The Only Known [not Really] Standing Liberty Quarter Pattern

That is so cool!

Doris Doscher, the girl in the Standing Liberty quarter
Sunday Tribune May 20, 1917

This coin cast was sold for $56,400 in January this year.

A BARGAIN imho


https://coins.ha.com/itm/standing-l...bnail-071515

Original Bronze Cast of the Standing Liberty quarter Obverse
Believed Unique in Private Hands

1916 Standing Liberty quarter Obverse Bronze Cast, Uncertified. 359.1 gm. Diameter of cast: irregular, 150 mm-156 mm (5.9-6.1 in.); Diameter of inner design: 130 mm (5.1 in.); Thickness: approximately 4 mm (0.15 in.). This is among the rarest artifacts related to the widely popular Standing Liberty quarter series, an original bronze cast of Hermon MacNeil's obverse design as it appeared in August 1916. Few other relics of the Standing Liberty quarter's design production period survive in private hands, and arguably none harbor the appeal of this large bronze cast of the obverse design.

The imagery on this cast differs dramatically from MacNeil's original obverse models. In late June 1916, the sculptor began making adjustments to his design in the interest of sharpening details and increasing the aesthetic appeal. But the result was a drastic redesign of the entire obverse. The figure of Liberty was completely remodeled and brought up in sharp relief, and the inscription LIBERTY above her head was strengthened in definition and reduced in size. The shield rivets were more widely spaced, and the inner shield was replaced with an eagle. IN GOD WE TRUST migrated from the gateway walls to the sash drawn across Liberty's torso, and the walls themselves were simplified in their design. Liberty herself was given sandals, and the drapery was drawn up tighter around the shield. Dolphins representing the Pacific and Atlantic Oceans were added to each side of the date, accompanied by branches of laurel. The olive branch of peace disappeared from Liberty's outstretched hand, and her hair was restyled to flow in the wind. A chain-like border surrounded the periphery in place of the previous dot-and-dash pattern. The modified design showcased a captivating beauty that the former did not fully deliver.

The modified design was approved by Treasury Secretary William McAdoo in a letter to MacNeil dated August 19th, 1916:

"Replying to your letter of August 16th instant, I hereby approve the modified design for the obverse of the new twenty-five cent coin, photograph of which you submitted for my inspection.

"I take pleasure in granting you permission to place your initials on the new quarter-dollar, provided the letters are small in design and are placed on an inconspicuous part of the coin, as is the case in connection with coins now in circulation."

MacNeil immediately sent a photograph to the Mint, showing proposed locations for his monogram. His letter, dated August 31st, 1916, stated:

"Enclosed, please find according to your request the photograph of the Obverse of the new TWENTY-FIVE CENT PIECE with two places indicated for my signature. I have used the monogram (H.M.) in both places, but it is possible that (M) alone could be better for this signature on account of the very limited size. It is possible also that the spot under the head of the dolphin on the right would be the better place as I should then make it merely an incised letter. ...

"Immediately on receipt of your O.K. of this detail, I will have the bronze cast made and forwarded to the Mint."

Mint Director F.J.H. von Engelken replied on the 1st of September, approving the "Placing of the signature under the head of the dolphin on right of Quarter Dollar ..." and adding: "It will be appreciated if you will expedite as much as possible the preparation of the bronze cast, and the forwarding of the same to the Mint." MacNeil's reply a few days later stated in part:

"Referring to the proposition of the model of the new Quarter Dollar, the work is already in the caster's hands and I expect to send the completed bronze before the end of the week, to Mr. Barber at Philadelphia."

A bronze cast of MacNeil's modified design was delivered to the Mint on September 9th, 1916. However, it was never produced in coin form. During the correspondence about the placement of MacNeil's monogram, the Mint was experiencing striking problems with the new Mercury dime, unable to get the coins to stack properly due to thickness issues and a wire rim problem. Documentation presented by Roger Burdette in Renaissance of American Coinage suggests that when the bronze cast of the quarter obverse arrived at the Mint, Chief Engraver Charles Barber examined it and discovered that working the model up to the mechanical requirements of the Mint would consume far too much time. Thus, Barber was instructed to revert to the original model for the obverse, which required far less modification to meet the Engraver's strict technical requirements. It was that design which later appeared on the mass production of December 1916.

Cataloging this piece in the Minot Collection catalog (Stack's, 5/2008), Burdette stated: "One bronze cast reached the Philadelphia Mint. Another, the present example, must have remained in MacNeil's College Point, NY studio -- a backup in case the first one were lost or damaged." As J.H. Cline notes in Standing Liberty quarters, fourth edition, MacNeil's studio housed "a lifetime collection of complete sculptures, completed designs, partially completed works, and some of Hermon's most treasured works -- either in picture form or the original castings." It would only make sense for the artist to retain a casting of what he believed would be the finished quarter dollar design.

It is thought that this bronze cast was among the artifacts recovered from MacNeil's studio after the sculptor's passing in 1947, by John A. Coughlin, a neighbor and professional illustrator. Coughlin is also credited with the preservation of several flying eagle sketches for the reverse of the quarter, later showcased in the Newman Money Museum, as well as MacNeil scrapbooks and letters preserved in the Smithsonian.

This cast, along with a similar bronze cast of a proposed reverse design, first came to light for collectors in 2008, when offered consecutively in Stack's Minot Collection sale, after reportedly being found at a garage sale in 2001. It appears plated in a light metal, possibly a nickel alloy, as noted by Burdette. The surface preservation is exceptional, with uniform silvery-bronze color and satin luster. For the Standing Liberty quarter specialist, about the only thing more exciting than having a chance to admire MacNeil's intended obverse design, is having a chance to acquire the original bronze casting. This piece is plated in Burdette's Renaissance of American Coinage, 1916-1921 (2005), and Q. David Bowers' Guide Book (2015).

Ex: Possibly salvaged from Hermon MacNeil's studio by John A. Coughlin, circa 1948; acquired from a garage sale (2001); Minot Collection (Stack's, 5/2008), lot 1378, which realized $120,750; Rarities Night ANA (Stack's/Bowers, 8/2012), lot 11361; Rarities Night Baltimore (Stack's/Bowers, 11/2012), lot 3106.

Apparently John Thill was wrong and there is another pattern SLQ which sold for $193,875 in August 2012 at the Philadelphia ANA. Obverse is similar to the adopted design but the reverse is different.




Extraordinary Museum Rarity 1916 Judd-1988 Pattern Standing Liberty quarter by MacNeil
The Only Known Example in Collectors Hands
1916 Pattern Standing Liberty quarter. Judd-1988 (Judd-1796a), Pollock-2048. Rarity-8. Silver. Reeded Edge. Proof-50 (PCGS).

The obverse is very similar to the designs as adapted except for a couple of important changes, the first is the treatment of the olive branch in Liberty's hand, which is larger and has additional leaves that cross above the base of the L(IBERTY), there is no M initial of MacNeil near the date either. For the reverse it is indeed similar to the adopted design but there are two large and long olive branches flanking the eagle, each tied with a fancy ribbon, these were replaced by stars on the adopted design. In addition, the eagle is placed higher in the field somewhat crowding the legends above. Minor repunching is seen on the 6, with the date on the raised platform that later caused design revisions in 1925, as the digits were prone to wearing away. This concept pattern design is believed to have been struck May 23 and June 24, 1916, with just three examples made, two of which are in the Smithsonian Institution in the National Numismatic Collection. Furthermore the surfaces are reflective despite very limited wear, and this is one of the only Proof Standing Liberty quarters that can be obtained by collectors, as no regular issue Proofs were made during the years this series was coined. This concept is the first design struck as a coin of MacNeil's innovative work.

While the changes from the adopted design may not be considered significant, they indeed show the evolution of the concept into coinage form. While World War I raged on in Europe, America was on the sidelines for the time being. Perhaps this was the reason for the attention to detail on the obverse with the enlarged and more complex olive branch--the universal symbol of peace which partially covered the L of LIBERTY. Again the size and stature of the olive branches on the reverse is telling, these two large and intricate extend the full length of the available space between the legends, and their paired leaves and paired olives march up the side of the coin demanding attention, while the elegant ribbon bow flutters in the unseen breeze below the flying eagle. Clearly these branches tell of the desire for peace at a time of World War. Consider too the placement of Liberty's shield, draped and nearly hidden away is her shield of protection, and notably lacking in MacNeil's design is the use of the symbols of war, such as arrows or fasces. This no doubt had some political fallout as America was on the verge of joining the overseas War and did so in 1917 soon after MacNeil's new quarter design entered circulation. Political fallout indeed, Liberty was hardly dressed for war with her drapery exposing her breast and her appearance that of a goddess coming in from the garden. After their initial release these quarters came under the watchful eye of the Suppressors of Vice (the Comstockers) organization which complained about the obscene exposed breast on Liberty. In response, Liberty's breast was not only covered but she suited up in medieval chain mail and was ready to march off to join the rest of the world in their European battles.

The surfaces are generally clean although there are a couple of minor scratches on Liberty's left knee and another in the wall area, mentioned for accuracy. The mirror surfaces are generally intact, and the toning ranges from light silver to tawny-gold in areas. This pattern was likely in the designer's family or someone high up in the Philadelphia Mint, and kept as a keepsake, likely unprotected and frequently admired as it shows evidence of casual handling, as opposed to circulation. It first appeared at auction in the Palace Collections of Egypt of King Farouk in 1954, then in the Abe Kosoff Collection by our (Bowers and Merena) firm, November 1985, then to the Jay Cline Collection sold by Superior in 1990. Its historical significance cannot be overstated and its unique status in collectors hands elevates this rarity to the ultimate level as unique numismatic art.

The coinage of the United States underwent a major renaissance early in the 20th Century. President Theodore Roosevelt started the ball rolling with desire to update the Liberty or Coronet design used on gold coinage since the late 1830s, virtually unchanged for over three generations. The first major change took place in late 1907 with the adoption of the Saint-Gaudens Double eagle and Eagle designs, then came the new revolutionary incuse designs by Bela Lyon Pratt for the Indian half eagle and Indian quarter eagle in 1908. Next came the Lincoln Cent in 1909, which replaced the still popular Indian cent of that year. In 1913 the Buffalo nickel was born, continuing the theme of Native Americans depicted on our coins, as they were such an important part of our nations history. Coinage designs had a statutory minimum of 25 years between changes, and the designs of Charles E. Barber, Mint Engraver were not due for replacement until 1917 at the earliest. Barber's continued stature and employment at the Mint was not about to be overlooked. He was understandably proud of his designs on the dime, quarter and half dollar. Nevertheless, the populist tide was turning and once again outside artists were brought in to submit potential new coin designs to replace those of Barber. Adolph Weinman won the competition for the new Mercury dime and Walking Liberty half dollar, both launched in 1916 after coinage of the Barber dime and half dollar ended. For the new quarter design Hermon A. MacNeil submitted his stylized concept for the quarter dollar, and this coin was the first concept issued in coin form that was struck by dies. A few years later in 1921, the Peace silver dollar was adopted after a final flurry of Morgan dollars that were also struck in 1921. This completes the coinage changes of this period of great renaissance and artistic designs that went into circulation.
PCGS# 62287.

Provenance: Obviously from someone well connected at the Mint or from MacNeil's family; King Farouk, Palace Collections of Egypt, Sotheby's, February 24 to March 6, 1954; Abe Kosoff Collection, our (Bowers and Merena) auction, November 1985, lot 1131; Jay Cline Collection, Superior, October 1990, lot 3561; sold privately since that time.

PCGS Population: 1; none finer, no others outside the Smithsonian known.

numismatic_student, I will guess bust minus chest, convert to alphabet, equals cup size.

There is more than one point of view. I think the outcry was not from the public in large numbers, but smaller interest groups did raise indecency issues to the Treasury.

See wikipedia for links to sources:
https://en.wikipedia.org/wiki/Stand...Modification

The redesign of the obverse has led to an enduring myth that the breast was covered up out of prudishness, or in response to public outcry. Breen stated that "through their Society for the Suppression of Vice, the guardians of prudery at once began exerting political pressure on the Treasury Department to revoke authorization for these 'immoral' coins".[44] Ron Guth and Jeff Garrett, in their book on US coins by type, aver that the covering up of Liberty was "a change never authorized by MacNeil".[45] Numismatic historian David Lange concedes that there is no evidence of outcry from the public, but suggests that the decision to change the coin was "more likely prompted by objections from the Treasury Department".[46] Numismatist Ray Young, in his 1979 article in Coins Magazine about the quarter, suggested that the redesign "came from the symbolism. If Liberty was going to stand up to her foes, she should do so fully-protected—not 'naked to her enemies.' Thus the war probably had much more to do with the change than any alleged 'public indignation.' "[47]

Re: the measurements... "Chest" is measured higher on the body than "bust". "Chest" gives a good description of bone structure/general body proportions (when taken with the other measurements), while "bust" adds the contributing factor of specifically the breasts. Both are helpful when making dresses, for example, to ensure a better fit overall.