Capped Bust Quarter 1815 - 1838
Capped Bust Quarter 1815 - 1838: identify, compare, and value
Use this page to identify details collectors compare, understand value clues, and check current market examples.
Value Guide Summary
Use this page to understand what this collectible is, what details collectors usually compare, and where to check current market examples.
What collectors look for
Original condition, age, maker marks, materials, completeness, unusual variants, and documented history usually matter most.
How to identify examples
Compare markings, construction details, finish, size, period-correct materials, and known design features before assuming authenticity.
Value clues
Rarity, demand, condition, eye appeal, provenance, and whether similar examples are actively selling can all affect market value.
Red flags
Watch for reproductions, heavy restoration, replaced parts, fantasy pieces, unclear photos, and listings with vague descriptions.
The American political experiment gave rise to numerous liberation movements across Europe, where the notion of the right to self-determination found eager acceptance. It all began in France, with the Revolution of 1789, and once more after Napoleon's downfall, the spirit of liberation spread to Naples, Greece, Belgium, and Poland. As the once-mighty Spanish Empire crumbled, it led to the birth of the Latin American Republics, all driven by this fervor for self-determination.
The turbulence in Europe beckoned to many immigrants seeking refuge in the dynamic, lively, and relatively peaceful United States. Among these individuals was John Reich, a German engraver entangled in the Napoleonic Wars. He financed his journey to America through indentured servitude and soon resumed his profession as an engraver by applying for a position at the U.S. Mint in Philadelphia. In 1807, he secured the job and was entrusted with the task of crafting new coin designs.
In this period, Reich effectively bridged the gap between Europe and America through his artwork. His obverse design featured Liberty, facing left and encircled by 13 stars, with the date placed beneath her bust. Liberty, though described in the press as resembling "the artist's plump lover," likely mirrored the appearance of the average European woman. Despite contrary opinions, she donned not a Phrygian liberty cap but a simple mob cap with the word "LIBERTY" inscribed on the band. Some critiqued the notion of Liberty wearing a cap associated with freed slaves, but even President Thomas Jefferson recognized it as typical women's attire during that era. Miss Liberty exuded a more rustic charm, quite distinct from the stern and no-nonsense visage of the earlier Robert Scot-designed Draped Bust.
On the reverse, an eagle with outstretched wings perched on a branch held three arrows, displayed the Union Shield on its chest, and bore the motto "E PLURIBUS UNUM" ("One made up of many") on a scroll above the eagle. The inscriptions "UNITED STATES OF AMERICA" and "25 C" framed the border. This eagle had a more domesticated and peaceful demeanor compared to the aggressive Heraldic Eagle design from 1804-1807 and was noticeably more robust than the somewhat feeble eagle on the 1796 quarter.
Scroll On Reverse (1815-1828)
Reich's design adhered to the policy established by the Mint's first director, David Rittenhouse, which mandated the use of a single design for all coins of the same metal. It made its debut on the half dollar in 1807, the dime in 1809, and finally, the quarter in 1815. Interestingly, there was a hiatus in quarter production from 1808 to 1814 due to limited demand. Early quarters became casualties of Gresham's Law, where the less valuable currency tends to circulate more while the more valuable one is hoarded. Spanish 2 reales coins, which were legal tender on par with the heavier U.S. quarters, satisfied commercial needs, making it unnecessary to produce large quantities of U.S. quarters during this time.