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Location: Saint Louis, Missouri
Ships to: US,
Item: 180983583834

Restocking Fee:No
Return shipping will be paid by:Buyer
All returns accepted:Returns Accepted
Item must be returned within:14 Days
Refund will be given as:Money Back
Royal Canadian Mint:Royal Canadian Mint
Coin:Group of Seven Canadian Artists Silver Proof
Composition:Silver
Year:2012
Fineness:0.9999
Strike Type:Proof Uncirculated
Grade:Uncirculated Proof
Precious Metal Content per Unit:1 Troy Ounce Pure Silver
Country/Region of Manufacture:Canada
Brand/Mint:Royal Canadian Mint
Total Precious Metal Content:1 Troy Ounce Pure Silver
Certification:New in Original Mint Packaging OGP + CoA

In Stock and Ready for Immediate Shipment!Long SOLD OUT a the Royal Canadian Mint! Get this masterwork of fine art, intricately engraved then rendered in pure silver, on this meticulously detailed, low mintage proof beauty! The Group of Seven artists (sometimes known as the Algonquin School) were a group of significant Canadian landscape painters from 1920 to 1933. Tom Thomson (1877–1917), the seminal Canadian landscape painter, died before its official formation. Thomson had an important influence on the group. His painting “The Jack Pine” has become the single best-known Canadian work of art. Believing that a distinct Canadian artistic style could be developed through direct contact with nature, the Group of Seven became famous for its paintings inspired by the Canadian landscape, initiating the first major Canadian national art movement. This masterwork of fine art is expertly captured, meticulously engraved and intricately rendered in one full troy ounce of pure silver, down to the individual brush strokes on this proof-finish gem! With its extremely low mintage limit, and our extremely low price, we recommend securing yours today! Houses, Cobalt The obverse image of this fine silver, one troy ounce coin reproduces (in finely wrought, engraved detail) an adaptation of Houses, Cobalt by Franklin Carmichael. The subject of the original lithograph is Cobalt, Ontario, a town that had experienced an economic boom in silver mining in the first decade of the twentieth century but which was declining in the 1920s. In the midst of its decline, Carmichael, attracted by its otherworldly landscape, was inspired to represent the city in this memorable linocut print. The scene illustrates a rugged rolling hillside, covered in snow, dotted here and there with snow-covered houses. The higgledy-piggledy houses rise up the hillside. Beyond the houses there are few signs of human habitation, no paths or roads, no telephone cables, few details suggestive of the people who live there. Instead, the buildings seem to have been cast, like strange outcroppings, from the abstracted hillside itself. The thick snow cover, stalwart topography, and limited tonal range intensify the tension between presence and absence, connection and disconnection, randomness and order. With the exception of the houses, there are few signs of human habitation, lending the scene a forlorn air of abstraction. Carmichael’s work is interpreted in exceptional detail by Royal Canadian Mint engravers. The detail from Carmichael’s painting is surrounded by a ringed frame. For more information on the painting Houses, Cobalt, please see the article lower in this presentation, below the blue specifications box. Franklin Carmichael 1890-1945 Born on May 4, 1890, in Orillia, Ontario, Franklin Carmichael showed artistic potential at a young age. As a boy, he decorated carriages in his father’s carriage shop. The graphic scrollwork allowed him to hone design skills he would use his entire life. At the age of 20, Carmichael moved to Toronto to study at the Ontario College of Art and the Toronto Technical School. Around this time, he was hired, first as an office boy for $2.50 a week, then as an apprentice commercial artist, by Grip Ltd., a prominent commercial art firm (whose head designer was fellow Group of Seven member J.E.H. MacDonald). There Carmichael met one of his most important mentors, Tom Thomson, as well as future Group of Seven colleagues Arthur Lismer and Frederick Varley. In 1912, the artists moved to the firm of Rous & Mann. Still an informal group, the painters spent their free time sketching together in the Ontario countryside. Carmichael was distinct from other Group of Seven members in several ways. He was the youngest and worked much longer in the commercial art field. The other Group members worked primarily with oils, while Carmichael was a dedicated watercolorist. Along with A.J. Casson (the young artist who would take Johnston’s place in 1926), he co-founded the Canadian Society of Painters in Watercolor in 1925. This more delicate medium was the perfect tool for the expression of a subtle and delicate sensibility. Carmichael also traveled less widely, painting almost exclusively in Ontario, particularly in the La Cloche Mountains south of Sudbury. In the early 1920s, Carmichael became head designer at the Toronto firm Sampson-Matthews. There, he worked as an illustrator and designer for a number of advertisers, his work being characteristic of the flat, simplified designs of the time. In 1932, he took a teaching position at Toronto’s Ontario College of Art, where he remained until his death in 1945. During his teaching years, while remaining devoted to watercolor, he also explored printmaking (particularly woodcuts and linocuts) which appealed to his love of precision. For more information on the artist Franklin Carmichael, please see the article lower in this presentation, below the blue specifications box. The 2012 Franklin Carmichael “Houses, Cobalt” $20 Pure Silver Proof is the third in the Group of Seven Canadian Painters Series. The seven coins that constitute this program are: F.H. Varley – Stormy Weather, Georgian Bay Arthur Lismer – Nova Scotia Fishing Village Franklin Carmichael – Houses, Cobalt Lawren S. Harris – Toronto Street, Winter Morning Franz Johnston – The Guardian of the Gorge J.E.H. MacDonald – Sumac A.Y. Jackson – Saint-Tite-des-Caps Technology Note The Royal Canadian Mint refines the purest silver in the world. The RCM is also the one of only a handful of mints in the world to issue commemorative coins in a .9999 fineness. This one ounce silver coin is 99.99% pure! Obverse A meticulously detailed and finely engraved depiction of the houses of the abandoned mine town of Cobalt, Ontario. The artistry is so subtle and intricate that the individual brush strokes can be clearly distinguished under a loupe. The traditional-style engraving has produced a magnificent work of beauty. The legend FRANKLIN CARMICHAEL credits the artist. The date and denomination are also indicated. Reverse Her Majesty, Queen Elizabeth II, in profile facing right. This portrait, the fourth effigy of the queen to appear on Canadian coinage, was executed by the artist Susanna Blunt. The legend ELIZABETH II D. G. REGINA (“Elizabeth II, Queen by the Grace of God”) and mint mark also appear. Packaging The coin is encapsulated inside a burgundy leatherette, clamshell-style presentation case, lined with black velvet and protected by a black outer sleeve. An individually-numbered certificate of authenticity with a full color reproduction of the painting is included. Specifications Country Canada Year of Issue 2012 Face Value 20 Dollars Weight 31.39 g Diameter 38.00 mm Mintage Limit 7,000 Finish Proof Composition .9999 Fine (Pure) Silver Edge Serrated (reeded, milled) Artist Franklin Carmichael Certificate Individually Numbered Complete Certificate Text The Artist: Franklin Carmichael Born on May 4, 1890, in Orillia, Ontario, Franklin Carmichael showed artistic potential at a young age. As a boy, he decorated carriages in his father’s carriage shop. The graphic scrollwork allowed him to hone design skills he would use his entire life. At the age of 20, Carmichael moved to Toronto to study at the Ontario College of Art and the Toronto Technical School. Around this time, he was hired, first as an office boy for $2.50 a week, then as an apprentice commercial artist, by Grip Ltd.—a prominent commercial art firm whose head designer was J.E.H. MacDonald. There Carmichael met one of his most important mentors, Tom Thomson, as well as future Group of Seven colleagues Arthur Lismer and Frederick Varley. In 1912, the artists moved to the firm of Rous & Mann. Still an informal group, the painters spent their free time sketching together in the Ontario countryside. Carmichael was distinct from other Group of Seven members in several ways. He was the youngest and worked much longer in the commercial art field. The other Group members worked primarily with oils, while Carmichael was a dedicated watercolourist. Along with A.J. Casson (the young artist who would take Johnston’s place in 1926), he co-founded the Canadian Society of Painters in Watercolour in 1925. This more delicate medium was the perfect tool for the expression of a subtle and delicate sensibility. Carmichael also traveled less widely, painting almost exclusively in Ontario, particularly in the La Cloche Mountains south of Sudbury. In the early 1920s, Carmichael became head designer at the Toronto firm Sampson- Matthews. There, he worked as an illustrator and designer for a number of advertisers, his work being characteristic of the flat, simplified designs of the time. In 1932, he took a teaching position at Toronto’s Ontario College of Art, where he remained until his death in 1945. During his teaching years, while remaining devoted to watercolour, he also explored printmaking—particularly woodcuts and linocuts—which appealed to his love of precision. The Work: Houses, Cobalt (c. 1931-1932) Linocut printmaking—cutting a relief design into a linoleum surface that is then inked and pressed onto the paper—was popular in the early years of the twentieth century, first for wallpaper printing, then for prints. In the first decade of the century, Cobalt had been a boom town after the discovery of silver there but was largely in decline by the 1920s when a number of artists were attracted by its rugged landscape and abandoned mines. The higgledy-piggledy houses rise up the rolling hillside. Beyond the houses there are few signs of human habitation, no paths or roads, no telephone cables, few details suggestive of the people who live there. Instead, the buildings seem to have been cast, like strange outcroppings, from the abstracted hillside itself. The thick snow cover, stalwart topography, and limited tonal range intensify the tension between presence and absence, connection and disconnection, randomness and order. Copyright © 2024 Talisman World Coins and Medals. All Rights Reserved.

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