differences in the inscriptions. Head of Washington to left in an oval panel within a wreath of oak to the right and laurel to the left, tied at bottom; a winged cherub on each side together bear a circlet of thirteen stars with their inner hands and palm branches in their outer hands; below, a spread eagle facing left and holding olive branches in its rightclaw and four arrows in the left; behind the eagles claws, a banner inscribed with "E PLURIBUS UNUM"; above, clockwise around: "MDCCLXXVI."; below, counterclockwise around: "1776. THE CENTENNIAL YEAR OF THE UNITED STATES OF AMERICA. 1876."

As far as I know, tbis medal (Roman date with “Centennial Year” inscriptions) is described only by Holland (H 76), and I have never seen one. It may or may not actually exist. Tbe image above is a Photoshopped Proxy Pic to illustrate what Holland describes.

Cross-refs: H-76.

Diameter: 52.7 mm. Edge: Plain Alloy No.

White Metal 820wm

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The Centennial Exhibition 131111

The Centennial Exhibition

830. Danish "EXPOSITION INTERNATIONALE" Medal

sl/

^ Photographs needed!^

(1.5 x) (1.5 x)

Obverse: According to Levine in his Auction #4086 Lot 306 in 1986: “RARE 1876 CENTENNIAL MEDAL. 52mm. Copper. AU, with an area of dark toning on the obverse extending from 2:00-4:00. The obverse depicts a group of five allegorical female figures; America, with a liberty cap at the center presenting wreaths to Art and Mechanics left and Commerce and Agriculture, right. EXPOSITION INTERNATIONALE in banner above. This is the identical die used for the reverse of the famous 1876 Centennial “Danish” medal (Baker 426-7) except that the top legend has been changed from INTERNATIONAL EXHIBITION and there is now no inscription in the exergue.” This medal sold for $52.80.

Reverse: Per Levine: “A wreath encircling a small group of various fruits, probably intended as an award medal.”

Cross-refs: Not listed.

Diameter: 52.7 mm. Edge: Plain

Alloy No.

Bronze 830bz

The Centennial Exhibition 131111

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Centennial Exhibition Visitors

Introduction

Never underestimate the creativity of entrepreneurs! Not satisfied with the m5Tiad of centennial and patriotic subjects to be struck into medals and sold as profitable souvenirs of the Centennial and the Exhibition, someone came up with the bright idea to appeal to the egos of Exhibition patrons. The first set in this drawer is dedicated “to perpetuate the memory of Washington and in honor of the patrons who attend our Centennial Exhibition.” The next set takes personal pride to the next level by appealing to the visitors’ religion and/or nationality: American, British, French, German, and/or Catholic. But nothing brings it home like the third set: personal identification tags with name, address, date, you name it, custom engraved on the obverse and/or reverse. Let’s hear it for capitalism!

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Exhibition Visitors 131111

Centennial Exhibition Visitors Medals

840. Nude GW Bust L/”ln honor of the Patrons...”

(1.3 x) (1.3 x)

Obverse: Very high-relief undraped bust of Washington to left; "GEORGE" to left, "WASHINGTON" to right; in truncation: "F.B. SMITH & HARTMANN N.Y."

Reverse: Within a wreath consisting of olive leaves to the left and oak leaves to the right, open at the top and tied with a ribbon below, in 12 lines: "THIS MEDAL // IS STRUCK // TO PERPETUATE // THE MEMORY OF // WASHINGTON, // AND IN HONOR OF THE PATRONS // WHO ATTEND OUR // CENTENNIAL EXHIBITION // AT // PHILADELPHIA, PA // U.S. // 1776. 1876." In exergue beneath the ribbon: "F. B. SMITH & HORST N. Y."

Cross-refs: B-422.

Diameter: 63.9 mm. Edge: Plain Alloy No.

White Metal 840wm

Exhibition Visitors 131111

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Centennial Exhibition Visitors

850. Mt. Vernon/”ln honor of the Patrons...”

(1.3x) (1.3x)

Obverse: View of Mt. Vernon from the water; beneath in two straight lines: RESIDENCE OE WASHINGTON // MOUNT VERNON, VIRGINIA"; in tiny letters counterclockwise along the rim from 7:00: "E.B. SMITH E. N.Y.".

Reverse: Within a wreath consisting of olive leaves to the left and oak leaves to the right, open at the top and tied with a ribbon below, in 12 lines: "THIS MEDAL // IS STRUCK // TO PERPETUATE // THE MEMORY OE // WASHINGTON, // AND IN HONOR OE THE PATRONS // WHO ATTEND OUR // CENTENNIAL EXHIBITION // AT // PHILADELPHIA, PA // U.S. // 1776. 1876." In exergue beneath the ribbon: "E. B. SMITH & HORST N. Y."

Cross-refs: B-422M.

Diameter: 63.9 mm. Edge: Plain

Alloy No.

White Metal 850wm

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Exhibition Visitors 131111

Centennial Exhibition Visitors Medals

860. Mantled GW Bust/”ln honor of the Patrons...”

kNo in Honor ofthe Patrons WHO ATTBHB OUR

^PIEIL A»E IjP HI A,R A J

U»S« , ->H&*

(1.3x) (1.3x)

Obverse: Per Baker 423: “Roman-mantled bust left. “F.B. SMITH & HORST N.Y.” under the bust. Around: “GEORGE WASHINGTON”. (The ‘O’ in ‘HORST’ on the obverse was recut over an erroneous Y’ by the diesinker) (Garrett 1877)”

Reverse: Within a wreath consisting of olive leaves to the left and oak leaves to the right, open at the top and tied with a ribbon below, in 12 lines: "THIS MEDAL // IS STRUCK // TO PERPETUATE // THE MEMORY OF // WASHINGTON, // AND IN HONOR OF THE PATRONS // WHO ATTEND OUR // CENTENNIAL EXHIBITION // AT // PHILADELPHIA, PA // U.S. // 1776. 1876." In exergue beneath the ribbon: "F. B. SMITH & HORST N. Y."

Cross-refs: Baker 423

Diameter: 63.9 mm. Edge: Plain Flip: Rim: Cove

Alloy No. Note

White Metal 860wm

Exhibition Visitors 131111

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Centennial Exhibition Visitors

870. GW Tomb/”ln honor of the Patrons...”

(1.3x) (1.3x)

Obverse: The entrance to Washington's tomb at Mt. Vernon, with the figures of three men and two women in front, an obelisk to the left and the right of the gate, and a large tree at the left overarching the gate; in exergue, “TOMB OF WASHINGTON, // MOUNT VERNON, VIRGINIA”; in tiny letters counterclockwise along the rim from 6:30: "F.B. SMITH F. N.Y."

Reverse: Within a wreath consisting of holly leaves to the left and oak leaves to the right, open at the top and tied with a ribbon below, in 12 lines: "THIS MEDAL // IS STRUCK // TO PERPETUATE // THE MEMORY OF // WASHINGTON, // AND IN HONOR OF THE PATRONS // WHO ATTEND OUR // CENTENNIAL EXHIBITION // AT // PHILADELPHIA, PA // U.S. // 1776. 1876." Beneath the ribbon: "F. B. SMITH & HORST N. Y."

A mule of the reverses of Baker 119 and Baker 422.

Cross-refs: Baker 423M

Diameter: 63.9 mm. Edge: Plain

Alloy No.

White Metal 870wm

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Exhibition Visitors 131111

Centennial Exhibition Visitors Medals 880. GW Tomb/”ln honor of the Patrons...”

Obverse: Within a half-wreath of oak and olive leaves, the gate of entrance to Washington’s tomb; below the bow of the wreath: “S&H”; clockwise around from 11:00: TOMB OF WASHINGTON”; counterclockwise around from 7:30: “MOUNT VERNON, VIRGINIA”

Reverse: Within a wreath consisting of holly leaves to the left and oak leaves to the right, open at the top and tied with a ribbon below, in 12 lines: "THIS MEDAL // IS STRUCK // TO PERPETUATE // THE MEMORY OF // WASHINGTON, // AND IN HONOR OF THE PATRONS // WHO ATTEND OUR // CENTENNIAL EXHIBITION // AT // PHILADELPHIA, PA // U.S. // 1776. 1876." Beneath the ribbon: "F. B. SMITH & HORST N. Y."

A mule die trial of the reverses of Baker 117 and Baker 422. On opposite sides of a crudely shaped lead octagon about 80 mm wide are the 64 mm impressions of the obverse and reverse dies. (Lot 1874, NASCA Kessler-Spangemberger Collection sale, April 1981)

Cross-refs: Not listed.

Diameter: 80 mm. Edge: Plain Flip: Rim: Cove

Alloy No. Wt SG Note

Lead 8801d

Exhibition Visitors 131111

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Centennial Exhibition Visitors

890. Washington/"See How We Prosper"

(1.8x) (1.8x)

Obverse: Undraped bust of Washington to left; in exergue: "R. LAUBENHEIMER"; around and below: "GEORGE WASHINGTON // THE FATHER OF HIS COUNTRY"; around and above: "* A CENTURY ADDS LUSTRE TO HIS FAME to left: "1776"; to right: "1876".

Reverse: Two standing female figures typifying Europe to left and America to right, standing on a globe marked "AMERICA". Europe holds a shield engraved with a temple, while America holds a shield with stars and stripes and a pole with phrygian cap in her left hand and points with her right to the Philadelphia Expo's Main Building with an eagle hovering over it and a glory radiating upward above it. Above all: "SEE HOW WE PROSPER

This series of medals features the portraits of a pope, a queen, an emperor, a chief of state; and a president, representing the Vatican, Great Britain, Germany, France, and the United States, respectively. Unlike the others in the set, this medal does not picture America’s current president, Ulysses S.Grant, nor does it specifically mention the American visitors to the Exhibition. Nevertheless, it is included in this Exhibition Visitors category by virtue of its reverse, which is common to the entire set.

Cross-refs: Baker 428, F-62, H-89.

Diameter: 44.8 mm. Edge: Plain

Alloy No. Notes

Silver 890si

Bronze 890bz According to Levine: "A note in 12 AJN 25, states '25 struck in bronze and a

smaller number in silver for a jeweler named Delon.”

White Metal 890wm

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Exhibition Visitors 131111

Centennial Exhibition Visitors Medals

(1.8x) (1.8x)

Obverse: Bust of Pope Pius IX to right, in mozetta (shoulder cape) and zuchetto (skull cap). In exergue: "R. LAUBEMHEIMER"; below: "PHILADELPHIA"; around: "IN HONOR OF THE CATHOLIC VISITORS TO THE INTERNATIONAL EXHIBITION. 1876".

Reverse: Two standing female figures t5^ifying Europe to left and America to right, standing on a globe marked "AMERICA". Europe holds a shield engraved with a temple, while America holds a shield with stars and stripes and a pole with phrygian cap in her left hand and points with her right to the Philadelphia Expo's Main Building with an eagle hovering over it and a glory radiating upward above it. Above all: "SEE HOW WE PROSPER

Blessed Pope Pius IX reigned from 1846 until his death in 1878, the longest reign in Church history. Pius IX had a close relationship with America. In 1846, at the unanimous behest of all American bishops, he declared the Immaculate Mother of Christ to be the patron of America, and in 1854 he declared the Immaculate Conception to be dogma. Today, the National Shrine of the Immaculate Conception in Washington, D.C., stands as a magnificent reminder of Pius IX’s involvement in American history.

Cross-refs: F-58, H-85.

Diameter: 44.8 mm. Edge: Plain

Alloy No.

Silver 900si

Bronze 900bz

White Metal 900wm

Exhibition Visitors 131111

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Centennial Exhibition Visitors

(1.8x) (1.8x)

Obverse: Undraped bust of Victoria to left in cronet. In exergue: "R. LAUBENHEIMER"; around: "IN HONOR OF THE ENGLISH VISITORS TO THE INTERNATIONAL EXHIBITION. 1876".

Reverse: Two standing female figures t5^ifying Europe to left and America to right, standing on a globe marked "AMERICA". Europe holds a shield engraved with a temple, while America holds a shield with stars and stripes and a pole with phrygian cap in her left hand and points with her right to the Philadelphia Expo's Main Building with an eagle hovering over it and a glory radiating upward above it. Above all: "SEE HOW WE PROSPER

Queen Victoria ruled Great Britain from 1837 until her death in 1901, coincidentally the longest reign of any British monarch. The 1876 Centennial Exposition was not only a celebration of American Independence, but it also epitomized the grandeur, the pomp, and the greatness of the nineteenth century, which was already beginning to known as the Victorian era.

Cross-refs: F-61, H-86.

Diameter: 44.8 mm. Edge: Plain

Alloy No.

Silver 910si

Bronze 910bz

White Metal 910wm

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Exhibition Visitors 131111

Centennial Exhibition Visitors Medals

920. Kaiser Wilhelm/"See How We Prosper"

(1.8x) (1.8x)

Obverse: Undraped bust of Kaiser Wilhelm to right. In exergue: "R. LAUBENHEIMER"; below: "PHILADELPHIA"; around: DEN DEUTSCHEN BESUCHERN DER WELTAUSSTELLUNG GEWIDMET. 1876"

Reverse: Two standing female figures t5^ifying Europe to left and America to right, standing on a globe marked "AMERIGA". Europe holds a shield engraved with a temple, while America holds a shield with stars and stripes and a pole with phrygian cap in her left hand and points with her right to the Philadelphia Expo's Main Building with an eagle hovering over it and a glory radiating upward above it. Above all: "SEE HOW WE PROSPER

Wilhelm I, also known as Wilhelm the Great (March 22, 1797-March 9, 1888) of the House of Hohenzollern was the King of Prussia (January 2, 1861-March 9, 1888) and the first German Emperor (18 January 1871-March 9, 1888). Under the leadership of Wilhelm and his Prime Minister Otto von Bismarck, Prussia achieved the unification of Germany and the establishment of the German Empire.

Cross-refs: F-59, H-87.

Diameter: 44.8 mm. Edge: Plain

Alloy No.

Silver 920si

Bronze 920bz

White Metal 920wm

Exhibition Visitors 131111

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Centennial Exhibition Visitors

930. Marshal MacMahon/"See How We Prosper"

(1.8x) (1.8 x)

Obverse: Bust of Marshal MacMahon in military uniform to left; in exergue: "R. LAUBENHEIMER"; below: "PHILADELPHIA"; around: "A L’HONNEUR DES VISITEURS FRANCAIS DE

L’EXPOSITION INTERNATIONALE. 1876"

Reverse: Two standing female figures typifying Europe to left and America to right, standing on a globe marked "AMERICA". Europe holds a shield engraved with a temple, while America holds a shield with stars and stripes and a pole with phrygian cap in her left hand and points with her right to the Philadelphia Expo's Main Building with an eagle hovering over it and a glory radiating upward above it. Above all: "SEE HOW WE PROSPER

Marie Edme Patrice Maurice de Mac-Mahon, 1st Due de Magenta, Marshal of France (13 June 1808 - 17 October 1893) was a French general and politician, who served as Chief of State of France from 1873 to 1875 and as the first President of the Third Republic, from 1875 to 1879. He fought in the Second Italian War of Independence as commander of the Second Corps ("Army of Italy"). He secured the French victory at Magenta (4 June 1859) and rose to the rank of marshal while in the field. As a result, he was later created Duke of Magenta by Napoleon III.

Cross-refs: F-60, H-88.

Diameter: 44.8 mm. Edge: Plain

Alloy No.

Silver 930si

Bronze 930bz

White Metal 930wm

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Exhibition Visitors 131111

Centennial Exhibition Buildings

Introduction

Fairmount Park, the site of the Centennial Exhibition, boasted almost two hundred structures especially constructed for the celebration, but six spectacular buildings in particular attracted the most attention. Their sheer size, unique architecture, and impressive cost contributed impressively to achieving the unspoken goal of all Americans for their first world’s fair: to put on the grandest show the world had ever seen. The grandeur of these buildings is celebrated and memorialized with so many medals that they merit their own chapter. These six structures were the Main Building, which included the Grand Entrance; Memorial Hall, which housed the magnificent art collection and was also known as the Art Gallery; Machinery Hall; Horticultural Hall, Agricultural Hall, and the Women’s Pavilion. In addition, one other structure was featured on a series of medals and therefore merits inclusion in this chapter, and that was the Catholic Total Abstinence Union Fountain.

The