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Lot 19301


Image Information

Type Currency
Title Lot 19301
Date
Country U.S.
Grade About New 53
Service PCGS
Denomination
Description Gettysburg, PA - Bank of Gettysburg $10 18__ PA-155 G44 Hoober 136-7. PCGS About New 53 Apparent. The iconic imagery appearing on American Obsolete currency is sometimes created specifically for banknotes by the engraving firms. At other times, it is directly adapted from famous art of the period. John Neagle's standing portrait of Pat Lyon at the Forge, which appears on several Obsolete notes, is arguably the most iconic of them all and perhaps the most ironic as well. The original masterwork hangs today at Boston's Museum of Fine Arts in its American wing. It is in whispering range of some the greatest John Singleton Copley portraits, keeping artistic company with the likes of Paul Revere, John Hancock, and Samuel Adams. Patrick Lyon was a very successful businessman who commissioned Neagle to paint him as a blacksmith, his earlier career, without the trappings of money often depicted on fine portraits of the wealthy. The irony of the banknote vignette adaptation is that Lyon, when younger, was jailed by bankers wrongly accusing him of theft; the jail is subtly blended into the upper left part of the painting. The Pat Lyon vignette here was engraved by Underwood, Bald, Spencer & Hufty, and this Bank of Gettysburg proof is printed on India paper only. It is seen at the top center, bowled into the title. Flanking are cameo heads facing left, and the identical ends have right-facing conjoined cameo heads in the center with counters in all corners. Hole Punch Cancelled and noted by PCGS are "Small Tears in Cancellations; Small edge tear at UL." There was only one example in the 1990 American Banknote Company Archive sale and it was damaged. This is an iconic vignette from a location popular with collectors. Ex: Eric P. Newman Numismatic Education Society. Realized $1,116.25. Newman VI (Heritage Auctions, 4/2015), lot 19301. Description courtesy of Heritage Auctions.

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Image Collection Eric P. Newman Collection, Part VI
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