The June 4, 2000, Dr. Jon Kardatzke Collection Parts II & III, Sale 5
Lot 26 
1783 Washington Token. Copper restrike, engrailed edge. PCGS graded Proof 65 Red and Brown.
Lot 27
1783 Washington Token. "UNITY STATES." EF-40. A long line-like planchet lamination on the lower obverse and striations at NGTON and throughout the legends, the latter being much heavier. Dark chocolate brown, the obverse slightly porous, but handsome overall. It is well to remember that these flaws, while they take something away from the appearance of the coin, are all mint-caused, not damage caused by poor handling. The eye appeal here is unusually nice, despite the mint's shortcomings.
Lot 28
(c.1783) Washington Token Double Head Cent. VF-20. Five points sharper but cleaned long ago and nicely retoned to a medium dark steel and tan color. On one side is an edge dent and some well hidden small nicks.
Lot 29 
1791 Washington Token. Liverpool Halfpenny. PCGS graded EF-40. Dark grayish brown, but no problems. A Conder token struck in England.
Lot 30 
1793 Washington Token Halfpenny. Ship reverse, lettered edge. PCGS graded AU-58. Dark brown and pleasing save for a huge cut into the reverse, top center, not affecting the ship's sails, thank God! Unfortunately, in the slab, the edge is unreadable.
Lot 31
1799 Washington Funeral Medal. Pewter. VG-8. A companion piece for the silver Washington Funeral Medal in this sale. Sharpness of VF-30 but through O of GLORY is a shallow gouge and on both sides are handling marks in the form of tiny nicks and thin scratches.
Lot 32
1799 Washington Funeral Medal. Silver. G-5. A clean example of this popular medal with a portion of the wreath and the tops of some letters on the reverse worn smooth.
Lot 33 
1787 Fugio Cent. Pointed rays, no cinquefoils, "UNITED STATES." PCGS graded EF-40. Lots of detail on a poor planchet. Light brown.
Lot 34 
1792 Pattern Half Disme, Judd-7, Pollack-7, rarity 3. NGC graded AU-50. Always popular with collectors, this storied issue was struck on July 13, 1792 at the direction of Adam Eckfeldt and other workmen hired for the Mint. Almost certainly the letter punches were by Jacob Bay, of Germantown, Pennsylvania who worked for the Mint until his death in one of the yellow fever epidemics a few years later. The striking was done in John Harper's cellar, Sixth and Cherry Streets, a few blocks from the yet to be acquired site of the Philadelphia Mint. The source of the silver has long been attributed to George Washington, and this has been confirmed by researcher Walter Breen some years ago. Surviving presidential tableware at George Washington's estate in Mt. Vernon is Sheffield plate. It is estimated that approximately $75 worth of silver was used to strike these coins, making a total about 1,500 pieces. The issue was distributed by then Secretary of State Thomas Jefferson and given out to foreign dignitaries and statesmen as examples of the first circulating coins from the United States.
Washington referred to the issue in his Annual Address of November 1792 as "a small beginning" in coinage. This was very important as coinage of silver, for centuries a royal prerogative, was understood everywhere to be an expression of national sovereignty. These half dismes obviously circulated, as many are known in lower grades. Of the 1,500 or so struck, about 200 to 250 remain today for collectors.
This particular coin is a choice light gray in color, with full device detail on the obverse. Liberty's short curls show very little wear except for the highest curls above her ear. The reverse has the usual weakness on certain letters, probably seen on most survivors, with the central parts a touch weak on the A's and M's. Minor adjustment marks are visible on the rims and at the center of both the obverse and reverse. One minor scrape is noted below the RY of INDUSTRY in the field. There is a curious thread-like line on the reverse on the right side, most likely there was a thread on the planchet when this coin was struck, and it can be seen with the aid of a glass. The usual trivial hairline scratches can be seen in the fields, but these are normal on a coin of this era and grade. An exciting example of this enormously popular coin, and the first we've offered since January 1999.
Lot 35 
1783 Libertas Americana medal. MS-60. A stunning example of this most famous medal made for America, Libertas Americana translates to "American Liberty". Designed by the American statesman Benjamin Franklin, with die work by the famed engraver Dupré and struck at the Paris Mint. On the obverse, Liberty is shown with her long tresses flowing in the wind, with her slaves cap extended high on a pole overhead, denoting her freedom from slavery (symbolizing America's freedom from George III of England). America had needed the assistance of France to defeat England during our Revolutionary War, and this medal was struck to commemorate this great event. America is symbolized by Hercules, the baby, strangling two serpents while the female warrior (France) fends off the British lion, whose embarrassment is noted by the placement of his tail between his legs.
The design was apparently copied by engravers and used for the 1793 Liberty Cap half cent and similar large cent and is of historic importance as such.
This particular medal was struck at least three times on the reverse, with slight shifting seen on the lettering and some other design elements. Now a splendid mahogany color, with a few minor handling marks on the delicate proof surfaces. Simply a superb piece of French and American history, well preserved and of immense importance to collectors.
Lot 36 
1792 Lyon Convention Medal. AU-55. This important medal was struck for the artist's reunion convention in Lyon, France in 1792. On the truncation of the lady on the obverse, the name Galle is clearly engraved. Obviously, the design was taken directly from the Dupre 1783 Libertas Americana medal which was struck to commemorate the end of our Revolutionary War and our joint victory with France over England. The obverse depicts a women with bold curls sweeping down the back of her head, with a small cap extended on a long pole behind her. Since Roman times slaves often wore caps, and during those rare times when slaves won their freedom, this was symbolized by extending their slave caps on poles for all to see. The reverse of this medal notes the convention of the artists, and is dated 1792. A splendidly engraved oak wreath encircles the reverse.
As both France and America overthrew their respective kings in the late 1700s, the slave's cap extended on a pole was emblematic of each country's freedom from kingly rule. The medal states that it was struck in the first year of the French Republic.
As France was exploding into its own revolution for the third year when this was struck, precious and base metals were seldom available, so this medal was made from church bells which were melted down to make the large planchets on which to strike these. Popular with collectors as this design was probably used to model our first half cents and large cents in 1793, with the cap extended on a pole lasting a few precious years before the design was changed to the Draped Bust by Gilbert Stuart.
The color ranges from dark brown to steel brown, with unmolested surfaces and a touch of rub on the upper curls of Liberty. A superb example of this very historic medal, which is seldom offered but always appreciated by numismatists who like to connect history, art and coinage.
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