Volume 12 Issue 4                                INTERNET EDITION - Established 1996                                       April 2007

The name 'Tasmanian Numismatist' is used with the permission  of the Executive Committee of the 'Tasmanian Numismatic Society' however, any comments published in this privately produced newsletter do not necessarily reflect the views of the 'Tasmanian Numismatic Society', its Executive Committee or its members. Bearing in mind our public disclaimers, the Internet links selected by the authors of this  newsletter are usually provided as a complimentary source of reference to the featured article in regard to: (1) Illustrations and, (2) to provide additional important information. 

Any notices of concern to 'Tasmanian Numismatic Society' members will be included in a 'Society Snippets' section.

We trust that this issue of the 'Tasmanian Numismatist' (Internet Edition) newsletter will continue to provide interesting reading.




Anyone who wishes to apply for membership to the non-profit making organization, and who is prepared to abide by the rules of the Society and its aim of promoting the study and enjoyment of the hobby of numismatics, should contact the following address for an application form and details of subscriptions: 



Tasmanian Numismatic Society.

G. P. O. Box 884J

Hobart. 7001.





Ever since Time began, 'Commerce' in all its forms - ranging from food supply up to precious metal bullion and other items of barter - including coins and promissory notes from individuals, organisations or corporations - has relied on supply and demand to determine true value.

New collectors are not automatically gifted with all the skills needed to buy and sell - so I hope these basic pointers are of some assistance to our novices..


The numismatics industry is no exception in regard to supply and demand and this is why we rely on commercial numismatic cataloguers to do some of our homework for us by keeping an eye on the market trends and putting their findings down on paper each year. It's well worth the dollars we pay for the books.

Be aware that, occasionally, a printing error can creep into a catalogue so, if it looks too good to be true, take the time to check a couple of other sources.

In most instances, the prices arrived at by the cataloguers are similar and reasonably close to a realistic retail buying price.

The numismatic market is a relatively small one, in the greater scheme of things, and the same factors will influence any decision when two or more cataloguers are pricing items - however, there is always a 'BUT' - sometimes those values do vary and they can be very different depending on when they were compiled - and that means that, sometimes, when we want to SELL we can be awfully disappointed if we rely on only one source of information.

We must also consider that, occasionally, some prices can surge or retreat before the ink is dry on the catalogue pages and, after all, these prices are still a 'guess-timate' at best. Sometimes, a check on the Internet might be a revelation - but even that doesn't have all the answers to the questions that need to be asked and sometimes it can be downright deceptive - always check the location of the seller as well as the buyer and their ratings.



Dealers often get caught up in the ebb and surge of prices as well, and they need to make reasonable profits to cover their own living and business costs - and the interest on substantial amounts of money tied up on unsold stock that they may have paid a lot more for than it may be worth today - so don't expect a dealer to buy at the price shown in the catalogue. The price in the book is what he will use to sell at if he has no other latest indication of value.

Of course, if you have a worthy item he will want to 'wheel and deal' and buy at the best price he can - and he will have had lots of practice compared to you - if he really wants what you have to sell.  Remember, if the dealer has plenty of what you are offering, he won't want it at any price- it's as plain as that!



From experience, a realistic starting point is at about two-thirds or half of catalogue value - and you and the chosen dealer will both need to work hard to get a bit more or pay a bit less without appearing to lose face. IT PAYS TO BE "COOL"

If possible, shop around for a comparison first - don't be frightened to ask for an estimate of price and grading condition from other dealers - but don't waste their time with any embellishments about how you got the 'item' from 'grannie' or tales like than - they really aren't that interested and it won't make them offer more. They'll soon guess you are 'shopping around'.

Keep things low key - get a price and politely leave the shop if its not within reason. You might want to come back to them - and you don't need them to remember you for wasting their time with your life's history  Parting shots, you might have liked to make, regarding ability or integrity are a no-no even if you think it. (One day you might be a 'customer' not a seller and that's when you can take your revenge - served cold.)

Don't overgrade - be positive about your item's condition and don't allow a dealer to downgrade it more than 1/2 a grade without an explanation - which he will try to do for obvious reasons. He will be looking for flaws, so you will have beaten him to the punch by being conservative and close to the mark and leaving him no ammunition to fire at you - you will not need to  shove your idea of its grade at him because that will make him look even harder.

Ask him what he thinks the grade is and let him make the first move - and let him justify it by asking him, politely, how he came to that decision.

If it is higher - don't argue.

Never admit you know nothing or very little about an 'item'  - that is why a shop around can be handy and why you should be aware of what you have to sell.

Just as a seller has to be confident - a good dealer has to be positive as well - but beware of the obnoxious 'what would you know' type.

A good dealer should be right up with current prices and be aware of the trends that are developing within his local market, and the bigger financial market as well, so he doesn't tie up his capital in stock that won't turn-over quickly. You must remember that a dealer is a merchant - a shop-keeper - who is selling and buying a product, and he must think at that commercial level first and foremost no matter how pleasant and obliging he is.

The bottom line counts for dealers as well.

If the market is looking good, a thoughtful dealer may decide to accumulate items that have potential, so, as a potential seller, it pays you to check in the numismatic publications at the dealers lists to see what their current price structure is compared to your catalogue value. - if its low, you know that there is probably excess stock in the numismatic market that needs to be moved - and you could be wasting your time wanting top dollar.

Never indicate to a commercial buyer - that you might NEED to sell an item - leave that thought in your own mind until the 'take it or leave it' price is reached and you have to act. or refuse.

Appearing too anxious turns the advantage to the dealer - this haggling can also be a sort of game or challenge to some people.

Once sold, your 'item' is gone - and you can't sell it again if you see a better deal tomorrow..



Some dealers publish a 'Wanted' list within their advertisements - so check that as well - and, if you decide to do something about it, be prepared to haggle for a better price - and only bother have good quality item(s) to offer. No good taking 'worn-out' or 'average' examples to a dealer - unless it's in high demand or rare.

If the dealer appears to be offering a 'wanted' price close to the catalogue value - or higher - work on the premise that the demand could be bigger that the supply and you may have a small  advantage. DO YOUR HOMEWORK and THINK ABOUT IT - BECAUSE HE WILL!

If a dealer wants something he will be prepared to work out an equitable deal with a seller - but don't try and be too smart by airing your knowledge and end up haggling your way out of the door - unless you truly feel that you are being taken advantage of

If that is a concern - pick up your stuff, smile sweetly, keep your mouth shut - except for a polite 'Thank You! -  and go!

Whatever decision you make - you will need to stick to it and wear it if you make a mistake.




After saying all that, I noticed a 'Want List' in the numismatic press with the sort of prices offered that might suggest that one dealer should be on a 'Wanted List' with Ned Kelly.  Unrealistic buying or selling expectations don't help anyone in the numismatic fraternity.

Thankfully, that sort of thing is the exception not the rule - but, remember, if a 'Wanted to Buy' advertisement is even there, it's a start - it means that there is a demand  - but you might need to hone all of your haggling skills when you accept that sort of challenge!



ANZAC DAY 25th. APRIL, 2007

Many older Australian families, including some members of the 'Tasmanian Numismatic Society', still have first hand knowledge of the effects of both World Wars and the ensuing conflicts that claimed or changed the youth of this nation in so many ways.

Even in times of relative peace, however, we must be vigilant.  Our young men and women are still making sacrifices and devoting themselves to our national well-being in either part-time or full-time military service, and their willingness to continue extending their shielding hands to those less fortunate, can be reflected in the more recent events in the middle east and elsewhere. It comes at a terrible price at times.

Like most Australians on Anzac Day, we unashamedly share the triumph of the spirit over adversity, weep at the underlying sadness about lives lost - and also express our gratitude for the freedoms, so hard won, that have given our nation a sense of destiny on the world stage.

Most older Australians also know the fourth verse of Laurence Binyon's famous poem written in 1914 'For The Fallen'; - it has been recited every year since 1921 at Remembrance Day and Anzac Day as the 'Ode of Remembrance'.


They shall grow not old, as we that are left grow old: 

Age shall not weary them, nor the years condemn. 

At the going down of the sun and in the morning 

We will remember them.


Remembrance at El Alamein

The burial of Brigadier A. H. L. Godfrey, DSO, MC, ED and other fallen - 5th November 1942.


If we have ever attended any of the Anzac memorial services held all over our nation on this special day we will have heard or taken part in the saying of the ‘Ode of Remembrance’. To those of us who have been left behind to grieve or to pick up the pieces - we will repeat our vow again on 25th April this year.


We will remember them!’





by Graeme Petterwood © 1996 - 2007


Remember - be astute when you are handed change - not all the wonders of numismatics have been discovered yet - and they don't have to be shiny and new! This edition again features an assortment of  'trivia' that I think is of interest and I trust it will prove educational and entertaining to you as well. 

All or any prices quoted in articles in this newsletter, unless stipulated, are estimates only and they should not be considered to be an offer to sell or purchase the items mentioned or used as illustrations. Please note that the photoscans of numismatic items are usually not to size or scale, but - wherever possible - they are from the authors' own collection or the extensive picture library of the 'Tasmanian Numismatist - Internet Edition.




Over the last few months I have asked for, and received, a lot of information from T.N.S. member Jerry Adams, regarding the Indian and Post Traders tokens used in the Old West prior to, and after, the War between the States in America. It has proven to be fascinating reading - this time, I asked him the questions that were on my mind when I saw the latest 'fantasy' Post Trader token produced for Jerry and his colleague, Bob Smith.  

For me, it's always interesting to follow the process through from idea to fruition with things like this.


'Adams & Smith Post Traders - Fort Chadbourne, Texas' fantasy - 'Good for $1.00 in trade' - tokens.

1903 Indian Head Cent - 1956D Wheat Reverse Lincoln Cent

Outer aluminium ring reverse has the generic Hanrahan's Saloon text as used on other Adams & Smith tokens.


QUESTION - "Why did you chose to have a fantasy Post Traders token made for a fort that is now in ruins

I know you mentioned in your email that Fort Chadbourne was an early post and had a part to play in Texas history,.but, was there anything else that stood out as a highlight to prompt your choice of this fort and produce a fantasy post trader's token -  or was it just the purely historical aspect that appealed to you? " (See explanation and article below)
An on-line Encased Coin Club invitation (not endorsed by the 'Tasmanian Numismatist')
A brief history and the location of Ft. Chadbourne, Texas - as supplied by 'Curly' & 'Hurricane Bob'




by Jerry Adams (T.N.S. Member # 363) © 2007


One of the main reasons I chose Fort Chadbourne, is that there are no known tokens from the fort or the town. Secondly, not even many Texans know of the fort. There are ruins there, but it is basically a pre-civil war fort. Refer: http://www.tsha.utexas.edu/handbook/online/articles/FF/qbf8.html 

Now the really interesting part - a book I am reading called 'Frontier Texas', states that the first shots of the civil war were ALMOST fired at Fort Chadbourne, Texas, not Fort Sumpter, South Carolina.  Almost, but not quite!. 

Fort Chadbourne was established October 28, 1852, to protect this part of the western frontier and was part of a whole chain of forts - some 30 in all..

Located in what is now Coke County, Texas, it was manned by the Eighth United States Infantry.

The fort, on the Butterfield Overland Mail route, did change hands, however, when it was surrendered to the Confederates on February 28, 1861.

The Union commander of the fort did not want to surrender to Confederate troops after Texas seceded from the Union, but, the Confederate troops were outside the fort and Union troops trapped inside - a stalemate.

 Finally, faced with all sorts of dire scenarios, the Union commander made the wise decision to abandon the fort to the CSA army. 

So, the first bloodless shots before the years of slaughter, ended up being fired at Fort Sumpter, SC. not Fort Chadbourne, Texas.

As mentioned, Fort Chadbourne, located 12 miles north of Bronte on Oak Creek, was established in 1852 but it was really only in serious use in the late 1850's prior to the Civil War, and it was in decline as a military installation when General Sherman stayed there in 1871 while he was in the area to assess the Indian situation. Eventually, a serious lack of good reliable water was the final straw, and, in 1873, the facility was transferred to a new site at Fort Concho in San Angelo. By 1876, the area was falling into serious disrepair and being used as the Chadbourne Ranch.

Some of the remaining old fort buildings were used as stables and out-buildings and the best of them became the ranch-house.

There is a archeological/rebuilding program currently in place to restore both aspects of the privately owned site.


Old map showing location of forts and barracks in Texas - Fort Chadbourne near top-centre.


Basically, what I was trying to do was create a token, that would, if it were real, be an exciting find. It would be somewhat historically correct, in design and composition, but the pieces would not add up, proving that it was not an old token, but that it was a modern made fantasy..

Firstly, aluminum was not used in any quanitity until about 1892.  Secondly, encased cents were not used much until 1900. 

We know that post traders only came into operation in 1867 and, apparently, there are no records of any operating out of Chadbourne. There may have been a sutler but there could not have been post traders in 1861, nor aluminum, nor encased cents.

There are rumours that Cynthia Ann Parker - the mother of Quanah Parker - visited the fort, in disguise, with other Comanches during the mid 1850's so it might be presumed that there could have been some sort of trading going on at that time.

The number of personnel located at the fort was between 300 - 400 at times, and it is known that it had a substantial bakery and a permanent surgeon..

Captain.Ebenezer Swift M.D., had arrived in 1852 and left in 1856, but he was followed by other doctors, and the hospital.he established there was classed as one of the best medical facilities in Texas at that time.

However, token collectors get excited when they find a token from an town that previously has had no tokens reported from that location. 

They also get excited when they find a post trader token, a saloon token, or a "good for" encased cent.  So, combining as many of these items as possible in a way that is fun, exciting, educational, was the goal. However in doing so, I try to - as the doctors say -  "do no harm". 

The whole limited run (300) of the Fort Chadbourne fantasy tokens, were done with "wheat" cents, i.e. pre 1959 cents, with the exception of two uncirculated Indian head cents of 1903 (as shown above) and 1908, and about a dozen circulated Indian head cents. 

I hope that explains some of the decision making on the Fort Chadbourne location. 



The Butterfield Overland Mail also went through Fort Chadbourne during its two year southern route, prior to the civil war. 

Incidently, the contract to deliver the mail, via the Butterfield overland stage, stated that the mail must be delivered in 25 days, from St. Louis, Missouri to San Francisco, California..The original 6 year contact was awarded in 1857, and the amount paid was $600,000 per year, to provide the U.S. Mail service as well as transport passengers.

The trial run, starting on September 15, 1858, of one coach each way, was undertaken by the owner, John Butterfield and his son - they swapped coaches when they met at the half-way mark. It took 23 days and 23 hours by the coach to San Francisco and 24 days and 18 hours by the coach to the Missouri depot at Tipton thence by train to St. Louis.(see map below) to beat the 25 hour deadline.


Butterfield 'Ox-Bow' Stage route 1858 - 61 and a Concord coach traveling through Northern California.


The overland mail run used a 'Concord' stagecoach - produced by the Abbot-Downing Co. of Concord, New Hampshire - drawn by relays of horses until they got to Texas, where upon they switched to a small sturdy type wagon of which I can not remember the name, which was drawn by 4 mules.  (I believe they were called  'celerity' wagons - Ed.)

The Concords  came in various sizes, 6, 9, 12 seaters - and a heavyweight that could carry another 12 men on the roof - these coaches were usually pulled by 4 - 6 horses.

During the two years the B.O.M. coaches ran through Texas they were never once attacked by Indians. The stage line hauled passengers also, the cost was about US$200 (reports quote anything from $100 - $600 during the period Butterfield's where operating - depending on circumstances) for the trip from St Louis to San Francisco, and, the stage line ENCOURAGED the passengers to carry firearms, as protection against robbers and Indians. 

Space was at a premium on the coaches and 15 square inches was a normal allocation, 25 lbs. of luggage plus a bit of personal stuff like a water canteen and two blankets was the weight restriction - and only 2 stops each 24 hours made the trip relatively uncomfortable - but it only took about 20 days to get from St Louis to Sacremento - a distance of 2000 miles.

Different sources state that the company had 100 - 250 Concord stage coaches, 1500 - 1800 horses and mules, 750 - 800 men - of whom about 150 were drivers who were sometimes refered to as ''whips' or 'jehus' (Jehu is an old Biblical term for 'wagon driver').

During the Civil War, an Act of Congress - passed on March 2, 1861 - discontinued the Texas mail route so Butterfield's moved their coaches onto the northern Cental Overland route which was still in Federal territory.


John Butterfield (portrait left) was born in Berne, New York on Novemer 18, 1801 and by the age of 16 had proved he was a very efficient entrepreneur.

His business accumen saw him in good stead over the years and he had formed several good partnerships and he had become part of the political and financial scene in America during the great development era prior to the Civil War. - however, like many others, the coming war saw a reversal in his fortunes due to over-committment..

In March of 1860, John Butterfield, was forced to withdraw from active involvement in the company's  business because of debt, and, by 1864, the Butterfield company had ceased operation under his name although he was still with the company - at that point in time. John Butterfield finally retired to his home in Utica, New York  where he became involved in civic matters and was elected mayor. He is credited in establishing the street-car system there in 1865.

However - Fate played a cruel trick a short time later, when Butterfield suffered a serious stroke that left him physically paralyzed. He lingered on, but died on November 14, 1869 - a few days short of his 69th birthday.

It was a little bit ironic that transcontinental stage-coaching came to an end with the completion of the transcontinental railroad in May of the same year..


The original rote was cut in two with the eastern end of the Central Overland Route ( St. Louis to Denver) taken over by Ben Holladay - who is characterized as a devoted, diligent, enterprising man, and, who became known as the 'Stagecoach King'.

At the western end (Denver to San Francisco), the restructured stage company was renamed Wells Fargo and all the assets had been taken over by  Butterfield's consortium partners, Henry Wells and William Fargo, due to large debts that Butterfield had owed them.

By 1866, Wells Fargo commandeered the monopoly over long-distance overland stage coach and mail service with a massive web of relay stations, forts, livestock, men, and stage coaches.

Previously, the partners had also acquired and absorbed the famous, but short-lived, Pony Express along with its route assets after it had gone broke in November 1861. The Pony Express was originally formed on April 3,1860 as a subsidiary of the famous freight and stage company - started by William Russell, Alexander Majors, and William Waddell - the Central Overland California and Pikes Peak Express Company.

This amalgamation of companies, now controlled by Wells and Fargo, eventually evolved into the gigantic modern American Express company.


Main References:

'Story of the Great American West' - Reader's Digest Publication. 1977

'The Illustrated Encyclopedia of the Old West' - by Peter Newark. Andre Deutsche Publication 1980.

Texas Handbook - http://www.tsha.utexas.edu/handbook/online/articles/FF/qbf8.html

Wikipedia Online Encyclopedia. Refer: http://en.wikipedia.org/wiki/Butterfield_Overland_Mail

Frontier Trails - Pony Express Information. Refer - http://www.americanwest.com/trails/pages/ponyexp1.htm


Recommended Reading:

'Trade Token Tales' - Internet site: http://members.fortunecity.com/tokenguy/tokentales/





United States Mint Unveils Jamestown 400th Anniversary Commemorative Designs.

Quote - "In the spring of 1607, three ships carrying 105 settlers — the Virginia Company of London — made landfall in the New World. The Virginia Company was charged with establishing an English settlement in North America, and its employees were the first permanent English settlers in what would eventually become the United States. Four hundred years later, the United States is honoring the founding of Jamestown with two commemorative coins from the United States Mint." - Unquote.

During 2006, the United States Mint unveiled the designs that were to be be featured on the two commemorative coins that were to be issued in 2007 to commemorate the 400th anniversary of the first permanent English settlement in America, at Jamestown, Virginia.

It might be remembered that the famous Capt. John Andrew Smith and Pocahontas became historical icons during the establishment of this settlement

Refer: http://en.wikipedia.org/wiki/John_Smith_of_Jamestown

Public Law 108-289, dated August 6, 2004, authorized the United States Mint to produce a total of 100,000 $5.00 gold coins and 500,000 $1.00 silver coins to commemorate the 400th anniversary of the founding of the colony at Jamestown, Virginia. The coins went on sale during the first quarter of 2007, and are available in both proof and uncirculated conditions in both metals up to the overall stipulated quantities. No details of individual strikes at this time.

Refer: http://www.usmint.gov/mint_programs/commemoratives/index.cfm?action=Jamestown  Postage is extra.


Jamestown 400th Anniversary $5 Gold Coins (Encapsulated and Boxed) Not to Scale.

Mint Facility: West Point
Weight: 8.359 grams nominal - approx. 0.3 ounce
Diameter: .850 inches (+/- .003 inches) - approx. 21.6mm
Composition: 90% gold, 10% alloy
Mintage Limit: 100,000 (across all product options)

The obverse of the silver dollar, designed by recently retired United States Mint Sculptor-Engraver Donna Weaver, depicts 'Three Faces of Diversity,' representing the three cultures that came together in Jamestown, and the reverse of the silver dollar, designed by Susan Gamble, depicts the three ships that brought the first settlers to Jamestown: the 'Godspeed', the 'Susan Constant' and the 'Discovery'.


*Silver Uncirculated Jamestown Dollar courtesy of T.N.S. Member #363 - Jerry Adams*

Thanks once again Jerry!


Jamestown 400th Anniversary Silver Dollars (Encapsulated and Sleeve-boxed) Not to Scale.

Mint Facility: Philadelphia
Weight: 26.730 grams nominal - approx 0.94 ounce
Diameter: 1.500 inches (+/- .003 inches) - approx. 38mm
Composition: 90% silver, 10% copper
Mintage Limit: 500,000 (across all product options)

Main Reference

The United States Mint - http://www.usmint.gov/mint




The price difference percentage between Uncirculard and Proof U.S. coins appears relatively minimal compared to that of Australian coins of similar gradings.

Taking into consideration the very large mintage figures of the U.S. Mint - does explain one aspect, and, also considering that our Australian Proof and Uncirculated coins have been acknowledged as being of a far superior quality compared to some of other countries, does have some bearing on the manufacturing price structure - as does our more imaginative packaging - however, U.S. coins in these grades are usually of a high production standard as well.

The current Silver and Gold content of our Australian coins is nearly pure - 99.9% - compared to the 90% content in comparable U.S. coins and, often, the weight is also slightly more favourable for similar diameter noble metal coins - in other words the Australian coins are thicker.

The old basic tenet of 'Short Supply and Large Demand' has also enabled the price setters at the Royal Australian Mint to arrive at a more than attractive profit and cost covering local price as far as they are concerned - but is it a realistic and equitable system? 

I decided to take a quick look at the situation within our Australian context and - I stress - that this is not a all-encompassing study between the two mints, but, it does raise a few questions.

The 2007 US$1.00 Silver Proof shown above is available for US$39.00 and the Uncirculated for US$35.00 - and the US$5.00 Gold Proof is US$255.00 and the Uncirculated is US$245.00  - and, as you can see, the percentage difference between the Proof and Uncirculated prices is very moderate indeed. Are these percentages consistent with other similar modern U.S. issues?

Approx 11.5% between the Silver grades and approx 4% between the Gold.


Please bear in mind that the Australian prices used below are contemporary issue prices and have no direct bearing on any other prices quoted here other than to act as a comparison of typical 'price percentage differences' between Proof and Uncirculated Australian coins at that time.

Australian Gold coins are usually only produced in Proof - unless a special release is made of Specimen grade within multi-coin sets - therefore it is difficult to find individual comparisons. Our weight structure, as mentioned, is also different - so, it is hard comparing 'apples to oranges' when Uncirculated and Proof coins of a particular design are being made in different metals or in  bi-metallic format.

However, in this instance, I have converted the Mint issue prices of a relatively recent (2003)  Australian Silver Kangaroo Dollar and a 2003 Australian One Hundred Dollar (face value) 1/3 oz. Gold coin which are available individually in both grades for those international readers who are interested in calculating percentages and usually work in U.S. Dollars.


During the mid-90's, the percentage difference was relatively stable at approx. 35% for 1/3 Ounce Gold coins and the 1 Oz. Kookaburras averaged out at approx. 115% difference between Uncirculated and Proof Silver.

It was a little disconcerting to calculate a difference between the Australian precious metal grades (in the 2003 instances mentioned) of approx. 22.5% between the Gold grades - a slight drop which would have coincided with the gold price - but it had risen to approx. 122% in the more popular and affordable Silver that most average collectors look to as their 'investment' coinage. 

Silver has been rising in price but, remember, these are price percentage differences between grades..

However, on closer perusal of other NCLT coins, the Mint's percentage rate now appears to vary in coins of the same weights (packaged in slightly different  formats) - with several other examples of the early 2000's Gold coins, in particular, now closer to the 47%. mark. 

I admit I am not a mathematic scholar - far from it - but, as a person with some considerable time in wholesale production, I am fully aware of the basic cost structures applied to most manufacturing industries and these differences don't quite add up. There does not seem to be a consistent formula, so it appears that each coin must have been costed against its very own production criteria - or, is it some other variable factor we can only guess at ......? 

Do the sums - and make up your own minds!


2003 Kangaroo Silver Dollar

Weight: 1ounce - 31.6g

Diameter: Approx. 1.6 inches - 40.60mm

Composition: 99.9% Pure Silver

Issue Price (Carded Specimen): AUD$21.67 - approx. US$16.80

Mintage: 20,680.

Current Catalogue price*: AUD$30.00


Issue Price (proof): AUD$48.00 - approx. US$37.20

Mintage: 10,000.

Current Catalogue Price*: AUD$60.00


2003 Royal Bluebell A.C.T. Floral Emblem 100 Dollar

Weight: 1/3 troy ounce - 10.367g

Diameter: 25mm

Composition: 99.99% Pure Gold

Issue Price (Uncirculated): AUD$285.63 - approx. US$221.30

Mintage: 3,000


Issue Price (Proof): AUD$350.34 - approx. US$271.45

Mintage: 2,500


Main Reference:

The Pocket Guide to Australian Coins and Banknotes - by Greg McDonald. (RRP $29.95)

P.S. - The 14th Edition is available at good quality bookshop, numismatic dealers or direct from :


P.O.Box 649,

Lavington. N.S.W. 2641


Email: coingmcd@ozemail.com.au




  WHO WAS 'SAHARET' - the Australian Dancer?

developed and compiled from an idea by

Jerry Adams - Graeme Petterwood

and the previous research of many others.


Like other stars of stage and screen of yesteryear, like Merle Oberon and Errol Flynn, it was the story that counted - and who really cared if it wasn't always the truth - so, out of necessity, this article cannot be considered a definitive piece about our subject. - but we did try to dot a few i's and cross the t's.


Before there were DVD's, video tapes and movies there was live entertainment, and the stars of the stage were the idols of their era.

The live theatre, during the late 19th - early 20th Century, was divided to cater for all tastes in entertainment..

There was the classical theatre with its operas, Shakespearean and other dramatic productions, vaudeville - the musical comedy hall for the middle class families - and then there was 'burlesque'.

Burlesque catered for everyone with an ever broader variety of entertainment than the family theatre. Presenters in some theatres hired exotic dancers and strippers, or  bawdy comedians, who were specialists in titillating sleazy gentlemen, who were looking for a thrill and had the money to pay for it, as well catering for the ruffians off the street. It was  commonly refered to at the 'people's theatre' - and often presented satirical or melodramatic portrayals of contemporary figures and provided an outlet for public satisfaction, or otherwise, of day-to-day events.

However, on occasions, a better class of establishment could lift the quality of its acts and present any number of wonderful and talented international artistes capable of wooing Royalty - if need be.

In Europe, the famous Moulin Rouge, the Folies Bergere and Folies Marginay in Paris - and other places, like the Wintergarten in Berlin, which featured the crème de la crème of popular singers, dancers, and novelty acts from all over the world - evolved a totally different level of burlesque that made some of its producers and stars very rich. It was still vulgar and unruly - but with class.

European music-hall featured acts from the circus, classical nudes without the crudity of the bump-and-grind strip-tease element - and of course the Can-Can and  the frenetic high-kicking 'dance of the unruly girls'.


The following description is translated from the official site of the Moulin Rouge. Refer: http://www.moulinrouge.fr/html_gb/frameset_historic_paris.htm

Quote - "Carefree life, Flickleness and Joie de Vivre... Those are the three words that could best sum up this unique period in the History of France. It was a rest between two wars, a period of transition between two centuries, during which the social barriers collapsed, when the industrial revolution gave hope of a better life for all, in a rich cultural profusion and that promised much fun.
The middle-class mixed with the riffraff, the popular culture was enchanced in a contented disorder full of joy and vitality. In that atmosphere, which favoured artistic creativity, literary circles appeared and disappeared according to people meetings, while painters and drawers got especially inspired by this joyful ­ sometimes outrageous but full of fancy ­ atmosphere that broke completely with the rigid classicism of that period..

The atmosphere fitted perfectly to the appearance of the first cabarets, such as the Moulin Rouge in 1889." - Unquote.


One German painter, Franz Von Lenbach (1836 - 1904), from Munich found one danseuse particularly inspiring and called her 'the most beautiful woman in the world.' and other painters agreed. His 1899 oil painting of her (24.5 x 27.25 inches) is now hanging in the Permanent Collection at the Frye Art Museum, Seattle, Washington. Refer: http://www.fryeart.org/pages/findus.htm

Von Lenbrach was rather irked that copies of his painting were later used as advertising by this young dancer's agent.(see below) - but that was 'show-biz'!

With the advent of photography, the same woman became 'the most photographed dancer in Europe.' - her stage name was 'Saharet'.

Scores of her postcard reproductions are always being traded on the modern Internet - and it is obvious that her undoubted good looks, while she was at the height of her powers, are still appealing to appreciative viewers over the last 100 years.

These tinted cards currently sell for prices ranging from U$10 - $20 each - but some are valued much more highly.

In 1909, an American newspaperman's description of Saharet was as follows:

"Her face is a perfect oval, her mouth is red and well shaped, her nose set high,the cheeks finely modelled and the eyes, large expressive and almond shaped with long curling lashes. She is not more that 5 feet 6 inches tall  (approx. 1.68 metres) and weighs about 130 pounds (approx. 59 Kg)."




The Australian Can Can Dancer 'Saharet'  (1879 - 1942)

'The Most Beautiful Woman in the World!' (quote -Franz Von Lenbach -artist)


The year 1879 was a good year for Australian artistic talent to be borm - we know that Stella Maria Miles Franklin and Norman Lindsay both shared it as their birth year. However, some of the following information about Saharet's early life was gleaned from heresay, press releases and recorded at magazine interviews - so we are putting some of it in the category of 'Don't Let the Truth get in the Way of a Good Story'

On 21st March 1879, in Ballarat - or was it Melbourne - or even Australia - a female circus performer and a Scottish sailor (no names) became parents to a baby daughter who they christened Clarisse (Clarice or Clarissa) Campbell.  (No birth records found..)

Actually, there are still Campbells in Ballarat, but, this was the era of the Australian goldrush and nothing is known about this family's movements at this time. It appears that Clarisse had another sister who died in the early 1890's and, in 1893, the family supposedly  packed up and left Australia for San Francisco, California. (Date and port of departure and name of ship - unknown)

In later days, she was quoted in an interview as saying that she had appeared in Australian pantomime and that she then had then gone to London for 5 years and trained strenuously as a dancer - this seems to be 'interview filler material' - but who know for sure?

The truth is more likely to have been that things were a bit tough for the family in America  and, probably with her circus-trained mother's blessing and expertise, it wasn't long before the 14 y.o. Clarissa was dancing in sideshows and burlesques to help out the family finances.

Her comfortable relationship with this type of brash entertainment would last her right through her later working life - which is far better documented.

We don't know exactly when she started working in larger theatres or even what her status was, but we do know she got her lucky break when illness affected a leading dancer at San Francisco's Bush Street Theatre, and she had to fill in at short notice.

The pretty teenage Clarisse was spotted by the famous  theatrical and circus impressario, Michael 'Mike'. B. Leavitt - who was managing  the theatre at that time - and she was hired as a full-time performer on the Orpheum circuit which had  similar theatres throughout the U.S. as well as overseas connections.


Whatever happened to her parents - or even if she had other siblings -  is now lost in history, but, Clarisse went east on the Circuit to dance at the Miner Bowery New York theatre where she earned 10 dollars per week - good money for a girl of her age.

In 1895, at age16, she met and married Isaac 'Ike' Rose, a theatrical agent. - it wasn't long before she bore him a daughter and it seemed as if she would retire from the stage. The retirement didn't last - and, at 17, under Ike Rose's tutelage, she was out dancing again in New York with a 14 minute act - and earning 25 Dollars per week, which was over double the money she had been earning a year before.

Her new arrangement with German-born beer bottlers and restaurant entrepreneurs - and, more lately, theatre investors -  John Koster and Albert Bial, proved to be the stepping stone to even greater things. From 1879, the partners had developed several theatres with beer gardens and vaudeville establishments in close proximity to each other in the 6th Avenue and West 23rd Street and 24th. St.areas of New York City to help sell their beer.

In 1893, they sold the W. 23rd Street theatre and bought the Manhattan Opera House (from their argumentive partner, Oscar Hammerstein, Sr.) at 145-147 W. 34th St. This had been remodeled as a more extensive concert hall  and beerhall complex and renamed Koster & Bial's, and Clarisse considered that she was successful when she started working there.  Refer: http://www.14to42.net/24street5.html

She may have been excited and happy, however, her husband and agent, Ike Rose, wasn't pleased at first and only arranged a short term contract of 2 weeks. He could see the undeveloped potential that his youndg wife possessed - and knew he could get even more money for her talents.

It was also at this time that Clarisse changed her stage name to 'Saharet' -  due to an on-going press interest with the exotic Sahara Desert at that time.

She became a smash hit with an even faster (7 minute) exciting dance routine showing her aerobatic ability, high kicks and her ability to do the splits.

On contract renewal with Koster and Bial, it was a 3 month deal at virtually double the wages again - to about 70 Dollars - a very lucrative amount for an 18 y.o. who was prepared to be daring. Of course, her very astute husband Ike Rose who was acting as her agent, got his 10%..


In 1897, the 18 y.o. Saharet traveled to London and appeared at the Palace Theatre for 8 weeks - and became an international sensation.

She then toured Paris and starred at the Folies (Bergere and Maringay) and then to Berlin's original Wintergarten in Friedrichstrasse in 1898 (although the Wintergarten biography lists her as being there in 1889 - that is doubtful, as she would have only been 10 years old) and her weekly earnings were then about 400 Dollars.  In fact, her contracts between 1896 - 1909 were  later estimated to be over 150,000 Dollars - a fortune in those days.

Like many other exotic dancers, before and after, she included 'Salome - the dance of the Seven Veils' - in her risqué routine at the Folies, and there is a painting by Franz von Stuck showing her as Salome - without most of her veils.

She also grew to adore diamonds - the song may not have been written, but the term, 'Diamonds are a Girl's Best Friend', suited this material girl very well.

During 1909, she starred in a 'short' silent film made in America - which bore her name as its title - depicting one of her dance routines.

The critics judged it: "A fascinating dance by one of the most prominent danseuses on the stage. A great favorite both in America and abroad."


However, by 1909, it had become apparent that the appeal of burlesque was starting to fade so Saharet altered her act to include a male dancing partner, Signor Plauton, to exploit the interest in the Tango and similar dances. She even incorporated the Minuet into the routine but, from all reports, that wasn't as popular as the sensuous Tango and her 'trademark' - the high kick can-can and splits finale.

Her charisma was then at its height and many rich and influential  men - including the American millionaire Fritz von Frantzius - had become infatuated and fallen under her spell.

The German-American had fallen in love with one of Saharet's sultry-eyed portraits done by symbolist artist Franz von Stuck (1863 - 1928) who had painted her several times during 1902 - 1907.

The style of painting was very popular at that time and von Stuck enjoyed considerable international success and von Frantzius had acquired a large collection of his works along with other items from the world of art.

As an art connisseur, Fritz von Frantzius was still listed as a life Member of Chicago's Palette and Chisel Fine Arts Academy in 1916 when von Stuck's works were exhibited in that city.

Von Frantzius had purchased his first painting of Saharet at a Pittsburgh art show - and she had become such an obsession with him that he soon divorced his wife so that he could follow Saharet around the world on her tours.


Such was her theatrical fame that advertising shellcard tokens were made (probably in France) for distribution in New York when she appeared there at the Alhambra Theatre in 1909 -(see below) You will note that the image reproduction of Saharet on the token is similar to that of the von Stuck painting style.


During 1910, she was back in Europe and had made at least 3 one-reel (50 - 70 metres) films in Germany - "Auf dem Maskenball" (At the Masked Ball), "La Malaguena" and "La Serenada" - for Oskar Messter's Projections GmbH of Berlin. It is known that Messter had been experimenting with recording sound to play with his movies in 1906, but, unfortunately,  these ones with Saharet were not done with the less than perfect 'synchronised' sound.


Ike had been busy with his business interests in Paris, the U.S. and elsewhere, and he had formed a vaudeville company of his own entitled 'Rose's Royal Midgets; and Saharet accused him of ignoring her - as well as 'mental cruelty', although that was never spelt out

Refer: http://www.phreeque.com/hilton_sisters.html

By 1911, the growing rift between Ike Rose and (a far more wiser) Saharet was irreversible and they parted - and the couples' divorce became final in 1912 while she was dancing in Moscow.

With German censorship starting to become institutionalised, Saharet even made time to star in two other Messter's films 'Hexenfeuer' (Witch Fire) and 'Unter der Maske' (Under the Mask) in 1912 - just before Fritz von Frantzius stepped-up his  fervent courtship of the dancer.

Eventually she relented, but she had this to say,  "I am happy, but if you take my advice, don't do it. I've been there before and I know ... my dear Fritz ... .he is going to be so kind to me."

On 23 June 1913, back in Chicago once more, she married the market speculator millionaire, and - under the terms of a contract he had drawn up - she had to retire once more. The marriage lasted 4 days before she  tore up the contract - a strong-willed, audacious and beautiful Australian character like Saharet was not about to have her wings clipped by the jealous financier, 'locked' up in a gilded cage, and treated like a piece of artwork.

She packed her bags and went back to Europe in July and completed her dancing engagements with a new dance partner, Signor Florido.

She was in England during 1915 and up to February 1916, at least,. dancing at the London Coliseum - but things were getting very grim in Europe at that time. When they returned to Chicago, just before the eruption of WWI involved the U.S., Saharet and her partner - in a rehearsed scenario - ensured that the ever optimistic, totally besotted, Von Frantzius would find out about certain dalliances and they would cause him to instigate divorce proceedings.

It was said that the walls of his home were festooned with pictures of Saharet  and that he became incoherent when he spoke of her.

Fritz von Frantzius was forced to act, and he did, but he went into a deep depression and died about 18 months later in 1917 - his businesses neglected, on the verge of  bankruptcy - and broken-hearted.


Peter von Frantzius, was one of  Fritz's children from his previous marriage -  and he, obviously, would have been known by Saharet - obtained quite a lot of the surviving art pieces, including the von Stuck portrait of Saharet, under the terms of Fritz's  Will. They eventually were sold off or inherited by Peter's eldest  daughter, Louise and her family, and then finally many were donated to various museums and institutes of Fine Art. in Chicago.

Peter, a University trained lawyer (he was an  alummnus of Northwestern University Law School) and  a member of the National Rifle Association - had developed his own fortune with a mail order business in firearms and he became the owner of a large sporting goods store located at 608 Diversey Parkway, Chicago.

He gained a sort of infamy for supplying surplus Thompson sub-machine guns ('Tommy Guns' ) to the 'Mob' during the Prohibition era. It was reported that for $2.00 extra he would have his gunsmith file off the gun numbers.

He was known as 'The Armourer of Gangland' by Eliot Ness and the FBI, because he dealt impartially with anyone - even opposing gangs - but he always successfully argued his innocence when guns were traced back to him - and though he was often questioned he was never charged.

t is definitely known that he even supplied some to Al Capone, at the cut-rate price of US$175 - normally $225 - that were used in the infamous St. Valentine's Day Massacre of 1929.

He also had his portrait immortalised on cigarette-cards

Peter von Frantzius was also the inventor of the tear-gas pen, a whistle, and also had patents on several other items.

He died peacefully on April 6 1968.






With the intrigue and turmoil developing in Europe, Ike Rose had also packed his bags and hurried home in 1914.

Saharet's ex-husband still wanted to cash in on Saharet's fame, for obvious reasons, so he had sold their story to a theatrical magazine in May 1914 and blamed certain 'Spanish gentlemen'  for breaking up their marriage - but, it was a well-known fact in theatrical circles that, during 1909 and later,  that Ike had also been straying - and spending lots of Saharet's money setting himself up into his own business which, incidently, was flourishing.

As mentioned, Ike had located to Paris to cash in on the interest in Chinese conjurers and 'freaks' that was also sweeping Europe at that time - and he apparently wasn't shy in taking advantage of his theatrical agent's position to meet a few of the ladies who wanted to get into show-biz.

The highly embellished report, 'The Story of Saharet - as told by her husband', published in 'The Theatre' magazine created enough interest (and income) for Ike to continue to successfully manage the largest troupe of vaudeville midgets, Siamese twins and other 'different' performers in America

During the 1920's, Ike Rose married a lady named Carla - and it was she who inherited his midget troupe upon his death in c.1934 and kept in going until just before WWII. Refer: http://www.missioncreep.com/mundie/gallery/little/little10.htm


A marriage never did eventuate between Saharet and Florido - who could not obtain a divorce from his wife - but they remained dancing partners until 1916.

America declared war on Germany on April 6 1917 and, on June 2nd. (or was it early October?) of the same year, at age 37, with her stage star starting to fade with the advent of movies, and no chance of now working in war-torn Europe, it was reported by the 'Chicago Daily Tribune' dated October 14 1917that Saharet had married a theatrical agent from Chicago, Maxim P Lowe, in New York City..

The reason why she married is not clear, but, perhaps, it could have been a marriage of convenience to re-confirm her as an official U.S. citizen while she stayed there to perform in New York when Max Lowe went back to Chicago to attend to business..

The reason - or the outcome - of this marriage is totally open to speculation, it has been very hard to find information about the groom except a single showbiz reference that indicated that he was a successful agent in Chicago and that he was involved with finding suitable venues for the new 'Jass' (Jazz) and 'Dixieland' bands that were being established in Chicago and New York in early 1917.

Refer: http://www.gracyk.com/odjb.shtml


Some of the theatrical publications in which Saharet was mentioned during 1897 - 1916 are listed below:

Footlight Flashes, The Referee -Sept 8 1897

The Theatrical Gazette, The Referee - February 10 1909

The Theatrical Gazette, The Referee - March 17 1909

The Theatre, - May 1st 1909

America Ruinous to Beauty says Saharet the dancer, Chicago Daily Tribune - April 4 1909

London Coliseum programme - Sept 4 1911

The Coliseum, The London Times - Sept 5 1911

Fee Fu Fi Fum Fawsitt, The Tatler - September 20 1911

Saharet the Beautiful, Chicago Daily Tribune - Sept 1 1912

Crown Prince has relapse, Los Angeles Times - Nov 17 1912

Dancer Saharet becomes a bride, Chicago Daily Tribune, - June 24 1913

Saharet marries when quite ready, New York Times - June 24 1913

Kick that lightens one man's heart, Los Angeles Times - June 26 1913

London Coliseum programme - August 18 1913

Fritz divorces Saharet Rose, Chicago Daily Tribune - Nov 14 1913

The Story of Saharet as told by her husband, The Theatre Magazine - May 1 1914

London Coliseum programme - Sept 20 1915

London Coliseum programme - Feb 28 1916

Dances into wedlock, Chicago Daily Tribune - Oct 14 1917


Left:- Postcard showing Saharet with her daughter in Bavaria c. 1905


In 1922, at age 43, it is reported that Saharet made a final appearance in Berlin, but, when the audiences stayed away - due to the pressue put on them by the National Socialists, the Nazis, who were then acting as moral, social and political watchdogs throughout Germany - she made her decision to retire from the stage and return to America - this time for good. 

The question arises - had her marriage with Max Lowe finished by this time, and, had she wanted to get away and recapture some of her previous fame? Whatever was occuring at this time came down over Saharet's life like a blanket - then comes a 20 year information vacuum that begs to be filled.


It has been stated, in various sources, that she returned to Australia, and, in 1942 at about 63 years of age, she passed away in Melbourne - but I have not been able to trace any mention of her in the State of Victoria obituaries for that year using any combination of names she might have used.

It happens that there is also a Melbourne in Florida, U.S.A. as well - could it be that an incorrect assumption was made?

It's known she had lived most of her life in Europe and America - so why would she want to come to Australia?

Whatever name she was using at the end of her life might give a clue to where she is buried - but what was it?  Did she re-marry  - or change her name?

There is hardly a ripple now - we don't even know her daughter's name or even if she grew to adulthood in America - to us, she is still just a wistful, pretty little 9 year old posed on a 1905 German postcard with her famous mother. 'Saharet and Daughter'. From then on --- nothing!


At this stage, Saharet is still lost to our numismatic history with only one shellcard token to remind us of her charisma and that, once, she appeared at the Alhambra Theatre in New York. Are there other similar tokens out there?

The hundreds of postcards, playing cards, scores of prints of her portraits and even her image emblazoned on things like cigarette tins, give us a look at her in her prime as a dancer - but it would be great to tie up those niggling loose ends that made this 'Australian' woman so special.

Her life story is one of some big mysteries and lots of small inconsistencies - but one thing is fairly certain - we don't really know a lot about her start and finish. Whatever the truth is, there would have been a 'paper-trail' - but that  is still locked away in some archives somewhere awaiting more investigation - and I hate a mystery like this.


Saharet 22mm. Brass-cased Shellcard Token

Obverse: Saharet - Australian Dancer

Reverse: Alhambra Theatre *'Pick Me Up - Only a Joke - To See'* Saharet.

The Alhambra Theatre has been re-utilized commercially on several occasions since 1967.

It is located at - 2110 Seventh Avenue, Harlem, NY (now Adam Clayton Powell Jr. Boulevard)

Modern scan: http://flickr.com/photos/kencta/142133303/


It is of interest to know that the old Bush Street Theatre once had also been called the 'Alhambra' - well before Clarisse Campbell arrived to dance her way to fame in 1893. The San Francisco earthquake of 1906 destroyed many of the old buildings, however, it is known that a new Alhambra Theatre was built on a new site at 2320 - 2336 Polk St. in 1926 - and is still in use as a health studio (after some historical sensitive renovations).

The Bush St Theatre - believed to have been originally located at 960 Bush St. - was rebuilt on several occasions and renamed even more.

There were also other theatres of this name on the Orpheum Circuit - and still are, even though the original Circuit went broke in 1933.

Several groups of Orpheum Theatre Circuit restorers, in the various major cities that boasted 'Orpheums' and 'Alhambras' have taken it upon themselves to preserve what can be of this important part of America's theatrical history. Those - classified as worth saving - have been re-opened in several cities.


Shellcard Tokens.

For those readers who are wondering what a 'shellcard' token is - I offer this very brief and simple non-technical explanation

The token is not made from solid metal. It is a 3 piece item and it contains an encased cheap centre - perhaps heavy compressed cardboard - which is sandwiched between two very thin layers of suitable metal like brass or copper and then stamped out with a machine much like a cookie cutter. The edges are then rolled in tighter to make it neat.  With a striking press of lower weight capacity needed to apply the required design - and no long-lasting expensive tempered dies - it means that the tokens can be made quicker and cheaper.

If you have ever bought and eaten chocolate 'coin money' you will see the same principle applied.


'Chokkie Money' made in the likeness of shellcard tokens.


Main Internet References

Saharet - Refer: http://www.hat-archive.com/Saharet.htm

Saharet - Wikipedia the Free Encyclopedia. Refer - http://www.de.wikipedia.org/wiki/Saharet

Various eBay 'For sale' Saharet Postcard copies.




Nearly three years ago, in July 2004, a new Internet site was established which was originally designed to cater for collectors of New Zealand banknotes. Since then it has 'snow-balled' into a very cosmopolitan site with hundreds of Australasian and international members, and, a hugely impressive photo gallery of some of the world's nicest examples of numismatic excellence.

There are also private and secure provisions for member contact in the instance of common interests.

Registration is absolutely free - but, donations to the site's upkeep are always welcomed by the organisers.

The range of topics is tremendous within the main categories, which are : New Zealand Notes; Australian Notes; World Notes and World Coins.

However, these categories are also open for any other numismatic discussion - medals, medallions, tokens and assorted exonumia all have a place.

The subjects are totally flexible and are meant to be reasonably informal - a group of friends talking amongst their peers - and, as long as the member doesn't politicise, demonise or criticise in an obnoxious manner, the discussions usually prove to be most enlightening, educational and - dare I say - a great chance to meet fellow enthusiasts within our given area of expertise, or even outside that area.

Non-members can view the discussions  by clicking on the site address and the forums shown - but they will need to register to participate.





The updated and illustrated general Index of the 'Tasmanian Numismatist' (Tasmanian Edition - and the Internet Edition) newsletter has now been completed to date. We decided to serialize the Internet version update, as we did with the original Index in 2003, and the first instalment was included in the January 2007 issue. The Index will be located at the conclusion of each newsletter issue.

Individual articles are not directly linked to the Index nor have they been cross-referenced, at this time, but they can be located by checking the Links listed below and then checking against our newsletter Archives: http://www.vision.net.au/~pwood/aprilnews.html

Articles or information prior to the Year 2000 can be requested by contacting the Editor.

The original Index covered the period from 1995 - 2003 (Volumes 1 - 8).







The complete addendum includes the content details of both versions of the newsletter from Volumes 9 (Issue 1, January 2004) up to Volume 12, but the Internet details only will be published herein.

Volume 12 – 2007 Internet Edition - to date.

Issue 1. - http://www.vision.net.au/~pwood/jan07.htm

See What I Mean! - a practical explanation about unusual coins found in pocket change.

Counterfeits & Forgeries - a closer look at some Oz duds - compiled by Ian Hartshorn

Canadian Blacksmith Tokens -  an article by Dominic Labbe (updated and re-illustrated) showing forgeries come from everywhere.

Encased Cent Mirror Tokens - a look at something different and a bit of trivia to go with an interesting token concept from 1900

From Inside the Magpie's Nest - The Bass & Flinders Circumnavigation of Tasmania Medallion from Tasmedals.

Messages from Mick & Mike - a couple of long-time colleagues and mates have put 'pen to paper' once more.

Index Update - Vol. 9 (2004).


Issue 2. - http://www.vision.net.au/~pwood/feb07.htm

Society Snippets - featuring the history of Old West characters named on some fantasy encased cents from T.N.S. member Jerry Adams

Hanrahan's Saloon at Adobe Walls 1874 - the story of a battle with Comanches and the incredible rifle shot. by Billy Dixon, that virtually saved the day.

Sharps Rifle Trivia

'Viva Mexico' - the volatile country to the south of the U.S. has had many exploiters. The story of its coinage, from Spanish occupation until pre-Millennium, is as fascinating as the personages who trod the Mexican political stage during this period.

Index Update - Vol.10 ( 2005).


Issue 3. - http://www.vision.net.au/~pwood/mar07.html

Society Snippets - Jerry Adams' newest encased coin - the Jefferson Buffalo Nickel within a 'Good Luck' token.

Post Traders of the Old West - a brief look at what the local 'supermarket' was like during the early 1800's in the days of the buffalo, cowboys and Indians.

Do Not Disturb! - Sleepers .... - there are many newer coins in Australia that have the potential of appreciating in value at a far more rapid pace than usual - these are the decimal 'sleepers' - watch for them!

Index Update - Vol. 11 (2006) and Vol. 12 (2007 to date).


Issue 4.

Society Snippets -  (1) Supply and Demand tips for novices. - (2) Remembering ANZAC DAY 2007

Adams & Smith's Fantasy Enclosed Coin Token - the newest release of their modern Fantasy Post Trader's token

Fantasy Post Traders Tokens ( Part 2) - Why Fort Chadbourne? - the choice of location, for these modern tokens, is always a story in itself..

The Butterfield Stage Coach Connection - John Butterfield's partners Henry Wells and William Fargo founded an empire - from the back of a stage-coach.

Jamestown Commemorative Coins. - U.S. Mint unveils the 400th Anniversary Commemorative designs to celebrate the first English settlement in the U.S.

Percentage Points! - a comparison of percentage differences in the price structure of recent U.S. and Australian Uncirculated silver and gold coinage.

Who was 'Saharet'? - the brief story of an Australian Can-Can Dancer, who was once called 'The most beautiful woman in the world'.

NZBANKNOTES.COM - http://www.nzbanknotes.com/first.asp  was established in July 2004, and is a hugely popular international site that is growing 'faster than inflation'  Recommended site.

Index Update - Vol. 12 (2007 to date).





The ‘Tasmanian Numismatist’ newsletter is the only official newsletter of the ‘Tasmanian Numismatic Society’ and it is published periodically and distributed by post, or hand delivered, directly to members of the Tasmanian Numismatic Society and selected associates and institutions.

The ‘Tasmanian Numismatist’ (Internet Edition) newsletter is a separate entity and has been provided with space on this privately maintained Internet site and is currently presented free on a monthly basis  with the aim of promoting the hobby of numismatics. All matters pertaining to the T.N.S. are re-published with the permission of the current Executive Committee of the  ‘Tasmanian Numismatic Society. The 'Tasmanian Numismatist' (Internet Edition) newsletter abides by the same basic guidelines suggested for the official 'Tasmanian Numismatist' newsletter. Any literary contributions or relevant and constructive comments regarding numismatics are always welcome.

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The ‘Tasmanian Numismatist’ (Internet Edition) newsletter takes no responsibility for disagreements between parties, and also reserves the right to only feature information that it considers suitable in promoting the hobby to our readers. Deadline for any literary contributions or amendment to copy is 7 Days prior to the beginning of the month of publication.

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'Tasmanian Numismatist' (Internet Edition). 

P.O. Box 10,

Ravenswood. 7250. Tasmania.


Internet Page: http://www.vision.net.au/~pwood/tns.html

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