It’s all there in green and white
The roots of the name “greenback” reach back to the American Civil War. A little-known fact is that the anti-counterfeiting ink that inspired the nickname was invented in Canada.
What’s in a name?
In Raymond Chandler’s 1953 novel The Long Goodbye, private detective Philip Marlowe receives a letter with “…a portrait of Madison in it.” Huh? Marlowe is referring to the $5,000 bill featuring an engraving of former US President James Madison.
The American vernacular of Chandler’s day was full of nicknames for paper currency, such as “folding money,” “c-notes,” “centuries,” “sawbucks,” “bills,” “Benjamins,” “Jacksons” or “Lincolns.” The most enduring of these terms is “greenbacks.” The roots of that name reach back to the American Civil War, when the US government issued notes that carried a large, complex, green geometric pattern on the back—hence, “greenback.” A little-known fact is that the anti-counterfeiting ink that inspired the nickname was invented in Canada.
A photo opportunity for a counterfeiter
Bank notes of the early to mid-19th century were generally printed with black ink. Successfully counterfeiting a bank note in those days required an engraver with reasonably high talent and very low ethics.
But the invention of photographic printing changed that—at least the bit about talent. With a camera, counterfeiters could quite easily reproduce a convincing bank note without the effort of engraving printing plates.
Recently several attempts to counterfeit bank notes by means of photography have been successful; and this fraud has not been confined to bank notes—other valuable documents having been copied in a similar manner.
The Photographic News, October 22, 1858
Security printers responded by adding coloured inks to their notes. Counterfeiters then removed the coloured ink, photographed the remaining black portions and used a secondary process to reprint the coloured areas. The security printers’ next move was to look for a coloured ink that was difficult, if not impossible, to remove from a legitimate bank note. And that sought-after ink came from Canada.
Canadian content
Dr. Thomas Sterry Hunt invented the ink while teaching at Laval University in Québec in 1857. It was developed in response to an appeal by the President of the Montreal City Bank, whose notes were being counterfeited. Called “Canada Bank Note Tint,” the ink was an “anhydrous sesquioxide of chromium.” For those of us without a PhD in chemistry, this means that chromium was super-heated in a near oxygen-free environment, where it would decompose. The resulting material was then mixed with linseed oil to make ink in a green shade similar to oxidized copper. This ink turned out to be extremely resistant to almost any attempt to chemically or physically remove it from paper. Because Hunt wasn’t a British subject, he wasn’t allowed to patent the ink. George Matthews, a chemist with the Montreal City Bank, filed the patent on Hunt’s behalf and forwarded him the royalties.
An indestructible ink?
An anti-counterfeiting organization had the ink tested by a number of well-known chemists. John Torrey, a Professor Emeritus of Chemistry, certified that, “The green compound is insoluble and indestructible by all chemical agents, except such as will destroy the paper itself.” Chemist Wolcott Gibbs of the Free Academy of New York discovered that the ink could be removed by boiling the note in concentrated oil of vitriol—better known as sulphuric acid. Finally, chemist Charles T. Carney discovered a way to remove the green ink while leaving the rest of the note untouched.
So, in August 1857, the Executive Committee of the Association of Banks for the Suppression of Counterfeiting voted, unanimously, that the Executive Committee cannot recommend to the associated banks the Patent Green Ink.
Still, US bank note printers were sufficiently impressed with the ink to use it on the US government’s Civil War bank notes—most notably on the back.
The birth of the greenback
These notes, soon christened as “greenbacks,” were created to help fund the Union effort in the American Civil War. Like today’s bank notes, greenbacks were fiat money and not exchangeable for gold at a bank. They were, however, legal tender that could be used to buy everyday goods, pay debts or taxes and buy government bonds. During the war, greenbacks displaced most of the state-bank notes, which had dominated the economy until then. And “greenback” proved to be a sticky name, eventually referring to any American bank note.
Ever since then, the back of most US government bank notes has been printed in green. Even on today’s more colourful series, the vignettes on the back of US bank notes are still that familiar colour of long tradition. They’re just not printed with “Canada Bank Note Tint.”
So, the next time you are in the United States and pull out a greenback, take a look at the illustration of the great American icon on the back and remember that, in spirit at least, you’re looking at a tiny bit of Canada.
The Museum Blog
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The Adventure of Exhibit Planning V
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Now the writer takes a deep breath and attempts to take a subject like the ‘representation of 75 years of national identity as depicted on stamps and bank notes’ from 50 pages of research and squash it into 65 words.
The Senior Deputy Governor’s Signature
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Becoming a Collector V
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Suppose you walk into a bar frequented by currency collectors and in an attempt to join in you refer to a ‘planchette’ as a ‘rosette’ (beer mugs hit the tables and the pianist stops playing). This could be pretty humiliating and you’ll probably never be able to go to that bar again, at least not on numismatic night.
Becoming a Collector IV
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Now that you have a grasp of preservation techniques for coins, you might want to familiarize yourself with the finer points of their anatomy. It is all part of your numismatic education and besides, you need to be informed and sound informed when you are buying coins at flea markets or coin fairs.
Museum Reconstruction - Part 3
By: Graham Iddon
Though naturally we are aware that the former Museum space is being gutted, the reality of seeing it empty is still pretty strange for most of us here. In the last blog of this series we showed you the empty cafeteria space that will become the new Museum, as well as some images of the old Museum as it was at the time: stuffed with odds and ends of exhibit cases, the occasional display still on the walls.
CENTimental Journey
By: Graham Iddon
With all the blogging we’ve been doing for Voices from the Engraver, you’d think we had nothing else on our exhibition plate. We do, actually, and it’s called CENTimental Journey. This temporary exhibition, hosted at the Canadian Museum of History, walks you through more than 150 years of the Canadian 1 cent piece.
Museum Reconstruction - Part 2
By: Graham Iddon
We are coming up on a year since we closed the doors on the physical museum. During that year, we’ve worked very hard to make sure everybody knows that we are still a functioning museum and one that will be opening its doors again in a few years on a beautiful new space, with an expanded mission and mandate.
Becoming a Collector III
By: Graham Iddon
For you as the steward of your collection, your aim is to preserve the items as best as you can by protecting them from further deterioration. The pros call this preservation.
The Adventure of Exhibit Planning IV
By: Graham Iddon
This exhibition is about engravers, production processes and the beauty of postage stamps and bank notes. In the previous episode of this series we talked about the process surrounding securing the bank notes for this exhibition and how it had to take into account both the needs of the exhibition team and the concerns of the collections department.