FEDERAL RESERVE PAPER MONEY, 1914-1918: POWER, IDEOLOGY AND ART

FEDERAL RESERVE PAPER MONEY, 1914-1918: POWER, IDEOLOGY AND ART Rafael Company

IN MEMORIAM Richard G. Doty (1942-2013)

SOME INTRODUCTORY REMARKS

A. SOME INTRODUCTORY REMARKS

BIBLIOGRAPHY (BOOKS IN ENGLISH AND FRENCH)

ALBERTINI, Jean-Marie, Véronique LECOMTE-COLLIN & Bruno COLLIN (2000): Histoire de la monnaie. Du troc à l’euro. Paris: Sélection du Reader’s Digest. ALLEN, Larry (2009): The Encyclopedia of Money. Second Edition. Santa Barbara, California / Denver, Colorado / Oxford, England: ABC-CLIO. BALL, Douglas B. (1995): «The influence of the Bank of England and the Scottish banks on American banking, 1781‒1913», in HEWITT, Virginia (ed.): The Banker’s Art. Studies in Paper Money. London: British Museum Press, p. 20-27. BOURGET, Jean, Arcangelo FIGLIUZZI & Yves ZENOU (2002): Monnaies et systèmes monétaires. 9e édition. Rosny: Bréal. BOURGEY, Sabine (dir. col.) (2004): «Billets de la Réserve fédérale», in Les monnaies du monde. Des pièces de l’Antiquité jusqu’à l’euro (Le Grand Atlas). Issy-les-Moulineaux: Éditions Glénat / Éditions Atlas, p. 47-50. BOWERS, Q. David (2009): Whitman Encyclopedia of U.S. Paper Money. Atlanta, Georgia: Whitman Publishing. BOWERS, Q. David & David M. SUNDMAN (2006): 100 Greatest American Currency Notes. The stories behind the most fascinating colonial, Confederate, federal, obsolete, and private American notes. Atlanta, Georgia: Whitman Publishing. BRION, René & Jean-Louis MOREAU (2001): Le billet dans tous ses Etats. Du premier papier-monnaie à l’euro. Brussels: Fonds Mercator.

CUJAH, George S. & William BRANDIMORE (2010): Standard Catalog of United States Paper Money. 29th Edition. Iola, Wisconsin: Krause Publications. DAVIES, Glyn (2000): History of Money. From Ancient Times to the Present Day. Cardiff: University of Wales Press. DOTY, Ricard G. (1982): The Macmillan Encyclopedic Dictionary of Numismatics. New York: Macmillan Publishing. ― (1995): «Surviving images, forgotten peoples: Native Americans, women, and African Americans on United States obsolete banknotes», in HEWITT, Virginia (ed.): The Banker’s Art. Studies in Paper Money. London: British Museum Press, p. 118-131. ― (2008): America’s Money, America’s Story. A Chronicle of American Numismatic History. Second Edition. Atlanta, Georgia: Whitman Publishing. EAGLETON, Catherine & Jonathan WILLIAMS, with CRIBB, Joe & Elizabeth ERRINGTON (eds.) (2007): Money. A History (Second edition). London: The British Museum Press. FRIEDBERG, Arthur L. & Ira S. FRIEDBERG (2013): Paper Money of the United States. A complete illustrated guide with valuations. Twentieth Edition. Willinston, Vermont: Coin & Currency Institute. GARRET, Jeff & John GUTH (2005): 100 Greatest U.S. Coins. Second Edition. Atlanta, Georgia: Whitman Publishing.

HEWITT, Virginia (1994): Beauty and the Banknote. Images of Women on Paper Money. London: British Museum Press. ― (1995): «Soft images, hard currency: the portrayal of women on paper money», in HEWITT, Virginia (ed.): The Banker’s Art. Studies in Paper Money. London: British Museum Press, p. 156-165. KRANISTER, W[illibald]. (1989): «United States of America», in The Moneymakers International. Cambridge, England: Black Bear Publishing, p. 292-323. LANGE, David W. (2005): History of the United States Mint and Its Coinage. Atlanta, Georgia: Whitman Publishing (+ American Numismatic Association). MARTER, Joan (ed.) (2011): The Grove Encyclopedia of American Art, Volume 1. New York: Oxford University Press. MATHER, Frank Jewett (Jr.) (1919): «Kenyon Cox», in «The Field of Art», in Scribner’s Magazine 6, Vol. LXV, June 1919, p. 765-768. MORAN, Michael F. (2008): Striking Change. The Great Artistic Collaboration of Theodore Roosevelt and Augustus Saint-Gaudens. Atlanta, Georgia: Whitman Publishing. MORGAN, H. Wayne (1989): Keepers of Culture. The Art-Thought of Kenyon Cox, Royal Cortissoz, and Frank Jewett Mather, Jr.. Kent, Ohio / London, England: The Kent State University Press. ― (1994): Kenyon Cox 1856-1919. A Life in American Art. Kent, Ohio / London, England: The Kent State University Press. ― (ed.) (1995): An Artist of the American Renaissance. The Letters of Kenyon Cox, 1883-1919. Kent, Ohio / London, England: The Kent State University Press.

MUDD, Douglas (2006): All the Money of the World. The Art and History of Paper Money and Coins from Antiquity to the 21st Century. New York: Collins. PATTERSON, Richard S. & Richardson DOUGALL (1976, released 1978): The Eagle and the Shield. A History of the Great Seal of the United States. Washington: Department of State (Office of the Historian, Bureau of Public Affairs) / under the auspices of the American Revolution Bicentennial Administration.

SÉDILLOT, René (1973): «Les batailles du dollar», inOnze monnaies plus deux. Deux mille ans d’aventure. Paris: Hachette, p. 57-82. STAHLBERG, Rainer with Colin R. BRUCE II (2002): Standard Catalog of Stocks & Bonds. Iola, Wisconsin: Krause Publications. STANDISH, David (2000): «Section II: United States», inThe Art of Money. The History and Design of Paper Currency from around the World. San Francisco: Chronicle Books, p. 102-142. STEPCZYNSKI, Marian (2003): Dollar (Actualité et avenir de la monnaie imperiale).Lausanne: Favre.

TOLLES, Thayer (2009): Augustus Saint-Gaudens in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art / New Haven & London: Yale University Press. VAN HOOK, Bailey (2003): The Virgin & the Dynamo. Public murals in American architecture. Athens, Ohio: Ohio University Press.

VERMEULE, Cornelius (2007): Numismatic Art in America. Aesthetics of the United States Coinage. 2nd Edition. Atlanta, Georgia: Whitman Publishing.

Images from the National Numismatic Collection at the Smithsonian Institution:

http://en.wikipedia.org/wiki/Federal_Reserve_Note http://en.wikipedia.org/wiki/Federal_Reserve_Bank_Note

BEFORE THE FED

The Federal Reserve System (also known as the Federal Reserve, and informally as the Fed), the central banking system of the United States, was created – on December 23, 1913 – largely in response to a series of financial panics, particularly a very severe crisis: the 1907 Bankers' Panic (see image).

«Les plus grandes banques newyorkaises furent sauvées in extremis de l’insolvabilité par l’intervention d’un richissime homme d’affaires, J[ohn]. Pierpont Morgan [(1837-1913)], qui leur avança les liquidités nécessaires» (Stepczynski 2003: 34).

«The days of laissez-faire, particularly for New York money men, were over and some form of central banking control inescapable and imminent. In introducing the bill for banking reform Senator Carter Glass [(1858-1946)] stated plainly that ‘Financial textbook writers in Europe have characterised our banking as “barbarous” and eminent bankers in this country have not hesitated to confess that the criticism is merited.’» (Davies 2000: 503).

THE FED

«By the time Wilson was inaugurated (on March 4, 1913), public opinion was demanding a dismantling of the money trust, or at least its containment by the federal government. One way to keep it within bounds might be by exerting a greater federal control over the sinews of the banking system, the paper money employed in its operations. Thus was born the Federal Reserve Act of [December 23,]1913, and thus, in the following year, was born a new type of currency, the Federal Reserve Note» (Doty 2008: 178).

WOODROW WILSON (1856 –1924).

28th President of the United States (March 4, 1913-March 4, 1921)

http://www.sandstead.com/images/washington/various/

«En 1913, le réseau des banques nationales créé en 1863 est coiffé par le Système fédéral de réserve. Toutes les banques doivent avoir dans leur caisse un pourcentage minimal de billets émis par la Réserve fédérale. Ce pourcentage dépend de l’importance de la ville où ces banques sont implantées. Bizarrement, la garantie la plus faible (12 % des dépots) est imposée aux banques des régions rurales qui sont les plus imprudents» (Albertini, LecomteCollin & Collin 2000: 131).

«A map of the 12 districts of the United States Federal Reserve System, with the 12 Federal Reserve Banks marked as black squares and the [present-day] 24 (total) Branches of these Federal Reserve Banks are marked as red circles. The Washington DC Headquarters is marked with a star. (Also, a 25th branch in Buffalo, NY had been closed in 2008.)». ChrisnHouston http://en.wikipedia.org/wiki/File:Federal_Reserve_Districts_Map_-_Banks_%26_Branches.png

BOSTON SAN FRANCISCO

NEW YORK KANSAS CITY

DALLAS

ST. LOUIS

PHILADELPHIA

ATLANTA

12: SAN FRANCISCO (California); 11: DALLAS (Texas); 10: KANSAS CITY (Missouri); 9: MINNEAPOLIS (Minnesota); 8: ST. LOUIS (Missouri); 7: CHICAGO (Illinois); 6: ATLANTA (Georgia); 5: RICHMOND (Virginia); 4: CLEVELAND (Ohio); 3: PHILADELPHIA (Pennsylvania); 2: NEW YORK (New York); 1: BOSTON (Massachusetts).

BOSTON SAN FRANCISCO

NEW YORK KANSAS CITY

DALLAS

ST. LOUIS

PHILADELPHIA

ATLANTA

«Let it be noted that the great majority of the Federal Reserve Banks existed in Eastern and Midwestern cities, rather faithfully following population distribution at the time; they are still there today» (Doty 2008: 179).

http://commons.wikimedia.org/wiki/File:American_gold_double-eagles_from_Hackney.jpg

«Au centre de ce système, le Bureau fédéral de réserve commande la politique monétaire des États Unis et [en 1913] veille à maintenir une réserve d’or égale à 40 % des billets émis» (Albertini, Lecomte-Collin & Collin 2000: 131). Portable Antiquities Scheme

«[...] the Federal Reserve Banks are privately owned. Private ownership helped appease [in 1913] the banking community’s arguments that knowledgeable bankers can best regulate the banking industry» [...] (Allen 2009: 140).

«Even after the passage of the Federal Reserve Act of 1913, the twelve banks of issue did not operate as a fully centralised banking institution until [Franklin Delano] Roosevelt’s economic reforms of the 1930s» (Eagleton & Williams 2007: 233). http://www.stlouisfed.org/foregone/chapter_three.cfm

«Les billets doivent toujours être remboursables en or, à la Trésorerie et aux guichets des douze Banques fédérales. A Washington, le bureau de Réserve fédérale (le Board of Governors) contrôle le fonctionnement du système : il règle le montant de l’émission, assure l’unité et la continuité de la politique monétaire, en tentant de la soustraire aux pressions et aux passions privées et publiques» (Sédillot 1973: 68).

http://home.hiwaay.net/~becraft/FRS-Adams.htm

«En 1914, le dollar est une monnaie solide. Mais c’est, comme toutes les autres monnaies mondiales à l’exclusion de la livre [French franc, German mark, Russian rouble], une monnaie dont le rôle est uniquement national» (Bourget, Figliuzzi & Zenou 2002: 73). https://www.etsy.com/es/listing/82442395/ 1914-mapa-vintage-mexico-y-estados?ref=market

http://bibliotecapersonalfagf.blogspot.com.es/2013_09_01_archive.html

http://gold.celticgold.eu/p_en/1-sovereign-edward-vii-1902-1910.html

http://www.skidmore.edu/~rginsber/go-201/worldmap1919.jpeg

THE NEW NOTES

http://fraser.stlouisfed.org/ publication-series/?id=966

«In order to furnish suitable notes for circulation as Federal reserve notes, the Secretary of the Treasury shall cause plates and dies to be engraved in the best manner to guard against counterfeits and fraudulent alterations, and shall have printed there from and numbered such quantities of such notes of the denominations of $1, $2, $5, $10, $20, $50, $100, $500, $1,000, $5,000, $10,000 as may be required to supply the Federal Reserve banks. Such notes shall be in form and tenor as directed by the Secretary of the Treasury under the provisions of this chapter and shall bear the distinctive numbers of the several Federal reserve banks through which they are issued».

http://www.law.cornell.edu/uscode/text/12/418

«“Soon after that signing Joseph E. Ralph, the Director of the Bureau of Engraving and Printing, was assigned the task of designing and producing the new Federal Reserve Notes.” During the next year, various prototype designs were produced until a standardized design was finalized in the fall of 1914».

http://www.coinlink.com/News/banknotes/1914-richmond-federalrerserve-proof-banknote-set-to-be-sold/



«The bills were “large-sized notes,” which were 3.125 by 7.4218 inches and the standard size of all U.S. currency printed between 1863 and 1928». http://www.cutimes.com/2013/05/10/the-4-major-designs-of-the-100-billslide-show

12 BANK SEALS

SEALS OF EVERY FEDERAL RESERVE BANK ON THE FEDERAL RESERVE NOTES (S. OF 1914 & S. OF 1918) OR FEDERAL RESERVE BANK NOTES (S. OF 1915 & S. OF 1918): 12-L: SAN FRANCISCO (California); 11-K: DALLAS (Texas); 10-J: KANSAS CITY (Missouri); 9-I: MINNEAPOLIS (Minnesota); 8-H: ST. LOUIS (Missouri); 7-G: CHICAGO (Illinois); 6-F: ATLANTA (Georgia); 5-F: RICHMOND (Virginia); 4-D: CLEVELAND (Ohio); 3-C: PHILADELPHIA (Pennsylvania); 2-B: NEW YORK (New York); 1-A: BOSTON (Massachusetts).

· THE FEDERAL RESERVE · ― BANK OF ―

― ST. LOUIS ― · MISSOURI ·

BANK SEAL & CODE (NUMBER-LETTER): FEDERAL RESERVE NOTES (SERIES OF 1914 & SERIES OF 1918)

ONLY BANK CODE (LETTER-NUMBER): FEDERAL RESERVE BANK NOTES (S. OF 1915 & S. OF 1918)

«The localism was more apparent than real: like their better-established competitors, the Federal Reserve Notes of 1914 and later were printed in Washington at the Bureau of Engraving and Printing [BEP], and their black faces and green backs―even with distinctive designs―were undeniably products of national government» (Doty 2008: 179-180).

THE NEW TRADITION

«[...] 1913, when the Federal Reserve was instituted, and began fulfilling its apparent mission to make United States currency as boring and dreary-looking as possible―of which more shortly» (Standish 2000: 133).

«[...] 1913, when the Federal Reserve was instituted, and began fulfilling its apparent mission to make United States currency as boring and dreary-looking as possible―of which more shortly» (Standish 2000: 133).

«One reason why the Bank of England kept its designs simple and unchanging may have been because a master currency cannot frequently change its appearance without giving an impression of instability. Similarly, the United States currency has not changed much since 1928. [...]» (Ball 1995: 26).



2 TREASURY SEALS

RED SEAL

SERIES OF 1914

FEDERAL RESERVE NOTES «After World War I commenced in Europe in August 1914, the BEP [Bureau of Engraving and Printing] could not import red ink, so it switched to blue after less than a year of printing Red Seals» (Bowers 2009: 253a).

RED SEAL

SERIES OF 1914

FEDERAL RESERVE NOTES

SERIES OF 1914 & 1918

FEDERAL RESERVE NOTES FEDERAL RESERVE BANK NOTES SERIES OF 1915 & 1918

BLUE SEAL

RED SEAL

SERIES OF 1914

FEDERAL RESERVE NOTES SINCE 1969, IN ENGLISH UNTIL S. OF 1963, LEGEND IN LATIN LANG.

SERIES OF 1914 & 1918

FEDERAL RESERVE NOTES FEDERAL RESERVE BANK NOTES SERIES OF 1915 & 1918

BLUE SEAL

― THESAUR[US] * AMER.[ICÆ] * SEPTENT.[RIONALIS] * SIGIL.[LLUM]

THESAUR[US] * AMER.[ICÆ] * SEPTENT.[RIONALIS] * SIGIL.[LLUM] ―

DATES

«In passing, it should be mentioned that the date on a bill [SERIES OF 1914, for instance] is not necessarily its date of issue...

«In passing, it should be mentioned that the date on a bill [SERIES OF 1914, for instance] is not necessarily its date of issue...

...It actually refers to the date a particular bill with a particular design was authorized» (Doty 1982: 133-134).

BEFORE THE U. S. PARTICIPATION IN THE GREAT WAR

B. SERIES OF 1914 & SERIES OF 1915

FIVE-DOLLAR BILL

ABRAHAM LINCOLN (1809-1865) 16th President of the United States (1861-1865)

Descripti Abraham Lincoln, three-quarter length on portrait, seated, facing right. Date 1864 Feb. 9, printed later Source http://hdl.loc.gov/loc.pnp/ppmsc.00052 Author Anthony Berger


http://commons.wikimedia.org/wiki/File:Beer_revenue_stamp_proof_single_1871.JPG


http://en.wikipedia.org/wiki/United_States_one_hun dred-dollar_bill

United States Note, Series of 1880 (1st version: Series of 1869)

ABRAHAM LINCOLN (1809-1865) 16th President of the United States (1861-1865) 1ST U.S. STAMP WITH ABRAHAM LINCOLN: 1861-67 ISSUE


Image from the National Numismatic Collection at the Smithsonian Institution

«The portrait [$5, Series of 1923] is from a photograph by Anthony Berger and was engraved by Charles Burt, a contract engraver for the Bureau of Engraving and Printing. The same image was also used on the Federal Reserve Note Series of 1914. With this issue, Lincoln became the standard portrait subject for the $5 denomination; this was continued on all small-size notes of various series» (Bowers 2009: 251a).

S. 1915 S. 1918

FEDERAL RESERVE BANK NOTE

FEDERAL RESERVE NOTE S. 1914 S. 1914

FEDERAL RESERVE NOTE

SERIES OF 1914

SERIES OF 1914

FEDERAL RESERVE BANK NOTE SERIES OF 1915

SERIES OF 1918

SCENES 1 & 2

1914

COLUMBUS IN SIGHT OF LAND Image from the National Numismatic Collection at the Smithsonian Institution

LANDING OF THE PILGRIMS

«Large-size Federal Reserve Notes, authorized in 1913 and first printed in 1914, were reedemable in dollars, including “in gold on demand at the Treasury Department of the United States in the City of Washington, District of Columbia, or in gold or lawful money at any Federal Reserve Bank.” They were backed specificaly by 40% gold on deposit. Thus, in a way, these can be considered as gold coin notes» (Bowers 2009: 43b).

1914


«Federal Reserve Bank Notes closely follow the concept of Series of 1914 Federal Reserve Notes (but without “Bank” in the title), [...]. The major difference, a technical but important one, was that Federal Reserve Bank Notes were obligations on the particular Federal Reserve Bank, while Federal Reserve Notes were obligations of the Federal Reserve as a whole and thus do not have individual Federal Reserve Bank officers’ signatures. Additionally, Federal Reserve Bank Notes were receivable in payment of all taxes, excises, and other dues to the United States except duties on imports (customs) and interest on the public debt, while Federal Reserve Notes were receivable for customs and also had a gold clause» (Bowers 2009: 42a).

1915 & 1918

SCENES 1 & 2

COLUMBUS IN SIGHT OF LAND Image from the National Numismatic Collection at the Smithsonian Institution

1915 & 1918


The first of the Series of 1915 notes «were issued in 1916» (Bowers 2009: 41b).

$5 COLUMBUS

SCENE 1


COLUMBUS DISCOVERY OF LAND

Columbus’ Discovery of Land, Charles Schussele

Columbus

discovering America (October 12, 1492)

Rodrigo de Triana (1469-?): is reported to have shouted ¡Tierra! ¡Tierra! (Land! Land!).

Guanahani, the Bahamas. It is not known precisely which island it was.

NATIONALISM

Columbus (16th Century men’s clothing).

«During the four hundredth anniversary in 1892, teachers, preachers, poets and politicians used Columbus Day rituals to teach ideals of patriotism».

NATIONALISM

http://www.ebay.com/itm/US-230-1-1893-Columbus-in-Sight-of-Land-F-VF-NH/251530811741?pt=LH_DefaultDomain_0&hash=item3a9067995d

1869-1917

UNITED STATES NOTE

http://www.worthpoint.com/worthopedia/1917-one-dollar-bill

«The Treasury Department maintained a stock of vignettes to use on paper money, bonds, stamps, and other paper of monetary value. Sometimes the vignettes were coordinated with other parts of the design, but most often they were not» (Bowers & Sundman 2006: 6).

1869-1917

UNITED STATES NOTE

«This vignette was designed by Joseph P. Ourdan» (Friedberg & Friedberg 2013: 38).


«No one is sure what the Great Discoverer actually looked like. Accordingly, representations of him on paper money, medals, and coins vary widely» (Bowers 2009: 110).

$5 PILGRIMS

SCENE 2



NATIONAL BANK NOTE: THIRD CHARTER NOTE, 1902-1929

1st version 1865 ($1):

http://www.antiquebanknotes.com/rare/1863-onedollar-bill.aspx

http://www.thehistoryblog.com/wpcontent/uploads/2012/10/Fairbanks-5-back.jpg

www.monety.banknoty.pl/banknotes/glen_johnson/0709a.jpg


The Pilgrims landing on Plymouth Rock (November 21, 1620).

The Landing of the Pilgrims, unknown artist

1914

19021929

1914

The

Mayflower 1915 1918

(1620)

WASP

NATIONALISM

WASP

NATIONALISM

«The Pilgrims weren’t always as much a part of the psychohistoric landscape as they are now, but these bills show that this had begun by 1863―the year that, not so coincidentally, Lincoln first declared Thanksgiving to be a national holiday» (Standish About the 1st 2000: 132). version: 1863 ($1)

WASP

NATIONALISM

Detail: http://www.ebay.com/itm/549-VAR-LANDING-OF-THEPILGRIMS-WITH-MAJOR-FOLDOVER-ERROR-BN9643/170812791472?pt=LH_DefaultDomain_0&hash=item27c53 c5ab0

TEN-DOLLAR BILL

ANDREW JACKSON

(1767-1845) 7th President of the United States (1829-1837)

Descriptio Andrew Jackson - 7th President of the United States n (1829–1837) Date 1824 Source http://www.senate.gov/artandhistory/art/resources/ graphic/xlarge/32_00018.jpg Author Thomas Sully (1783 –1872) (attributed)

ANDREW JACKSON

7th President of the United States (1829-1837)

http://commons.wikimedia.org/wiki/File:Beer_revenue_stamp_proof_single_1871. JPG

ANDREW JACKSON

7th President of the United States (1829-1837) 1ST U.S. STAMP WITH ANDREW JACKSON: 1870-88 ISSUES

ANDREW JACKSON (1767-1845) 7th President of the United States (1829-1837)

United States Note, Series of 1907 (1st version: Series of 1869)

ANDREW JACKSON

7th President of the United States (1829-1837)

«The portrait of Andrew Jackson [...] is by Philadelphia artist Thomas Sully, engraved for currency use by Alfred Sealey» (Bowers 2009: 206b).

http://www.themainboard.com/index.php?t hreads/which-presidentlooked-the-gayest-stupidestbrought-to-you-by-therandom-thoughtsthread.128919/

http://www.ebay.com/itm/An drew-Jackson-portrait-USPresident-1896-U-pick-size/250702375534

S. 1915 S. 1918




1914 SERIES OF 1914

SERIES 1914 OF 1914


SERIES OF 1918 1918

SCENES 3 & 4

FARMING Image from the National Numismatic Collection at the Smithsonian Institution

1914

FACTORIES

1914

1915 & 1918 Image from the National Numismatic Collection at the Smithsonian Institution

SCENES 3 & 4

FARMING Image from the National Numismatic Collection at the Smithsonian Institution

1915 & 1918

INDUSTRY

SCENES 3 & 4

FARMING

1915 & 1918

INDUSTRY

«The back was designed by Clair Aubrey Huston; Farming, a scene in Manchester Township, York County, Pennsylvania, was engraved by Marcus W Baldwin; Industry, a mill in Joliet, Illinois, was engraved by HL Chorlton. The first day of issue was November 16, 1914». http://othersidefarms.com/blog/1914-10-dollar-bill-was-printed-on-hemp-paper/

«En 1820, la production des États-Unis est 6 fois moins élevée que celle de la France. En 1913, elle répresente 2,5 fois celle de la Grande-Bretagne et 3,6 fois celle de la France ! Entre ces deux dates, le dollar, qui n’était qu’une monnaie de second ordre quelque peu exotique au début du XIX ͤ siècle, est devenu une des principales monnaies du monde» (Albertini, Lecomte-Collin & Collin 2000: 129).

«On the $10 bill [...], the times, they are a’changin’. The industrializing of America had benn proceeding for decades, but its true arrival is celebrated here. No doubt the design was meant to suggest that the United States is both the breadbasket of the world and its new industrial pillar. But while we can’t see the farmers’ faces, the way they are aligned―the team of horses, too―suggests that they may be staring wistfully at this ugly new arrival coughing smoke» (Standish 2000: 141).

$10 FARMING

SCENE 3

FARMING (mechanized agriculture) Image from the National Numismatic Collection at the Smithsonian Institution

Horse-Drawn Grain Binder Image ID: WHi-70834 https://www.wisconsinhistory.org/whi/fullimage.asp?id=70834

MODERNITY

HOME, SWEET HOME

$10 INDUSTRY

SCENE 4


FACTORIES (industry)

NATIONAL BANK NOTE: THIRD CHARTER NOTE, 1902-1929 http://banknoteworld.com/united-states?Date=1902

A STACK

(Stalhberg & Bruce 2002: 265a)

http://www.ebay.com/itm/191149598135

1908

TITLE: Standard Oil Plant Looking South, Whiting, Ind. DATE: 1914 PUBLISHER: P. L. Huckins (#604) POSTMARK: October 1, 1914, Whiting, Indiana COLLECTION: S. Shook http://www.rootsweb.ance stry.com/~innwigs/Image Archive/Whiting/WhitingI magesIndustry.htm

MODERNITY

MODERNITY

TWENTY-DOLLAR BILL

GROVER CLEVELAND

(1837-1908) 22th and 24th President of the United States (1885-1889 & 1893-1897) http://www.silverinvestor.com/charlessavoie /cs_feb04.htm

Description Grover Cleveland (March 18, 1837—June 24, 1908), the 22nd and 24th President of the United States and 28th Governor of New York Date 1903 Source Frederick Gutekunst (1831 - 1917)

http://www.collectorsquest.com/blog/2012/11/23/res toration-can-turn-trash-into-treasure/

http://www.nationalcurrencyf oundation.org/portraitgallery .html

S. 1915 S. 1918




1914 SERIES OF 1914

SERIES 1914 OF 1914


SERIES OF 1918 1918

SCENES 5 & 6

1914

MODES OF TRANSPORTATION: LAND, SEA & AIR LAND, AIR SEA Image from the National Numismatic Collection at the Smithsonian Institution

«This engraving by Marcus W. Baldwin was designated as Land, Sea & Air» (Bowers 2009: 487a).

1914

1915 & 1918 Image from the National Numismatic Collection at the Smithsonian Institution

SCENES 5 & 6

1915 & 1918

MODES OF TRANSPORTATION: LAND, SEA & AIR LAND, AIR SEA Image from the National Numismatic Collection at the Smithsonian Institution

http://www.antiquemoney.com/value-of-old-banknotes-from-the-republic-of-hawaii/republic-of-hawaii-silver-certificates/value-of-1895-100-republic-of-hawaii-silver-certificate/

http://www.accionssynera.es/shop/page/7?shop_param=

$20 LAND

SCENE 5

LAND (auto & steam train), AIR (biplane)


NATIONAL BANK NOTE: THIRD CHARTER NOTE, 1902-1929 http://banknoteworld.com/united-states?Date=1902

A STEAM TRAIN

$20 BIPLANE

From "The Burgess Hydro-Aeroplane and School Aviation Brochure“, Marblehead, Mass - 1911. http://www.collectair.com/moisantindex.html

MODERNITY

1913

http://www.ebay.com/itm/U-S-SCOTT-Q8-UNITED-STATES-20-CENTPARCEL-POST-1913-BI-PLANE-SERVICE-USED/390833741210?pt=LH_DefaultDomain_0&hash=item5aff819d9a

$20 AUTO

MODERNITY 1908 This ad appeared in Life magazine on October 1, 1908. Excerpt: "FORD HIGH PRICED QUALITY IN A LOW PRICED CAR" "The Ford Four Cylinder, Twenty Horse Power, Five Passenger Touring Car $850.00 Fob. Detroit" "We defy anyone to break a Ford Vanadium steel part with any test or strain less than 50% greater than is required to put any other special automobile steel entirely out of business.“ http://www.hfmgv.org/exhibits/showroom/1908/ ads.html

1901 Pan-American Exposition Stamp The four cent “Automobile” stamp (Scott # 296) portrays an electric automobile with the US Capitol Dome in the background. The automobile was referred to as an “Electric Service Vehicle” or what we now call a taxi. The image was based on a turn of the century Baltimore and Ohio Railroad flyer. This stamp has also generated some discussion as to whether it portrays the first living person to be depicted on a stamp. The two men on the front seat are the chauffeurs while the person inside the electric automobile is Mr. Samuel P. Hege who was the B & O’s Passenger Representative in Washington. At the time, there were more electric automobiles than those powered by gasoline.. […] http://philatelicplayground.jimdo.com/articles-1/

http://www.delcampe.net/page/item/i d,187560857,var,USA-1901-Mint-PostStamps-MNH-%E2%80%93Exposition-of-Buffalo-%E2%80%93Pan-American--Ship-TrainAutos,language,E.html


The road depicted on the note next to the train appears to be much better than the average road in those days, which were often in deplorable condition: muddy, rutty, bumpy, not paved, un-level, etc., etc. http://www.banknoteden.com/USA.html

$20 STEAM TRAIN

«For many 19th-century Americans, the railway train was progress promised and personified. It spanned rivers and burrowed through mountains, carried products to market and people to new lives, and knit a disintegrating republic back together. Trains fascinated Americans from the beginning» (Doty 2008: 102).

MODERNITY

http://banknoteworld.com/mexico?start=225#banknotes

MEXICO, 1913

MEXICAN MODERNITY

1901 Pan-American Exposition Stamp The two cent “Fast Express” stamp (Scott # 295) portrays the “Empire State Express” of the New York Central and Hudson River Railroad. It was the world’s first high speed passenger train when on September 14, 1891 it travelled 436 miles (New York City to Buffalo) in 7 hours and 6 minutes including scheduled stops; an average of 61.4 miles/hour. G. H. Daniels, the General Passenger Agent for the New York Central lobbied hard for the Empire State Express to be portrayed on a stamp as the railway was an important New York State institution. […] http://philatelicplayground.jimdo.com/articles-1/

http://www.delcampe.net/page/item/i d,187560857,var,USA-1901-Mint-PostStamps-MNH-%E2%80%93Exposition-of-Buffalo-%E2%80%93Pan-American--Ship-TrainAutos,language,E.html


Engravers Vignette: 1¢ - G.F.C. Smillie · 2¢-10¢ Marcus Baldwin and Lyman F. Ellis Frame: 1¢ - Robert Ponickau · 2¢-10¢ Marcus Baldwin and Lyman F. Ellis Lettering and Numerals: Lyman F. Ellis http://1847usa.com/ByYear/1901.htm

(Stalhberg & Bruce 2002: 94a)

http://www.ebay.com/itm/USA-CLEVELAND-SHORT-LINE-RAILWAY-COMPANY-BOND-stock-certificate-1911/330784778607?pt=LH_DefaultDomain_0&hash=item4d044f296f

1911

$20 SEA

SCENE 6


SEA (tug & ocean liner)

$20

OCEAN LINER AND TUGBOAT

THE STATUE OF LIBERTY · NEW YORK CITY’S SKYLINE

Four funnel liner; the funnels are grouped The third mast into two separated pairs

OCEAN LINER AND TUGBOAT

«A characteristic of the German ships was that they had their funnels arranged in two separated pairs, so that the spacing was greater between stacks two and three than between one and two or three and four». «[…] only the two German sister ships, the Kaiser Wilhelm II and theKronprinzessin Cecilie had three masts». Greene, Ronald (2014): Two Banknotes Featuring Ship Engravings.Nauticapedia.ca 2014. http://nauticapedia.ca/Articles/Banknotes_Ships.php SEE TOO: http://www.coincommunity.com/forum/topic.asp?TOPIC_ID=174212

THE STATUE OF LIBERTY · NEW YORK CITY’S SKYLINE

Four funnel liner; the funnels are grouped The third mast into two separated pairs

GERMAN OCEAN LINER AND TUGBOAT

http://jewishwebindex.com/Ships%20-%20Coming%20to%20the%20USA.gif

Four funnel liner, but the funnels not are grouped into two separated pairs. And… only two masts

http://www.maritimequest.com/liners/lusitania_page_3.htm

September 13, 1907: Lusitania arriving in New York on her maiden voyage. Four funnel liner, but the funnels not are grouped into two separated pairs. And… only two masts

http://www.delcampe.net/page/item/id,141246281,var,SH582-NDL-SS-Kaiser-Wilhelm-II-at-New-York-1913,language,E.html

SS Kaiser Wilhelm II: four funnel liner; the funnels are grouped into two separated pairs. And… three masts

http://www.coincommunity.com/forum/topic.asp?TOPIC_ID=174212 SS Kaiser Wilhelm II: four funnel liner; the funnels are grouped into two separated pairs. And… three masts

SS Kronprinzessin Cecilie : four funnel liner; the funnels are grouped into two separated pairs. And… three masts

http://www.delcampe.net/page/item/id,181799101,var,Twin-Screw-SS-Kronprinzessin-Cecilie-Passing-Statue-of-Li,language,E.html

SS Kronprinzessin Cecilie: four funnel liner; the funnels are grouped into two separated pairs. And… three masts

GERMAN MODERNITY

GERMAN IMITATION

http://notaphilie.info/shop/regensburg-ranawerke-100-milliarden-mark-15111923-p-1558.html?osCsid=a96778b970cf2ebfc93c15271a1b98b3

Notgeld der Rana-Werke Regensburg, 100 Milliarden Mark vom 15.11.1923

Notgeld der Rana-Werke Regensburg, 100 Milliarden Mark (November 15, 1923)

http://banknoteworld.com/china

CHINA, 1914

CHINESE MODERNITY

1901 Pan-American Exposition Stamp The ten cent “Fast Ocean Navigation” stamp (Scott # 298) portrays the American Liner steamship, St. Paul which was built in 1895. The St. Paul's claim to fame was that it was the first commercial ship to be commissioned as a warship during the Spanish-American War. In total, 5,043,700 stamps were issued. This rate paid both the letter and registration fees. http://philatelicplayground.jimdo.com/articles-1/

http://www.ebay.com/itm/Buffalo-Stamps-ScottUSA-299-Used-xlite-1901-cancel-lite-crease-CV-3250/261479661353?pt=LH_DefaultDomain_0&hash=i tem3ce166ff29


$20 TWO YEARS AFTER

1914: TWO YEARS AFETR 1912

APRIL 14-15, 1912 (TWO YEARS BEFORE THE 1914 US 20$ BANKNOTE)

THE SINKING OF THE RMS TITANIC

APRIL 14-15, 1912 (TWO YEARS BEFORE THE 1914 US 20$ NOTE)

In 1902 J. P. Morgan formed the International Mercantile Marine Company with an investment of $120 million. An American financier with a gift for creating fortunes, Morgan was involved in railroads and steel empires. He purchased Red Star Lines, the Mississippi, and the entire capital stock of the White Star Line; a British company, thereby giving him more than half of the total British Atlantic tonnage. This transaction created the first international corporation of its kind. Although the White Star Fleet continued to be British registered, have British crews, and to fly the Red Ensign, it was really an American liner company. From 1902 until 1927, the White Star Line was a wholly owned subsidiary of IMMC. From its inception thirty years earlier until the turn of the century, it was probably the most successful of the British transatlantic carriers. The most famous member of the International Mercantile Marine fleet was the White Star Liner, Titanic. This “unsinkable” 45,328 ton, 882 1/2 foot ship was the largest liner the world had known. On her maiden voyage to New York April 14, 1912, the liner hit an iceberg shortly after Sunday dinner. Of the 2,340 crew and passengers aboard, only 705 were saved. This greatest of all liners became the greatest disaster in maritime history with the deaths of 1,635 people. The story of the Titanic is the best documented of all stories of ocean liner tragedies. http://www.titanicuniverse.com/international-mercantile-marine-stock-certificates THE SINKING OF THE RMS TITANIC

http://www.ebay.com/it m/4-DIFF-RARE-ORIGTITANIC-STOCKS-w-SHIPVIGNETTE-in-4-COLORSUNBEATABLE-DEAL/350988094965?pt=LH_ DefaultDomain_0&hash =item51b8854df5

(Stalhberg & Bruce 2002: 176a-176b)

The Titanic which sank on it's maiden voyage in 1912 was built by White Star Lines, a subsidiary company of International Mercantile Marine which was owned by J.P.Morgan. The loss of the Titanic partly caused the Company into bankruptcy in 1914. IMM emerged from receivership in 1916 and with the needs of World War I, and the issuance of stock (certificate as example), prospered for a while. http://www.ebay.com/itm/International-Mercantile-Marine-Co-5-Preferred-Share-Certif-TitanicOwners-/171304504833?pt=LH_DefaultDomain_0&hash=item27e28b4e01

$20 SKYLINE

MODERNITY On the center we can see the Woolworth Building, the tallest in the world at that time (finished 1913); on the left, the Municipal Building, with its cute little round temple at the top (finished 1914). http://all-thats-interesting.tumblr.com/post/28207939044/the-evolution-of-new-york-city

http://wirednewyork.com/forum/showthread.php?t=19855&page=31

View from Manhattan Bdge Monroe and Market Streets New York circa 1915. "New York skyline from Manhattan Bridge." Another entry from Detroit Publishing's series of sooty cityscapes. Make that New York c. 1915 Submitted by Michael R on Fri, 10/15/2010 - 3:23pm. This magnificent view contains several skyscrapers completed after 1910. On the left we see the Bankers Trust Building, with the pyramid on top (finished 1912) and immediately to its right, the wide bulk of the new Equitable Building (finished 1915); on the right we see the Woolworth Building, the tallest in the world at that time (finished 1913) and the Municipal Building, with its cute little round temple at the top (finished 1914).

http://wirednewyork.com/forum/showthread.php?t=19855&page=31

syscosteve

http://theesotericcuriosa.blogspot.com.es/2010/12/ship-beautiful-cunards-last-four.html

$20 STATUE

http://www.rms-republic.com/details_expnimp3.html

MODE

LIBERTY http://historiasdenuevayork.wordpress.com/2013/08/02/estatua-de-la-libertad-statue-of-liberty-1905/

FIFTY-DOLLAR BILL

ULYSSES S. GRANT

http://thepresidentsa tbigmo.blogspot.com. es/2007/10/number18-ulysses-sgrant.html

(1822-1885) 18th President of the United States (1869-1877)

http://cbsnews1.cbsistatic.com/hub/i/r/2011/08/03/5aeea33d-a64311e2-a3f0029118418759/resize/620x465/185006421151d762c9d0e566a7953bc4/ ulysses_grant.jpg http://www.cbsnews.com/pictures/presidents-turning-50/5/

ULYSSES S. GRANT (1822-1885)18th President of the United States (1869-1877) Silver Certificate, Series of 1886

1ST U.S. STAMP WITH ULYSSES S. GRANT: 1890-93 ISSUES

http://www.theswedishtiger.com/223-scotts.html


http://en.wikipedia.org/wiki/Silver_certificate_(United_States)

S. 1918




1914 SERIES OF 1914

SERIES 1914 OF 1914

FEDERAL RESERVE BANK NOTE SERIES OF 1918 1918

REVERSE D

MERCHANT SHIPS PANAMA CANAL Image from the National Numismatic Collection at the Smithsonian Institution

1914

BATTLESHIP

1914

1918 Image from the National Numismatic Collection at the Smithsonian Institution

REVERSE D

MERCHANT SHIPS PANAMA CANAL Image from the National Numismatic Collection at the Smithsonian Institution

1918

BATTLESHIP

U.S. Coast Guard Certificate of Completion http://s741.photobucket.com/user/connor1_photos/media /vignettes/Coast-Guard-CertificateEng.jpg.html?sort=3&o=32


http://www.monety.banknoty.pl/ banknotes/glen_johnson/0708e. jpg

FIGURE STANDING AT CENTER, BETWEEN THE TWO SHIPS


«The back of the note, Liberty and Progress, depicts a standing goddess between two bodies of water, a motif popular in other forms at the recent 1901 [Pan-American] Exposition» (Bowers 2009: 354a).

«This design [created by the exceptionally talented Walter Shirlaw] was blatantly copied later for use on the back of the $50 [...], with some details altered and now called Panama» (Bowers & Sundman 2006: 122).

$50 MERCHANT SHIPS

SCENE 7, A

MERCHANT SHIPS Image from the National Numismatic Collection at the Smithsonian Institution


http://www.monety.banknoty. pl/banknotes/glen_johnson/ 0708e.jpg

A MERCHANT SHIP

Sailing ship

http://www.ebay.com/itm/US-403-PANAMA-PACIFIC-ISSUE-OF-1915-MOGNH-VF-390-00-ESP-4895/281066005681?pt=LH_DefaultDomain_0&hash=item4170d6e4b1

Steamship (ocean liner: two funnels, two masts)

Sailing ship

http://cruiselinehistory.com/the-rotterdam-iv-holland-america-line-history/

AS DUTCH MODERNITY

http://banknoteworld.com/mozambique

MOZAMBIQUE (PORTUGAL), 1914

PORTUGUESE MODERNITY


1901 Pan-American Exposition Stamp The ten cent “Fast Ocean Navigation” stamp (Scott # 298) portrays the American Liner steamship, St. Paul which was built in 1895. The St. Paul's claim to fame was that it was the first commercial ship to be commissioned as a warship during the Spanish-American War. In total, 5,043,700 stamps were issued. This rate paid both the letter and registration fees. http://philatelicplayground.jimdo.com/articles-1/

http://www.ebay.com/it m/Buffalo-Stamps-ScottUSA-299-Used-xlite1901-cancel-lite-creaseCV-32-50/261479661353?pt=LH _DefaultDomain_0&has h=item3ce166ff29

$50 BATTLESHIP

SCENE 7, C

BATTLESHIP Image from the National Numismatic Collection at the Smithsonian Institution


http://www.monety.banknoty.pl/ banknotes/glen_johnson/ 0708e.jpg

A BATTLESHIP

Battleship

MILITARISM

USS Texas (BB-35) in 1914 http://www.operatorchan.org/w/res/9059+50.html

http://www.ma-shops.com/mueller/item.php5?id=9323&lang=en Friedrich Wanderer (1840-1910)

GERMAN EMPIRE, 1908

GERMAN MILITARISM

GERMAN MILITARISM http://www.ma-shops.com/mueller/item.php5?id=9323&lang=en

GERMAN EMPIRE, 1908

Le regard est attiré par l’imposante flottille de croiseurs qui défilent à l’horizon: ceux dont l’ammiral [Alfred]von Tirpitz [(1849-1930)] avait doté le Reich allemand, et qui faisaient de l’Allemagne la deuxième puissance maritime du globe (Brion & Moreau 2001: 40). http://www.ma-shops.com/mueller/item.php5?id=9323&lang=en


1898, revenue stamp. U.S. RB 21 ** BATTLESHIP http://www.delcampe.net/page/item/id,137860834,var, US-RB-21--BATTLESHIP,language,E.html#description

$50 PANAMA

SCENE 7, B

PANAMA CANAL Image from the National Numismatic Collection at the Smithsonian Institution

«An allegorical female figure stands atop a pedestal inscribed “Panama”, representing the achievement of bridging the Atlantic and Pacific Oceans. The Panama Canal was finished and officially opened in 1914». http://www.vintageamerica.com/federal -reserve-notes1914/

http://www.delcampe.net/page/item/id,149913486,var,PANAMA-MEETINGATLANTIC-PACIFIC-STATISTICS-CARTE-GEOGRAPHIQUE-CARACTERISTIQUESTECHNIQUES,language,E.html#toBid

The caduceus is a short staff entwined by two serpents, often (as here) surmounted by two wings. It represents the Greek god Hermes (or the Roman Mercury), and by extension trades, occupations or undertakings associated with the deity.

The national flag of the United States of America

IMPERIALISM

http://bigblue1840-1940.blogspot.com.es/2011/10/ecuador.html

The obvious answer to America’s defensive needs was an interoceanic canal cut through Central America, either on or near the Isthmus of Panama» (Doty 2008: 168).

IMPERIALISM

«The acquisition of an empire [Hawaii, Puerto Rico, Guam, the Philippine Islands and Cuba] naturally carried with it the necessity of defending it. Under ideal conditions such a defense would be both speedy and economical. The travails of the battleship Oregon (which almost didn’t reach Cuba from the American West Coast before the Spanish-American War ended) showed the virtue of celerity in movements of the U.S. Navy, while practical considerations suggested that a single fleet rather than two (one each to patrol the Atlantic and Pacific) would be both politically and economically preferable.

IMPERIALISM

http://www.zonu.com/fullsize2-en/2011-10-19-14660/Map-of-Panama-1904.html

«If Colombia would not sell Americans the right to build a canal across its territory, perhaps an independent Panama would do so. [Theodore] Roosevelt did not foment the rebellion that broke out at the end of 1903. Those responsible were members of the (French) Interoceanic Canal Company and their local political allies, who viewed Colombian intransigence as exceedingly bad for local business. But if not behind the revolt, Roosevelt certainly helped it along: he sent the U.S. Navy to the area, directing it to prevent Colombian troops from landing and putting down the revolution. And he quickly recognized the new country and concluded a canal treaty with it» (Doty 2008: 169).

http://banknoteworld.com/french-indochina

FRENCH INDOCHINA, 1903

FRENCH IMPERIALISM

http://www.zonu.com/fullsize2-en/2011-10-19-14660/Map-of-Panama-1904.html

THE AMERICAN EMPIRE IN 1903

Cuba Panama

http://www.cityofart.net/bship/ spanamwar.html

U.S. IMPERIALISM

January 1903: Panama, Colombian land between the Atlantic and Pacific Oceans. November 1903: The Hay–Bunau-Varilla Treaty (by Washington and independent Panama) granted rights to United States "as if it were sovereign" in a zone roughly 10 miles (16 km) wide and 50 miles (80 km) long. January 1914: Panama Canal (build by the United Sates) becomes a key conduit for international maritime trade and the U.S. imperial needs.

$50 SAN FRANCISCO

«The back shows a goddess, Panama, personifying the narrow strip of land separating the Atlantic and Pacific oceans at that point, further illustrated by expanses of sea and a ship to each side. The engraving was done by Marcus W. Baldwin. When this design was pilfered (for essentially the same motif it seen on the back of the Series of 1902 National Bank Notes, there as Liberty and Progress; [...] the Panama Canal was prominent in the news and in the minds of America. Completed in 1914, the waterway had been featured as one of the reasons for staging the 1915 Panama-Pacific Exposition in San Francisco [...]» (Bowers & Sundman 2006: 125).

«The event [the 1915 Panama-Pacific International Exposition] was to celebrate the new canal and also the revuilding of San Francisco after the 1906 earthquake and fire» (Bowers 2009: 584a).

http://siarchives.si.edu/ blog/exhibitions-andweather-conditionsexposition Looking Down Sacramento St., 1906. [verso:] "San Francisco: April 18, 1906." From As I Remember by local photographer Arnold Genthe: This photograph shows "the results of the earth quake, the beginning of the fire and the attitude of the people." It was taken the morning of the first day of the fire. Shows Sacramento St. at Miles Place (now Miller Place) near Powell St.

«The card that opens this post was published by Edward Mitchell» http://postcardiva.blogspot.com.es/2011/04/san-francisco-panama-pacific.html

http://tellersofweirdtales.blogspot.com.es/2011/06/stella-gs-perry-1877-1956.html

http://www.postcard.org/panamapie12.htm ://tellersofweirdtales.blogspot.com.es/2011/06/stellags-perry-1877-1956.html

http://www.delcampe.net/page/item/id,244387252,var,1-cpa-richard-behrendt-ground-broken-oct14-1911-panama-pacific-international-exposition-san-francisco-1915,language,E.html

1915. Postcard from the Panama-Pacific Exposition in San Francisco, California. The postcard shows a night view of the Palace of Horticulture. The exposition was intended to illustrate the function and administrative faculty of the Government of the United States and to demonstrate the nature and growth of its institutions, their adaptation to the wants of the people, and the progress of the nation in the arts of peace and war. The Smithsonian Institution contributed an exhibit at the exposition. http://siarchives.si.edu/collections/siris_sic_13371

Here is another example of a poster related to the Exposition – it is advertising a flying-around-the-world competition “under the auspices” of the Exposition. http://geographer-at-large.blogspot.com.es/2013/02/the-kiss-of-oceans-meeting-of-atlantic.html

One of the more beautiful, unusual and useful map projections ever devised was created by cartographer Bernard Cahill. The butterfly projection was first published in the Scottish Geographical Magazine in 1909. Cahill (1866-1944) later applied for a US patent to protect his creation. […] Soon after its creation, Cahill’s butterfly map was used to illustrate a flying trip around the world, or circumaviation, proposed for the Panama Pacific International Exposition held in San Francisco in 1915. The map was exhibited at this exposition and won a gold medal for cartography. Some time later, the map was used by both the State of California and the City of Charleston to illustrate shipping routes.

http://geo-mexico.com/?p=6236 //// http://www.genekeyes.com/Cahill-desk-maps/Cahill-S-F-40.jpg

Years Minted: 1915 Mints: San Francisco Composition: 0.90 gold, 0.10 copper

Diameter: 50.8 mm Weight: 83.55 grams Total Mintage: 483 The Panama Pacific Exposition Commemorative $50 piece was one of a group of 5 coins minted to mark the celebration of the opening of the Panama Canal in 1915. In addition to the massive $50 gold pieces there was a silver half dollar and Gold $1 and $2 1/2 pieces of standard size for the denomination. / The set of commemoratives was authorized by Congress through Public Law No. 63-233 on January 16, 1915. The $50 pieces were designed by Robert I. Aitken, a New York artist. / The Obverse design features the head of the goddess Minerva with a Corinthian style helmet including a Horsehair comb and an engraved wreath of laurel leaves resting back on her head. The date is found in Roman numerals (MCMXV) in an arch on the lower right. The inscription “IN GOD WE TRUST” is above Minerva’s brow in the upper right. The entire central portrait is enclosed in a ring of beads. Outside the ring is the inscription “UNITED STATES OF AMERICA” and “FIFTY DOLLARS” which completely encircle the coin. The words are separated by dots. / The reverse design has a similar format. The central design feature is an owl, perched on a pine bough complete with four pinecones and multiple sprigs of pine needles. The inscription “E PLURIBUS UNUM” is centered to the right of the owl with dots at the beginning and end (though none between the words). These central elements are surrounded by the same ring of beads used on the obverse. Outside this ring are the inscriptions “PANAMA-PACIFIC EXPOSITION” and “SAN FRANCISCO” in a single line of text circling the entire rim. Again the words are separated by dots. http://typesets.wikidot.com/1915s-50r-panama-pacific-exposition-round. (the content of this page is licensed under Creative Commons Attribution-Share Alike 2.5 License.)

http://alphabetilately.org/US-trains-02c.html http://www.ebay.com/itm/US-398-2-1913-Pedro-Miguel-Locks-Panama-Canal-Perf-12-VF-NH/251531725888?pt=LH_DefaultDomain_0&hash=item3a90758c40

Like most of the commemorative stamps that preceded them, the PanamaPacific commemoratives were issued to promote a current event, the Panama-Pacific Exposition and World’s Fair in San Francisco from February 20 to December 4, 1915. The Exposition commemorated both the discovery of the Pacific Ocean by Vasco Nunez de Balboa in 1513 and the completion of the Panama Canal in 1914. It may seem strange that stamps issued in 1913 would be inscribed “San Francisco, 1915″, but the stamps were issued early to give advance notice of the event. San Francisco was not the only city interested in hosting the World’s Fair. New Orleans was also considered. In the end, San Francisco benefited mightily from being the city chosen. Construction for the Fair began in 1911, just five years after the great earthquake of 1906, and the restoration of the city and indeed the glamour of the city to this day may be partly attributed to this event. http://continentalcollectibles.com/panama-pacific-exposition/

MEDAL DESIGNED BY FAMOUS SCULPTOR AND COMMEMORATIVE COIN DESIGNER ROBERT INGERSOLL AITKEN (1878-1949). THE OBVERSE FEATURES A WINGED MERCURY OPENING THE PANAMA CANAL LOCKS THROUGH http://www.greatestcollectibles.com/wphttp://www.tipsicocoin.com/browse_item.htm WHICH PASSES THE content/uploads/2012/05/HK-400.jpg l?category_id=3133&item_id=2176 VESSEL ARGO, THE SYMBOL OF NAVIGATION, SETTING SUN REFLECTING ON HER SAILS. http://socalleddollar.com/DollarSite/Doll arPhotos.aspx?category=120&t itle=HK%20399425%20Panama%20Pacific%20 International%20Exposition%2 0-%201915

http://adski-kafeteri.livejournal.com/1079205.html

THE THIRTEENTH LABOR OF HERCULES

HERCULES =

Empire on Display. San Francisco's Panama-Pacific International Exposition of 1915 by Sarah J. Moore (Norman, Oklahoma: University of Oklahoma Press, 2003) The world’s fair of 1915 celebrated both the completion of the Panama Canal and the rebuilding of San Francisco following the devastating 1906 earthquake and fire. The exposition spotlighted the canal and the city as gateways to the Pacific, where the American empire could now expand after its victory in the Spanish-American War. Empire on Display is the first book to examine the Panama-Pacific International Exposition through the lenses of art history and cultural studies, focusing on the event’s expansionist and masculinist symbolism. The exposition displayed evidence—visual, spatial, geographic, cartographic, and ideological—of America’s imperial ambitions and accomplishments. Representations of the Panama Canal play a central role in Moore’s argument, much as they did at the fair itself. Embodying a manly empire of global dimensions, the canal was depicted in statues and a gigantic working replica, as well as on commemorative stamps, maps, murals, postcards, medals, and advertisements. Just as San Francisco’s rebuilding symbolized America’s will to overcome the forces of nature, the Panama Canal represented the triumph of U.S. technology and sheer determination to realize the centuries-old dream of opening a passage between the seas. Extensively illustrated, Moore’s book vividly recalls many other features of the fair, including a seventy-five-foot-tall Uncle Sam. American railroads, in their heyday in 1915, contributed a five-acre scale model of Yellowstone, complete with miniature geysers that erupted at regular intervals. A mini– Grand Canyon featured a village where some twenty Pueblo Indians lived throughout the fair. Moore interprets these visual and cultural artifacts as layered narratives of progress, civilization, social Darwinism, and manliness. Much as the globe had ostensibly shrunk with the completion of the Panama Canal, the PanamaPacific International Exposition compressed the world and represented it in miniature to celebrate a reinvigorated, imperial, masculine, and technologically advanced nation. As San Francisco bids to host another world’s fair, in 2020, Moore’s rich analytic approach gives readers much to ponder about symbolism, American identity, and contemporary parallels to the past. http://www.amazon.com/Empire-Display-Franciscos-Panama-Pacific-International/dp/0806143487 http://www.barnesandnoble.com/w/empire-on-display-sarah-j-moore/1113609748?ean=9780806143484

The Senate Chamber (Wisconsin State Capitol Building: Madison, Wisconsin). The mural at the front of the room was painted by Kenyon Cox and is called "The Marriage of the Atlantic and the Pacific" and it commemorates the opening of the Panama Canal. The groom represents the Atlantic Ocean and the bride represents the Pacific Ocean. The figure in the center presiding over the wedding is America. On the right side of the painting the goddess of peace welcomes to the wedding the Atlantic nations of Germany, France and Great Britain, while on the left the god of commerce welcomes the Pacific nations of China, Japan, Polynesia and the Semitic nations.

http://nomadicnewfies.blogspot.com.es/2014/01/the-senate-chamber.html

1915

«[...] Madison, Wisconsin, was far from either ocean, not to mention Panama, but it was a momentous event for the whole country. Cox painted it as a male Atlantic putting a ring on a finger of a female Pacific; he also included symbolic personifications of Japan and Polynesia. Located in Madison, in the hearth of the country, the mural carried the implication that the United States, not Panama, was at the center, the product of that marriage» (Van Hook 2003: 182).

ONE HUNDRED-DOLLAR

BILL

BENJAMIN FRANKLIN 6th President of Pennsylvania (1785-1788) 1ST U.S. STAMP WITH BENJAMIN FRANKLIN: 1851

U. S. Post Office, 1908

BENJAMIN FRANKLIN

Gwillhickers

(1706-1709) 6th President of Pennsylvania (1785-1788)

U. S. Post Office, 1914

SPECIMEN 1915



SPECIMEN 1915


«[…] a profile portrait of Benjamin Franklin, engraved in 1909 from a retouched photograph of a sculpture». http://www.moneyfactory.gov/wcfcurrentexhibitcase3.html



SERIES 1914 OF 1914

PROOF

SERIES 1914 OF 1914

FEDERAL RESERVE BANK NOTE 1915

PROOF

SCENE 8 (A, B & C)

REVERSE E

1914

FIVE ALLEGORICAL FIGURES (KENYON COX)


SCENE 8 (A, B & C)

REVERSE E Image from the National Numismatic Collection at the Smithsonian Institution

1914

PROOF 1915?

SCENE 8 (A, B & C)

REVERSE E

PROOF 1915?

FIVE ALLEGORICAL FIGURES (KENYON COX)



«The artist played a leading role. He could provide a setting of leisured elegance bearing the patina of class and taste for people who were frequently one generation removed from overalls and shovel. Fittingly, the artist designed the currency of capitalism -Augustus Saint-Gaudens did the ten and twenty-dollar gold pieces […], James E. Fraser did the Buffalo nickel, Victor D. Brenner did the Lincoln penny, Adolph Weinman did the Liberty dime, and Kenyon Cox did one-hundred-dollar bills […]»: THE AMERICAN RENAISSANCE 1876-1917 The Brooklyn Museum * Distributed by Pantheon Books, New York 1979 * Part I by Richard Guy Wilson http://xroads.virginia.edu/~DRBR2/amren/amren.html

$20 GOLD COIN

SAINT-GAUDENS

«FITTINGLY, THE ARTIST DESIGNED THE CURRENCY OF CAPITALISM» «President Theodore Roosevelt was a great admirer of the famous sculptor Augustus Saint-Gaudens. The two corresponded occasionally after meeting in 1901 at the Pan-American Exposition. First stating his views in 1904, Roosevelt believed that the coinage in circulation at the time was very unattractive and without artistic merit. He wanted coins created that would reflect his affection for the beauty and relief of ancient Greek coinage. He became excited about the possibility of changing the designs on all U.S. coins. Naturally, he turned to Augustus Saint-Gaudens, who was commissioned [in 1905] to redesign all denominations from the cent to the double eagle [or gold $20] (Garrett & Guth 2005: 16).

Augustus Saint-Gaudens: Victory, 1892-1903. Carnegie Museum of Art, Pittsburgh, Pennsylvania

«FITTINGLY, THE ARTIST DESIGNED THE CURRENCY OF CAPITALISM»

Augustus Saint-Gaudens: Victory, 1892-1903. Carnegie Museum of Art, Pittsburgh, Pennsylvania

«Roosevelt strongly wanted Saint-Gaudens’s commitment. He was master of the great presidential gesture. His actions, while provocative within the context of their time, were carefully calculated. They would establish the power of the presidency and become standards for future American presidents. He was intent upon advancing the United States to a position of greatness on the world’s stage. He was interested in more than just achieving military or diplomatic preeminence in this effort; he wanted the world to know that this country had arrived culturally. All too often during the second half of the 19th century, European critics dismissed the United States as a backwater of commercialism. [...] (Moran 2008: 219).

«In place of the traditional bust of Liberty, the SaintGaudens design features a facing figure of the goddess striding toward the viewer, bearing a torch in her right hand and holding aloft the olive branch of peace in her left. She stands on a rocky precipice with a sunburst behind her. To the left is a small representation of the U.S. Capitol, while an oak branch is seen at the right, beneath the date and the artist’s monogram» (Lange 2005: 137).

Augustus Saint-Gaudens (1848-1907): Double Eagle or gold $20 (1907–1933)


«Above Liberty is her name, serving as the nation’s motto, and nearly the entire observe is framed by 46 stars representing the number of states in the Union (two more were added in 1912)» (Lange 2005: 137).

http://farm4.static.flickr.com/ 3615/3544776572_02d2c02b 8f.jpg

«To her right is the U. S. Capitol, and behind her rays of sun, symbolizing enlightenment, burst upward» (Tolles 2009: 75).

«The Liberty striding forward is a grand miniature as the Hellenistic Victory of Samothrace on a heroic scale» (Vermeule 2007: 109).


«[…] with a frontal view of Liberty (adapted from the striding Victory of the Sherman Monument) on the observe» (Tolles 2009: 48).

Gran Army Plaza, New York http://galleryhip.com/johnsherman-1890.html


«Saint-Gaudens had followed all of his basic rules for a successful composition. He used the simple verticals formed by the folds in Liberty’s skirt to impart a sense of tallness and beauty to the figure. The acute angles of the folds at the base of the skirt as well as Liberty’s hair blowing in the wind gave an overall feeling of motion. […]» (Moran 2008: 280).

«The reverse is quite simple and elegant. A soaring eagle flies left over the rising sun, with the legend UNITED STATES OF AMERICA and the value TWENTY DOLLARS above (Lange 2005: 137).



«The Latin legend E PLURIBUS UNUM appears on the edge in raised letters (a technique rarely used with United States coinage), flanked by 13 raised stars. On some of the 1908 double eagles and on all those that followed, the motto IN GOD WE TRUST appears just above the sun’s sphere» (Lange 2005: 137).

«The eagle in flight against the sun on the reverse achieves complete domination of motion and expanding vista over the confines of a tiny tondo» (Vermeule 2007: 109).


http://www.ebay.com/itm/185 7-Flying-Eagle-Cent-ChoiceBU-So-FLASHY-and-NICE/390343490404

«On the reverse is a soaring eagle inspired by the eagle on the 1857 and 1858 U.S. pennies» (Tolles 2009: 75).


«On the reverse, the flying eagle was adorned with a style of feathers that was unique to SaintGaudens» (Moran 2008: 280).



«Saint-Gaudens double eagle […] is his best-know creation and arguably the most beautiful American coin […]. Saint-Gauden’s designs inspired jealousy on the part of Mint Engraver Charles E. Barber, whose own designs for the double eagle, while an improvement of the past, were demonstrably not in the same league whit that Roosevelt’s outsider friend» (Doty 2008: 172).

«Saint-Gaudens died in the summer of 1907, and he newer saw the completion of his project, never knew that the envious Barber would succeed in reducing the high relief of his prototypes, making them more practical for coinage but robbing them of a portion of their artistry. But even amended for the worse, they were splendid coins, heralding a sea change in the direction of American numismatic art» (Doty 2008: 172).

Kenyon Cox: Augustus Saint-Gaudens, Metropolitan Museum, New York



Kenyon Cox (1856-1919): Federal Reserve Note $100 (rev.) (Series of 1914)

$100 EXPECTATIONS


«The fall of 1912 brought Cox’ most unusual commission, in yet another unexpected medium. The U.S. Treasury Department had hoped for some time to reorder its chaotic currency. Saint Gaudens had helped produce an impressive new gold coinage, and the currency deserved equal treatment» (Morgan 1994: 198199).

Kenyon Cox (1856-1919): Federal Reserve Note $100 (rev.) (Series of 1914)

«[...] Early in October 1912, Cox contracted to present the necessary design by January 15, 1913, if possible, and no later than February 1, for a fee of three thousand dollars. The law required a good deal of information on the face of bills, and Cox’s design was only for the back. It was to be simple, of high artistic quality, and suitable for a new, reduced size of bills 6-by-2½ inches. [...]» (Morgan 1994: 199).

KENYON COX: FIRST SKETCH OF COMPOSITION: «[...] a balanced, pyramidal composition»

Kenyon Cox: Design for United States Currency, 1912, graphite, . Gift of J. D. Cox (Cleveland Museum of Art)

KENYON COX: FIRST SKETCH OF COMPOSITION: «[...] a balanced, pyramidal composition»


«[...] but [the muralist Kenyon] Cox also managed to do some smaller and often unusual work. In 1912 he designed the back of proposed new currency for the Treasury Department. He created a small mural that symbolized the nation’s wealth and energy, and which was [only] issued on a new one-hundred dollar bill in 1914» (Morgan 1995: 123).


«To William Cochran [...] New York, Feb. 2nd, 1913 Dear Will: [...] The design I have just completed for the Treasury Department is for the back of the new currency and is intended, at least for the present, to serve for all denominations [...]» (Kenyon Cox, in Morgan 1995: 167-168).

«By adopting only one design for the back of the notes, Mr. MacVeag believes that feature of the currency can be given over to art». The New York Times, New York City, 5 December 1912, page 1: http://www.newspapers.com/newspage/20374600/

KENYON COX: FIRST SKETCH OF COMPOSITION Image from the National Numismatic Collection at the Smithsonian Institution


«To William Cochran [...] New York, Feb. 2nd, 1913 Dear Will: [...] «The Treasury Department had commissioned Cox to do a new design for the backs of a proposed new currency. His final work, which resembled a small mural and used allegorical figures to symbolize the nation’s wealth and progress, appeared only on the back of the new Federal Reserve one-hundred-dollar note in 1914» (Morgan 1995: 169n5).

KENYON COX: FIRST SKETCH OF COMPOSITION



«To William Cochran [...] New York, Feb. 2nd, 1913 Dear Will: [...] I have nothing to do with the fronts of these bills, which are so tied up with obligatory features, under the law, that there is little room for original work. Everything of the kind was cleared off the back and the space given me to do what I thought best wish [...]» (Kenyon Cox, in Morgan 1995: 167-168). KENYON COX: FIRST SKETCH OF COMPOSITION



«To William Cochran [...] New York, Feb. 2nd, 1913 Dear Will: [...] I have just got back from Washington, where I presented my completed design to Secretary [Franklin] MacVeagh [(1837-1934)] [...]» (Kenyon Cox, in Morgan 1995: 167-168). MacVeagh, 45th Secretary of the Treasury of the United States (for President William Howard Taft from 1909 to 1913)




«To William Cochran [...] New York, Feb. 2nd, 1913 Dear Will: [...] Everybody in the Treasury Department and the Bureau of printing and Engraving is delighted with my design, and shows the heartiest desire to help attain the result I want. My friends here who have seen it (I had little time to show it) consider it perhaps the best thing I have done [...]» (Kenyon Cox, FIRST in Morgan 167-168). KENYON COX: SKETCH1995: OF COMPOSITION Image from the National Numismatic Collection at the Smithsonian Institution


«To William Cochran [...] New York, Feb. 2nd, 1913 Dear Will: [...] If the new administration doesn’t upset things I think we shall have, at least, a paper currency of artistic merit worthy to compare with the French. [...]» (Kenyon Cox, in Morgan 1995: 167-168).




100 Francs Luc Olivier Merson Type 1906 « avec Lom », face (July 7, 1908)

http://titanic.superforum.fr/t3811-billets-et-pieces-de-monnaie-les-francs-a-bord-du-titanic

100 Francs Luc Olivier Merson Type 1906 « sans Lom », back (June 20, 1914)

http://www.numismondo.net/pm/fra/FRAP71a100Frs2061914DCr.jpg

«To William Cochran [...] New York, Feb. 2nd, 1913 Dear Will: [...] It is understood that, if other designs are to be done later for the back of different denominations, mine will remain that of the one dollar bill―the commonest [...]» (Kenyon Cox, in Morgan 1995: 167-168).




http://query.nytimes.com/gst/abstract.html?res=FB0B17FD385F13738DDDA00894DA405B838DF1D3

http://query.nytimes.com/mem/archive-free/pdf?res=FB0B17FD385F13738DDDA00894DA405B838DF1D3




«UNCLE SAM WILL PRINT SMALLER BANK NOTES New Currency Soon To Be Issued To Be Six By Two and One-Half Inches. Washington, Feb. 13[, 1913].―Sec. MacVeagh, of the Treasury Department, has completed preparations for revolutionary changes in the design and size of American currency. He expects to give the order for printing the new notes to Director Ralph, of the Bureau of Engraving and Printing, next Saturday[, Feb. 15, 1913]. It will require eighteen months to accomplish the change. Secretary MacVeagh engaged Kenyon Cox, an artist of New York to design the back of the notes, which will be the same for all denominations of all classes of notes―United States notes, coin certificates and national banknotes. This design is symbolic of progress and peace, showing the development of the nation in the lines of labor and commerce. The new currency will be two-thirds the size of that now in circulation, its dimensions being six by two and one-half inches».

(The Evening Independent, St. Petersburg, Pinellas County, Florida, p. 1, column 1): http://news.google.com/newspapers?nid=950&dat=19130213&id=f6ALAAAAIBAJ&sjid=SFQDAAA AIBAJ&pg=1600,589647

«[...] These great expectations were only partially fulfilled. The incoming Wilson administration did not adopt either the new design or the reduced-sized currency. Cox had hoped that a new dollar bill would take the design’s intellectual message to the masses, but instead it went on a 1914 issue of the new Federal Reserve hundred dollar bill, with modest circulation. [...]» (Morgan 1994: 200).

THE ONE HUNDRED-DOLLAR BILL: «WITH MODEST CIRCULATION» Image from the National Numismatic Collection at the Smithsonian Institution

«Cox produced for it one of the most elegant designs in the history of American currency, [...] They were done with simplicity and a strong presence, in a kind of small mural. Cox’s illustrational work retained a high quality; and he believed that each such effort, however small, could remind viewers of traditional ideals and the importance of careful artwork» (Morgan 1989: 24).

$100 KENYON COX



«People admired him and feared him; in his regard, no one thought of being lukewarm» (Mather 1919: 765).

http://www.clevelandart.org /art/collection/search?collect ion_search_query=KENYON +COX&op=search&form_bui ld_id=form4UyijaV992e_Kq8yD7q7d_O kypatyJE_Uc6y_xQ1Ggo&for m_id=clevelandart_collectio n_search_form

The painter and muralist Kenyon Cox viewed himself as the heir to the great traditions of the Italian Renaissance and vigorously led the resistance to all forms of modern painting. This design for U. S. currency, which was rejected by the government, shows the care with which he planned his compositions.

1856-1919


http://americanart.si.edu/col Born in Ohio, studied in Paris, lived mostly in New York lections/search/artist/?id=1 City. Painter who wrote extensively about art. His 026 sensuous female nudes were beautifully rendered but

were somewhat shocking to the public of his day; later he found wider acceptance as a creator of allegorical murals. Charles Sullivan, ed. American Beauties: Women in Art and Literature (New York: Henry N. Abrams, Inc., in association with National Museum of American Art, 1993)

1856-1919


American Renaissance Kenyon Cox was born into a prominent midwestern family of theologians, lawyers, and politicians. Despite poor health and his mother’s concerns for his welfare, Cox took art courses, hoping one day to combine his artistic talent with his family’s commitment to social service. He studied in Paris from 1877 until 1882, when he moved to New York to work as an illustrator and art critic. Within ten years Cox was accepting mural commissions for such prestigious institutions as the Library of Congress and the Brooklyn Institute of Arts and Sciences. These projects helped realize his hopes that art could serve an educational purpose. (Morgan, Kenyon Cox, 1856-1919: A Life in American Art, 1994)

Smithsonian American Art Museum Gift of Allyn Cox 1959.10.1 Not currently on view

Kenyon Cox: An Eclogue (1890)

oil on canvas 48 1/4 x 60 1/2 in. (122.5 x 153.6 cm)

Louise Howland King Cox, (Mrs. Kenyon Cox) by Kenyon Cox, 1892

oil on canvas 38 3/4 x 18 in. (98.3 x 45.6 cm) Smithsonian American Art Museum Bequest of Allyn Cox 1983.31.2 Smithsonian American Art Museum Luce Foundation Center, 3rd Floor, 8A

The Silver Hand Glass 1907 Kenyon Cox

oil on canvas 24 1/8 x 20 in. (61.2 x 50.8 cm.) Smithsonian American Art Museum Gift of Joan Armstrong Schmidt 1992.4 Luce Foundation Center, 3rd Floor, 8A

Book of Pictures 1910-1917 Kenyon Cox oil on canvas 29 7/8 x 36 in. (76.0 x 91.5 cm) Smithsonian American Art Museum Gift of Allyn Cox 1959.10.2 Not currently on view

Tradition by Kenyon Cox, 1916 (The Cleveland Museum of Art): https://americangallery.wordpress.com/category/cox-kenyon/

$100

KENYON COX & PUVIS DE CABANNES

American Renaissance «Cox believed that works of art should speak a universal language based on Classical and Renaissance precedents and promote in the viewer a unified experience of expanded imagination and attachment to tradition. He ardently believed that art is a unifying force in society. Thus in his murals he used idealized, usually female, figures to symbolize abstract ideas such as Truth or Beauty. He was a skillful academic draftsman and a strong colorist, and he adopted elements of the simplified, decorative style of Pierre Puvis de Chavannes (1824-98) and of the Italian Renaissance masters. However formal, at their best Cox's works are beautifully crafted and impressive. [...]» (Marter 2011: 562b).

American Renaissance «Although Puvis [de Chavannes] has since been closely identified with symbolism in France, in the United States it was his technique, more that his content, that was followed. It was enough that Puvis’s subjects appeared to embrace profound ideas, universalizing and arcadizing such notions as work and leisure, the arts and culture. Frank Fowler later spoke of a “cult of Puvis”, and during the early years of the movement in the United States this description was very apt. Even the supreme classicist Cox painted his The Arts and The Sciences in the Library of Congress in the pale tones of Puvis. […]» (Van Hook 2003: 78).

Pierre Puvis de Chavannes (1824-1898). Study for Le travail.

Pierre Puvis de Chavannes (1824-1898). Le travail (1863), Musée de Picardie

Pierre Puvis de Chavannes (1824-1898). La fantaisie (1866), Ohara Museum of Art, Kurashiki (Japan)

Pierre Puvis de Chavannes (1824-1898). Jeunes filles au bord de la mer (1879), Musée d’Orsay, Paris (France)

Pierre Puvis de Chavannes (1824-1898). Les arts et les muses (1884-1889)

Pierre Puvis de Chavannes (1824-1898). L’été (1891), Cleveland Museum of Art (Cleveland, Ohio)

American Renaissance «[…]. Even the supreme classicist Cox painted his The Arts and The Sciences in the Library of Congress in the pale tones of Puvis. […]» (Van Hook 2003: 78).

http://www.loc.gov/pictures/item/2007684538/

Second Floor, Southwest Gallery. Panel of The Arts by Kenyon Cox. Library of Congress Thomas Jefferson Building, Washington, D.C.

American Renaissance «[…]. Even the supreme classicist Cox painted his The Arts and The Sciences in the Library of Congress in the pale tones of Puvis. […]» (Van Hook 2003: 78).

http://www.loc.gov/pictures/item/2007684539/

Second Floor, Southwest Gallery. Panel of The Sciences by Kenyon Cox. Library of Congress Thomas Jefferson Building, Washington, D.C.

«FOR AT LEAST FOURTEEN THOUSAND YEARS, THEN, FROM THE TIME OF THE CAVEMEN TO OUR OWN DAY, PAINTING HAS BEEN AN IMITATIVE ART, AND IT SEEMS LIKELY THAT IT WILL CONTINUE TO BE SO. THAT IS SHOULD, WITHIN A FEW YEARS, ENTIRELY REVERSE ITS CURRENT, AND SHOULD FLOW IN THE OPPOSITE DIRECTION FOR THOUSANDS OF YEARS TO COME SEEMS HIGHLY IMPROBABLE, NOT TO SAY INCREDIBLE. YET WE ARE GRAVELY TOLD THAT IT IS ABOUT TO DO THIS; THAT, AT THE HANDS OF ITS REPRESENTATIVE ELEMENT, REACHED ITS FINAL AND DEFINITE FORM, AND THAT NO FURTHER CHANGES ARE POSSIBLE. HENCEFORTH, AS LONG AS MEN LIVE IN THE WORLD THEY ARE TO BE SATISFIED WITH A NON-REPRESENTATIVE ART — AN ART FUNDAMENTALLY DIFFERENT FROM THAT WHICH THEY HAVE KNOWN AND PRACTICED AND ENJOYED» (KENYON COX: CONCERNING PAINTING: CONSIDERATIONS THEORETICAL AND HISTORICAL, 1917).


$100 CLASSICAL STABILITY

http://artmuseum.bowdoin.edu/CUS.18.zoomobject._330?sid=1380&x=316185&x=316186

Kenyon Cox — 1894; late 19th century; 144 in. x 288 in. (365.76 cm x 731.5 cm); oil on canvas; 1893.38

Bowdoin College Museum of Art

/ 9400 College Station, Brunswick ME 04011

Image from: http://www.cas-utah.com/1/post/2012/08/kenyon-cox.html http://inspirationalartworks.blogspot.com.es/search/label/Cox%20Kenyon

Venice






Venice





«The original mural scheme called for each artist to paint an allegorical representation of one of the four cities perceived at the time as most central to the development of western art. Kenyon Cox portrays the seated female figure of Venice flanked on one side by a nude woman with palette and brushes representing Painting, and on the other by Mercury, the god of Commerce. The winged lion of St. Marks, a merchant ship with characteristically decorated sails and snippets of the city’s architecture, round out the tableau».


Venice





Image from: http://www.cas-utah.com/1/post/2012/08/kenyon-cox.html

Venice






Venice






Venice






Venice






Venice

«In the western world, from the late eighteenth to at least the mid-nineteenth century [and far beyond, as here], allegorical figures emerged from a harmonious union of artistic, commercial and philosophical endeavour, in which society strove for moral worth by looking back to the perceived nobility and grace of the classical world» (Hewitt 1994: 12).

http://www.mlahanas.de/Greeks/LX/ElginMarbles.html

«Both political and industrial revolutions, though paid for by exploited labour, and fostering opportunism and greed, were still fired by high ideals for the common good, and it is desired end, not the painful means, which is represented in the contemporary banknotes: thriumphant Liberty, fair-minded Justice, and generous Plenty with fruits of the earth for all to share» (Hewitt 1994: 12).

«The issue and circulation of paper money became widespread under just such turbulent circumstances, but in order to be trusted, the money itself had to suggest not struggle, but stability» (Hewitt 1994: 12). «Unlike gold or silver, paper has no intrinsic value, so its use as money requires faith» (Hewitt 1994: 7).

$100 AN HYPOTHESIS ABOUT ALLEGORIES AND DEEP CONCEPTS

LABOR

PLENTY AMERICA PEACE

ALLEGORIES

COMMERCE

LABOR

PLENTY AMERICA PEACE

COMMERCE

EFFORT · W· FATHERLAND · FATHERLAND · AGREEMENT · · BUSINESS · WEALTH · · AGREEMENT · AN HYPOTHESIS

ALLEGORIES

&

MORE DEEP CONCEPTS

LABOR

PLENTY AMERICA PEACE WITH LIBERTY CAP

COMMERCE

EFFORT · W· FATHERLAND · FATHERLAND · AGREEMENT · · BUSINESS · WEALTH · · AGREEMENT · AN HYPOTHESIS

ALLEGORIES

&

MORE DEEP CONCEPTS

$100 LABOR

SCENE 8, A


«The first on the left shows a Romanesque [?] man holding a large sheaf of wheat, [...]» (Bowers 2009: 666a).

«a farmer with wheat»

LABOR

http://en.wikipedia.org/wiki/Sheaf_ (agriculture)

http://en.wikipedia.org/wiki/Wheat

http://en.wikipedia.org/wiki/Sickle

Kenyon Cox: Sketch, 1912, graphite, . Gift of J. D. Cox (Cleveland Museum of Art)

«As specialization, mechanization and scientific management transformed the nature of labor in the United States from craft to operative work, the muralists represented a romanticized, preindustrial ideal of the work ethic. They envisioned an abstract notion of craftsmanship that was aesthetically, morally and spiritually uplifting». http://phdtree.org/pdf/24875319working-history-images-of-labor-andindustry-in-american-mural-painting1893-1903-volumes-i-and-ii/

http://www.museosdeandalucia.es/culturaydeporte/museos/MAECO/index.jsp?redi rect=S2_3_1_1.jsp&idpieza=310&pagina=1

Roman mosaic of the four seasons depicting a farmer gathering wheat. Museo Arqueológico de Córdoba (Andalusia, Spain).

$100 PYRAMID

SCENE 8, B


SCENE 8, B


PLENTY · AMERICA · PEACE

$100 WOMEN ON PAPER MONEY

«With the exception of female portraits, which are relatively rare [...], almost all women on notes are personifications or idealisations, even when they appear in a realistic form. In many societies idealised female images have been summoned to act as metaphors, in myth and dream, floklore and fine art. Such creatures have their origins in the conception that an elusive, mutable feminine principle governs emotion and intuition, creation through change, and personal relations, while a masculine principle rules reason, intellect and initiative. This assumption tends to result in individual named male heroes, and the use of female figures to personify abstract and universal concepts, such as justice, plenty or commerce [...]» (Hewitt 1994: 8).

PLENTY · AMERICA · PEACE

LABOR

&

PLENTY

MASCULINE vs. FEMININE

PATRONISING…

http://banknoteworld.com/germany?start=50#banknotes

«Figures on a German 20 Mark note of 1915 [of Arthur Kampf (1864-1950)] reflect the symbolic association of woman with the moon and intuition, man with dailylight and reason» (Hewitt 1994: 8).

GERMAN PATRONISING…

http://banknoteworld.com/germany?start=50#banknotes «Thus a German note of 1915 balances the alert figure of a male labourer, sleeve rolled up ready for work, with the serene image of a sleeping woman, her head bowed against the night sky ‒ a contrast which reflects the symbolic association of man with daylight and reason, woman with the moon and mistery» (Hewitt 1995: 157).

GERMAN PATRIARCHALISM

«It is at this conjunction of conscious choice and unconscious response that female images on notes exercise their hidden power, reflecting and reinforcing our conflicting perceptions of women and their place in society» (Hewitt 1994: 11).

Margaret Vale Howe, Madeleine Powell Balck, Eve Rovert Ingersoll Brown and Miss Marion T. Burritt, participants in a women's peace parade down Fifth Avenue in New York City on August 29, 1914 http://historyinphotos.blogspot.com.es/2012/09/gg-bain.html

«Psychological theory has not yed played much, if any, part Plenty 1910 in numismatics, but it is clearly relevant to observe here Kenyon that because Cox of woman’s biological role in child-bearing, oil on canvas female images28are 5/8universal x 35 3/8symbols in. (72.6ofx 89.8 creation, cm) an idea Smithsonian which may readly American be ascribed Art Museum to the creation of wealth. On Gift ofmoney paper Williamthis T. Evans is probably most often illustrated by 1910.9.6linked with symbols of agricultural fertility, [...]» women Not currently (Hewitt 1995: on 156-157). view

Plenty, 1910 Kenyon Cox oil on canvas 28 5/8 x 35 3/8 in. (72.6 x 89.8 cm) Smithsonian American Art Museum Gift of William T. Evans 1910.9.6. Not currently on view. Same composition, as «Prosperity», in The Beneficence of the Law (1906): Essex County Court House (Newark, New Jersey)

Source: Essex County Historic Courthouse

Plenty, 1910

«Prosperity», in The Beneficence of the Law (1906): Courtroom 401, Essex County Court House (Newark, New Jersey)

http://www.judiciary.state.nj.us/essex/hchpresentationpromo.pdf

Kenyon Cox oil on canvas 28 5/8 x 35 3/8 in. (72.6 x 89.8 cm) Smithsonian American Art Museum Gift of William T. Evans 1910.9.6. Not currently on view. Same composition in The Beneficence of the Law (1906): Essex County Court House (Newark, New Jersey)

Patricia K. Costello, Assignment Judge

Amy K. DePaul, Trial Court Administrator

«All photos of the Historic Courthouse in this presentation were taken by Gerald Edwards and Robert Zemser, employees of the Superior Court of New Jersey – Essex Vicinage»

Plenty «[...] This is especially true of agriculture, for increase in 1910 wealth is equated with the nurture and harvesting of crops, KenyoninCox which turn parallels the woman’s reproductive role. In this oil on female canvas allegories 28 5/8 x 35 in.are (72.6 x 89.8 cm) with guise, on3/8 notes often endowed baskets of fresh produce,Art or Museum a cornucopia (horn of plenty) Smithsonian American overflowing withT.ripe fruit and vegetables. [...] so the wealthGift of William Evans giving power of these imaginary beings may only serve to 1910.9.6 point up the muted status of real women» (Hewitt 1994: 14 & 27). Not currently on view

$100 PLENTY

«a woman with a cornucopia»

PLENTY



Kenyon Cox: Sketch, 1912, graphite, . Gift of J. D. Cox (Cleveland Museum of Art

Aphrodite, from Parthenon east pediment, between circa 447 and circa 433 BC. British Museum (Former Elgin collection), London © Marie-Lan Nguyen / Wikipedia Commons / CC-BY 2.5

HORN OF PLENTY

The cornucopia «(from Latin cornu copiae) is a curved goat's horn overflowing with fruit and ears of grain that is used as a decorative motif emblematic of abundance». http://www.merriamwebster.com/dictionary/cornucopia

HORN OF PLENTY «On the antoninianus of Philip I […], Annona represents the arrival of the annual corn supply to Rome. She stands with a cornucopia in one arm, and with the other she holds ears of corn over the prow of a galley, which would have brought Egypt's corn harvest to Rome». http://www.forumancientcoins.co m/moonmoth/reverse_abundantia .html://www.merriamwebster.com/dictionary/cornucopia

Plenty 1910 Kenyon Cox oil on canvas 28 5/8 x 35 3/8 in. (72.6 x 89.8 cm) Smithsonian American Art Museum Gift of William T. Evans 1910.9.6 Not easy currently on view «[...] association between feminity and fertility» (Hewitt 1995: 156-157).

http://www.gsa.gov/graphics/pbs/metz.pdf

1910

1914

«He adopted a 7-by-4½ foot oval design, titled Passing Commerce Pays Tribute to Cleveland. In its upper part a flying Mercury, god of commerce, nude except for flowing maroon drapery, dropped golden coins into the lap of a reclining female Cleveland. She wore a white dress and caught the coins in her lap with a rich red cloak. Both figures carried golden scepters, and Cleveland wore a gold crown. [...]» (Morgan 1994: 163).

$100 AMERICA

AME

RICA




Michelangelo’s Pietà in St. Peter’s Basilica, 1497-1499. Vatican City (Rome). Photo: Stanislav Traykov, Niabot (cut out)

Michelangelo’s Pietà in St. Peter’s Basilica, 1497-1499. Vatican City (Rome). Photo: Stanislav Traykov, Niabot (cut out)

«At his art lectures [of Kenyon Cox] I remember his eulogies of Michelangelo»: Jerome Myers, Artist In Manhattan (1940)


LIBERTY

http://www.monety.banknoty. pl/banknotes/glen_johnson/ 0708e.jpg

http://www.monety.banknoty. pl/banknotes/glen_johnson/ 0728.jpg

COLUMBIA

FIGURES WITH LIBERTY CAP

LIBERTY CAP 1782 Libertas Americana Medal (Augustin Dupré), Betts-615, Silver in PCGS MS-65, Diameter: 47.8 mm. Weight: 783.7 grains. Thickness at edge: 3.6 mm. From the Cardinal Collection sold by ANR for $115,000 on 06/30/05. This example, once the property of famed numismatist Harry Bass, was prominently featured in both Part I of the presentation of the Bass collection and Dave Bowers' book More Adventures with Rare Coins. From New Netherlands Coin Company's 63rd sale, April 1972, Lot 615; Bowers and Merena's sale of the Harry W. Bass, Jr. Collection, Part I, May 1999, Lot 2084.

http://forums.collectors.com/messageview.cfm?catid= 26&threadid=684019

Calendrier républicain... : an III : [estampe] / P.L. Debucourt del. et sculp. [1794]

LIBERTY CAP

France. Universal International Exposition of Paris 1900, AR Medal by J. C. Chaplain. Silver. 107 grams. 63.50 mm. Obv: Head of Marianne right, view of Paris behind. http://www.coinarchives.com/w/lotviewer.php?LotID=162376 8&AucID=1515&Lot=238&Val=ee01ce3abbad4a7754efda7b3 600017c

Apotheosis of George Washington, Constantino Brumidi (1865). Rotunda, U.S. Capitol

LIBERTY CAP

1824 Half dollar (50 cents)

Capped Bust http://en.wikipedia.org/wiki/File:1824_half_dollar_obv.jpg

LAUREATE LIBERTY CAP

VICTORY

(1892) 1914 / Barber dime (10 cents)

Photo: Brandon Grossardt http://en.wikipedia.org/wiki/File:1914_Barber_Dime_NGC_MS 64plus_Obverse.png://www.thecoinspot.com/5_cent_shield.php

ca. 1912

1914

Study for mosaic in the Wisconsin State Capitol "Government and Liberty" ca. 1912 Kenyon Cox Born: Warren, Ohio 1856 Died: New York, New York 1919 oil on canvas14 1/8 x 27 1/8 in. (35.9 x 68.9 cm.)

Smithsonian American Art Museum Gift of Mrs. Ambrose Lansing1983.114.11 Not currently on view http://americanart.si.edu/collections/search/artwork/?id=5874

Image from: http://elle-belle10.livejournal.com/1751764.html?thread=17034964

ca. 1912

1914




http://kids.stradun.net/node/93

Rotunda (under the dome): Wisconsin State Capitol, Madison, Wisconsin, USA

http://sawyertravel.blogspot.com.es/2012/03/wisconsin-state-capitol-madison.html

Rotunda: Wisconsin State Capitol, Madison, Wisconsin, USA

Daderot

Liberty: Mosaic in the Wisconsin State Capitol, Madison, Wisconsin, USA. Designed by Kenyon Cox (1856 - 1919)

«To William Cochran [...] New York, Feb. 2nd, 1913 Dear Will: [...]

The other thing I have been working at is the designing of our great pendentives in glass mosaic for the dome of the Wisconsin state capitol. The designs were completed before I took up the currency, and I must go at the execution in glass as soon as possible, now. The contrast in scale of these two jobs is amusing. The figures on the currency are two inches high. The figures in the mosaics, if they stood up, would be 13 or 14 feet high! They will be 10 feet high as they sit. ... Your affectionate brother, Kenyon Cox» (Kenyon Cox, in Morgan 1995: 167-168).


LAUREATE LIBERTY CAP

KENYON COX

U.S. SHIELD 1866 / Shield five cent coin

http://www.thecoinspot.com/5_cent_shield.php

U.S. SHIELD When Charles Thomson came up with the final design of the Great Seal, he first suggested a shield with 13 chevrons […], introducing the theme of mutual support that led William Barton to suggest the 13 vertical stripes (states) supporting a chief (federal government) we see today. The shape of the shield is not specified. http://greatseal.com/symbols/shield.html

Lady Liberty holds the liberty cap on a pole in one hand, while holding an American shield in the other. She is communicating with an American bald eagle. http://bjws.blogspot.com.es/2013_07_16_archive.html

U.S. SHIELD Charles Thomson (Remarks and Explanation, 1782): «The Escutcheon is composed of the chief [upper part of shield] & pale [perpendicular band], the two most honorable ordinaries [figures of heraldry]. The Pieces, paly [alternating pales], represent the several states all joined in one solid compact entire, supporting a Chief, which unites the whole & represents Congress. The Motto alludes to this union. The pales in the arms are kept closely united by the Chief and the Chief depends on that union & the strength resulting from it for its support, to denote the Confederacy of the United States of America & the preservation of their union through Congress. The colours of the pales are those used in the flag of the United States of America; White signifies purity and innocence, Red, hardiness & valour, and Blue, the colour of the Chief signifies vigilance, perseverance & justice» (in Patterson & Dougall 1976: 84-85). Too in: http://www.state.gov/documents/organization/27807.pdf

THE SWORD IS DRAWN, THE NAVY UPHOLDS IT! By Kenyon Cox Dimensions: 51-1/2 x 37 inches (130.8 x 94.0 cm) Medium: Color lithograph Creation Date: 1917

Image from: https://wwihomefront.pbworks.com/f/012.JPG

1914

1917

THE SWORD IS DRAWN, THE NAVY UPHOLDS IT! By Kenyon Cox Dimensions: 51-1/2 x 37 inches (130.8 x 94.0 cm) Medium: Color lithograph Creation Date: 1917

Image from: https://wwihomefront.pbworks.com/f/012.JPG

1914

1917

$100 PEACE

«a woman extending an olive branch»

PEACE




Prophet Isaiah, from Sistine Chapel ceiling, 1508-1512. Vatican City, Rome

Prophet Isaiah, from Sistine Chapel ceiling, 1508-1512. Vatican City, Rome

«At his art lectures [of Kenyon Cox] I remember his eulogies of Michelangelo»: Jerome Myers, Artist In Manhattan (1940)







Daderot

Liberty: Mosaic in the Wisconsin State Capitol, Madison, Wisconsin, USA. Designed by Kenyon Cox (1856 - 1919)

http://academic.sun.ac.za/antieke/ coins/muntwerf/perspax.html

«Roman imperial coinage frequently features the personified [goddess] Pax [Eirene in Greek] as a reverse type. She is usually depicted either seated or standing, holding out an olive branch as a peace offering».

http://butnowyouknow.net/those-who-fail-to-learn-from-history/history-of-economicdownturns-in-the-us/

U.S. silver TRADE DOLLAR, observe: Left-facing seated Liberty, who extends her right hand, bearing an olive branch (as symbol of peace), over the Pacific Ocean: to the Far East.

$100 MERCURY

SCENE 8, C


«the Roman god Mercury [Greek Hermes] with a package»

COMMERCE


PETASOS (OR PETASUS: WINGED ROUND HAT) AND CADUCEUS

1913: Grand Central Station in Manhattan is rebuilt by Cornelius Vanderbilt and becomes Grand Central Terminal. http://www.amongmen.com/entertainment/world-politics/1913-2013-thenand-now

Description The terminal facade. Mercury (god of commerce) is the central figure. This s a statue of Mineva, Mercury and Hercules. Date 13 August 2007 (original upload date) Source Transferred from en.wikipedia; transferred to Commons by User:Oxyman using CommonsHelper. Author Original uploader was Purple74 at en.wikipedia

1913: Grand Central Station in Manhattan is rebuilt by Cornelius Vanderbilt and becomes Grand Central Terminal. http://www.amongmen.com/entertainment/world-politics/1913-2013-thenand-now

Description The terminal facade. Mercury (god of commerce) is the central figure. This s a statue of «The sculptures were designed by French sculptor Jules-Félix Coutan [(1848Mineva, Mercury and Hercules. 1929)]and carved Johnupload Donnelly Date 13 August by 2007the (original date) Company. At its unveiling in 1914, Source Transferred en.wikipedia; to Commons the 48-foot (14.6 m)-from high trio was transferred considered the largest sculptural group in by User:Oxyman using CommonsHelper. the Author world».Original uploader was Purple74 at en.wikipedia

Giambologna:

1580. Museo del Bargello, Florence

PETASOS

https://d1l3luowul8a0f.cloudfront.net/slir/w800-h600/sitipiu/ft/6/5/651376929004.jpg Mercurio volante,

https://d1l3luowul8a0f.cloudfront.net/slir/w800-h600/sitipiu/ft/6/5/651376929004.jpg

«[...] Cox thought that Allyn [Cox, the son] might as well pose as draw and pressed him into service for Mercury. The result was “an idealized view of my face as a very young man on the figure of ‘Commerce’ in this design.”» (Morgan 1994: 199).

Trésor de Berthouville, Cabinet des Médailles, Bibliothèque nationale Paris. 2nd century A.D. From Berthouville, Normandy, France

Photo: Clio20

CADUCEUS

PACKAGE

AUGUSTIN PAJOU: MERCURE, 1780. MUSÉE DU LOUVRE, PARIS

CORD-TIED PACKAGE

http://expo-escultura.blogspot.com.es/2010/05/mercurio-1780.html

CORD-TIED PACKAGE

http://marinni.livejournal.com/372837.html?thread=2601573

Art Nouveau lithograph print entitled “Merkur in verschiedenen darstellungen” made in 1897. Designed by G. Sturm, edited by: Julius Hoffmann, Stuttgart.

WINGED SANDALS

Rafael dP. Iberia-Hispania

www.flickr.com/photos/rafael_dp/5091959107

WINGED SANDALS

Museo Arqueológico de Sevilla, Andalucía, España. Dios Mercurio (detalle). S. II d.C. Procede de Itálica (Santiponce), Sevilla. God Mercury (detail). 2nd century A.D. From Italica (Santiponce), Seville, Andalusia, Spain

Rafael dP. Iberia-Hispania

WINGED SANDALS

www.flickr.com/photos/rafael_dp/5091959107

Museo Arqueológico de Sevilla, Andalucía, España. Dios Mercurio (detalle). S. II d.C. Procede de Itálica (Santiponce), Sevilla. God Mercury (detail). 2nd century A.D. From Italica (Santiponce), Seville, Andalusia, Spain

http://culturadesevilla.blogspot.com.es/20 12/12/decalogo-del-arte-hispalense-quedebes.html

Joseph Christian Leyendecker (1874-1951), 1907

http://www.collectorsweekly.com/articles/theperfect-american-male/

http://www.pinterest.com/ pin/258816309808119237/

Fritz Klimsch (1870-1960): Merkur, 1912. http://www.ebay.de/itm/Fritz-Klimsch-Merkur-1922/380598278931?nma=true&si=J3F1H7fqZ%252BHP8vsR3ToF9pAKcug%253D&orig_cvip=true&rt= nc&_trksid=p2047675.l2557

Kenyon Cox: Fall and expulsion , 1892, oil on canvas, 18.78 x 37.99 cm. (7.4 x 15 in.) http://denudees.wordpress.com/category/c/cox-kenyon/





«[...] At the left the god Mercury, patron of commerce, sat in a relaxed and confident pose [...]» (Morgan 1994: 137).


Venice (1894)

http://www.gsa.gov/graphics/pbs/metz.pdf

1910

1914

«[...] The subject was familiar, if not clichéd, but was understandable at a glance and made its point about commerce and custom duties without an elaborate scheme. The figures, especially Mercury, were well drawn, fully modelled, and richly painted. The composition was a logical, harmonious whole» (Morgan 1994: 163).

Study for Mural at U.S. Custom House, Cleveland, OH, "Passing Commerce Pays Tribute to the Port of Cleveland" 1909 Kenyon Cox Born: Warren, Ohio 1856 Died: New York, New York 1919 oil and pencil on canvas21 1/4 x 15 1/4 in. (54.0 x 38.8 cm) Smithsonian American Art Museum Gift of Mrs. Ambrose Lansing1983.114.5 Smithsonian American Art Museum Luce Foundation Center, 4th Floor, 35B

http://americanart.si.edu/collections/search/artwork/?id=5874

This study shows Kenyon Cox’s plan for a mural above the fireplace in the office of Cleveland’s Collector of Customs. Cox chose an allegorical scene to represent the city’s booming economy. Mercury, god of commerce, drops golden coins into the lap of an allegorical figure of Cleveland, shown as an idealized woman. Cox used a grid system to translate the image onto a much larger canvas, which would be installed in an elaborately carved frame on the wall. He decided on a color scheme to match the dark brown wood of the walnut walls and the purple marble of the chimney mantle, explaining that “It seemed best to make the decoration a spot of brilliant color in its rich and quiet surroundings.” (Morgan, Kenyon Cox, 1856-1919: A Life in American Art, 1994) http://americanart.si.edu/collections/search/artwork/?id=5874

«Mercurio, el Hermes griego, juntamente con sus atributos, es el recurso iconográfico, más representativo de los carteles feriales, de exposiciones de productos y de congresos vinculados a la actividad económica. De acuerdo con el mito, Mercurio, hijo de Júpiter ―Zeus― y Maya, es el rápido mensajero de los dioses, especialmente de [su] padre, y el protector del comercio, los viajeros y los peregrinos. Los atributos de Mercurio son las sandalias aladas y el casco alado, que le permiten desplazarse rápidamente; y el caduceo, una vara con dos serpientes enroscadas, que a menudo también lleva dos pequeñas alas en la parte superior. Mercurio hace cesar toda disputa con el caduceo. Según la tradición, el dios mensajero intervino ante dos serpientes que se peleaban, se enroscaron a la vara y cesaron la pelea; por este motivo, el caduceo simboliza la paz y la sabiduría. Los romanos utilizaron la figura de Mercurio para representar el equilibrio moral y la buena conducta: el bastón expresaba poder; las dos serpientes, la sabiduría; y las alas, la diligencia. Desde un punto de vista alegórico, esta divinidad también personificaba las cualidades del educador: la razón y la elocuencia».

http://feriasycarteles.wordpress.com/2012/05/08/prazskevzorkove-veletrhy-pvv-feria-de-muestras-de-praga-5/

«En la época romana, Mercurio llevaba en la mano una bolsa para guardar las monedas, el marsupium, una clara referencia a su vinculación con el comercio; como lo es también su nombre en latín, ya que merx significa ‘mercadería’». http://feriasycarteles.word press.com/2012/05/08/pra zske-vzorkove-veletrhypvv-feria-de-muestras-depraga-5/

MARSUPIUM noriko.stardust

BRITISH MUSEUM, Mercury, 2ndC, Gaule (Roman Empire). London (England) http://www.flickriver.com/photos/25396001@N04/sets/72157607823477199/

Charles Meynier. French. 1763-1832. oil on canvas.

MARSUPIUM

http://monsieurlabette.tumblr.com/post/62139445828/statue-of-mercury-in-a-landscape-charles-meynier

Statue of Mercury in a landscape.

MARSUPIUM Apotheosis of George Washington, Constantino Brumidi (1865). Rotunda, U.S. Capitol

"Commerce": Mercury, god of commerce, with his winged cap and sandals and caduceus, hands a bag [or marsupius] of gold to Robert Morris, financier of the Revolutionary War. On the left, men move a box on a dolly; on the right, the anchor and sailors lead into the next scene, "Marine."

http://nomadicnewfies.blogspot.com.es/2014/01/the-senate-chamber.html

«[...] On the left, a female Commerce, with some resemblance to Mercury, […]» (Morgan 1994: 172). Kenyon Cox: The Marriage of the Atlantic and the Pacific The Senate Chamber, Wisconsin State Capitol Building: Madison, Wisconsin (1915)

http://s1340.photobucket.com/user/kodakfellow/media/progress1_zpsc46559ff.jpg.html?sort=3&o=109

http://www.stampcommunity.org/topic.asp?TOPIC_ID=9106&whichpage=101

AMERICAN BANK NOTE COMPANY

ALONZO EARL FORINGER (1878-1948)

http://s1340.photobucket.com/user/kodakfellow/media/progress1_zpsc46559ff.jpg.html?sort=3&o=109

http://monsieurlabette.tumblr.com/post/7662 6168769/alonzo-earl-foringer-industry

http://monsieurlabette.tumblr.com/post/76626168769/alonzo-earl-foringer-industry

AMERICAN BANK NOTE COMPANY / ALONZO EARL FORINGER (1878-1948)

$100

SOME WORLD BANKNOTES WHICH SHOWED HERMES OR MERCURY

SPAIN, 1899 http://banknoteworld.com/spain

GERMAN EMPIRE, 1908 http://www.mashops.com/mueller/item.php5?id=9323&lang= en

BOLIVIA, 1911 http://banknoteworld.com/bolivia

(BRITISH) DOMINION OF CANADA, 1917 http://www.ebay.ca/itm/1917-The-Canadian-Bank-ofCommerce-5-Note-s16/331014946326?pt=Paper_Money&hash=item4d12073e 16&_uhb=1

Bank Note Iconography and the Ornaments of Commerce Classical imagery, as seen on the Canadian Bank of Commerce $5 and $20 notes of [1917 and] 1935 suggested education, literary culture, prestige and tradition, but how to explain the classical, draped, nude figure of Mercury on the $5 note with his left foot on the globe, caduceus in one hand, and wearing a winged hat that looks suspiciously like a fedora? On either side two female figures appear as allegorical representations of the arts (left) and transportation (right). On the $20 note, Neptune, god of the sea, trident in hand, looks toward three chastely arranged water nymphs perched on a rock at the other side of the note. The skill of the engraver/artist of these and other banknotes is clearly evident, but not so his (or her) name. While sculptors who create coins are often recognized, the talented hands that produced elaborate and detailed imagery for Canada’s early paper money are, for the most part, unknown. A few names, however, have come to light as a result of the more thorough documentation of the physical production of bank notes. http://ornamentum.ca/article/bank-note-iconography-and-the-ornaments-of-commerce/

(BRITISH) DOMINION OF CANADA, 1917 http://www.ebay.ca/itm/1917-The-Canadian-Bank-ofCommerce-5-Note-s16/331014946326?pt=Paper_Money&hash=item4d12073e 16&_uhb=1

(BRITISH) DOMINION OF CANADA, 1917. The Canadian Bank of Commerce, 5 dollars (back) http://www.ebay.ca/itm/1917-The-Canadian-Bankof-Commerce-5-Note-s16/331014946326?pt=Paper_Money&hash=item4d 12073e16&_uhb=1

Giuliano de Medici Tomb also known as "Night and Day" in Sagrestia Nuova (in San Lorenzo Church, Florence) built by Michelangelo

http://nassifblog.blogspot.com.es /2012/08/leonardo-da-vinci-wasoriginal.html

FEW CENTURIES AGO. ITALIAN RENAISSANCE

GERMAN OCCUPATION OF LITHUANIA, 1918 http://banknoteworld.com/germany? start=250#banknotes

AFTER THE U. S. PARTICIPATION IN THE GREAT WAR

C. SERIES OF 1918

ONE-DOLLAR BILL

GEORGE WASHINGTON (1732-1799) 1st President of the United States (1789-1797)

http://en.wikipedia.org/wiki/File:Gilbert_Stuart_003.jpg

Artist Gilbert Stuart (1755–1828) Title Portrait of George Washington (The Athenaeum Portrait) Date 1796 Medium oil on canvas Dimensions 101 × 88 cm (39.8 × 34.6 in) Current location Museum of Fine Arts, Boston Notes In 1796, Gilbert Stuart painted this famous portrait of Washington from life, and then used the unfinished painting to create numerous others, including the image used on the U.S. one-dollar bill. Source/Phot http://www.nga.gov/exhibitions/2005/stuart/philadelphia.shtm ographer

1st President of the United States (1789-1797)

GEORGE WASHINGTON

GEORGE WASHINGTON 1st President of the United States (1789-1797)

George Washington by Gilbert Stuart (1755 - 1828) Oil on canvas, 1796 ca. - 1798 Sight measurement Height: 28.63 inches (72.7 cm) Width: 23.63 inches (60 cm) Unsigned Cat. no. 31.00003.000

http://www.senate.gov/artandhistory/art/artifact /Painting_31_00003.htm

SERIES OF 1918


UNITED STATES NOTE S. OF 1917



SCENE 9

REVERSE F Image from the National Numismatic Collection at the Smithsonian Institution

1918

EAGLE ON AMERICAN FLAG «This is familiarly known as the “Green Eagle Note”» (Bowers 2009: 135).

EAGLE & FLAG

(WITH U.S. CAPITOL)


$10 one-year Interest Bearing Note (1864), 5% interest, paid at maturity

EAGLE & FLAGS

(WITH U.S. SHIELD) 1869 PICTORIAL ISSUES

EAGLE & FLAG


$500 GOLD CERTIFICATE SERIES OF 1882

http://funnypicturecrazy.info/2008/02/23/vintage-dollars/

http://www.monety.banknoty.pl/banknotes/glen_johnson/0728.jpg


EAGLES

Charles Thomson (Remarks and Explanation, 1782): «The Escutcheon is born on the breast of an American Eagle without any other supporters [figures represented as holding up the shield] to denote that the United States of America ought to rely on their own Virtue» (in Patterson & Dougall 1976: 85). Too in: http://www.state.gov/documents/organization/27807.pdf

AMERICAN BALD EAGLE Haliaeetus leucocephalus

The stars on the flag represent the U.S. states; the 13 stripes represent the thirteen British colonies that declared independence in 1776 and became the first states in the Union.

June 14, 1777 (Second Continental Congress): «Resolved, That the flag of the thirteen United States be thirteen stripes, alternate red and white; that the union be thirteen stars, white in a blue field, representing a new constellation».

Charles Thomson (Remarks and Explanation, 1782): «The colours of the pales are those used in the flag of the United States of America; White signifies purity and innocence, Red, hardiness & valour, and Blue, the colour of the Chief signifies vigilance, perseverance & justice» (in Patterson & Dougall 1976: 85). Too in: http://www.state.gov/documents/or ganization/27807.pdf

NOT CORRECT ARRANGEMENT OF THE STARS

SINCE 1912 (BETWEEN 1912 AND 1959), SIX HORIZONTAL ROWS OF EIGHT STARS 48 STATES (BLUE CANTON WITH 48 FIVE-POINTED STARS)

NATIONALISM

IMPERIALISM

EMPIRE

http://en.wikipedia.org/wiki/File:10kMiles.JPG

IMPERIALISM

$1 AN OLD DESIGN

UNITED STATES NOTE (NOT FED NOTE OR BANK NOTE) http://www.worthpoint.com/worthopedia/1917-one-dollar-bill

S. OF 1917

1914

1918

1869-1917

UNITED STATES NOTE

1915


1914

«The portrait [$1, Series of 1869] was engraved by Alfred Sealey from the famous painting by Gilbert Stuart (the standard source for other Washington images on federal paper money, including the portrait used on $1 notes today)» (Bowers 2009: 110a).

ACT OF MARCH

RD 3

1863.

«[...] these denominations [$1 and $2] would be added by statute in mid-1864[...]» (Doty 2008: 150)

UNITED STATES NOTE

1917

UNITED STATES NOTE

1ST U.S. STAMP WITH GEORGE WASHINGTON: 1851

TWO-DOLLAR BILL

THOMAS JEFFERSON (1743-1826) 3rd President of the United States (1801-1809)

Artist/Maker:Gilbert Stuart (1755-1828)[1] Created: 1805 Origin/Purchase:Washington, D.C. Materials: oil on wood Dimensions: 66.7 x 55.2 (26 1/4 x 21 3/4 in.) Location: Monticello, Entrance Hall Provenance:Thomas Jefferson; by descent toThomas Jefferson Randolph; by purchase to Burton Harrison; by purchase to the Babcock Galleries and John B. Winant; by purchase to Percy S. Straus; by descent to Donald B. Straus; by purchase to the National Portrait Gallery and the Thomas Jefferson Foundation in 1983 Accession Number: 1982-53 Historical Notes: Before his first portrait taken in Philadelphia in May 1800 by Gilbert Stuart had been delivered, Jefferson sat again for the noted portraitist in his Washington studio shortly before June 7, 1805. Jefferson wrote that he sat for the second likeness upon Stuart's insistence.

http://www.monticello.org/site/house-and-gardens/jefferson-portraitgilbert-stuart-painting

SERIES OF 1918





SCENE 10

REVERSE G Image from the National Numismatic Collection at the Smithsonian Institution

1918

BATTLESHIP NEW YORK

«On the back of the note is a dreadnought fighting ship, intended to be representative of the class, but drawn from the 27,000-ton USS New York» (Bowers & Sundman 2006: 51).

«The battleship of the 1918 note [...] is a new symbol of power of money. More martial than a locomotive, it was a guns-and-steel assrtion of American strenght, an emblem of the country’s contribution to winning World War I (Standish 2000: 140-141).

USS New York, although no name is assigned to the ship in the vignette.

Photo #: 19-N-13046 USS New York (BB-34) Underway at high speed, 29 May 1915. Photograph from the Bureau of Ships Collection in the U.S. National Archives.

http://www.history.navy.mil/photos/sh-usn/usnsh-n/bb34.htm

Photo #: NH 45138 USS New York (BB-34) In Hampton Roads, Virginia, 10 December 1916. U.S. Naval Historical Center Photograph.

MILITARISM

USS New York (Battleship # 34, later BB-34), 1914-1948 USS New York, lead ship of a two-ship class of 27,000-ton battleships, was built at the New York Navy Yard. Commissioned in April 1914, her first active service was off Vera Cruz, Mexico, during the U.S. intervention there. After more than three years of operations off the east coast and in the Caribbean, in December 1917 New York crossed the Atlantic to join the British Grand Fleet. She was flagship of the U.S. battleships of the Sixth Battle Squadron during the remainder of the First World War. http://www.history.navy.mil/photos/sh-usn/usnsh-n/bb34.htm

IMPERIALISM

Description: Caption reads "Formal raising of first flag of U.S. / Veracruz 2 P.M. April 27, 1914" Photograph by Hadsell taken during the U. S. occupation of Veracruz. Author: Photograph by Hadsell taken during the U.S. occupation of Veracruz, 1914.

EMPIRE

Map showing U.S. military interventions in Mexico, Central America and the Caribbean in the 19th and 20th centuries Author Lord Mota (in Portuguese language)

USS New York (Battleship # 34, later BB-34), 1914-1948 […] In mid-1919, New York transited the Panama Canal to the Pacific, where she was based during the next decade and a half. As a unit of the Battle Fleet, she took an active part in the exercises, drills and gunnery practices that were regularly held in the Pacific and Caribbean. New York underwent modernization in 1925-27, receiving new oil-fired boilers, anti-torpedo bulges on her hull sides, heavier deck armor, up-to-date gunfire control mechanisms and many other improvements that enhanced her combat capabilities. After being transferred to the Atlantic in the mid-1930s, she visited England in 1937 as the U.S. representative to the British Coronation naval review. Over the next three years, the battleship was actively employed as a training ship. With the coming of war to Europe, New York participated in Neutrality Patrol operations, and, as the U.S. drew closer to the conflict in 1941, helped in the occupation of Iceland and in escorting convoys. Her convoy activities continued after the United States became a combatant in December 1941. In November 1942, New York also took part the North African invasion, providing gunfire support for landings at Safi, Morocco. She spent 1943 and most of 1944 on escort and training duties, steaming to the Pacific war zone in early 1945. In February, New York's big guns were active bombarding Iwo Jima before and during the Marines' assault on that island. She was similarly employed off Okinawa from late March until June, and was lightly damaged by a suicide plane on 14 April 1945. Following the Japanese capitulation in August 1945, New York moved back to the Atlantic and was at New York City for the Navy Day fleet review in late October. Her last active service was as a target during the atomic bomb tests at Bikini, Marshall Islands, in July 1946. Too off radioactive and far too old for further use, she decommissioned a month later. In July 1948, USS New York was towed out to sea Pearl Harbor and sunk as a target for Navy aircraft and ships. http://www.history.navy.mil/photos/sh-usn/usnsh-n/bb34.htm

$2 AN OLD DESIGN

UNITED STATES NOTE (NOT FED NOTE OR BANK NOTE) http://www.oakauctions.com/1917-two-dollars-united-states-note-lot2173.aspx

S. OF 1917

«Engraving of the Capitol scene was done by Louis Delnoce and William Chorlton» (Bowers 2009: 171b).

UNITED STATES NOTE

DEMOCRACY

http://www.oakauctions.com/1917-two-dollars-united-states-note-lot2173.aspx

UNITED STATES CAPITOL

S. OF 1917

«Thomas Jefferson made his debut on the $2 bill in the Series of 1869, establishing what proved to be an enduring connection lasting to today. Later, his was the iconic portrait on small-size $2 notes. An Edinburgh Scotsman named Charles Burt created the Jefferson portrait in his capacity as one of the chief engravers for the Treasury department» (Bowers 2009: 171a-b).

ACT OF MARCH

RD 3

1863.

«[...] these denominations [$1 and $2] would be added by statute in mid-1864[...]» (Doty 2008: 150)

UNITED STATES NOTE

1917

UNITED STATES NOTE

1ST U.S. STAMP WITH THOMAS JEFFERSON: 1856

$500 BILL

JOHN JAMES MARSHALL (1755-1835) 4th Chief Justice of the Supreme Court (1801-1835) Artist Henry Inman (1801–1846) Title John Marshall. Date 1832 Medium oil on canvas Current Library of Virginia location Richmond, Virginia, United States Notes Henry Inman painted his original portrait of Chief Justice John Marshall in September 1831, when the jurist sat for Inman in Philadelphia. This painting is a copy of Inman's original that he made in 1832 for an engraver. John Marshall bought the painting for his daughter who passed it to her daughters. Marshall's granddaughters lent the portrait to the Virginia State Library in 1874 and the surviving granddaughter bequeathed it to the Library in 1920. Source/ Virginia Memory Photogr apher

JOHN JAMES MARSHALL (1755-1835) 4th Chief Justice of the Supreme Court (1801-1835) Treasury Note, Series of 1890


JOHN JAMES MARSHALL (1755 –1835). 4th Chief Justice of the Supreme Court

JOHN JAMES MARSHALL (1755 –1835). 4th Chief Justice of the Supreme Court


SERIES 1914 OF 1918

1918

HERNANDO DE SOTO DISCOVERING THE MISSISSIPPI Image from the National Numismatic Collection at the Smithsonian Institution


Hernando de Soto (1500-1542) discovering the Mississippi River (May 8, 1541).

SERIES OF 1918 1918

http://www.antiquebanknotes.com/rare/1864-ten-dollar-bill.aspx

Hernando de Soto (1500-1542) discovering the Mississippi River (May 8, 1541).

1st version: 1863 ($10)

William H. Powell Oil on canvas (12' x 18‘) 1853; placed 1855. Rotunda, U.S. Capitol

http://www.aoc.gov/capitol-hill/paintings-only

DISCOVERY OF THE MISSISSIPPI BY DE SOTO

NATIONALISM

«As De Soto and his troops approach, the Native Americans watch warily but quietly before their tepees, and a chief holds out the pipe of peace. The central area of the painting is filled with light and color, set off in dramatic relief by the foreground figures in shadow, and the dark forest at the left contrasts strongly with the bright sky on the right. In the foreground, weapons, armor, artillerymen moving a cannon, and a soldier wrapping a wounded leg suggest the attack by Indians that took place the day before. To the right, a monk prays as men set a newly constructed crucifix in the ground. Above this group and fading to the horizon is the Mississippi River, dotted with native canoes, small islands, and a tree being borne downstream; the lightly forested opposite bank is visible along the skyline. Powell based his scene on published accounts and histories, including Theodore Irving’s 1835 The Conquest of Florida by Hernando de Soto. A year later, after De Soto died of a fever, his body was buried http://www.aoc.gov/capitol-hill/historic-rotundain the river, […]». paintings/discovery-mississippi-by-de-soto

$1,O00 BILL

ALEXANDER HAMILTON

(1755 OR 1757-1804) 3rd United States Secretary of the Treasury (1789-1795)

Sec. Alexander Hamilton Caroline L. Ormes Ransom Oil on canvas 1880 72 x 52 1/2 x 3" P.1881.5

http://www.treasury.gov/about/history/Pages/ahamilton.aspx

ALEXANDER HAMILTON

(1755 OR 1757-1804) 3rd United States Secretary of the Treasury (1789-1795) Gold Certificate, Series of 1907


http://en.wikipedia.org/wiki/User:Godot13/Gold_certificate_(United_States)/

ALEXANDER HAMILTON (1755 or 1757 – 1804). 1st United States Secretary of the Treasury


SERIES 1914 OF 1918

1918

BALD EAGLE, OLIVE BRANCH, ARROWS AND AMERICAN FLAG Image from the National Numismatic Collection at the Smithsonian Institution

OLIVE BRANCH AND ARROWS: The United States has "a strong desire for peace, but will always be ready for war."

Bald eagle facing left, perched on flag, olive branch and arrows.

BALD EAGLE Haliaeetus leucocephalus

OLIVE BRANCH AND ARROWS: «[…] its head is turned towards the olive branch, indicating a desire for peace» (Kranister 1989: 304).

BALD EAGLE Haliaeetus leucocephalus

OLIVE BRANCH & ARROWS

Charles Thomson (report recommending a design for the Great Seal, 1782):

Charles Thomson (Remarks and Explanation, 1782):

«The Escutcheon on the breast of the American Bald Eagle displayed, proper, holding in his dexter talon an Olive baranch, and in his sinister bundle of thirteen arrows, all proper, […]» (in Patterson & Dougall 1976: 84).

«The Olive branch and arrows denote the power of peace & war which is exclusively vested in Congress» (in Patterson & Dougall 1976: 85). Too in: http://www.state.gov/documents/organization/27807.pdf

CORRECT ARRANGEMENT OF THE STARS

SINCE 1912, SIX HORIZONTAL ROWS OF EIGHT STARS

FEDERAL RESERVE NOTE http://ana-museum.org/1988_17_208.html

NATIONALISM

IMPERIALISM

$5,000 BILL

JAMES MADISON, JR. (1751-1836) 4th President of the United States (1809-1817) Gilbert Stuart (American, 1755-1828). James Madison, 1804. Oil on canvas. 29 1/2 x 24 9/16 in. (74.9 x 62.4 cm). G1945-23. The Colonial Williamsburg Foundation http://npgportraits.si.edu/emuseumnpg/code/emuseum.asp?style=text&c urrentrecord=51&page=search&profile=CAP&searchdesc=Related%20t o%20James%20Madison......&searchstring=constituentid/,/is/,/2424/,/fal se/,/true&newvalues=1&newaction=newpage&newstyle=single&newcur rentrecord=57

Image: http://arthistory.about.com/od/from_exhibitions /ig/1812-A-Nation-Emerges/04-Gilbert-StuartJames-Madison-1804.htm

(1751-1836) 4th President of the United States (1809-1817) Proof of the obverse of a Series of 1878 $5,000 United States Note. «All notes of this issue have been redeemed and there are none outstanding» (Friedberg & Friedberg 2013: 58).

Godot13

JAMES MADISON, JR.


JAMES MADISON, JR. (1751 –1836). 4th President of the United States (1809-1817)

JAMES MADISON, JR. (1751 –1836). 4th President of the United States (1809-1817)


SERIES 1914 OF 1918

1918

GEORGE WASHINGTON RESIGNING HIS COMMISSION Image from the National Numismatic Collection at the Smithsonian Institution


George Washington (1732-1799) resigning his Commission as commander-in-chief of the Continental Army (December 23, 1783).

SERIES OF 1918 1918

Photo: 1876

Engraved by Louis Delnoce and Frederick Girsch

http://papermoneywanted.com/one-thousand-dollar-notes/illinois/chicago-illinoisgerman-national-bank-1734-1875-1000-dollar-national-bank-notes.php

George Washington (1732-1799) resigning his Commission as commander-in-chief of the Continental Army (December 23, 1783).

1st version: 1863 ($1,000)

John Trumbull Oil on canvas (12' x 18‘) 1824; placed 1826. Rotunda, U.S. Capitol


GENERAL GEORGE WASHINGTON RESIGNING HIS COMMISSION

«This painting depicts the scene on December 23, 1783, in the Maryland State House in Annapolis when George Washington resigned his commission as commander-in-chief of the Continental Army. The action was significant for establishing civilian authority over the military, a fundamental principle of American democracy.

DEMOCRACY

Washington, illuminated by the light falling into the room, stands in uniform before the president of the Continental Congress, Thomas Mifflin, and the delegates, among whom is Thomas Jefferson. Behind Washington are his aides-de-camp, Col. Benjamin Walker and Col. David Humphreys, and spectators. The delegates and spectators direct their attention to Washington as he extends his right hand to return his commission. The empty chair draped in a cloak, suggestive of a throne covered with a king’s robe, symbolizes Washington’s act of retiring from his position of power». http://www.aoc.gov/capitol-hill/historic-rotunda-paintings/general-george-washington-resigning-his-commission


«[...] And why Washington resignin his commision, instead of taking the oasth of office as the first president? This choice, too, shows a closer and wiser reading of history than we have now. It was a precedent symbolic of democratic ideals. Great commanders of the past―and present and future―had, after wiping out the opposition, remained in charge and become Great Dictators. But not Washington. He resigned instead. Right after the war, there was a movement to have him named king; on becoming president, he had to discourage enthusiasm to call him “your Highness,” insisting instead on plain “Mr President.” Showning him resigning his comission encapsulated an appreciation of his truly democratic impulses» (Standish 2000: 132).

SERIES OF 1918 1918

$10,000 BILL

SALMON PORTLAND CHASE (1808-1873) 6th Chief Justice of the United States (1864-1873) and 25th United States Secretary of the Treasury (1861-1864) «Henry Ulke was a photographer and portrait artist whose studio served Washington patrons at a time when photographers’ studios were highly popular».

http://www.treasury.gov/connect/blog/Pag es/Salmon-Chase-Photo.aspx

SALMON PORTLAND CHASE

(1808-1873) 6th Chief Justice of the United States (1864-1873) and 25th United States Secretary of the Treasury (1861-1864)

$10 one-year Interest Bearing Note (1864), 5% interest, paid at maturity


SALMON PORTLAND CHASE (1808 –1873). 6th Chief Justice of the United Sates (1864-1873) and 25th United States Secretary of the Treasury (1861-1864)


SERIES 1914 OF 1918

«In a burst of postwar fiscal exhuberance, the 1918 issue also included the highest denomination bill ever put into general circulation by the United States―the $10,000 bill [...]. Whose face seemed worthy of appearing on it? Salmon P. Chase. True, he was pretty much the father of federal paper money [of the 19th century], but does that really make him important enough for the honor? It’s a glaring example of the institutional narcissism evident on United States currency» (Standish 2000: 141).

1918

EMBARKATION OF THE PILGRIMS Image from the National Numismatic Collection at the Smithsonian Institution


The Pilgrims on the deck of the ship Speedwell on July 22, 1620, before they departed from Delfts Haven, Holland, for North America, where they sought religious freedom.

SERIES OF 1918 1918

Photo: 1875

http://www.antiquebanknotes.com/national-currency/series-1875.aspx

The Pilgrims on the deck of the ship Speedwell on July 22, 1620, before they departed from Delfts Haven, Holland, for North America, where they sought religious freedom.

1st version: 1863 ($50)

Robert W. Weir Oil on canvas (12' x 18‘) 1843; placed 1843. Rotunda, U.S. Capitol


EMBARKATION OF THE PILGRIMS

LIBERTY

«They [the Pilgrims] first sailed to Southampton, England, to join the Mayflower, which was also making the voyage. After leaks forced the Speedwell to make additional stops in Dartmouth and then Plymouth, its passengers boarded the Mayflower. Five months later the Pilgrims settled the Plymouth Colony in presentday Massachusetts. The group appears solemn and contemplative of what they are about to undertake as they pray for divine protection through their voyage; the words “God with us” appear on the sail in the upper left corner. The figures at the center of the composition are William Brewster, holding the Bible; Governor Carver, kneeling with head bowed and hat in hand; and pastor John Robinson, with extended arms, looking Heavenward. Gathered around them are the men, women, and children going on the voyage. Some are dressed in traditional puritan attire while others wear more fanciful and bright garments. The armor, helmet, and musket in the foreground represent the tools that the Pilgrims will use for protection in the new and unfamiliar land. In the background on the right are the city and people the Pilgrims leave, and on the left a rainbow represents the hope and promise of what lies ahead». http://www.aoc.gov/capitol-hill/historic-rotunda-paintings/embarkation-pilgrims

«The larger-denominations notes from 500 to 10,000 dollars were first issued as the series of 1918. All of the notes of this first issue feature historical or allegorical scenes on their backs, making them particularly interesing as documents recording America’s aspirations and self-image, as expressed by the federal government» (Dudd 2006: 140).

SOME INTRODUCTORY REMARKS

D. FINAL REMARKS

4 AUTHORIZATIONS ON THE “FED” PAPER MONEY, 1914-1918

WOODROW WILSON (1856 –1924). 28th President of the United States (March 4, 1913-March 4 1921)

http://www.realclearpolitics.com/lists/top_10_state_of_the_union_addresses/wilson_1913.html?state=play

SERIES OF 1914

AUTHORIZED BY FEDERAL RESERVE ACT OF DECEMBER 23, 1913 AS AMENDED BY ACT OF SEPTEMBER 26, 1918 SERIES OF 1918

FEDERAL RESERVE NOTES

AUTHORIZED BY FEDERAL SERIES OF 1914 RESERVE ACT OF DECEMBER 23, 1913

SERIES OF 1915

AUTHORIZED BY THE ACTS OF DEC. 23, 1913, AND APRIL 23, 1918 SERIES OF 1918

FEDERAL RESERVE BANK NOTES

AUTHORIZED BY FEDERAL RESERVE ACT OF DECEMBER 23, 1913

FINAL WORDS

«Banknotes are international ambassadors, and the images they represent not the banks, which are so institusionalised as to be devoid of personality, but countries and national identities» (Hewitt 1994: 7).

«[...] in the twentieth century, banknote designs have everywhere followed more nationalistic lines. One can hardly now mistake a German, French or British banknote for each other or for an American bill» (Ball 1995: 26).

«Le droit [not correct: the back] de tous les premiers billets de la Réserve fédérale montre un pays florissant, en paix avec son passé et son présent» (Bourgey 2004: 250).

The images of the ‘Fed’ banknotes suggest, with a more than photographic intensity, not how Americans actually were, but how they wished to appear, to themselves and others, both then and in times to come. If the notes are approached with this in mind, a great deal can be learned. Based on Richard G. Doty 1995: 118* *«The images they present [in the notes of the 1800s] suggest with a more than photographic intensity, not how Americans actually were, but how they wished to appear, to themselves and others, both then and in times to come. If the notes are approached with this in mind, a great deal can be learned» (Doty 1995: 118).

The early 20th century ‘Fed’ paper money is an easily obtainable visual representation of America―not in terms of what it actually was, but in terms of what those who ruled through it thought it was. Based on Richard G. Doty 2008: 98* *«They [the notes of the 1800s] are our best, most easily obtainable visual representation of the American 19th century―not in terms of what it actually was, but in terms of what those who lived throught it thought it was» (Doty 2008: 98).

FEDERAL RESERVE PAPER MONEY, 1914-1918: POWER, IDEOLOGY AND ART Rafael Company

IN MEMORIAM Richard G. Doty (1942-2013)

FEDERAL RESERVE PAPER MONEY, 1914-1918: POWER, IDEOLOGY AND ART

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