federal reserve paper money, 1914-1918: power, ideology and art

8/9/2019 FEDERAL RESERVE PAPER MONEY, 1914-1918: POWER, IDEOLOGY AND ART

http://slidepdf.com/reader/full/federal-reserve-paper-money-1914-1918-power-ideology-and-art 1/603

FEDERAL RESERVEPAPER MONEY,

1914-1918:

POWER, IDEOLOGY AND ARTRafael 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 Americanbanking, 1781 ‒1913», in HEWITT, Virginia (ed.): The Banker’s Art. Studies in Paper Money . London: BritishMuseum 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. 29 th

Edition . Iola, Wisconsin: Krause Publications.

DAVIES, Glyn (2000): History of Money. From Ancient Times to the Present Day . Cardiff: University ofWales Press.

DOTY, Ricard G. (1982): The Macmillan Encyclopedic Dictionary of Numismatics . New York: MacmillanPublishing.― (1995): «Surviving images, forgotten peoples: Native Americans, women, and African Americans onUnited 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. SecondEdition . 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 illustratedguide with valuations. Twentieth Edition . Willinston, Vermont: Coin & Currency Institute.

GARRET, Jeff & John GUTH (2005): 100 Greatest U.S. Coins. Second Edition . Atlanta, Georgia: WhitmanPublishing.



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 JewettMather, 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 UniversityPress.― (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 21 st 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, Bureauof 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.



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

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

Images from the National Numismatic Collection at the

Smithsonian Institution:



BEFORE THE FED

Th F d l



The FederalReserve

System (alsoknown as

the FederalReserve, andinformally asthe Fed), the

central

banking systemof the United

States, wascreated – on

December 23,1913 – largely

in response to aseries offinancial

panics,particularly a

very severecrisis: the 1907Bankers' Panic

(see image).



«Les plus grandes banques new-yorkaises furent sauvées in extremis del’insolvabilité par l’intervention d’un

richissime homme d’affaires, J[ohn].Pierpont Morgan [(1837-1913)], qui leuravança les liquidités nécessaires»

(Stepczynski 2003: 34).



«The days of laissez-faire ,particularly for New Yorkmoney men, were over andsome form of centralbanking control inescapableand imminent. Inintroducing the bill forbanking reform Senator

Carter Glass [(1858-1946)]stated plainly that‘Financial textbook writersin Europe have characterisedour banking as “barbarous”

and eminent bankers in thiscountry have not hesitatedto confess that the criticismis merited.’» (Davies 2000:

503).



THE FED

B h i Wil



«By the time Wilson wasinaugurated (on March 4, 1913),public opinion was demanding adismantling of the money trust,

or at least its containment bythe federal government. Oneway to keep it within boundsmight be by exerting a greater

federal control over the sinewsof the banking system, thepaper money employed in itsoperations. Thus was born theFederal Reserve Act of

[December 23,]1913, and thus,in the following year, was borna new type of currency, theFederal Reserve Note» (Doty

2008: 178).

WOODROW WILSON(1856 – 1924).

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

u s /



h t t p : / / w w w . s a n d s t e a d . c o m / i m a g e s / w a s h i n g t o n / v a r i o u



«En 1913, le réseau des banquesnationales créé en 1863 est coiffépar le Système fédéral de réserve.

Toutes les banques doivent avoirdans leur caisse un pourcentageminimal de billets émis par laRéserve fédérale. Ce pourcentage

dépend de l’importance de la villeoù ces banques sont implantées.Bizarrement, la garantie la plusfaible (12 % des dépots) estimposée aux banques des régionsrurales qui sont les plusimprudents» (Albertini, Lecomte-Collin & Collin 2000: 131).



«A map of the 12 districts of the United States Federal Reserve System, with the 12 Federal ReserveBanks marked as black squares and the [present-day] 24 (total) Branches of these Federal ReserveBanks are marked as red circles. The Washington DC Headquarters is marked with a star. (Also, a25th branch in Buffalo, NY had been closed in 2008.)».ChrisnHoustonhttp://en.wikipedia.org/wiki/File:Federal_Reserve_Districts_Map_-_Banks_%26_Branches.png



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).

SAN FRANCISCO

DALLAS

KANSASCITY

ST.LOUIS

ATLANTA

PHILADELPHIA

NEW YORK BOSTON



SAN FRANCISCO

DALLAS

KANSASCITY

ST.LOUIS

ATLANTA

PHILADELPHIA

NEW YORK BOSTON

«Let it be noted that the great majority of the Federal Reserve Banksexisted in Eastern and Midwestern cities, rather faithfully followingpopulation 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 réservecommande la politique monétaire

des États Unis et [en 1913] veille àmaintenir une réserve d’or égale à

40 % des billets émis» (Albertini,Lecomte-Collin & Collin 2000: 131).

Portable Antiquities Scheme

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



«[...] the Federal Reserve Banks are privately owned. Private ownershiphelped appease [in 1913] the banking community’s arguments thatknowledgeable bankers can best regulate the banking industry» [...]

(Allen 2009: 140).

«Even after the



«Even after thepassage of the

Federal Reserve Act

of 1913, the twelvebanks of issue didnot operate as afully centralised

banking institutionuntil [FranklinDelano] 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



«Les billets doivent toujours être remboursables en or, à la Trésorerie et auxguichets des douze Banques fédérales. A Washington, le bureau de Réserve fédérale(le Board of Governors ) contrôle le fonctionnement du système : il règle le montantde 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

«E 1914 l d ll t i lid M i ’ t



«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).

h t t p : / / g o l d . c e l t i c g o l d . e u / p_

e n / 1 - s o v e r e i g n - e d w a r d

- v i i - 1 9 0 2 - 1 9 1 0 . h t m l

h t t p : / / b i b l i o t e c a p e r s o

n a l f a g f . b l o g s p o t . c o m . e s / 2 0 1 3 _ 0 9 _ 0 1 _ a r c

h i v e .h t ml

http://www.skidmore.edu/~rginsber/go-201/worldmap1919.jpeghttps://www.etsy.com/es/listing/82442395/

1914-mapa-vintage-mexico-y-estados?ref=market



THE NEW NOTES

http://fraser.stlouisfed.org/



«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

p // g/publication-series/?id=966

«“Soon after that signing Joseph E Ralph the Director of the Bureau of Engraving and



« 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-federal-

rerserve-proof-banknote-set-to-be-sold/

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

http://fraser.stlouisfed.org/



http://www.cutimes.com/2013/05/10/the-4-major-designs-of-the-100-bill-

slide-show

publication-series/?id=966

«The bills were “large-sized notes,” which were 3.125 by

7.4218 inches and the standard size of all U.S. currency printedbetween 1863 and 1928».



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 ·



THE FEDERAL RESERVE ― BANK OF ―

― ST. LOUIS―

· MISSOURI ·



«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 Bureauof Engraving and Printing [BEP], and their black faces and green backs―even withdistinctive designs―were undeniably products of national government» (Doty 2008:179-180).



THE NEW

TRADITION



«[...] 1913, when the Federal Reserve was instituted, and began



«[...] 1913, when the Federal Reserve was instituted, and beganfulfilling its apparent mission to make United States currency as boringand dreary-looking as possible―of which more shortly» (Standish

2000: 133).



«One reason why the Bank of England kept its designs simple and unchanging



y g p g p g gmay have been because a master currency cannot frequently change itsappearance without giving an impression of instability. Similarly, the UnitedStates currency has not changed much since 1928. [...]» (Ball 1995: 26).

«One reason why the Bank of England kept its designs simple and unchanging



y g p g p g gmay have been because a master currency cannot frequently change itsappearance without giving an impression of instability. Similarly, the UnitedStates currency has not changed much since 1928. [...]» (Ball 1995: 26).



2 TREASURYSEALS

SERIES OF 1914RED SEAL



FEDERAL RESERVE NOTES«After World War I commenced in Europe in August1914, the BEP [Bureau of Engraving and Printing]

could not import red ink, so it switched to blue afterless than a year of printing Red Seals» (Bowers 2009:253a).




FEDERAL RESERVE NOTES

FEDERAL RESERVE BANK NOTES


BLUE SEAL

SERIES OF 1914 & 1918

SERIES OF 1915 & 1918





FEDERAL RESERVE BANK NOTES

SERIES OF 1915 & 1918


SERIES OF 1914 & 1918

UNTIL S. OF 1963, LEGEND IN LATINLANG.

SINCE 1969, IN ENGLISH

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 dateon a bill [SERIES OF 1914 for instance] is not



on a bill [SERIES OF 1914, for instance] is notnecessarily its date of issue...

«In passing, it should be mentioned that the dateon a bill [SERIES OF 1914 for instance] is not



on a bill [SERIES OF 1914, for instance] is notnecessarily its date of issue...

...It actually refers to the date aparticular bill with a particular design

was authorized» (Doty 1982: 133-134).

BEFORE THE U. S. PARTICIPATION IN THE GREAT WAR



BEFORE THE U. S. PARTICIPATION IN THE GREAT WAR

B SERIES OF 1914 & SERIES OF 1915



ABRAHAM



ABRAHAM

LINCOLN(1809-1865)16th President of theUnited States

(1861-1865)

Description

Abraham Lincoln, three-quarter lengthportrait, 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/Abraham_Lincoln

http://hdl.loc.gov/loc.pnp/ppmsc.00052

http://hdl.loc.gov/loc.pnp/ppmsc.00052

http://commons.wikimedia.org/wiki/Abraham_Lincoln



ABRAHAM



ABRAHAM

LINCOLN(1809-1865) 16th President of theUnited States (1861-1865)

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

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

dred-dollar_bill

ABRAHAM



ABRAHAM


(1861-1865)1ST U.S.STAMPWITHABRAHAMLINCOLN:1861-67ISSUE

ABRAHAM



ABRAHAM


(1861-1865)

«The portrait [$5, Series of 1923] is from aphotograph by Anthony Berger and was

engraved by Charles Burt, a contract engraverfor the Bureau of Engraving and Printing. Thesame image was also used on the FederalReserve Note Series of 1914. With this issue,Lincoln became the standard portrait subjectfor the $5 denomination; this was continuedon all small-size notes of various series»(Bowers 2009: 251a).

Image from the National Numismatic Collection at the

Smithsonian Institution

S. 1915



FEDERAL RESERVE NOTE

FEDERAL RESERVE BANK NOTE

S. 1914 S. 1914

S. 1918

FEDERALRESERVE



RESERVENOTE

FEDERAL

RESERVEBANK NOTE

SERIES OF1914

SERIES OF1914

SERIES

OF 1915

SERIES

OF 1918

1914SCENES 1 & 2



Image from the National Numismatic Collection

at the Smithsonian Institution

COLUMBUS IN SIGHT OF LAND LANDING OF THE PILGRIMS«Large-size Federal Reserve Notes, authorized in 1913 and first printed in1914, were reedemable in dollars, including “in gold on demand at theTreasury Department of the United States in the City of Washington,District of Columbia, or in gold or lawful money at any Federal ReserveBank.” They were backed specificaly by 40% gold on deposit. Thus, in a way,

these can be considered as gold coin notes» (Bowers 2009: 43b).



1915 & 1918SCENES 1 & 2





COLUMBUS IN SIGHT OF LAND LANDING OF THE PILGRIMS

The first of the Series of 1915notes «were issued in 1916»

(Bowers 2009: 41b).



$5



COLUMBUS

$5

SCENE 1





COLUMBUS DISCOVERY OF LAND



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

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

M

Columbus(16th



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

patriotism».

N A

T I O N A L I S MCentury

men’s clothing).

M


http://slidepdf.com/reader/full/federal-reserve-paper-money-1914-1918-power-ideology-and-art 79/603N

A T I O N

A L I

S M

http://www.ebay.com/itm/US-230-1-1893-Columbus-in-Sight-of-Land-F-VF-NH-

/251530811741?pt=LH_DefaultDomain_0&hash=item3a9067995d

«The Treasury Department



U N I T E D S T A T E S N O T E

h t t p : / / www

.w o r t h p o i nt . c o m / w o

r t h o p e d i a / 1 9 1 7 - o n e

- d o l l a r - b i l l

1869-1917

maintained a stock of vignettesto use on paper money, bonds,stamps, and other paper of

monetary value. Sometimes thevignettes were coordinated withother parts of the design, butmost often they were not»(Bowers & Sundman 2006: 6).

«No one is sure what the



U N I T E D S T A T E S N O T E

h t t p : / / www

.w o r t h p o i nt . c o m / w o

r t h o p e d i a / 1 9 1 7 - o n e

- d o l l a r - b i l l

1869-1917

Great Discoverer actuallylooked like. Accordingly,

representations of himon paper money, medals,and coins vary widely»(Bowers 2009: 110).

«This vignette was designed by JosephP. Ourdan» (Friedberg & Friedberg

2013: 38).



$5



PILGRIMS

$5

SCENE 2





LANDING OF THE PILGRIMS

NATIONAL BANK NOTE: THIRD CHARTER NOTE, 1902-1929



LANDING OF THEPILGRIMS

www .m o n e

t y . b a n k n o t y . p l / b a n k n o t e s / g l e n _ j o h n s o n

/ 0 7 0 9 a

. j p g http://www.thehistoryblog.com/wp-

content/uploads/2012/10/Fairbanks-5-back.jpg

http://www.antiquebanknotes.com/rare/1863-one-

dollar-bill.aspx

1st version 1865 ($1):

The Pilgrimslanding on



landing onPlymouthRock(November21, 1620).

The Landing of

the Pilgrims ,

unknown artist



1902-1929

1914

1914



TheMayflower

(1620)

1914

1915

1918 N



NA T I O N A

L I S

M

W A S P

N «The Pilgrims weren’t always



NA T I O N A

L I S

M

W A S P

«The Pilgrims weren t always

as much a part of the

psychohistoric landscape asthey are now, but these bills

show that this had begun by1863―the year that, not socoincidentally, Lincoln first

declared Thanksgiving to be anational holiday» (Standish2000: 132). About the 1st

version: 1863

($1) N



NA T I O N A

L I S

M

W A S P

Detail: http://www.ebay.com/itm/549-VAR-LANDING-OF-THE-

PILGRIMS-WITH-MAJOR-FOLDOVER-ERROR-BN9643-

/170812791472?pt=LH_DefaultDomain_0&hash=item27c53

c5ab0



TEN-DOLLAR

BILL

ANDREW



ANDREW

JACKSON(1767-1845)7th President of theUnited States

(1829-1837)

Description

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

Date 1824

Source http://www.senate.gov/artandhistory/art/resources/graphic/xlarge/32_00018.jpg

Author Thomas Sully (1783 –1872) (attributed)

ANDREW

http://www.senate.gov/artandhistory/art/resources/graphic/xlarge/32_00018.jpg







ANDREW

JACKSON7th President of theUnited States(1829-1837)

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

JPG

ANDREW



JACKSON7th President of theUnited States(1829-1837)1ST U.S.STAMPWITHANDREWJACKSON:1870-88

ISSUES

ANDREW



JACKSON(1767-1845) 7th Presidentof the United States (1829-1837) United States Note, Series of 1907

(1st version: Series of 1869)

ANDREWhttp://www.the-

mainboard.com/index.php?t

hreads/which-president-



JACKSON7th President of theUnited States(1829-1837)

/ p

looked-the-gayest-stupidest-

brought-to-you-by-the-

random-thoughts-

thread.128919/

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

drew-Jackson-portrait-US-

President-1896-U-pick-size-

/250702375534

«Theportrait ofAndrewJackson [...]is byPhiladelphiaartistThomas

Sully,engraved forcurrency useby AlfredSealey»(Bowers

2009: 206b).

FEDERAL RESERVE BANK NOTES. 1915 S. 1918




S. 1914 S. 1914



1914SCENES 3 & 4





FARMING FACTORIES

1914





1915 & 1918

1915 & 1918SCENES 3 & 4





FARMING INDUSTRY

1915 & 1918SCENES 3 & 4



FARMING INDUSTRY«The back was designed by Clair Aubrey Huston; Farming , a scene in ManchesterTownship, York County, Pennsylvania, was engraved by Marcus W Baldwin; Industry , amill in Joliet, Illinois, was engraved by HL Chorlton. The first day of issue wasNovember 16, 1914».htt : othersidefarms.com blo 1914-10-dollar-bill-was- rinted-on-hem - a er



«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 foiscelle de la France ! Entre ces deux dates, le dollar, qui n’était qu’une monnaie desecond ordre quelque peu exotique au début du XIX ͤ siècle, est devenu une desprincipales 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 doubtthe design was meant to suggest that the United States is both the breadbasket ofthe 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

$10

SCENE 3





FARMING (mechanized agriculture)



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

MHOME, SWEET HOME



M

O D

E R

N I T

Y



$10



INDUSTRY

$10

SCENE 4





FACTORIES (industry)




A STACK

h t t p : / / b a n k n o t e w o r l d . c o m

/ u n i t e

d - s t a t e s ? D a t e =1 9 0 2

h t t p : / / www . e b a y .



. c o m / i t m / 1 9 1 1

4 9 5 9 8 1 3 5

(Stalhberg & Bruce 2002: 265a)

1908



TITLE: Standard Oil Plant

Looking South, Whiting,Ind.DATE: 1914PUBLISHER: P. L. Huckins(#604)POSTMARK: October 1,1914, Whiting, IndianaCOLLECTION: S. Shookhttp://www.rootsweb.ancestry.com/~innwigs/ImageArchive/Whiting/WhitingI

magesIndustry.htm

MODERNITY



MODERNITY



TWENTY-DOLLAR

BILL

GROVER

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



CLEVELAND(1837-1908)22th and 24th President of theUnited States(1885-1889 & 1893-1897)

Description Grover Cleveland (March 18, 1837—June 24, 1908), the 22nd and 24th President of theUnited States and 28th Governor of New York

Date 1903

Source Frederick Gutekunst (1831 - 1917)

http://www.nationalcurrencyf

oundation.org/portraitgallery.html

http://www.silver-

investor.com/charlessavoie

/cs_feb04.htm

S. 1915S. 1918

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

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

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


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

http://de.wikipedia.org/wiki/1831













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








S. 1914 S. 1914

FEDERALRESERVE

NOTE



NOTE

FEDERAL

RESERVEBANK NOTE

1914 1914

1915 1918

SERIES OF1914

SERIES OF1914

SERIES

OF 1915

SERIES

OF 1918

1914SCENES 5 & 6





MODES OF TRANSPORTATION: LAND, SEA & AIRLAND, AIR SEA

«This engraving by Marcus W. Baldwinwas designated as Land, Sea & Air »

(Bowers 2009: 487a).

1914





1915 & 1918

1915 & 1918SCENES 5 & 6





MODES OF TRANSPORTATION: LAND, SEA & AIRLAND, AIR SEA



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.accions-synera es/shop/page/7?shop param=



synera.es/shop/page/7?shop_param=



$20



LAND

$20

SCENE 5




at the Smithsonian Institution LAND (auto & steam train), AIR (biplane)

NATIONAL BANK NOTE: THIRD CHARTER NOTE, 1902-1929h t t p : / / b



A STEAM TRAIN

b a n k n o t e w o r l d . c o m

/ u n i t e d - s t a t e s ? D a t e =1 9 0 2



$20



BIPLANE

$20



From "The Burgess Hydro-Aeroplane andSchool 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-CENT-

PARCEL-POST-1913-BI-PLANE-SERVICE-USED-

/390833741210?pt=LH DefaultDomain 0&hash=item5aff819d9a



$20



AUTO

$20



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

MODERNITY

1901 Pan-AmericanExposition Stamp





http://www.delcampe.net/page/item/i

d,187560857,var,USA-1901-Mint-Post-

Stamps-MNH-%E2%80%93-

Exposition-of-Buffalo-%E2%80%93-

Pan-American--Ship-Train-

Autos,language,E.html

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 nowcall 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/



The road depicted on the note next to the train appears to be much better than the average road in those days, which wereoften in deplorable condition: muddy, rutty, bumpy, not paved, un-level, etc., etc.

http://www.banknoteden.com/USA.html



$20



STEAM TRAIN

$20

«For many 19th-century Americans, the railway train was progress promised andpersonified. It spanned rivers and burrowed through mountains, carried products tomarket and people to new lives, and knit a disintegrating republic back together.T i f i d A i f h b i i (D 2008 102)



Trains fascinated Americans from the beginning» (Doty 2008: 102).



MODERNITY



http://banknoteworld.com/mexico?start=225#banknotes MEXICO, 1913

MEXICAN MODERNITY

1901 Pan-AmericanExposition Stamp





http://www.delcampe.net/page/item/i

d,187560857,var,USA-1901-Mint-Post-

Stamps-MNH-%E2%80%93-Exposition-of-Buffalo-%E2%80%93-

Pan-American--Ship-Train-

Autos,language,E.html

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’sfirst 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/

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

h t t p : / / www . e b a y . c o m / i

/ 3

3 0 7 8 4 7 7 8 6 0 7 ? p t =L H



it m / U S A - C

L E V E L A N D - S H O R T - L I N E - R A I L W A Y - C O M P A N Y - B O N D - s t o c k - c e r t i f i c

a t e - 1 9 1 1 -

H _D e f a u l t D o m a i n _ 0 & h a s h =i t e m4 d 0 4 4 f 2 9 6 f

(Stalhberg & Bruce 2002: 94a)

1911



$20



SEA

$20

SCENE 6





SEA (tug & ocean liner)



$20



OCEAN LINER

AND TUGBOAT

$20

S S K Y L I N E

The third mast

Four funnel liner;the funnelsare groupedinto twoseparated pairs



OCEAN LINER AND TUGBOAT T H E S T A T U E O

F L I B E R T Y ·

N E W Y

O R K C I T Y ’ S



«A characteristic of the German ships was that they had their funnels arranged in two separated pairs, so thatthe 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 third mast

Four funnel liner;the funnelsare groupedinto twoseparated pairs

S S K Y L I N E



GERMAN OCEAN LINER AND TUGBOAT T H E S T A T U E O

F L I B E R T Y ·

N E W Y

O R K C I T Y ’ S



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.coincommunity.com/forum/topic.asp?TOPIC_ID=174212SS 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



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

N I T Y



G E R M

A N M

O D E R

N

I O N

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



G E R M

A N I M I T A T I

Notgeld der Rana-Werke Regensburg, 100

Milliarden Mark vom 15.11.1923

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



Image from the National Numismatic Collection at

the Smithsonian Institution

1901 Pan-American

Exposition Stamp

http://www.ebay.com/itm/Buffalo-Stamps-Scott-

USA-299-Used-xlite-1901-cancel-lite-crease-CV-32-

50-/261479661353?pt=LH_DefaultDomain_0&hash=i

tem3ce166ff29

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.




1 9 1 4 : T



T

W O Y E A

R S A F E

T R 1 9 1 2

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



THE SINKING OF THE RMS TITANIC



http://www.ebay.com/itm/4-DIFF-RARE-ORIG-TITANIC-STOCKS-w-SHIP-VIGNETTE-in-4-COLORS-UNBEATABLE-DEAL-/350988094965?pt=LH_ DefaultDomain_0&hash=item51b8854df5

(Stalhberg & Bruce2002: 176a-176b)



The Titanic which sank on it's maiden voyage in 1912 was built by White Star Lines , asubsidiary company of International Mercantile Marine which was owned by J.P.Morgan . Theloss of the Titanic partly caused the Company into bankruptcy in 1914. IMM emerged fromreceivership in 1916 and with the needs of World War I, and the issuance of stock (certificateas example), prospered for a while.

http://www.ebay.com/itm/International-Mercantile-Marine-Co-5-Preferred-Share-Certif-Titanic-

Owners-/171304504833?pt=LH DefaultDomain 0&hash=item27e28b4e01



$20



SKYLINE

MODERNITY



http://all-thats-interesting.tumblr.com/post/28207939044/the-evolution-of-new-york-city

On the center we can see the WoolworthBuilding, the tallest in the world at thattime (finished 1913); on the left, the

Municipal Building, with its cute littleround temple at the top (finished 1914).

h

t t p : / / wi r e d n e w



w y o r k . c o m / f o r um / s h

o wt h r e a d . p h p ? t =

1 9 8 5 5 & p a g e = 3 1

h

t t p : / / wi r e d n e w

syscosteve

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



w y o r k . c o m / f o r um / s h

o wt h r e a d . p h p ? t =

1 9 8 5 5 & p a g e = 3 1

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).

- l a s t - f o u r . h t m l



h t t p : / / t h e e s o t e r i c c u r i o s a . b

l o g s p o t . c o m . e s /

2 0 1 0 / 1 2 / s h i p - b e a u t i f u l - c u

n a r d s -



$20



STATUE



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

L I



B E R

T Y

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



FIFTY-DOLLARBILL

ULYSSES S.GRANT

http://thepresidentsa

tbigmo.blogspot.com.es/2007/10/number-

18-ulysses-s-

grant.html



GRANT(1822-1885)18th President of theUnited States(1869-1877)

http://cbsnews1.cbsistatic.com/hub/i/r/2011/08/03/5aeea33d-a643-

11e2-a3f0-

029118418759/resize/620x465/185006421151d762c9d0e566a7953bc4/

ulysses_grant.jpg

http //www cbsnews com/pictures/presidents turning 50/5/

ULYSSES S.GRANT

1ST U.S. STAMP WITH ULYSSES S. GRANT:

1890-93 ISSUES http://www.theswedishtiger.com/223-scotts.html



GRANT(1822-1885)18th Presidentof the United States (1869-1877)Silver Certificate, Series of 1886



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



FEDERALRESERVENOTE



FEDERAL

RESERVEBANK NOTE

1914 1914

1918

SERIES OF1914

SERIES OF1914

SERIESOF 1918

1914REVERSE D





MERCHANT SHIPS PANAMA CANAL BATTLESHIP

1914





1918

1918REVERSE D





MERCHANT SHIPS PANAMA CANAL BATTLESHIP



http://s741.photobucket.com/user/connor1_photos/media

/vignettes/Coast-Guard-Certificate-

Eng.jpg.html?sort=3&o=32

U.S. Coast Guard Certificate of Completion




FIGURE STANDINGAT CENTER,

BETWEEN THE TWO SHIPShttp://www.monety.banknoty.pl/

banknotes/glen_johnson/0708e.

jpg




«This design [created by the exceptionally talented Walter Shirlaw]was blatantly copied later for use on the back of the $50 [...], withsome details altered and now called Panama » (Bowers & Sundman2006: 122).

«The back of the note, Liberty and

Progress , depicts a standing goddessbetween two bodies of water, a

motif popular in other forms at therecent 1901 [Pan-American]

Exposition» (Bowers 2009: 354a).



A MERCHANT

SHIP

http://www.monety.banknoty.

pl/banknotes/glen_johnson/

0708e.jpg

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/

R N I T Y



A S D U

T C H M

O D E R



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://www.ebay.com/it

m/Buffalo-Stamps-Scott-

USA-299-Used-xlite-

1901-cancel-lite-crease-

CV-32-50-/261479661353?pt=LH

_DefaultDomain_0&has

h=item3ce166ff29



$50



BATTLESHIP

SCENE 7, C





BATTLESHIP




A BATTLE-SHIP

http://www.monety.banknoty.pl/

banknotes/glen_johnson/

0708e.jpg

Battleship



MILITARISM

/ r e s / 9 0 5 9 + 5 0 . h

t m

l



U S S T e x a s ( B B - 3 5

) i n 1 9 1 4 h t t p : / / w w w . o p e r a t o r c h a n . o r g / w /



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

GERMAN MILITARISMFriedrich Wanderer (1840-1910)



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

GERMAN EMPIRE, 1908

Le regard est attiré parl’imposante flottille de

croiseurs qui défilent àl’horizon: ceux dont

l’ammiral [Alfred]von



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

l ammiral [Alfred]von

Tirpitz [(1849-1930)] avaitdoté le Reich allemand, et

qui faisaient del’Allemagne la deuxième

puissance maritime duglobe (Brion & Moreau

2001: 40).



1898, revenue stamp.U.S. RB 21 **



BATTLESHIPhttp://www.delcampe.net/page/item/id,137860834,var,

US-RB-21--BATTLESHIP,language,E.html#description



$50



PANAMA

SCENE 7, B





PANAMA CANAL

«An allegorical

female figurestands atop apedestal inscribed“Panama”,

representing theachievement of



bridging theAtlantic and PacificOceans. ThePanama Canal wasfinished andofficially opened in

1914».http://www.vintage-america.com/federal-reserve-notes-1914/



The caduceus is ashort staff entwinedby two serpents, often(as here) surmounted



(as here) surmountedby two wings. It

represents the Greekgod Hermes (or the

Roman Mercury), andby extension trades,

occupations or

undertakingsassociated with the

deity.

e s o f A m e r i c a

I M



T h e n a t i o n

a l f l a g o f t h e

U n i t e d S t a t e P E

R I A

L I S M

I M«The acquisition of an empire [Hawaii, Puerto Rico, Guam, the

Philippine Islands and Cuba] naturally carried with it thenecessity of defending it. Under ideal conditions such a defensewould be both speedy and economical. The travails of thebattleship Oregon (which almost didn’t reach Cuba from the

American West Coast before the Spanish-American War ended)



P E R I A

L I S M

showed the virtue of celerity in movements of the U.S. Navy,while practical considerations suggested that a single fleetrather than two (one each to patrol the Atlantic and Pacific)would be both politically and economically preferable.

h t t p : / / b i g b l u e 1 8 4 0 - 1 9 4 0 . b l o g

s p o t . c o m . e s / 2 0 1 1

/ 1 0 / e c u a d o r .h t ml

The obvious answer toAmerica’s defensive

needs was aninteroceanic canal cut

through Central

America, either on ornear the Isthmus of

Panama»(Doty 2008: 168).

I M«If Colombia would not sell Americans the right to build

a canal across its territory, perhaps an independentPanama would do so.[Theodore] Roosevelt did not foment the rebellion thatbroke out at the end of 1903. Those responsible weremembers of the (French) Interoceanic Canal Company and



P E R I A

L I S M

their local political allies, who viewed Colombianintransigence as exceedingly bad for local business. But ifnot behind the revolt, Roosevelt certainly helped it along:he sent the U.S. Navy to the area, directing it to preventColombian troops from landing and putting down the

revolution. And he quickly recognized the new countryand concluded a canal treaty with it» (Doty 2008: 169).

h t t p : / / www .z o n u . c o m

/ f u l l s i z e 2 - e n

/ 2 0 1 1 - 1 0 - 1 9 - 1 4 6 6 0 / M a p - o f - P a n a m a - 1 9 0 4 .h t ml



http://banknoteworld.com/french-indochina FRENCH INDOCHINA, 1903

a n a m a - 1 9 0 4 . h

t m l



h t t p : / / w w w

. z o n u . c o m / f u l l s i z e 2 - e n / 2 0

1 1 - 1 0 - 1 9 - 1 4 6 6 0 / M a p - o f - P

a

THE AMERICAN EMPIRE IN 1903



U.S. IMPERIALISM

h t t p : / / www . c i t y o f a r t .n e t / b s h i p /

s p a n a mw a r .h t ml

Cuba

Panama



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 separatingthe Atlantic and Pacific oceans at that point, further illustrated by expanses of seaand 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 of1902 National Bank Notes, there as Liberty and Progress ; [...] the Panama Canal wasprominent in the news and in the minds of America. Completed in 1914, the waterwayhad been featured as one of the reasons for staging the 1915 Panama-PacificExposition 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).



Looking Down Sacramento St., 1906. [verso:] "San

Francisco: April 18, 1906." From As I Remember by localphotographer Arnold Genthe: This photograph shows"the results of the earth quake, the beginning of thefire and the attitude of the people." It was taken themorning of the first day of the fire. Shows SacramentoSt. at Miles Place (now Miller Place) near Powell St.

http://siarchives.si.edu/blog/exhibitions-and-weather-conditions-exposition



http://postcardiva.blogspot.com.es/2011/04/san-francisco-panama-pacific.html

«The card that opens this post was published by Edward Mitchell»



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



http://www.delcampe.net/page/item/id,244387252,var,1-cpa-richard-behrendt-ground-broken-oct-14-1911-panama-pacific-international-exposition-san-francisco-1915,language,E.html



Here is another example of a poster related to the Exposition – it is advertising aflying-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 butterflyprojection was first published in the Scottish Geographical Magazine in 1909. Cahill (1866-1944) later applied for a US patent to protect hiscreation.[…] Soon after its creation, Cahill’s butterfly map was used to illustrate a flying trip around the world, or circumaviation, proposed for thePanama Pacific International Exposition held in San Francisco in 1915. The map was exhibited at this exposition and won a gold medal forcartography. 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: 1915Mints: San Francisco

Composition: 0.90 gold,0.10 copper



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. Inaddition 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 ofcommemoratives 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 laurelleaves 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 “UNI TED 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, perchedon a pine bough complete with four pinecones and multiple sprigs of pine needles. The inscription “E PLURIBUS UNUM” is center ed to the right of the owl with dots atthe 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 arethe 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.)

Diameter: 50.8 mmWeight: 83.55 gramsTotal Mintage: 483

i n s - 0 2 c . h t m l

http://creativecommons.org/licenses/by-sa/2.5/










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

h t t p : / / a l p h a b e t i l

a t e l y . o r g / U S - t r a

Like most of the commemorative stamps that preceded them, the Panama-

Pacific 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 ofthe 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. Inthe 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 SCULPTORAND COMMEMORATIVECOIN DESIGNERROBERT INGERSOLLAITKEN (1878-1949).



THE OBVERSEFEATURES A WINGEDMERCURY OPENINGTHE PANAMA CANALLOCKS THROUGHWHICH PASSES THEVESSEL ARGO, THESYMBOL OFNAVIGATION, SETTINGSUN REFLECTING ONHER SAILS.

http://www.greatestcollectibles.com/wp-content/uploads/2012/05/HK-400.jpg

http://so-calleddollar.com/DollarSite/DollarPhotos.aspx?category=120&title=HK%20399-425%20Panama%20Pacific%20International%20Exposition%20-%201915

http://www.tipsicocoin.com/browse_item.html?category_id=3133&item_id=2176

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ski - k a f e t e r i .l i v e j o ur n a l . c o m / 1 0 7 9 2 0 5 .h t ml

THE THIRTEENTH LABOR OFHERCULES

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 Canaland the rebuilding of San Francisco following the devastating 1906earthquake and fire. The exposition spotlighted the canal and the city asgateways to the Pacific, where the American empire could now expand afterits victory in the Spanish-American War. Empire on Display is the first book toexamine the Panama-Pacific International Exposition through the lenses ofart history and cultural studies, focusing on the event’s expansionist and

masculinist symbolism.

Th iti di l d id i l ti l hi t hi



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 globaldimensions, the canal was depicted in statues and a gigantic working replica,as well as on commemorative stamps, maps, murals, postcards, medals, andadvertisements. Just as San Francisco’s rebuilding symbolized America’s will

to overcome the forces of nature, the Panama Canal represented the triumphof 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, intheir 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 livedthroughout the fair.Moore interprets these visual and cultural artifacts as layered narratives of

progress, civilization, social Darwinism, and manliness. Much as the globe hadostensibly shrunk with the completion of the Panama Canal, the Panama-Pacific International Exposition compressed the world and represented it inminiature to celebrate a reinvigorated, imperial, masculine, andtechnologically 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/0806143487http://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 PanamaCanal. 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 sideof 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 thePacific 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 thewhole country. Cox painted it as a male Atlantic putting a ring on a finger of a female Pacific; he also included symbolicpersonifications of Japan and Polynesia. Located in Madison, in the hearth of the country, the mural carried theimplication that the United States, not Panama, was at the center, the product of that marriage» (Van Hook 2003: 182).



ONEHUNDRED-DOLLAR

BILL

BENJAMINFRANKLIN6

th

P id f



6 President ofPennsylvania(1785-1788)

U. S. Post Office, 1908

1ST U.S.

STAMPWITHBENJAMINFRANKLIN:1851

BENJAMINFRANKLIN(1706 1709)



(1706-1709)6th President ofPennsylvania(1785-1788)

U. S. Post Office, 1914

G w i l l h i c k e r s


SPECIMEN 1915




S. 1914 S. 1914


SPECIMEN 1915




S. 1914 S. 1914

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



1914SCENE 8 (A, B & C)





REVERSE E FIVE ALLEGORICAL FIGURES (KENYON COX)

1914SCENE 8 (A, B & C)





REVERSE E PROOF 1915?

PROOF 1915?SCENE 8 (A, B & C)





REVERSE E FIVE ALLEGORICAL FIGURES (KENYON COX)





«The artist played a leading role. He could provide a setting of leisured elegance bearing the patina of classand 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 Libertydime, and Kenyon Cox did one-hundred-dollar bills […]»:

THE AMERICAN RENAISSANCE 1876-1917The Brooklyn Museum * Distributed by Pantheon Books, New York 1979 * Part I by Richard Guy Wilsonhttp://xroads.virginia.edu/~DRBR2/amren/amren.html



$20GOLD COIN



SAINT-GAUDENS

GOLD COIN



«In place of the

traditional bust ofLiberty, the Saint-Gaudens designfeatures a facing figureof the goddess striding

toward the viewerbearing a torch in her

Augustus Saint-Gaudens(1848-1907):

Double Eagle orgold $20(1907 – 1933)



toward the viewer,bearing a torch in herright hand and holdingaloft the olive branchof peace in her left. Shestands on a rockyprecipice with asunburst behind her. Tothe left is a smallrepresentation of theU.S. Capitol, while an

oak branch is seen atthe right, beneath thedate and the artist’s

monogram» (Lange2005: 137).



«[…] with afrontal viewof Liberty

(adapted from



(adapted fromthe stridingVictory of the

ShermanMonument)on the

observe»(Tolles 2009:48). http://galleryhip.com/john-

sherman-1890.html

Gran Army Plaza,New York



«The reverse isquite simpleand elegant. Asoaring eagle

flies left over





flies left overthe rising sun,with the legendUNITED STATESOF AMERICAand the valueTWENTY

DOLLARS above(Lange 2005:137).



«The eagle inflight againstthe sun on thereverse

achieves





achievescompletedomination of

motion andexpandingvista over theconfines of a

tiny tondo»(Vermeule2007: 109).

«On thereverse is asoaring

eagle

http://www.ebay.com/itm/185

7-Flying-Eagle-Cent-Choice-

BU-So-FLASHY-and-NICE-/390343490404

http://www.coincommunity.com/forum/pop_profile.asp?mode=display&id=2305








eagleinspired bythe eagle on

the 1857and 1858U.S.

pennies»(Tolles 2009:75).

/390343490404

«On thereverse, theflying eagle

was adorned





was adornedwith a styleof feathers

that wasunique toSaint-

Gaudens»(Moran2008: 280).



«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 ofhis prototypes, making them more practical for coinage but robbing them of a portion oftheir artistry. But even amended for the worse, they were splendid coins, heralding a seachange in the direction of American numismatic art» (Doty 2008: 172).



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



$100



EXPECTATIONS

Augustus

Saint-Gaudens(1848-1907):Double Eagle or

gold $20(1907 – 1933)

«The fall of 1912 brought Cox’

most unusual commission, in yetanother unexpected medium. TheU.S. Treasury Department hadhoped for some time to reorderits chaotic currency. Saint

Gaudens had helped produce animpressive new gold coinage and



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

impressive new gold coinage, andthe currency deserved equaltreatment» (Morgan 1994: 198-199).

«[...] Early in October 1912, Cox contracted topresent the necessary design by January 15,1913, if possible, and no later than February

1 for a fee of three thousand dollars



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 onlyfor the back. It was to be simple, of highartistic 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)



«[...] but [the muralist Kenyon] Cox also managed todo some smaller and often unusual work. In 1912 hedesigned the back of proposed new currency for the

Treasury Department He created a small mural that



Image from the National Numismatic

Collection at the Smithsonian Institution

Treasury Department. He created a small mural thatsymbolized the nation’s wealth and energy, andwhich was [only] issued on a new one-hundred dollar

bill in 1914» (Morgan 1995: 123).

«To William Cochran [...] New York, Feb. 2nd, 1913Dear 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 alldenominations [...]» (Kenyon Cox, in Morgan 1995: 167-168).






KENYON COX: FIRST SKETCH OF COMPOSITION

denominations [...]» (Kenyon Cox, in Morgan 1995: 167 168).

«By adopting only one design for the back of the notes, Mr. MacVeagbelieves 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/

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

«The Treasury Department had commissioned Cox to do a new design forthe backs of a proposed new currency. His final work, which resembled a







y p gthe backs of a proposed new currency. His final work, which resembled asmall 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).

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







so tied up with obligatory features, under the law, that thereis little room for original work. Everything of the kind wascleared off the back and the space given me to do what I

thought best wish [...]» (Kenyon Cox,in Morgan 1995: 167-168).



«To William Cochran [...] New York, Feb. 2nd, 1913Dear Will:[...]Everybody in the Treasury Department and the Bureau of

printing and Engraving is delighted with my design, and shows







p g a d g a g s de g ed y des g , a d s o sthe heartiest desire to help attain the result I want. Myfriends here who have seen it (I had little time to show it)

consider it perhaps the best thingI have done [...]»(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, 1913Dear 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).







«UNCLE SAM WILL PRINT SMALLER BANK NOTESNew 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 togive the order for printing the new notes to Director Ralph, of the Bureau of Engraving and



g p g p , g gPrinting, 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, coincertificates and national banknotes.This design is symbolic of progress and peace, showing the development of the nation in the lines oflabor and commerce.The new currency will be two-thirds the size of that now in circulation, its dimensions being six bytwo 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=SFQDAAAAIBAJ&pg=1600,589647

«[...] These great expectations were onlypartially fulfilled. The incoming Wilsonadministration did not adopt either the new

design or the reduced-sized currency. Cox



design or the reduced sized currency. Coxhad hoped that a new dollar bill would take

the design’s intellectual message to themasses, but instead it went on a 1914 issue

of the new Federal Reserve hundred dollarbill, with modest circulation. [...]» (Morgan1994: 200).





THE ONE HUNDRED-DOLLAR BILL:

«WITH MODEST CIRCULATION»



«Cox produced for it one of the most elegant designs in the historyof American currency, [...] They were done with simplicity and astrong 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 theimportance 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?collection_search_query=KENYON+COX&op=search&form_build_id=form-4UyijaV992e_Kq8yD7q7d_OkypatyJE_Uc6y_xQ1Ggo&form_id=clevelandart_collection_search_form

The painter and muralist Kenyon Cox viewedhimself as the heir to the great traditions of theItalian Renaissance and vigorously led theresistance to all forms of modern painting. Thisdesign for U. S. currency, which was rejected bythe government, shows the care with which heplanned his compositions. 1856-1919



http://americanart.si.edu/collections/search/artist/?id=1026

Born in Ohio, studied in Paris, lived mostly in New YorkCity. Painter who wrote extensively about art. Hissensuous female nudes were beautifully rendered butwere somewhat shocking to the public of his day; later

he found wider acceptance as a creator of allegoricalmurals.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


Kenyon Cox was born into a prominent midwestern family of theologians, lawyers, andpoliticians. 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

i l i H t di d i P i f 1877 til 1882 h h d t N Y k t

American Renaissance



social service. He studied in Paris from 1877 until 1882, when he moved to New York towork as an illustrator and art critic. Within ten years Cox was accepting mural commissionsfor 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 aneducational purpose. (Morgan, Kenyon Cox, 1856-1919: A Life in American Art, 1994)

Kenyon Cox: An Eclogue (1890) oil on canvas 48 1/4 x 60 1/2 in. (122.5 x 153.6 cm)

9 . 1

0 . 1 N

o t c u r r e n t l y o n v i e w



S m i t h s o n i a n A m e r i c a n A r t M u s e u m G

i f t o f A l l y n C o x 1 9 5 9

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 MuseumBequest of Allyn Cox1983.31.2Smithsonian American Art MuseumLuce Foundation Center,3rd Floor, 8A

The Silver Hand Glass

1907Kenyon Cox

oil on canvas24 1/8 x 20 in. (61.2 x 50.8 cm.)Smithsonian American Art Museum

Gift of Joan Armstrong Schmidt1992.4



1992.4Luce Foundation Center, 3rd Floor, 8A

Book of

Pictures1910-1917Kenyon Cox

oil on canvas29 7/8 x 36i ( 0



in. (76.0 x91.5 cm)Smithsonian

American ArtMuseumGift of AllynCox

1959.10.2Not currentlyon view

Tradition by Kenyon Cox, 1916 (The Cleveland Museum of Art):

https://americangallery.wordpress.com/category/cox-kenyon/



KENYON COX

$100



KENYON COX

& PUVIS

DE CABANNES

«Cox believed that works of art should speak a universal language

based on Classical and Renaissance precedents and promote in theviewer a unified experience of expanded imagination and

American Renaissance



viewer a unified experience of expanded imagination andattachment to tradition. He ardently believed that art is a unifyingforce in society. Thus in his murals he used idealized, usuallyfemale, figures to symbolize abstract ideas such as Truth orBeauty. 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 ItalianRenaissance masters. However formal, at their best Cox's worksare 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 itwas his technique more that his content that was followed It



was his technique, more that his content, that was followed. Itwas enough that Puvis’s subjects appeared to embrace

profound ideas, universalizing and arcadizing such notions aswork and leisure, the arts and culture. Frank Fowler laterspoke 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 deChavannes(1824-1898).Study forLe 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 ofPuvis. […]» (Van Hook 2003: 78).

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

Second Floor, Southwest Gallery. Panel of The Artsb K C Lib f C Th



by Kenyon Cox. Library of Congress ThomasJefferson 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 ofPuvis. […]» (Van Hook 2003: 78).

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

Second Floor, Southwest Gallery. Panel of TheSciences by Kenyon Cox Library of Congress



Sciences by Kenyon Cox. Library of CongressThomas 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





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» (K ENYON COX: C ONCERNING P AINTING :

C ONSIDERATIONS T HEORETICAL AND H I STORICAL, 1917).



CLASSICAL

$100



CLASSICALSTABILITY



Venice

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

http://artmuseum.bowdoin.edu/CUS.18.zoomobject._330?sid=1380&x=316185&x=316186I m a g e f r o m : h t t p : / / www . c a s - u t a h . c o m

h t t p : / / i n s p i r a

t i o n a l a r t w



m / 1 / p o s t / 2

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t ml

or k s . b l o g s p o t . c o m . e s / s e a r c h

/ l a b

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y o n

Venice





t i o n a l a r t w o



m / 1 / p o s t / 2

0 1 2 / 0 8 / k e n

y o n - c o x .h t ml


/ l a b

e l / C o x %2 0 K e n

y o n

Venice





t i o n a l a r t w o



m / 1 / p o s t / 2

0 1 2 / 0 8 / k e n


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

architecture, round out the tableau».


/ l a b

e l / C o x %2 0 K e n

y o n

Venice



http://artmuseum.bowdoin.edu/CUS.18.zoomobject._330?sid=1380&x=316185&x=316186I m a g e f r o m : h t t p : / / www . c a

s - u t a h . c o m



m / 1 / p o s t / 2 0 1 2 / 0 8 / k e n

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ml



Venice




s - u t a h . c o m



m / 1 / p o s t / 2 0 1 2 / 0 8 / k e n


Venice




s - u t a h . c o m



m / 1 / p o s t / 2 0 1 2 / 0 8 / k e n


Venice

Kenyon Cox — 1894; late 19th century;

144 in. x 288 in. (365.76 cm x 731.5 cm); oil on canvas; 1893.38



s - u t a h . c o m



/ 1 / p o s t / 2 0 1 2 / 0 8 / k e n


«In the western world, from the lateeighteenth to at least the mid-nineteenthcentury [and far beyond, as here],allegorical figures emerged from aharmonious union of artistic, commercialand philosophical endeavour, in whichsociety strove for moral worth by looking

back to the perceived nobility and grace ofthe classical world» (Hewitt 1994: 12).

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



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



AN HYPOTHESIS

$100



AN HYPOTHESIS

ABOUT ALLEGORIESAND DEEP CONCEPTS

LABOR PLENTY AMERICA PEACE COMMERCE



ALLEGORIES

LABOR PLENTY AMERICA PEACE COMMERCE



EFFORT · W· FATHERLAND · AGREEMENT · BUSINESS · FATHERLAND ·

· WEALTH · · AGREEMENT ·

MORE DEEP CONCEPTS ALLEGORIES &

AN HYPOTHESIS

LABOR PLENTY AMERICA PEACE COMMERCE WITH LIBERTY CAP



EFFORT · W· FATHERLAND · AGREEMENT · BUSINESS · FATHERLAND ·

· WEALTH · · AGREEMENT ·

MORE DEEP CONCEPTS ALLEGORIES &

AN HYPOTHESIS



$100



LABOR

SCENE 8, A





«The first on the left showsa Romanesque [?] man

holding a large sheaf ofwheat, [...]» (Bowers 2009:666a).



LABOR «a farmer with wheat»

/ / e n . w

i k i p e d i a . o r g / w i k i / W h e a t



h t t p : / / e n . w

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. o r g / w i k i / S h e a f_

( a g r i c u l t u r e )

h t t p : /



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

J . D .

C o x ( C l e

v e l a n d M u s e u m o

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K e n y o n C

o x :

S k e t c h ,

1 9 1 2 , g r a p h i t e , .

G i f t o f

«As specialization,

mechanization andscientific managementtransformed the natureof labor in the UnitedStates from craft to

operative work, themuralists represented aromanticized pre



romanticized, pre-industrial ideal of the

work ethic. Theyenvisioned an abstractnotion of craftsmanshipthat was aesthetically,morally and spirituallyuplifting».http://phdtree.org/pdf/24875319-working-history-images-of-labor-and-industry-in-american-mural-painting-1893-1903-volumes-i-and-ii/



e p o r t e / m u s e o s / M A E C O / i n d e x . j s

p ? r e d i

1



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

t t p : / / w w w . m u s e o s d e a n d a l u c i a . e s / c u l t u r a y d e

r e c t = S 2

_ 3

_ 1

_ 1

. j s p & i d p i e z a = 3 1 0 & p a g i n a = 1



$100



PYRAMID

SCENE 8, B





SCENE 8, B



PLENTY · AMERICA · PEACE



WOMEN ON

$100



WOMEN ONPAPER MONEY

«With the exception of female portraits, which are relativelyrare [...], almost all women on notes are personifications oridealisations, even when they appear in a realistic form. Inmany societies idealised female images have been summonedto act as metaphors, in myth and dream, floklore and fineart. Such creatures have their origins in the conception thatan elusive, mutable feminine principle governs emotion andintuition, creation through change, and personal relations,



PLENTY · AMERICA · PEACE

while a masculine principle rules reason, intellect andinitiative. This assumption tends to result in individual

named male heroes, and the use of female figures topersonify abstract and universal concepts, such as justice,plenty or commerce [...]» (Hewitt 1994: 8).



MASCULINE vs. FEMININE



PATRONISING…

r l d . c o m / g e r m

a n y ? s t a r t = 5 0 # b a n

k n o t e s



GERMAN PATRONISING…

«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 andreason» (Hewitt 1994: 8).

h t t p : / / b a n k

n o t e w o r

r l d . c o m / g e r m

a n y ? s t a r t = 5 0 # b a n

k n o t e s



GERMAN PATRIARCHALISM

«Thus a German note of 1915 balances the alert figure of a male labourer, sleeve rolled up ready for work, withthe 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).

h t t p : / / b a n k

n o t e w o r

«It is at this conjunction of conscious choice and unconscious

response that female images on notes exercise their hiddenpower, reflecting and reinforcing our conflicting perceptions

of women and their

place in society»(Hewitt 1994: 11).



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

Plenty

1910

Kenyon Coxoil on canvas 28 5/8 x 35 3/8 in. (72.6 x 89.8 cm)Smithsonian American Art MuseumGift of William T. Evans1910.9.6

Not currently on view

«Psychological theory has not yed played much, if any, partin numismatics, but it is clearly relevant to observe here

that because of woman’s biological role in child-bearing,female images are universal symbols of creation, an ideawhich may readly be ascribed to the creation of wealth. Onpaper money this is probably most often illustrated bywomen linked with symbols of agricultural fertility, [...]»

(Hewitt 1995: 156-157).



Plenty , 1910Kenyon Cox

oil on canvas 28 5/8 x 35 3/8 in. (72.6 x 89.8 cm)Smithsonian American Art MuseumGift of William T. Evans1910.9.6. Not currently on view.

Same composition, as «Prosperity», in The Beneficence of the Law (1906):

Essex County Court House (Newark, New Jersey)



Plenty , 1910Kenyon Cox

oil on canvas 28 5/8 x 35 3/8 in. (72.6 x 89.8 cm)Smithsonian American Art MuseumGift of William T. Evans1910.9.6. Not currently on view.Same composition in The Beneficence of the Law (1906):

Essex County Court House (Newark, New Jersey)

h t t p : / / www . j u d i c i a r y . s t a t e .n j . u s

«All photos of the Historic Courthouse in this presentationwere taken by Gerald Edwards and Robert Zemser, employees

of the Superior Court of New Jersey – Essex Vicinage»

Patricia K. Costello, Amy K. DePaul,Assignment Judge Trial Court Administrator

Source: Essex County Historic Courthouse



s / e s s e x / h

c h p r e s e n t a t i o n p r o m o . p d f «Prosperity»,

in The Beneficenceof the Law (1906):

Courtroom 401,

Essex County Court House

(Newark, New Jersey)

Plenty

1910



«[...] This is especially true of agriculture, for increase inwealth is equated with the nurture and harvesting of crops,

which in turn parallels the woman’s reproductive role. In this

guise, female allegories on notes are often endowed withbaskets of fresh produce, or a cornucopia (horn of plenty)overflowing with ripe fruit and vegetables. [...] so the wealth-giving power of these imaginary beings may only serve to

point up the muted status of real women» (Hewitt 1994: 14 & 27).



$100



PLENTY

«a woman



PLENTY

«a woman

with acornucopia»

t o f J . D .

C o x ( C l

e v e l a n d M u s e u m o

f A r t )



K e n y o n C o x :

S k e t c h ,

1 9 1 2 , g r a p h

i t e , .

G i f t

t o f J . D .

C o x ( C l

e v e l a n d M u s e u m o

f A r t )



K e n y o n C o x :

S k e t c h ,

1 9 1 2 , g r a p h

i t e , .

G i f t

t o f J . D .

C o x ( C l e v e l a n d M u s e u m o

f A r t



K e n y o n

C o x :

S k e t c h ,

1 9 1 2 , g r a p h i t e , .

G i f



Aphrodite , from Parthenon east pediment,between circa 447 and circa 433 BC.British Museum (Former Elgin collection),London



«On the antoninianus ofPhilip I […], Annona

represents the arrival of

the annual corn supply toRome. She stands with a

cornucopia in one arm,

HORN OF PLENTY



and with the other she

holds ears of corn overthe prow of a galley,which would have brought

Egypt's corn harvest toRome».

http://www.forumancientcoins.com/moonmoth/reverse_abundantia

.html://www.merriam-webster.com/dictionary/cornucopia

Plenty

1910



«[...] easy 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, titledPassing Commerce Pays Tribute to Cleveland . In itsupper part a flying Mercury, god of commerce, nudeexcept for flowing maroon drapery, dropped goldencoins into the lap of a reclining female Cleveland.She wore a white dress and caught the coins in herlap with a rich red cloak. Both figures carried goldenscepters, and Cleveland wore a gold crown. [...]»(Morgan 1994: 163).



$100



AMERICA



AME RICA

i f t o f J . D .


f A r t

)



K e n y o n

C o x :

S k e t c h ,

1 9 1 2 , g r a p h i t e , .

G

G i f t o f J . D .


f A r t

)



K e n y o n

C o x :

S k e t c h ,

1 9 1 2 , g r a p h i t e , .

G

G i f t o f J . D .


f A r t )



K e n y o n

C o x :

S k e t c h ,

1 9 1 2 , g r a p h i t e , .

G

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)






0708e.jpg



0728.jpg

COLUMBIA

LIBERTY



FIGURES WITHLIBERTY CAP

1782 LibertasAmericana Medal(Augustin Dupré),

Betts-615, Silver in PCGSMS-65, Diameter: 47.8 mm.

Weight: 783.7 grains.

Thickness at edge: 3.6 mm.From the CardinalCollection sold by ANR for

$115,000 on 06/30/05.This example, once the property of famednumismatist Harry Bass, was prominently

featured in both Part I of the presentation of theBass collection and Dave Bowers' book More

LIBERTY CAP

Calendrier républicain... :

an III : [estampe] / P.L.D b t d l t l



Bass collection and Dave Bowers book MoreAdventures with Rare Coins. From New

Netherlands Coin Comp any's 63rd sale, Apri l

1972, Lot 615; Bow ers and Merena's sale of th e

Harry W. Bass , Jr. Collection , Part I, May 1999,Lot 2084. http://forums.collectors.com/messageview.cfm?catid=

26&threadid=684019

Debucourt del. et sculp.[1794]

LIBERTY CAP

France. Universal International

Exposition of Paris 1900 , AR Medal byJ. C. Chaplain. Silver. 107 grams. 63.50

mm. Obv: Head of Marianne right, viewof Paris behind.

http://www.coinarchives.com/w/lotviewer.php?LotID=1623768&AucID=1515&Lot=238&Val=ee01ce3abbad4a7754efda7b3



Apotheosis of George

Washington , ConstantinoBrumidi (1865).Rotunda, U.S. Capitol

600017c

LIBERTY CAP

1824 Half dollar (50 cents)



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

Capped Bust

LAUREATE LIBERTY CAP(1892) 1914 / Barber dime (10 cents)

C T O R Y



http://en.wikipedia.org/wiki/File:1914_Barber_Dime_NGC_MS64plus_Obverse.png://www.thecoinspot.com/5_cent_shield.php

Photo: Brandon Grossardt

V I C

Study for mosaic in the Wisconsin State

1914ca. 1912



Study for mosaic in the Wisconsin StateCapitol "Government and Liberty"

ca. 1912Kenyon CoxBorn: Warren, Ohio 1856Died: New York, New York 1919oil on canvas14 1/8 x 27 1/8 in.(35.9 x 68.9 cm.)

Smithsonian American Art MuseumGift of Mrs. Ambrose Lansing1983.114.11Not currently on view

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

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

Study for mosaic in the Wisconsin State

1914ca. 1912



Study for mosaic in the Wisconsin StateCapitol "Government and Liberty"





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, 1913Dear Will:

[...]The other thing I have been working at is the designingof our great pendentives in glass mosaic for the dome ofthe Wisconsin state capitol. The designs were completed before

I took up the currency, and I must go at the execution in glassas 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!




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).



LAUREATELIBERTYCAP



KENYONCOX

U.S. SHIELD

1866 / Shield five cent coin



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

U.S. SHIELDWhen Charles Thomson came up with the final designof the Great Seal, he first suggested a shield with13 chevrons […], introducing the theme of mutualsupport that led William Barton to suggest the13 vertical stripes (states) supporting a chief (federalgovernment) we see today. The shape of the shield isnot 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 iscommunicating 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



Co g ess e o o a udes o s u o e pa es e a s

are kept closely united by the Chief and the Chief depends on

that union & the strength resulting from it for its support, todenote 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

w o r k s . c o m / f / 0 1 2 . J

P G

1914



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

I m a g e f r o m : h t t p s : / / w w i h o m e f r o n t . p b w

1917

w o r k s . c o m / f / 0 1 2 . J

P G

1914



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

I m a g e f r o m : h t t p s : / / w w i h o m e f r o n t . p b w

1917



$100



PEACE

«a woman



PEACE

extending anolive branch»



, .

G i f t o f J . D .

C o x ( C

l e v e l a n d M u s e u m o

f A r

t )



K e n y o n

C o x :

S k e t c h ,

1 9 1 2 , g r a p

h i t e ,

, .

G i f t o f J . D .

C o x ( C

l e v e l a n d M u s e u m o

f A r

t )



K e n y o n

C o x :

S k e t c h ,

1 9 1 2 , g r a p

h i t e ,



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

«At his art lectures

[of Kenyon Cox]I remember his eulogiesof Michelangelo»:

Jerome Myers,Artist In Manhattan (1940)



Study for mosaic in the Wisconsin StateC it l "G t d Lib t "



Capitol "Government and Liberty"





Study for mosaic in the Wisconsin StateCapitol "Go ernment and Libert "



Capitol Government and Liberty





Daderot



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



m i c . s u n . a c . z a / a n t i

e k e /

n t w e r f / p e r s p a x . h t m l



«Roman imperial coinage frequently features the

personified [goddess] Pax [Eirene in Greek] as areverse type. She is usually depicted either seated

or standing, holding out an olive branch as a peaceoffering».

h t t p : / / a c a d e

c o i n s / m

u n

o - f a i l - t o - l e a r n - f r o m

- h i s t o r y / h i s t o r y - o f - e c o n o m i c -

t u r n s - i n - t h e - u s /



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

t t p : / / b u t n o w y o u k n o w . n e t / t h o s e - w h o

d o

w n



$100



MERCURY

SCENE 8, C





«the Roman god Mercury



COMMERCE

[Greek Hermes]with a package»

t e , .

G i f t o f J . D .


f A r t )



K e n y o n C o x :

S k e t c h ,

1 9 1 2 , g r a p h i t



PETASOS (OR PETASUS: WINGED ROUND HAT) AND CADUCEUS

1913: Grand Central Station in Manhattan is rebuiltby Cornelius Vanderbilt and becomes Grand Central

Terminal.http://www.amongmen.com/entertainment/world-politics/1913-2013-then-

and-now



Description The terminal facade. Mercury (god of commerce) is the central figure. This s a statue ofMineva, Mercury and Hercules.

Date 13 August 2007 (original upload date)

Source Transferred from en.wikipedia; transferred to Commonsby User:Oxyman using CommonsHelper.

Author Original uploader was Purple74 at en.wikipedia

1913: Grand Central Station in Manhattan is rebuiltby Cornelius Vanderbilt and becomes Grand Central

Terminal.http://www.amongmen.com/entertainment/world-politics/1913-2013-then-

and-now

http://en.wikipedia.org/

http://commons.wikimedia.org/wiki/User:Oxyman

http://tools.wikimedia.de/~magnus/commonshelper.php

http://en.wikipedia.org/wiki/User:Purple74










Description The terminal facade. Mercury (god of commerce) is the central figure. This s a statue ofMineva, Mercury and Hercules.

Date 13 August 2007 (original upload date)

Source Transferred from en.wikipedia; transferred to Commonsby User:Oxyman using CommonsHelper.

Author Original uploader was Purple74 at en.wikipedia

«The sculptures were designed by French sculptor Jules-Félix Coutan [(1848-

1929)]and carved by the John Donnelly Company. At its unveiling in 1914,

the 48-foot (14.6 m)- high trio was considered the largest sculptural group in

the world».

h t t p s : /

/ d 1 l 3 l u o w ul 8 a 0 f . c l o u d f r o nt .n e t / s l i r / w 8 0 0 - h 6

Giambologna:Mercurio volante ,1580. Museo del

Bargello, Florence
















PETASOS

6 0 0 / s i t i p i u / f t / 6 / 5 / 6 5 1 3 7 6 9 2 9 0 0 4 . j p g

h t t p s : /

/ d 1 l 3 l u o w ul 8 a 0 f . c l o u d f r o nt .n e t / s l i r / w 8 0 0 - h 6

«[...] Cox thoughtthat Allyn [Cox,the son] might aswell pose as drawand pressed him

into service forMercury. Theresult was “an

idealized view of



6 0 0 / s i t i p i u / f t / 6 / 5 / 6 5 1 3 7 6 9 2 9 0 0 4 . j p g

my face as a veryyoung man on thefigure of‘Commerce’ in

this design.”»(Morgan 1994:199).



CADUCEUS

Trésor de Berthouville ,Cabinet des Médailles, Bibliothèquenationale Paris.2nd century A.D. From Berthouville,

Normandy, France

Photo: Clio20



PACKAGE

J O U : M E R C U R E ,

1 7 8 0 .

U L O U V R E ,

P A R I S

h t t p

: / / e x p o - e s c ul t ur a . b l o g s p o t . c o m . e s / 2

T I E D P A C K A

G E



A U G U S T I N P A

J

M U S É E D

U 2 0 1 0 / 0 5 / m e r c ur i o - 1

7 8 0 .h t ml

C O R D - T

T I E D P A C K A

G E

Art Nouveau lithograph print

entitled “Merkur in verschiedenen

darstellungen” made in 1897.

Designed by G. Sturm, edited by:Julius Hoffmann, Stuttgart.

h t t p : / / m a r i nni .l i v e j o ur n a l . c o m / 3 7 2 8 3



C O R D - T

3

7 .h t ml ? t h r e a d =2 6 0 1 5 7 3



W I N G E D S A N D A L S

w w w

. f l i c k r . c o m / p h o t o s / r a f a e l_ d p / 5 0 9 1 9 5 9 1 0 7

R a f a e l d P . I b e r i a - H i s p a n i a



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

W I N G E D S A N D A L S



Joseph ChristianLeyendecker (1874-1951),1907

http://www.collectorsweekly.com/articles/the-perfect-american-male/



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

http://www.ebay.de/itm/Fritz-Klimsch-Merkur-1922-

/380598278931?nma=true&si=J3F1H7fqZ%252BHP8vsR3ToF9pAKcug%253D&orig_cvip=true&rt=

nc&_trksid=p2047675.l2557

Fritz Klimsch

(1870-1960):Merkur , 1912.



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/



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


http://artmuseum.bowdoin.edu/CUS.18.zoomobject._330?sid=1380&x=316185&x=316186I m a g e f r o m : h t t p : / / www . c a s - u

t a h . c o m

/ 1 / p o s t / 2 0 1 2

/

«[...] At the leftthe god Mercury,patron of



/ 0 8 / k e n


commerce, sat in arelaxed andconfident pose

[...]» (Morgan1994: 137).

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



19141910

«[...] The subject was familiar, ifnot clichéd, but was understandableat a glance and made its pointabout commerce and custom dutieswithout an elaborate scheme. Thefigures, especially Mercury, were



well drawn, fully modelled, andrichly painted. The composition wasa 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"1909Kenyon CoxBorn: Warren, Ohio 1856Died: New York, New York 1919oil and pencil on canvas21 1/4 x 15 1/4 in.

(54.0 x 38.8 cm)Smithsonian American Art MuseumGift of Mrs. Ambrose Lansing1983.114.5Smithsonian American Art MuseumLuce Foundation Center, 4th Floor, 35B




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 allegoricalscene to represent the city’s booming economy.

Mercury, god of commerce, drops golden coinsinto the lap of an allegorical figure ofCleveland, shown as an idealized woman. Coxused a grid system to translate the image onto

a much larger canvas, which would be installedin an elaborately carved frame on the wall. Hedecided on a color scheme to match the darkbrown wood of the walnut walls and thepurple marble of the chimney mantle,explaining that “It seemed best to make the



p g

decoration a spot of brilliant color in its richand quiet surroundings.” (Morgan, Kenyon Cox,

1856-1919: A Life in American Art , 1994)




«Mercurio, el Hermes griego, juntamente con sus atributos,es el recurso iconográfico, más representativo de los cartelesferiales, de exposiciones de productos y de congresosvinculados a la actividad económica. De acuerdo con el mito,Mercurio, hijo de Júpiter ―Zeus― y Maya, es el rápidomensajero de los dioses, especialmente de [su] padre, y elprotector del comercio, los viajeros y los peregrinos. Losatributos de Mercurio son las sandalias aladas y el casco

alado, que le permiten desplazarse rápidamente; y elcaduceo, una vara con dos serpientes enroscadas, que amenudo también lleva dos pequeñas alas en la partesuperior.Mercurio hace cesar toda disputa con el caduceo. Según la



tradición, el dios mensajero intervino ante dos serpientesque 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 pararepresentar el equilibrio moral y la buena conducta: el

bastón expresaba poder; las dos serpientes, la sabiduría; ylas alas, la diligencia. Desde un punto de vista alegórico,esta divinidad también personificaba las cualidades deleducador: la razón y la elocuencia».

http://feriasycarteles.wordpress.com/2012/05/08/prazske-

vzorkove-veletrhy-pvv-feria-de-muestras-de-praga-5/

«En la épocaromana,Mercuriollevaba en lamano una bolsapara guardarlas monedas,el marsupium ,

una clarareferencia a suvinculación conel comercio;como lo es



también sunombre enlatín, yaque merx significa‘mercadería’».http://feriasycarteles.wordpress.com/2012/05/08/pra

zske-vzorkove-veletrhy-

pvv-feria-de-muestras-de-

praga-5/

A R S U P I U

M



M

BRITISH MUSEUM,London (England) http://www.flickriver.com/photos/25396001@N04/sets/72157607823477199 /

noriko.stardust

Mercury , 2ndC, Gaule (Roman Empire).

A R S U P I U

M

3 9 4 4 5 8 2 8 / s t a t u e - o f - m e r c u r y - i n - a - l a n d s c a p e - c h a r l e s - m e y n i e r



MStatue of

Mercury in a

landscape .

Charles Meynier.French.

1763-1832.

oil on canvas. h t t p : / / m o n s i e u r l a b e t t e . t u m b l r . c o m / p o s t / 6 2 1

A R S U P I U

M



M"Commerce": Mercury, god of commerce, with his winged capand sandals and caduceus, hands a bag [or marsupius ] of gold

to Robert Morris, financier of the Revolutionary War. On theleft, men move a box on a dolly; on the right, the anchor andsailors lead into the next scene, "Marine."

Apotheosis of George

Washington , ConstantinoBrumidi (1865).Rotunda, U.S. Capitol

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



Kenyon Cox: The Marriage of the Atlantic and the Pacific The Senate Chamber, Wisconsin State Capitol Building:Madison, Wisconsin (1915)

«[...] On the left, a female Commerce, with someresemblance to Mercury, […]» (Morgan 1994: 172).

p // g p / / /



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



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

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



http://monsieurlabette.tumblr.com/post/76626168769/alonzo-earl-foringer-industry ALONZO EARL FORINGER (1878-1948)AMERICAN BANK NOTE COMPANY /



SOME

WORLD BANKNOTES

$100



WHICH SHOWEDHERMES OR

MERCURY

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



GERMAN EMPIRE, 1908http://www.ma-

shops.com/mueller/item.php5?id=9323&lang=

en



(BRITISH) DOMINION OF

CANADA, 1917http://www.ebay.ca/itm/1917-The-Canadian-Bank-of-

Commerce-5-Note-s16-

/331014946326?pt=Paper_Money&hash=item4d12073e

16&_uhb=1




CANADA, 1917http://www.ebay.ca/itm/1917-The-Canadian-Bank-of-

Commerce-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] 1935suggested 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 asallegorical 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

/ i f h d h b k i



engraver/artist of these and other banknotes isclearly 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/


CANADA, 1917.The Canadian Bank ofCommerce, 5 dollars(back)



http://www.ebay.ca/itm/1917-The-Canadian-Bank-

of-Commerce-5-Note-s16-

/331014946326?pt=Paper_Money&hash=item4d

12073e16&_uhb=1

Giuliano de Medici Tombalso 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-was-

original.html



FEW CENTURIES AGO. ITALIAN RENAISSANCE



AFTER THE U. S. PARTICIPATION IN THE GREAT WAR



C. SERIES OF 1918



ONE-DOLLAR



BILL

GEORGE

WASHINGTON(1732-1799)1st President of theUnited States(1789-1797)



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

1st

P id f h

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)

Currentlocation

Museum of Fine Arts, Boston

Notes In 1796, Gilbert Stuart painted this famous portrait ofWashington from life, and then used the unfinished painting tocreate numerous others, including the image used on the U.S.one-dollar bill.

Source/Photographer

http://www.nga.gov/exhibitions/2005/stuart/philadelphia.shtm

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

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

http://en.wikipedia.org/wiki/Museum_of_Fine_Arts,_Boston













GEORGEWASHINGTON

1 President of theUnited States(1789-1797)

GEORGE

WASHINGTON1st President of theUnited States(1789-1797)



George Washingtonby 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 NOTES. OF 1917

UNITED STATES NOTE

S. OF

1917



FEDERALRESERVE

BANK NOTE

1918SERIESOF 1918

1918SCENE 9





REVERSE F EAGLE ON AMERICAN FLAG

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

E A G L E

& F L A G

( WI T H U . S . C A P I T O L )





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

E

A G L E & F L A G S

( WI T H U . S . S H I E

L D



ED )

1869PICTORIALISSUES

EAGLE & FLAG





$500 GOLD CERTIFICATESERIES OF 1882


n k n o t e s / g l e n_

j o h n s o n / 0 7 2 8 . j p g

h t t p : / / f u n n

y p i c t u r e c r a z

y .i n f o

/ 2 0 0 8 / 0 2

/ 2 3 / v i n t a g e - d



EAGLES

h t t p : / / w w w . m o n e t y . b a n k n o t y . p

l / b a n d

o l l a r s /

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



Haliaeetus

leucocephalus

AMERICANBALD EAGLE

represented as holding up the shield] to denote that the United States of America ought to rely ontheir own Virtue» (in Patterson & Dougall 1976: 85).Too in: http://www.state.gov/documents/organization/27807.pdf

The stars on the flag represent theU.S. states; the 13 stripesrepresent the thirteen Britishcolonies that declared

June 14, 1777 (Second

Continental Congress):

«Resolved That the flag of the

Charles Thomson(Remarks and Explanation ,1782):

«The colours of the pales are thosed i th fl f th U it d St t



colonies that declaredindependence in 1776 and becamethe first states in the Union.

«Resolved, That the flag of thethirteen United States be

thirteen stripes, alternate red

and white; that the union be

thirteen stars, white in a bluefield, representing a new

constellation».

pused 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

SINCE 1912 (BETWEEN 1912 AND 1959)

NOT CORRECT ARRANGEMENT

OF THE STARS



SINCE 1912 (BETWEEN 1912 AND 1959),SIX HORIZONTAL ROWS OF EIGHT STARS

48 STATES

(BLUE CANTON WITH48 FIVE-POINTED STARS)



NATIONALISM



IMPERIALISM

I M

P E R I A

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

EMPIRE



IAL

I S M



AN OLD DESIGN

$1



U N I T E D S T A T E S N O T

E ( N O T F E D N O T

E O R

h t t p : / / www .w o r t h p o i nt . c o m / w o r t h o p e d i a / 1 9

1 7 - o



RB A N K N O T E

)

on e - d o l l a r - b i l l

S. OF1917

U N

I T E D S T A T E S N O T

h t t p : / / www .w o r t h p o i n

t . c o m / w o r t h o p e d i a /

1 9 1 7

1914

1914

1915

1918



TE 7

- o n e - d o l l a r - b i l l

1869-1917

1917

U N


«The portrait [$1, Series of 1869] was engraved by Alfred Sealey from the famous painting byGilbert 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 3RD 1863.

TE

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

U N




TE

1ST U.S.

STAMP WITHGEORGEWASHINGTON:1851



TWO-DOLLAR



BILL

THOMASJEFFERSON(1743-1826)3rd President of theUnited 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

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

http://wiki.monticello.org/mediawiki/index.php/Washington,_D.C.

http://wiki.monticello.org/mediawiki/index.php/Entrance_Hall







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: 1982-53Historical Notes: Before his first portrait taken in Philadelphia in May 1800

by Gilbert Stuart had been delivered, Jefferson sat again for the notedportraitist in his Washington studio shortly before June 7, 1805. Jefferson

wrote that he sat for the second likeness upon Stuart's insistence.


SERIES OF 1918



http://www.monticello.org/site/jefferson/thomas-jefferson-brief-biography

http://wiki.monticello.org/mediawiki/index.php/Thomas_Jefferson_Randolph

http://www.monticello.org/site/research-and-collections/philadelphia

http://www.monticello.org/site/research-and-collections/philadelphia










UNITED STATES NOTE

S. OF 1917



1918SCENE 10





REVERSE G BATTLESHIP NEW YORK



«On the back of the note is a dreadnought fightingship, 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 thana locomotive, it was a guns-and-steel assrtion of American strenght, an emblem of thecountry’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-13046USS 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 45138USS 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), 1914-1948USS 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 December1917 New York crossed the Atlantic to join the British Grand Fleet. She was flagship of the U.S. battleships ofthe 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 offirst flag of U.S. / Veracruz 2 P.M. April 27,

1914" Photograph by Hadsell taken duringthe U. S. occupation of Veracruz.Author: Photograph by Hadsell taken duringthe 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 ahalf. 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-torpedobulges on her hull sides, heavier deck armor, up-to-date gunfire control mechanisms and many other improvements thatenhanced her combat capabilities. After being transferred to the Atlantic in the mid-1930s, she visited England in 1937 as theU.S. representative to the British Coronation naval review. Over the next three years, the battleship was actively employed asa training ship.With the coming of war to Europe, New York participated in Neutrality Patrol operations, and, as the U.S. drew closer to theconflict 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 beforeand during the Marines' assault on that island. She was similarly employed off Okinawa from late March until June, and waslightly 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, MarshallIslands, 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



U N I T E

D S T A T E S N O T

E ( N O T F E D N O T E O R B

h t t p : / / www . o a k a u c t i o n s . c o m / 1 9 1 7 - t w o - d o l l a r s - uni t e d - s t a t

e s - n o t e



BA N K N O T E

)

- l o t 2 1 7 3 . a s p x

S. OF1917

U N I T E

D S T A T E S N O T

E

h t t p : / / www

. o a k a u c t i o n s . c o m / 1 9 1

7 - t w o - d o l l a r s - uni t e d - s t

a t e s - n o

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



ot e - l o t 2 1 7 3 . a s p x

S. OF1917DEMOCRACY

1917

U N

I T E D S T A T E S N

O T E

«Thomas Jefferson made his debut on the $2 bill in the Series of 1869, establishing what proved to be an enduringconnection lasting to today. Later, his was the iconic portrait on small-size $2 notes. An Edinburgh Scotsman named CharlesBurt created the Jefferson portrait in his capacity as one of the chief engravers for the Treasury department» (Bowers2009: 171a-b).



ACT OF MARCH 3RD 1863.

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

U N

I T E D S T A T E S N

O T E



1ST U.S.STAMP

WITHTHOMASJEFFERSON:1856



$500 BILL



JOHN JAMESMARSHALL(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

http://en.wikipedia.org/wiki/Henry_Inman_(painter)

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












location Richmond, Virginia, United States

Notes Henry Inman painted his original portrait of Chief JusticeJohn Marshall in September 1831, when the jurist sat forInman in Philadelphia. This painting is a copy of Inman'soriginal that he made in 1832 for an engraver. JohnMarshall bought the painting for his daughter who passedit to her daughters. Marshall's granddaughters lent the

portrait to the Virginia State Library in 1874 and thesurviving granddaughter bequeathed it to the Library in1920.

Source/Photogr

apher

Virginia Memory

JOHN JAMESMARSHALL



(1755-1835) 4th Chief Justiceof the Supreme Court (1801-1835)

Treasury Note, Series of 1890

http://www.virginiamemory.com/online_classroom/shaping_the_constitution/doc/marshall

http://www.virginiamemory.com/online_classroom/shaping_the_constitution/doc/marshall



JOHNJAMES

MARSHALL(1755 – 1835).

4th Chief



4th ChiefJustice of the

Supreme Court

JOHN

JAMESMARSHALL

(1755 – 1835).4th ChiefJustice

of theS



SupremeCourt

FEDERALRESERVE

NOTE

1914

SERIES OF1918



1918

HERNANDO DE SOTO DISCOVERING THE MISSISSIPPI



Image from the National Numismatic Collectionat the Smithsonian Institution

HERNANDO DE SOTO DISCOVERING THE MISSISSIPPI

F E D E R A L R E S E R V

E N O T

Hernando de Soto (1500-1542)

discovering the Mississippi River(May 8, 1541).



TE

1918

SERIESOF1918

h t t p : / / www . a n

t i q u e b a nk n o t e s . c o m / r a r e / 1

8 6 4 - t e n- d

Hernando de Soto (1500-1542)

discovering the Mississippi River(May 8, 1541).



d o l l a r - b i l l . a s p x

1st version:1863($10)



William H. PowellOil 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

«As De Soto and his troops approach, theNative Americans watch warily but quietlybefore their tepees, and a chief holds outthe pipe of peace. The central area of thepainting is filled with light and color, setoff in dramatic relief by the foregroundfigures in shadow, and the dark forest atthe left contrasts strongly with the brightsky on the right. In the foreground,weapons, armor, artillerymen moving a

cannon, and a soldier wrapping a woundedleg suggest the attack by Indians thattook place the day before. To the right, amonk prays as men set a newlyconstructed crucifix in the ground. Abovethis group and fading to the horizon is the

Mississippi River, dotted with nativecanoes, small islands, and a tree beingNATIONALISM



borne downstream; the lightly forestedopposite bank is visible along the skyline.Powell based his scene on publishedaccounts and histories, including Theodore

Irving’s 1835 The Conquest of Florida byHernando de Soto . A year later, after DeSoto died of a fever, his body was buriedin the river, […]».

NATIONALISM

http://www.aoc.gov/capitol-hill/historic-rotunda-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 canvas1880

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 StatesSecretary 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



yTreasury

FEDERALRESERVE

NOTE

1914

SERIES OF1918



1918

BALD EAGLE OLIVE BRANCH ARROWS AND AMERICAN FLAG




BALD EAGLE, OLIVE BRANCH, ARROWS AND AMERICAN FLAG

OLIVEBRANCHANDARROWS:The UnitedStates has"a strong

desire forpeace,but willalways be

ready forwar."

Bald eaglefacing left,perched onflag, olivebranch andarrows.



BALDEAGLEHaliaeetus

leucocephalus

OLIVEBRANCHANDARROWS:«[…] its headis turnedtowards the

olive branch,indicating adesire forpeace»

(Kranister1989: 304).



BALDEAGLEHaliaeetus

leucocephalus

1989: 304).

OLIVE BRANCH & ARROWS

Charles Thomson(Remarks and Explanation ,1782):

«The Olive branch and

arrows denote the power of

peace & war which is

exclusivelyvested in Congress» (in

Charles Thomson (report recommending adesign for the Great Seal, 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).



vested in Congress» (in

Patterson & Dougall 1976:

85).Too in: http://www.state.gov/documents/organization/27807.pdf

SINCE 1912, SIX HORIZONTAL ROWSOF EIGHT STARS

CORRECT ARRANGEMENT

OF THE STARS



OF EIGHT STARS

F E D E R A L R E S E R V E

N O T E

h t t p : / / a n a - m u s e um . o r g / 1 9 8 8 _1

7 _2 0 8 .h



ht ml

NATIONALISM



IMPERIALISM



$5,000 BILL



JAMES

MADISON, JR.(1751-1836)4th President of theUnited 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.

http://npgportraits.si.edu/emuseumnpg/code/emuseum.asp?style=text&c

urrentrecord=51&page=search&profile=CAP&searchdesc=Related%20t

The Colonial Williamsburg Foundation



Image:http://arthistory.about.com/od/from_exhibitions

/ig/1812-A-Nation-Emerges/04-Gilbert-Stuart-

James-Madison-1804.htm

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

JAMES

MADISON, JR.Image from the National Numismatic Collection


(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 ofthis issue have been redeemed and there are none outstanding» (Friedberg &

Friedberg 2013: 58).

G o d o t 1 3



JAMESMADISON,JR.

(1751 – 1836).4th President of the



4th President of theUnited States

(1809-1817)

JAMES

MADISON,JR.

(1751 – 1836).

4th Presidentof the

United States(1809-1817)



FEDERALRESERVE

NOTE

1914

SERIES OF1918



GEORGE WASHINGTON RESIGNING HIS COMMISSION

1918




GEORGE WASHINGTON RESIGNING HIS COMMISSION

F E D E R A L R E S E R V E N O T E

George Washington (1732-1799)

resigning his Commission ascommander-in-chief of the ContinentalArmy (December 23, 1783).



1918

SERIESOF1918

George Washington (1732-1799)

resigning his Commission ascommander-in-chief of the ContinentalArmy (December 23, 1783).

h t t p : / / p a p e r m o

n e y w a nt e d . c o m / o n e - t h o u s a n d - d o l l a r - n o t e s / i l l i n o i s / c h i c a g o - i l l i n

g e r m a n- n a t i o n a

l - b a nk - 1 7 3 4 - 1 8 7 5 - 1 0 0 0 - d o l l a r - n a t i o n a l - b a nk - n o t e s . p h p

Photo: 1876 Engraved by Louis Delnoce and Frederick Girsch



1st

version:1863($1,000)

n o i s -



John TrumbullOil on canvas (12' x 18‘)



GENERAL GEORGE WASHINGTON RESIGNING HIS COMMISSION

«This painting depicts the scene onDecember 23, 1783, in the Maryland StateHouse in Annapolis when GeorgeWashington resigned his commission as

commander-in-chief of the ContinentalArmy. The action was significant forestablishing civilian authority over themilitary, a fundamental principle ofAmerican democracy.

Washington, illuminated by the lightfalling into the room, stands in uniformbefore the president of the ContinentalCongress, Thomas Mifflin, and thedelegates, among whom is ThomasJefferson. Behind Washington are his

aides-de-camp, Col. Benjamin Walker andCol. David Humphreys, and spectators. Thedelegates and spectators direct their

DEMOCRACY



attention to Washington as he extends hisright hand to return his commission. Theempty 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

F E D E R A L R E S E R V E N O T E

«[...] And why Washington resignin his commision, instead of taking the oasth of officeas the first president? This choice, too, shows a closer and wiser reading of history thanwe 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 incharge and become Great Dictators. But not Washington. He resigned instead. Rightafter 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).



1918

SERIESOF1918



$10,000 BILL



SALMON

PORTLANDCHASE(1808-1873)6th Chief Justice of theUnited States(1864-1873) and 25th

United States Secretary ofthe Treasury (1861-1864)



«Henry Ulke was a photographer andportrait artist whose studio servedWashington patrons at a time whenphotographers’ studios were highly

popular».

http://www.treasury.gov/connect/blog/Pag

es/Salmon-Chase-Photo.aspx

SALMON

PORTLANDCHASE

(1808-1873) 6th Chief Justice of theUnited States (1864-1873) and

25th United States Secretary of theTreasury (1861-1864)



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



FEDERALRESERVE

NOTE

1914

SERIES OF1918



«In a burst of postwar fiscal exhuberance, the 1918 issue also included thehighest denomination bill ever put into general circulation by the United

States―

the $10,000 bill [...]. Whose face seemed worthy of appearing onit? Salmon P. Chase. True, he was pretty much the father of federal papermoney [of the 19th century], but does that really make him importantenough for the honor? It’s a glaring example of the institutional narcissism

evident on United States currency» (Standish 2000: 141).



EMBARKATION OF THE PILGRIMS

1918




F E D E R A

L R E S E R V E N O

T E

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



1918

SERIESOF1918

h t t p : / / www . a nt i q u e b

a nk n o t e s . c o m / n a t i o n a l - c ur r e n c y / s e r i e s - 1 8

The Pilgrims on the deck of the ship Speedw

ellon July 22, 1620, before they departed fromDelfts Haven, Holland, for North America,where they sought religious freedom.

Photo: 1875



87 5 . a s p x

1st version:1863($50)



Robert W. WeirOil on canvas (12' x 18‘)



EMBARKATION OF THE PILGRIMS



«The larger-denominations notes from 500 to 10,000 dollarswere first issued as the series of 1918. All of the notes of this

first issue feature historical or allegorical scenes on theirbacks, 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 AUTHORIZATIONSON THE “FED”

PAPER MONEY



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

F E D E R A L R E S E R V E N

O T E S

AUTHORIZED BY FEDERAL

RESERVE ACT OF DECEMBER 23,1913


RESERVE ACT OF DECEMBER 23,

SERIES OF 1914

SERIES OF 1914



1913 AS AMENDED BY ACT OFSEPTEMBER 26, 1918 SERIES OF 1918

F E D E R A L

R E S E R V E B A N

K N O T E S


RESERVE ACT OF DECEMBER 23,1913

AUTHORIZED BY THE ACTS OF

SERIES OF 1915



S

DEC. 23, 1913, AND APRIL 23,

1918 SERIES OF 1918



FINAL WORDS



«Banknotes are internationalambassadors, and the images theyrepresent not the banks, which are soinstitusionalised as to be devoid of

personality, but countries and nationalidentities»(Hewitt 1994: 7).



«[...] in the twentieth century,



banknote designs have everywherefollowed more nationalistic lines.One can hardly now mistake a

German, French or British banknotefor each other or for an Americanbill» (Ball 1995: 26).

«Le droit [not correct: the back] de tous les

premiers billets de la Réserve fédéralemontre un pays florissant, en paix avec sonpassé 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 toappear, to themselves and others, both then and in times to come. If thenotes are approached with this in mind a great deal can be learned



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 howAmericans actually were, but how they wished to appear, to themselves and others, both then and in times to come. If thenotes are approached with this in mind, a great deal can be learned» (Doty 1995: 118).

The early 20th century ‘Fed’ paper money is an easilyobtainable visual representation of America―not in termsof what it actually was, but in terms of what those who ruled



ythrough 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 19thcentury―not in terms of what it actually was, but in terms of what those who lived throught it thought it was» (Doty2008: 98).

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

federal reserve paper money, 1914-1918: power, ideology and art

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