Walter Breen
What is definitely established, however, is that beginning with an order by Charles II in 1662, machine-made coins (I.E. those struck in screw presses) gradually superseded those made by hammer; and in the same year proof crowns began to appear. ESC 16 and 21 are two varieties of 1662 crowns of Charles II, with and without rose below bust; and there exist similar coins dated 1663 and after. As one would expect, the half-crown of 1663 also comes in proof (ESC 458), and a single copper shilling of the same year is recorded (ESC 1022A). For some reason, the smaller denominations followed only later on. Peck (British Museum Catalogue) shows copper and silver proof halfpence of 1672-73 (Nos. 508-9,514-15), differing from the circulating issue only in having plain linear inner circle instead of the regular toothed borders. And the smaller silver coins began to appear in proof only in later reigns, the Maundy coins starting as late as 1763 (ESC 2412A, unique?).
Which brings up a curious point about British proofs. From the 1670's on, until well into the reign of Queen Victoria, proofs were almost invariably struck from dies differing in some immediately noticeable way from regular issues. The linear inner circle replacing toothed borders, or a different style of branch in Britannia's hand, or a different portrait punch from any regularly in use, or the like, are consistent features of such proofs, enabling recognition of them even when they have been recovered from circulation in worn state. Differences of this kind or degree in American coins would automatically characterize them as patterns. Even ESC and Peck complain on occasion that it is difficult to tell whether a given coin was intended only as a proof or actually as a pattern. In the same way, proofs were often struck on very thick planchets (pieforts), broader than normal, or with edges differing from normal- reeded (the British term is "grained") on copper coins, plain on silver, etc. Not meant to circulate, they were apparently exempt from normal rules for weight, alloy and other physical characteristics of business strikes; and there is no evidence that they were ever in the earlier years subjected to the Trial of the Pyx.
Only one coin of the 1600's normally associated with the American colonies would be described even by British cataloguers as occurring in proof. This is the Lord Baltimore Shilling in copper, Scott C27, from different dies from the regular issue. I am not sure it could be called a proof in any normal sense. Though better struck than the normal shillings, it is by no means comparable to the Tower Mint proof crowns of Charles II, which it antedates by some four years. This is from the dies without colon after MARIAE, with V touching base point of shield. A silver specimen is in ANS, ex Homer K. Downing, and at least five copper impressions are known. Copper strikes exist also of the sixpence but these too are not especially superior to the regular silver ones. In the same way, the "Mark Newby" or "St. Patrick" farthings in silver and gold are not enough superior in fabric to the regular copper ones to merit the title of proofs, though one guesses that British cataloguers would tend to call them proofs merely because of the unusual metal.
to render visible the entire border dentilation or oval ornamentation, whether or not it enclosed linear circles. In addition, planchets were polished to a mirrorlike gloss before striking, and the working dies used were likewise burnished, though neither practice was too consistent even on frankly pattern issues. If such burnishing of dies and blanks was in use anywhere before, I have been unable to learn of it; at any rate, it was not earlier known in Britain, and may well have been invented there. The earliest specimens I have seen showing this process in a high degree of perfection are pattern halfpence and farthings of Queen Anne, 1713-14, and not all of those show it.
Moreover, beginning in the same period, copper proofs often show file marks on the edges, where some irregularity or other had to be removed and the blanks given a proper roundness. This does not constitute damage to the coin, as these edge file marks were definitely inflicted in the Mint and most probably on the blanks before striking. As the moneyers were supposed to use only rolled blanks for copper coins, never cast blanks (though in practice cast blanks were common anyway), just what irregularities the edge filing was intended to correct cannot now be ascertained with certainty. My own guesses: (1) either the common rounded edges on cast blanks (like the edges of cookies) were believed unsatisfactory or proofs, or (2) some irregularities associated with punching blanks out of the rolled copper strips had to be removed.
During the same period, Mint workmen under the illustrious Sir Isaac Newton, F.R.S. (Master of the Royal Mint from Christmas 1699 until his death in 1727), supervised manufacture of William Wood's Irish and American contract coinages in Wood's two factories at Seven Dials (London) and Bristol. One of the Royal Mint engravers, probably John Croker, seems to have furnished the various portrait puncheons of King George I used on these coins, as well as the double rose and crown puncheons for the ROSA AMERICANA coinages and the various seated figure puncheons for Wood's Irish or HIBERNIA pieces. The common remark that the dies were "made" by Messrs. Lammas, Standbroke and Harold probably means at most that these individuals forged, turned and hardened the cylinders, or punched the necessary legends into them after the major devices were hubbed in. It certainly does not mean that they created the portrait puncheons. Methods of manufacturing coins then in use at the Royal Mint on Tower Hill were imparted by the officials and workmen to Wood's employees in order to insure that the terms of the Royal Warrants would be faithfully carried out.
Not surprisingly, proofs of regular type, patterns in proof, and some few pieces de caprice appeared from Wood's mints. And these proofs - now among the most highly prized of American Colonials – bear every earmark of having been made by the same processes in use at the Tower Hill mint. For convenience of reference I enumerate them, beginning with Wood's ROSA AMERICANA coins:
1. (1722) Undated Twopence. Motto not on label; "very fine dies", Scott C60. Bath metal (the usual brassy alloy of ROSA AMERICAN coins), broad flan, perfectly struck in high relief, altogether unlike the doublestruck freak illustrated in the Standard Catalogue, the other one on a lightweight penny planchet, or the enormous rude copper one usually called the "Iron Rosa Americana," all of which have the same reverse and a similar obv. to the present pattern. Two known: F.C.C. Boyd estate, Norweb collection.
2. 1722 Penny. The GEORGIVS / VTILE piece, Nelson 4, Scott C63, seems to have originated as a proof to judge by its unusually wide borders and edge; but the dies were set apart for a thicker planchet (rendering the impression too weak on the king's portrait), and the coin seems to have been carried around as a pocket piece. Copper, 155 grains: 1) JHU; 2) F.C.C. Boyd estate ex Ryder, Nelson, Crosby sale, lot 1313 (1883). Bath metal: JHU. Reverse only pictured in the Guidebook.
3.1722 Penny. GEORGIUS. Rev. VTILE, identical die to last, Scott C64. Very long thin ribbons from back of head, pointing down - these ribbons twice as long as on any of the regular issue pennies. Copper, exceptionally wide flan. One known. Boyd estate, ex Crosby: 1305.
4.1722 Penny. Regular type, only one rev. rosette. Obliquely reeded edge. Mickley, Bushnell, Parmelee, Brand, Norweb.
5. 1722 Halfpenny. ROSA AMERI: VTILE. Bath metal. 64 grains, Scott C67. Extremely rare, perhaps 5 or 6 known. At least one of these shows unequivocal evidence of proof status.