The 1913 S Buffalo Nickel, Type 1, occupies a singular place in American numismatics as both a first-year issue and the rarest of its subtype. Sculptor James Earle Fraser’s design, introduced in 1913, broke decisively from the neoclassical tradition, presenting instead a composite Native American portrait on the obverse and a bison poised on a raised mound on the reverse. This “Type 1” reverse, issued only in the opening months of production, was quickly abandoned due to Mint concerns over die wear and the vulnerability of the “FIVE CENTS” inscription.

With a mintage of just 2.1 million pieces, the San Francisco issue is the scarcest of the Type 1 nickels, and in high grade it is a rarity of the first order. The present specimen, certified PCGS MS68 and CAC approved, ranks among the finest known. Its surfaces display a kaleidoscope of toning—amber, violet, and cobalt—that accentuates Fraser’s sculptural depth. The strike is unusually bold for a San Francisco issue: Liberty’s cheek and braid are fully defined, while the bison’s horn and shoulder retain crisp clarity. Even the vulnerable “FIVE CENTS” inscription remains sharp, defying the erosion that so often plagued this subtype.

Its provenance in the JDG Trust Collection underscores its stature. That cabinet is known for curating coins that embody both technical excellence and historical resonance, with a particular emphasis on first-year issues that preserve unaltered artistic intent. This coin exemplifies that philosophy: it preserves Fraser’s frontier realism before the Mint’s revisions flattened the mound and recessed the denomination. The fact that it survives in such lofty condition, with both strike and color intact, makes it not only a condition rarity but also a historical survivor of the highest order.

Auction appearances for MS68 examples are exceedingly rare, and CAC approval further narrows the field to coins of unimpeachable originality. This piece is not simply a condition rarity—it is a visual monument to the ambition of early 20th-century American coinage. Its layered toning feels almost geological, echoing the frontier symbolism of the design itself. The coin also serves as a touchstone for the broader Buffalo Nickel series, reminding collectors of the sculptural boldness that defined its earliest months. In this sense, it is both a masterpiece of preservation and a document of transition, bridging the artistry of Fraser’s original vision with the practical compromises that soon followed.

For collectors of transitional coinage, it represents a keystone: a fusion of artistry, preservation, and provenance that few coins of the era can equal. Its presence in the JDG Trust Collection ensures that it will be studied not only as a numismatic treasure but also as a cultural artifact, embodying the American West in miniature. More than a coin, it is a sculptural statement struck in metal, a reminder of the moment when U.S. coinage embraced realism and national identity with unprecedented force