Tuscarora Stock No. 3 "Liberty"

General
Another early Tuscarora design that appears in the 1900 Tuscarora catalog where it is described as “No. 3 Oval, 13 ½ x 16 ½ in., lithographed in ten printings. Design Liberty.” Although quite popular with brewers (second only to No. 1 “Lady with Roses in Her Hair”) for some reason this design does not appear to have transitioned to the combined Meek & Beach catalog following the merger with Standard Advertising in April 1901. It does not appear in any of the later price lists or catalogs we have encountered, including catalog #12 which was issued in July 1901. This is surprising since it appears to have been equally popular with non-brewers.

The design is based on the Walter Shirlaw painting Electricity as the Dominant Force in the World which was used as the obverse side of the 1896 United States five-dollar silver certificate as part of the “Educational Series” of silver certificates produced by the U. S. Treasury.

The notes depict various allegorical motifs and are considered by some numismatists to be the most beautiful monetary designs ever produced by the United States. The image on Shirlaw’s $5 certificate depicts Electricity, a standing figure with wings on her back standing tall, her right hand holding aloft a shining electric light bulb. Other figures lie at her feet or appear in the background — Peace and Electricity, and the Roman god of the sky, Jupiter, with thunder in his chariot, a lightning bolt in one hand. Shirlaw also contributed (along with three other artists) to another of the series, Science presenting steam and electricity to Commerce and Manufacture.

While they were probably the most beautiful federal notes ever issued, vastly more artistic than anything in circulation in the United States today. They were also abject failures, replaced by new designs within two years in response to complaints from bank tellers and the public (which explains why they are so collectable today). Issues included the mural-style artwork, the “newness” factor (it was the first time non-officer holders were depicted on the currency), their susceptibility to counterfeiting, unhappy bank tellers, and women who objected to the “indelicate figures” on the notes. The objection was due to the naked breasts of the female figures on the $5 silver certificate reportedly caused some minor controversy when several Boston society ladies took offense to the design (they were sometimes referred to as “dirty dollars”). Some bankers reportedly refused to accept the notes in transactions, and the term "banned in Boston" allegedly originates from the $5 silver certificate. Apparently, the design was revised in 1897 to add clothing to cover the nudity based on proof from the Treasury Department but was never put into production as the whole series was cancelled in 1898. In a contest between artistry and practicality, art lost.

The original oil painting artworks were turned into steel engravings to create the silver certificates by engraver G.F.C Smillie of the Bureau of Printing and Engraving. Reporting from the time period indicates that creating monotone engravings from full color oil paintings was a significant technical challenge. Apparently’ the originals were commissioned by the U. S. Treasury, but we have been unable to find out what happened to the original artwork. Given the cancellation for use on the currency, perhaps Shirlaw sold or licensed the design to Tuscarora that resulted in the creation of this tray.

Shirlaw (1838-1909) was a Scottish born painter and artist who came to America as a 2-year-old in 1840. He studied in Munich and achieved some minor renown as a painter, receiving an honorable mention at the Paris exposition of 1878. He earned an excellent reputation as an illustrator and was a founder of the Society of American Artist; however, he is probably best remembered for his design for the doomed 1896 $5 silver certificate.

Size, Shape and Advertising Placement
We have only seen this design as an oval tray with the typical early Tuscarora concave rim. All examples have the same rim design featuring stylized bay laurel and oak with acorn that are featured on Tuscarora No. 2 (and discussed in more detail there). Four name plates provide space for the advertising text, although a few examples feature advertising text on the face above the figures. Most text appears in a red/maroon color, although some are printed in black.

Hager and Price
Hager describes this design as “another tray with the four panels and fancy rim with repeating pattern. This tray has been seen with blank name panels—a clear indication that it is stock tray, markings are unknown.” Later, he includes it in the Question Marks section of his article with the comment “Like the tray to the left (T-2), this is part of the early catalogue. It is not likely to have any markings.” Many examples we’ve seen have been in only fair to poor condition and prices in mid-double and low triple figures reflect this. Better than average condition examples do better, edging into mid-triple figures for non-breweries and well into four figures for breweries.