Catalog
| Issuer | United States |
|---|---|
| Year | |
| Type | Log in to see details |
| Value | Log in to see details |
| Currency | Log in to see details |
| Composition | Log in to see details |
| Weight | Log in to see details |
| Diameter | 21 mm |
| Thickness | Log in to see details |
| Shape | Log in to see details |
| Technique | Log in to see details |
| Orientation | Log in to see details |
| Engraver(s) | Log in to see details |
| In circulation to | Log in to see details |
| Reference(s) | Log in to see details |
| Obverse description | Log in to see details |
|---|---|
| Obverse script | Log in to see details |
| Obverse lettering | Log in to see details |
| Reverse description | A skeletal soldier bust in left profile occupies the central field, depicted wearing a broad-brimmed military helmet. The skull is rendered with prominent cheekbones, hollow eye sockets, and exposed teeth in a macabre style characteristic of hobo nickel carving art. The neck and upper torso are enveloped in layered armour or a gorget. The field is otherwise plain and unlettered, with no legend or exergual inscription. The design is executed in a deeply engraved, folk-art hobo nickel aesthetic. |
| Reverse script | Log in to see details |
| Reverse lettering | Log in to see details |
| Edge | Plain |
| Mint | Log in to see details |
| Mintage | Log in to see details |
| Additional information |
Hobo nickels carved from Buffalo nickels became a recognizable folk art tradition during the Depression, when itinerant workers — the very population the nickname implies — had both the idle time and the motivation to transform low-value coins into tradeable curiosities. The Buffalo nickel's thick relief and deep fields made it the preferred blank for carvers; the high cheekbone structure of the Native American portrait lent itself to dramatic reworking with minimal metal removal.
Skeleton soldiers are among the more labor-intensive variants, requiring careful undercutting to suggest hollow orbits and exposed bone structure. Original Depression-era examples are distinguished from the flood of later tourist-trade and contemporary artist pieces largely by tool mark patina and edge wear consistent with actual handling.