1899 BARBER PATTERN for PUERTO RICO 60 cent PATRON Silver Peso 1/200 Made Morgan

Description

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NEVER BEFORE SEEN
BARBER'S 1899 PAT'TERN
FOR A PUERTO RICO
60 CENT SILVER PESO
FOLLOWING ORIGINAL SKETCHES
AT THE SMITHSONIAN INSTITUTE
WASHINGTON D.C.
PATRON BARBER PARA PUERTO RICO
DE DIBUJOS, SOMETIDOS PARA UN
PESO PROVINCIAL EQUIVALENTE
A 60c MONEDA AMERICANA
FOLLOWING STYLE
OF ORIGINAL DRAWINGS
OF A PIECE OF WHICH
YOU WILL NEVER SEE
A REAL
ONE BECAUSE IT WAS NEVER MADE
FACT: I AM YOU ONLY REAL CHANCE FOR
YOU
TO GET
THE CLOSEST ON EARTH,
BUY IT IS
STILL IN YOUR REACH
.
CHARLES E. BARBER
Born: 1840 England
Died: 1917 United States
U.S. Mint's 6th Chief Engraver
CONMEMORANDO LOS 100 ANIVERSARIO DE SU PATRON  1899 - 2009
ESPAÑOL:
! SALUDOS !
NOS SENTIMOS ORGULLOSOS DE OFRECERLES ESTA PIEZA, BASADA EN DIBUJOS PARA UN PATRON AMERICANO A UTILIZARSE EN PUERTO RICO. TAN IMPACTANTE FUE EL HALLAZGO DE LOS DIBUJOS DE ESTA PIEZA EN EL 2007, QUE LA SOCIEDAD NUMISMATICA DE PUERTO RICO, EN SU REVISTA NUMIEXPO 2007 LE DEDICO 13 PAGINAS AL EXHAUSTIVO ESTUDIO DE ESTE ACONTECIMIENTO NUMISMATICO, INCLUYENDO EL MOSTRARLA Y MENCIONARLA EN LA PORTADA DE DICHA REVISTA ANUAL, DE DONDE SALEN PARTE DE LAS LAMINAS AQUI PRESENTADAS.
TRANSFONDO HISTORICO DE ESTE PATRON:
A CONSECUENCIA DE LA GUERRA HISPANO-AMERICANA DE 1898, LOS ESTADOS UNIDOS SE ANEXA PUERTO RICO. INMEDIATAMENTE SE DILUCIDA EN EL CONGRESO UNA SERIE DE DISCUSIONES SOBRE LA ADOPCION DE METODOS EFECTIVOS QUE AYUDEN A ENCAMINAR PUERTO RICO A TRANSICION RAPIDA Y SENCILLA HACIA EL SISTEMA ECONOMICO AMERICANO. EL PROBLEMA ES DE COMO HACER UNA TRANSICION DEL PESO PROVINCIAL PUERTORRIQUEÑO AL DOLAR NORTEAMERICANO, DEBIDO A QUE EL PESO PUERTORRIQUEÑO, COMO UNIDAD DE USO ESTRICTAMENTE LOCAL, NO ESTABA ATADO AL SISTEMA MONETARIO ESPAÑOL
. LA PESETA ESPAÑOLA BASABA SU VALOR ASIGNADO  CON SU EQUIVALENTE EN ORO, MIENTRAS QUE EL GOBIERNO ESPAÑOL LE ASIGNABA AL PESO LOCAL UN VALOR "ARTIFICIAL". EL VALOR "REAL" DEL PESO BORICUA ESTABA LIGADO AL VALOR METALICO DE LA PLATA EN EL MERCADO INTERNACIONAL. POR EJEMPLO SI UN BORICUA QUISIESE COMPRAR UNA MAQUINA DE MOLER CAFE A UN ALEMAN, ESTE TENIA QUE CONVERTIR PESOS PROVINCIALES A PESETAS ESPAÑOLAS, MUCHAS VECES PERDIENDO HASTA UN 20% EN DICHA TRANSACCION.
TRAS LA INVACION AMERICANA, UNA DE LAS IDEAS PLANTEADAS EN EL CONGRESO ES MANTENER LO QUE YA HAY EN EL TERRITORIO, AL HACER UN "PESO DE TRANSICION" CON VALOR DUAL, SIENDO 1 PESO = 60 CENTAVOS AMERICANOS (VALOR DEL CONTENIDO DE LA MONEDA EN PLATA. RECUERDESE QUE ESTADOS UNIDOS TAMBIEN ESTABA LIGADO AL PATRON ORO) ESTE SISTEMA CLARIFICABA CUALQUIER INTERCAMBIO CON LOS ESTADOS UNIDOS, PERO MANTENIENDO LA ECONOMIA LOCAL INTACTA. SE LE PIDE AL SECRETARIO DEL TESORO QUE PROVEA ALTERNATIVAS, CON LO QUE AL DIRECTOR DE LA CASA DE MONEDA SE LE ORDENA QUE PREPARE IN INFORME QUE INCLUYA BOCETOS DE LA PROYECTADA MONEDA. ESTE CONFIERE A SUS 2 MEJORES ARTISTAS, CHARLES E. BARBER, Y GEORGE T. MORGAN, HACER DIBUJOS. CADA UNO CREA SU PROPUESTA.
AQUI OFRESCO EL DISEÑO PRODUCIDO POR CHARLES BARBER
. ( TENGO TAMBIEN EL DISEÑO MORGAN DISPONIBLE)
SIN EMBARGO, EL CONGRESO, DOMINADO POR ANEXIONISTAS, VEN COMO INUTIL HACER UNA MONEDA LOCAL PARA UN TERRITORIO QUE VEN YA COMO PARTE INTEGRAL DE SU TERRITORIO NACIONAL, CON LO QUE MATAN LE PLAN DE LA MONEDA DUAL. ASI, EN 1902 SE ORDENA EL CANJE DE PESOS PROVINCIALES A DOLARES A RAZON DE 63 CENTAVOS DE DOLAR  POR CADA PESO.
BIOGRAFIA DE CHARLES E. BARBER:
Charles E. Barber, nació en Londres, Inglaterra en 1840. En 1852 su familia se muda a los Estados Unidos, donde su padre, grabador, ocupa una posición en la fábrica de moneda, de la que se hace su 5to director en 1869. Una vez director, Barber padre contrata a Barber hijo como asistente. Charles se hace 6to Grabador en Jefe de la Casa de Moneda Americana, asume dicha posición una vez su padre muere, en 1879. Se dice que Barber hijo tenía muchas conecciones políticas en Washington, las que le aseguraron la super bien remunerada posición que su padre ya ocupaba, en detrimento de George T. Morgan, otro inglés, que sin embargo, no sólo se había ganado la admiración y entera confianza de Barber padre, sino que para muchos artistas, Morgan era la persona que realmente se merecía la posición, no tan solo por su larga experiencia y dedicación, sino por la altísima calidad de sus grabados. De esto se dice mucho, a tal sentido que muchos bromeaban de que los grabados de Barber hijo siempre fueron de segunda clase, luego de los de Morgan.  A Charles E. Barber se le acredita el vellón Liberty V Nickel de 1883, y su serie de 10 centavos, pesetas y medio pesos que llevan su nombre, y que sin embargo nunca fueron del todo populares. Entre otras piezas se halla la moneda Stella de 4 dólares en oro, un intento fallido por crear una pieza de oro canjeable en Europa y  el resto del mundo por monedas de 20 Francos Franceses y Suizos de similar tamaño. En adición, Barber trabajó las monedas Hawaianas de 1883, la peseta Isabela y el medio peso de Cristobal Colón, ambos para la Exposición Colombina de 1892-93, el dólar de Lafayette de 1902, y varias otras monedas commemorativas, además de infinidad de medallas, mucho de lo cual, sin embargo está lleno de rumores de plagiarismo, o copia y robo de diseños, y falsa atribución de diseños hechos por asistentes suyos, en especial Morgan. Aparentemente tuvo injerencia en la fabricación de patrones y/o monedas para Cuba y Venezuela. Su posición como jefe de la fábrica de monedas, sin embargo, llega a su fin práctico con la llegada al poder del Presidente Theodore Roosevelt, archienemigo de Barber, quien además de burlarse de sus creaciónes como insípidas y anti americanas, contrata un sinnúmero de artistas del pais como del extranjero para rediseñar todas las monedas de oro, (y eventualmente todas las de plata) sin importarle un bledo lo que Barber creyese al respecto. A su muerte en 1917 Morgan le sustituye. Entre los atributos de Barber está el haber reunido una increíble coleccion de sobre 200 patrones, algunos de los cuales desaparecieron tras su muerte, probablemente vendidos por sus familiares, y de los que sólo se sabe gracias a sus apuntes.
ESPECIFICACIONES DEL PATRON DE PESO BARBER:
ESTA MEDALLA BASADA EN EL PATRON PARA UNA MONEDA DE PUERTO RICO DE UN PESO DE 60 CENTAVOS CONSISTE EN UNA PIEZA DE 38 MM DE DIAMETRO (1.5"), GROSOR DE 2 MM, Y PESO DE 26.4 GRAMOS. ES HECHA DE ALEACION EN BRONCE CON TERMINACION EN PLATA PURA. VIENE ENCAPSULADA PARA PROTEGERLA CONTRA RAYAZOS. TIENE TERMINACION "FLOR DE CUÑO" (PRUEBA) Y POSEE EL BORDE RANURADO. SU ANVERSO TIENE UNA EFIGIE DE CRISTOBAL COLOR, MUY SIMILAR A LA YA UTILIZADA EN LOS MEDIO PESOS DE 1892 & 93 PARA LA EXPOSICION COLOMBINA DE CHICAGO , MIRANDO HACIA LA DERECHA, RODEADA POR LA FRASE EN INGLES "UNITED STATES OF AMERICA" Y EL AÑO DEL PATRON: 1899. SU REVERSO MUESTRA UNA GUIRNALDA DE HOJAS SOBRE LA CUAL, DEBAJO, SE YERGUE UN AGUILA CALVA SOSTENIENDO FLECHAS Y HOJAS DE OLIVO, SIMBOLIZANDO LA CAPACIDAD AMERICANA DE DECLARAR LA PAZ O LA GUERRA. TRAS DEL AGUILA, SE YERGUE UN ESCUDO AMERICANO, SIMILAR AL UTILIZADO EN LAS MONEDAS DE 2 CENTAVOS Y LOS SHIELD NIQUELS DE 5, SOBRE LA CUAL DESCANZA UN BUSTO DE GEORGE WASHINGTON, PADRE FUNDADOR DE ESTADOS UNIDOS. A ESTA COMPOSICION LE RODEA LAS FRASES "ISLA DE PUERTO RICO" Y "1 PESO = 60 CENTS." LA TIRADA TOTAL CONSTA DE 200 PIEZAS, LO CUAL, JUNTO A LA MARCA DEL FABRICANTE ( PRM) APARECE DETALLADO BAJO EL CUELLO DE CRISTOBAL COLON EN EL ANVERSO (VER FOTOS).
ATENCION:
ESTA MEDALLA ESTA BASADA EN BOCETOS ORIGINALES DE UN PATRON PARA PUERTO RICO, DIBUJADO  POR CHARLES E. BARBER, EN 1899. LAS REFERENCIAS Y MATERIAL PARA LA FABRICACION DE ESTA PIEZA HAN SIDO TOMADAS EN SU TOTALIDAD DE FUENTES DE ACCESO PUBLICO. LOS DIBUJOS ORIGINALES DE ESTA PIEZA SE HALLAN EL EL MUSEO NACIONAL DE HISTORIA AMERICANA, EL CUAL FORMA PARTE DEL SISTEMA DE MUSEOS DEL SMITHSONIAN INSTITUTE, EL CUAL ES UNA ENTIDAD PUBLICA. ESTA ES UNA TIRADA PRIVADA Y NO ES UNA MONEDA REAL DE CIRCULACION. ESTA HECHA CON EL UNICO OBJETIVO DE PROVEER AL PUBLICO AMANTE DE LA HISTORIA NUMISMATICA DE UNA IDEA DE COMO PUDO VERSE DICHO DIBUJO DE HABER SIDO UNA MONEDA.
NO ES UNA REPRODUCCION DE MONEDA ALGUNA JAMAS HECHA, NI ANTES NI DESPUES. SU APARIENCIA NO TIENE SEMEJANZA NI LLEVA LOGO O FRASE ALGUNA QUE PUEDA IDENTIFICAR ERRONEAMENTE Y CREAR CONFUSION CON MONEDA CIRCULANTE ALGUNA, POR LO TANTO NO REQUIERE LLEVAR ESTAMPADA LA PALABRA "COPIA" SEGUN LOS ESTATUTOS DE LA CASA DE MONEDAS DE ESTADOS UNIDOS.
ENGLISH:
HOWDY!
HERE IS A MEDALLIC "COIN PAT'TERN" ISSUE FOR A COIN NEVER BEFORE MADE. THE RE-DISCOVERY OF CHARLES E. BARBER'S LOST SKETCHES FOR THIS PAT'TERN COIN IN 2007 WERE SO CRUCIAL FOR THE PUERTO RICAN COLLECTOR COMMUNITY, THAT THE PUERTO RICO NUMISMATIC SOCIETY DEDICATED A FULL 13 PAGES OF ITS OWN ANNUAL REVIEW, THE "NUMIEXPO 2007" MAGAZINE, TO DISCUSS IT IN DEPTH, INCLUDING FEATURING THE SKETCH ON A CORNER OF ITS COVER PAGE. SOME OF THE PICTURES SHOWN HEREIN COME FROM THIS ARTICLE.
PREVIEW:
BACK IN 1898 UNITED STATES WAGED A WAR AGAINST SPAIN IN ORDER TO AVENGE THE SINKING OF THE U.S. NAVY BATTLESHIP "MAINE" (SUPPOSEDLY HIT BY A MINE, 30 YEARS LATER CONFIRMED TO BE GASES FROM ITS OWN AMUNITION POWDER IGNITED BY A HEAT SOURCE, SAY CUBAN HEAT ON SUMMER TIME) AND TO "LIBERATE" CUBA, A TROPICAL PARADISE FULL OF AMERICAN ASSETS THAT WERE BEING SABOTAGED (DIRECTLY OR INDIRECTLY) BY BOTH THE CUBAN REBELS (TO GET AMERICANS TO REACT) AND THE SPANISH ARMY COPING WITH THOSE REBELS (TO KEEP AMERICANS FROM HELPING REBELS) AS RESULT OF THIS, AMERICAN IMPERIALISM EXPANDED BY GAINING CUBA, PHILIPPINES, GUAM, AND PUERTO RICO, FROM SPAIN.
REGARDING PUERTO RICO, CONGRESS DEBATED ON HOW TO GOVERN THE NEWLY ACQUIRED TERRITORY, PERHAPS THE MAJOR ISSUE BEING HOW TO BETTER INTEGRATE ITS ECONOMY TO THE U.S. CURRENCY AS FAST AND PAINLESS AS POSSIBLE. MANY CRAZY IDEAS CAME AND WENT, AMONG THESE CREATING A 'TRANSITIONAL" COINAGE FOR THE ISLAND.
PUERTO RICO ALREADY HAD ITS OWN LOCAL CURRENCY AND STAMP SYSTEM IN PLACE, BUT IT HAD A MAJOR FLOW: IT WAS ARTIFICIALLY SUSTAINED BY THE SPANISH MINISTRY OF FINANCE. IN PLAIN WORDS, IT WAS WORTHLESS. BECAUSE THE TERRITORIAL CURRENCY, THE "PESO PROVINCIAL" WAS NOT TIED UP TO THE SPANISH PESETA (ON THE GOLD STANDARD), PUERTO RICAN MONEY WAS WORTH IN ACCORDANCE TO THE PRICE OF SILVER ON THE INTERNATIONAL MARKET. SO ANY LOCAL WANTING TO TRADE WITH A FOREIGN ENTITY HAD TO CONVERT ITS LOCAL CURRENCY TO SPANISH CURRENCY, OFTEN LOSING UP TO 20% DURING SUCH EXCHANGE.
THE THEN DIRECTOR TO THE U.S. MINT, AFTER BEING APPROACHED ON THE ISSUE, HAD BOTH OF HIS MOST EXPERIENCED ENGRAVERS, CHARLES E. BARBER AND GEORGE MORGAN COME WITH SKETCHES OF DESIGNS FOR A TRANSITIONAL PUERTO RICAN PESO, CAPABLE OF CARRYING ITS VALUE BOTH IN LOCAL AND AMERICAN CURRENCY (ON THE GOLD STANDARD). THE COIN WAS TO BE VALUED AT A "PESO EQUALING TO 60 CENTS U.S."  THERE WAS A TOTAL OF TWO DESIGNS, ONE FULLY ACKNOWLEDGED TO BEEN MADE BY BARBER,
THE ONE I AM OFFERING HERE,
AND ONE MADE BY MORGAN,
(
ALSO AVAILABLE) NONE OF THESE SKETCHES WERE EVER MADE INTO MOLD DIES OR COINS. BEFORE THESE SKETCHES GAINED ATTENTION, CONGRESS, LEAD BY ANNEXIONISTS, WHO SAW ANOTHER COLONIAL COIN AS POINTLESS, KILLED THE IDEA. LOCALS HELD TO THEIR "PESO" FOR 4 MORE YEARS, UNTIL 1902, WHEN IT WERE EXCHANGED FOR AMERICAN CURRENCY AT THE RATE OF 63 CENTS TO A PESO.
BIOGRAPHY (FROM U.S. PAT'TERNS.COM):
Charles Edward. Barber, who became the sixth engraver at the Philadelphia Mint in 1879, following the death of his father, Chief Engraver William Barber, remained in the post until his death on February 18, 1917. Apart from the pat
'
tern series, Charles Barber is best known today for his 1883 Liberty Head nickel and the 1892 dime, quarter, and half dollar. He also designed certain commemorative coins and medals. In the present arena of pat'tern discussion, certain dies of 1879 are sometimes ascribed to his hand, but they are not signed, and at present there is no complete delineation of who did what among the various dies of
this year as well as others through 1880, although the Flowing Hair Stella and the various
Washlady dies are attributed to him. With some exceptions, it is evident that Charles
Barber's work was second in artistic rank to that of his assistant, George T. Morgan.
Charles Barber was born in London in 1840, and in 1852 came to America with his family. His father, an engraver, gained a position with the Philadelphia Mint and in January 1869, following the death on New Year's day of James B. Longacre, became chief engraver. In the best Mint tradition of nepotism, Chief Engraver Barber signed Charles as an assistant, although it seems likely that the younger Barber's talents in this area were modest at best. In 1877 his wages were per day. In March 1875, Charles Barber married Martha E. Jones. The union produced one child, daughter Edith. Martha died in 1898, and on December 3, 1902, widower Barber married Caroline Gaston.
After his father's death on August 31, 1879, there was an interregnum in which George T. Morgan was being considered for the chief engravership. However, the position passed from father to son, and a few months later Charles E. Barber was named to the post. During his tenure he designed the 1883 Hawaiian silver coinage and certain coins for Cuba and Venezuela. Among commemorative coin dies from his hand are the obverse of the 1892 Columbian half dollar (from models prepared by Olin Levi Warner), both dies for the 1893 Isabella quarter (from sketches by Kenyon Cox, of Brownies fame), the 1900 Lafayette dollar (numismatic historian Arlie Slabaugh has observed that Barber's work is virtually certainly a plagiarism of the obverse of the Yorktown Centennial medal of 1881, engraved by Peter L. Krider), and others. The complexity of sorting out who did what with certain dies is illustrated by the obverse for the 1903 Louisiana Purchase Exposition commemorative gold dollar; Charles Barber is given as the author of the die, but George T. Morgan assisted, and the portrait was copied from an early 19th-century die by Chief Engraver John Reich, who in turn modeled it from a bust by Houdon.
Not even a brief biography of Barber-such as this is-would be complete without mentioning his position as the "enemy" in the "private war" President Theodore Roosevelt had with the Mint in 1905-1907, when the chief executive sought to have a non-Mint employee, famous sculptor Augustus Saint-Gaudens, prepare new designs for all American coins from the cent to the gold piece, as he felt that, in particular, Barber's current designs for the silver coins were insipid. The observation was hardly new, and in 1895 a contributor to The Numismatist commented: "All the sculptors and artists in the United States have severely criticized the existing coinage. The designs of European coins, they declare, are infinitely superior." The story of Roosevelt's interest, which has been told at length many times in our catalogues and elsewhere, resulted in the creation of the memorable MCMVII High Relief , over Barber's strong objections.
His obituary in The Numismatist, April 1917, noted that "the latest coins designed by the younger Mr. Barber were the Panama-Pacific .50 gold and the 50-cent silver pieces. Mr. Barber cut the dies for a number of the pat'tern series, and is said to have possessed a splendid collection of these pieces.
Government offices
Preceded by
William Barber
(FATHER)
Chief Engraver of the U.S. Mint
1879 - 1917
Succeeded by
George T. Morgan
COIN PAT'TERN ISSUE SPECIFICS:
IT MEASURES ABOUT 38 MM (1.5 INCHES), WEIGHTS ABOUT 26.4 GRAMS. IT HAS A THICKNESS OF ABOUT 2 MM, AND ITS FINISH IS MADE OF PURE SILVER OVER  A BRONZE ALLOY.
IT HAS A PROOF LIKE FINISH AND HAS REEDED EDGES, AND COMES IN A PLASTIC CAPSULE FOR PROTECTION AGAINST SCRATCHES. ITS OBVERSE, ATTRIBUTED TO ART BY CHARLES BARBER, IT SHOWS AN IMAGE OF CHRISTOPHER COLUMBUS (EXTREMELY SIMILAR TO THE DESIGN FEATURED IN THE COLUMBIAN EXPOSITION HALF DOLLARS OF 1892 & 93) WITH THE WORDS "UNITED STATES OF AMERICA" AND THE DATE "1899". ITS REVERSE SHOWS AN EXTREMELY AMERICAN PATRIOTIC ENSEMBLE: A WREATH OF LEAVES, WITH AN EAGLE HOLDING THE ARROWS AND THE OLIVE BRANCH, SYMBOLS OF THE UNITED STATES CAPABILITY TO WAGE WAR OR DECLARE PEACE. BEHIND THE EAGLE STANDS A SHIELD, SIMILAR TO THE ONE APPEARING IN THE 2 CENTS AND SHIELD NICKEL PIECES OF BACK THEN, ABOVE WHICH IS A BUST OF GEORGE WASHINGTON, THE FATHER OF THE COUNTRY. CIRCLING BOTH FIGURES ARE THE PHRASES "ISLA DE PUERTO RICO" AND "(WORTH) 1 PESO = 60 CENTS (U.S.)" THIS MEDAL IS MINTMARKED "PRM". IT HAS A TOTAL MINTAGE OF 200 PIECES (AS NOTED ON THE OBVERSE, JUST BELOW THE HEAD FIGURE, PUNCHED DOWN ON THE COAT). SAME SIZE AS A REGULAR MORGAN DOLLAR (SEE PHOTOS).
NOTICE:
THIS MEDALLIC ISSUE IS BASED ON ORIGINAL SKETCHES FOR A PAT'TERN COIN, AS DRAWN BY CHARLES BARBER, IN 1899. REFERENCES AND MATERIAL FOR THE MAKING OF THIS ITEM HAVE BEEN TAKEN FROM TOTALLY PUBLIC SOURCES. THE SKETCHES ARE CURRENTLY UNDER PUBLIC CUSTODY AT THE NATIONAL MUSEUM OF AMERICAN HISTORY, PART OF THE SMITHSONIAN INSTITUTION SYSTEM OF MUSEUMS, AT WASHINGTON D.C. THIS MEDAL IS A PRIVATE ISSUE. IT IS NOT LEGAL TENDER AND ITS PURPOSE IS INTENDED TO BE USED AS HISTORICAL KEEPSAKE, MEMORABILIA FOR COLLECTORS OF PUERTO RICAN NUMISMATICS AND EXONUMIA, AND FOR COLLECTORS OF AMERICAN COINAGE WHO LOVE COINS ENGRAVED BY CHARLES BARBER.  IT IS NOT A REPRODUCTION OF ANY PREVIOUSLY EXISTING COIN OR PAT'TERN. IT DOES NOT BEAR RESEMBLANCE TO ANY OTHER EXISTING CIRCULATING COIN, BEFORE OR AFTER, NOR BEARS A KNOWN DENOMINATION, NOR ANY OF THE GOVERNMENT TRADEMARKED LOGOS SUCH AS "IN GOD WE TRUST", "LIBERTY" OR "E PLURIBUS UNUM" SO, IN ACCORDANCE TO THE RULES OF THE U.S. MINT, IT DOES NOT NEED TO BE PUNCHED THE WORD "COPY" ON IT.
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