Owner Comments:
Collecting the pieces struck at the Soho Mint for the Monneron brothers has proven to be far more challenging, and thus, more enjoyable than I initially thought possible. This series has been studied extensively by notable researchers, including Richard Margolis. However, it appears that most of the knowledge gleaned so far has not been properly disseminated, or at least not widely consumed if it has. It is this lack of a coherent, published study that makes this fascinating area of numismatics so conducive to discovery. I have devoted a comparatively small amount of my attention to this niche area, and yet I have several pieces in my collection (more to come soon) that are unpublished in reference to my knowledge. These pieces include transitional mules, off-metal strikes, trials, and patterns. Many of these pieces are likely unique, a fact made plain by their lack of representation within the Margolis collection (so far).
Although the current piece is not among the ranks of the rare, it allows me to illustrate the importance of strike characteristics when evaluating the 2 and 5 Sol pieces struck at the Soho Mint. These were among the largest pieces struck at the Soho Mint at the time, and as detailed elsewhere, their production pushed Boulton’s machinery to near collapse. Many pieces were struck during this period of trial and error, and as such show evidence of the tribulation. In stark contrast to most of the Soho Mint’s output, the 2 Sol pieces seem to be the most impacted by weak strikes. Less experienced collectors may mistakenly identify a weak strike as friction to the highest points, which naturally leads to the conclusion that the piece is circulated. However, the lack of breaks in the luster, paired with the strong original red color and slightly reflective fields, makes it clear that the current example is one struck from fresh dies, but without sufficient pressure to impart the full design. The other example of this type in this set is in a lower technical grade; however, it is fully struck. There are merits to both pieces, but the fully struck examples tend to command stronger prices, even if in lower technical grades.
Obverse: A sun with radiating rays shines down on a seated female allegorical figure of liberty draped in robes, who appears facing left. She is proudly perched on what appears to be a square stone slab. Her right arm is extended, holding a pike with a liberty cap resting at its tip. Her left arm rests on a tablet inscribed
DROITS DE L’HOMME ARTIC V. in five lines. This seems to be a clear nod to the Declaration of the Rights of Man. In the background behind the tablet is a pillar with horizontal facets. The top of this pillar is cut to create a level surface where a large rooster is perched facing left with its right leg raised. The foreground of the main device has curved edges that create space between it and the beaded border. The bottom is straight, which creates a semi-circular exergue containing the legend
L’AN IV • DE LA LIBERTÉ. in two lines. The main legend tightly hugs the beaded border but is divided between liberty. It reads
LIBERTE SOUS LA LOI.
Reverse: The entire reverse design is contained within a toothed border. Tightly hugging this border appears the legend
REVOLUTION FRANÇAISE, which is separated by an inner raised ring. The date 1792 appears at the bottom. Within the inner ring appears the legend
MEDAILLE QUI SE VEND in two lines. Centered in the middle of the reverse in the much larger font are the words
DEUX– SOLS. The reverse legend continues in the smaller font of the first two lines. Separated into three lines it reads
A PARIS CHEZ MONNERON PATENTE with the last word appearing between two vertical lines of varying shape.
Edge: BON POUR BORD MARSEIL LYON ROUEN . NANT ET STRASB (incuse) – This is assumed based on experience with similar pieces. The holder obscures the edge of the piece.
Notes: Given the certification number and the holder, my best guess is that this piece was graded sometime in the early 2000s. Although it appears more brown than red in the images, this piece is considerably more red when viewed in hand. I imagine it just barely missed the mark for the red designation. One of the inherent risks with red and reb brown copper is the possibility of the coloring changing with time as it responds to the environment. This piece has been encapsulated for roughly twenty years and still retains most of the original color. To this end, it is safe to assume it is stable within the current holder and not likely to change with proper storage. It is interesting to note that the label identifies this piece as an “Essai” but other than a potential difference in weight, I am unsure why it was given such a distinction.