A 1782 Colonial Coin That Relates Some Intriguing American History

Very interesting!

I wonder if they practiced on coins before applying a c/s on a fine piece.

The text you show does not use f's for s's. The late colonial text is using an extinct letter in our alphabet called the 'long s.' The 'long s' can be distinguished as a distinct letter from the f because the f has a distinct crossbar across both sides of the long vertical line. The 'long s' on the other hand only has the crossbar on the left side of the vertical line. This can be seen readily in the magnified excerpt below. The 'long s' in 'Oswego' has the crossbar only on the left, while the f in the word 'following' has the crossbar across both sides of the vertical line. The s we use now was at one time called the 'short s.' You can check the earlier document to see the consistent difference in the use of the f and 'long s.' Magnifying by using the zoom in your browser would probably be helpful for old, tired eyes.

Interestingly, the 'long s' was always used in the beginning and middle of a word, never at the end of a word as per 18th century convention.

You can read more about this extinct letter in our alphabet in the article linked here: https://www.historyofinformation.co....php?id=2344

Some undoubtedly did practice their c/s application, and some took great care in placement/positioning thereof. Then again, many others took a willy-nilly approach.

@ Numismatic Student .... Thanks for adding the clarification.
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More on Gilbert ....
A highlight of William's silversmith career occurred in 1784, when the NY City Council commissioned him to create a gold box for then General George Washington. It was ordered as a presentation gift to commemorate the freedom of the city; this, pursuant to the British evacuation. Given the artistic beauty of Gilbert's craftsmanship, many of his works today survive in top museums and notable private collections.

His obit from The Evening Post, NY, Feb. 15, 1832 ....


Note: I tried to locate a pic of Washington's gold box but was unsuccessful locating one. If any CCF members find it, please post a pic. I'm guessing it was quite ornate and a stunning piece of art.

A fascinating thread @exo! While I recognize that the below links aren't to the exact gold box that Gilbert was commissioned to make, I wonder if he too made a snuff box or if it was used to hold something (anything?) else?

https://emuseum.mountvernon.org/obj...321a40&idx=4
https://emuseum.mountvernon.org/obj...7b49e&idx=24

In a quick search of the Mount Vernon museum inventory, these are the two boxes made from gold in their collection. Note the IL counterstamp on the second piece!

This is a terrific case study, —Gilbert's life really sits at the intersection of craft, politics, and early American urban history, and you've pulled together a narrative that highlights all three. A few thoughts that might help you frame this for numismatic and silversmithing audiences:

William W. Gilbert - Silversmith & Statesman
- Family Trade: His father, William Gilbert (1718-1797), was already established in New York's silversmithing community, so William W. inherited both skill and reputation.
- Dual Career: It's unusual but telling that he balanced silversmithing with civic service—alderman, assemblyman, and later state senator. This duality reflects how artisans in post-colonial New York often became civic leaders, trusted because of their standing as skilled tradesmen.
- Guild & Society: His membership in the Gold and Silversmiths' Society (1786) placed him among the city's most respected craftsmen, reinforcing his credibility both in trade and politics. The 1770 Burglary
- The Ad: The reward notice in the New-York Journal is a gem of social history. The long (f-like "s") is a hallmark of 18th-century typography, and the detailed inventory of stolen goods provides a snapshot of what a prosperous silversmith's shop held—candlesticks, spoons, tankards, and personal ornaments.
- Value: £150 was a staggering loss in 1770, equivalent to several years' wages for a skilled artisan. It underscores both the wealth tied up in precious metal stock and the vulnerability of urban shops.
- Aftermath: The lack of follow-up reports suggests the thieves either melted the silver quickly or moved it out of the city. For historians, the ad itself is as valuable as the objects—it documents Gilbert's output and clientele.

Gilbert's Mark on a 1782 Mexico 1 Real
- Unusual Placement: A New York silversmith's mark on a Mexican-mint coin is fascinating. It suggests the coin was repurposed as a host for a token, ornament, or possibly a countermarked piece.
- Interpretation:
- Could have been a test strike of his mark on a convenient silver flan.
- Might represent private revalidation—a silversmith's guarantee of fineness, especially if the coin was to be melted or reused in his shop.
- Alternatively, it could have been adapted into a piece of jewelry or a keepsake, where the maker's mark served as a signature.
- Numismatic Value: This blurs the line between coinage and silversmithing, showing how artisans interacted with circulating specie not just as money, but as raw material.

Why This Matters
Gilbert's story is a reminder that:
- Silversmiths were civic actors—their shops were hubs of trust, wealth, and political influence.
- Coins and silverware overlapped—the same hands that struck marks on spoons might also test-mark a Spanish colonial real.
- Primary sources like burglary ads are invaluable—offering a catalog of lost objects that otherwise would have vanished from the record.

@PetesPockets55 .... Thanks for your comments. That's interesting, about the so-called "Freedom Boxes." I can't help but wonder if Gilbert's box, crafted for Washington, may have inspired a trend at the time?

Regarding the oriental chopmarks, I've long tried to see if any specific history could be attached to them; but, no luck on that front. The c/s's, hallmarks and other meaningful stampings are far more intriguing, methinks.