J-1584 1879 10c Pattern, PCGS PF64 CAM CAC. R-6-. In its population report, PCGS shows 1 1879 dime J-1584 pattern certified at the PR64 Cameo grade level with 1 finer. At CAC, as of March 2014, there is only the present piece in PR64 Cameo with none finer. Only 20% of all PCGS and NGC J-1584 dime pattern have been given CAC stickers.

This beautiful 1879 Washlady dime pattern coin is the second finest known at PCGS and the finest known at CAC. The piece exhibits lovely cameo contrast with silvery-gray devices set against dark brown fields on the obverse with slightly lighter fields on the reverse. In addition to these colors there are touches of blue and green on both sides. These colors confirm the coins originality. The surfaces are clean with virtually no hairlines or other distractions. The white marks on both sides are on the holder not the coin. The piece is well struck with full details on Libertys hair, the obverse legend and date, and the reverse wreath and motto. The CAC sticker indicates that the coin is a premium quality piece that fully deserves the assigned grade.

The Washlady design is Charles Barbers unsuccessful attempt to create a new motif. It is his portrait of a Society Lady facing left in profile. Her hair is tied behind her head and also flows down the back of her neck. In her copious hair are sprigs of wheat, cotton, and corn held by a LIBERTY inscribed band. The legend UNITED STATES OF AMERICA surrounds her with the date below. The reverse shows the denomination ONE DIME in two lines within a circle of beads. Around this circle is a wreath of cotton, wheat, and corn tied below with a bow. At the ends of the open wreath, in a curved cartouche, is the motto E PLURIBUS UNUM.

The name Washlady goes back to an 1891 New York City coin and stamp auction. The design was not well received at the time of issue because it was thought that Libertys hair was too disheveled.

Charles E. Barber was the sixth Chief Engraver of the United States Mint. He became Chief Engraver after the death of his father, William. He served from 1879 to 1917. He is best known for his designs of the Barber dime, quarter, and half dollar. In addition he designed the Liberty Head nickel, several commemoratives, and the Flowing Hair Stella pattern. Barber was born in London in 1840. He came to the United States in 1852 with his family. His father became an engraver at the Mint in Philadelphia. Following Longacres death, William Barber became the Chief Engraver and made his son, Charles, his assistant. In 1879, Charles Barber became the Chief Engraver despite the fact the George T. Morgan may have been more qualified or at least more talented. William Barber, Charles father, had been an engraver in England. He worked for the Mint in Philadelphia and became Chief Engraver in 1869 after James Longacre died on New Years Day. In 1875 Charles married Martha Jones. They had a daughter, Edith. Martha died in 1898, and Charles remarried in 1902 to Caroline Gaston.

After William Barbers death, George T. Morgan was also being considered to replace him. However, a few months later, Charles was named to the position. During the time that he was Chief Engraver, he was responsible for the 1883 Hawaiian coinage: the silver dime, eighth dollar, quarter, half dollar, and dollar. He also designed coins for Cuba and Venezuela. Later he designed the obverse of the Columbian half dollar and both dies for the Isabella quarter. Barber also was responsible for the Louisiana Purchase Exposition gold dollars, the Lewis and Clark Exposition gold dollar, the obverse of the Panama-Pacific Exposition half dollar, and the quarter eagle, along with George T. Morgan. Barber also designed the obverse of the McKinley Memorial dollar. When President Theodore Roosevelt wanted to redesign the coinage of the United States, he felt that he was in a private war with Charles Barber. Because Roosevelt felt that Barber was not an imaginative engraver, he enlisted the help of Augustus Saint-Gaudens and later Bela Lyon Pratt to remake Americas coinage. Barber was critical of the new designs and pointed out their impracticality. Eventually his view prevailed, and he reduced the relief of the Saint-Gaudens works.