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2.1_CCNB_News44:Layout 1 20.8.2008 10:57 Page 1 Newsletter No. 44 Summer 2008 TChe NCewsNletterB of the Coordinating Committee for Numismatics in Britain The CCNB Newsletter is supported by the British Museum, CONTENTS the Royal Numismatic Society and the British Numismatic FOCUS ON COIN DESIGN Society. The Newsletter appears triannually, and is received by those members of the RNS and BNS resident in the United NEWS Kingdom, and by others with an interest in numismatics and BAMS Annual Conference 2008 - review related fields. The De Wit Exhibition at the Fitzwilliam Museum Contributions and information will be gratefully received. Items for the next issue should be sent to BNS/RNS Summer Meeting - review Richard Abdy or Richard Kelleher, International Medieval Congress - review Department of Coins and Medals, BANS Congress 2008 - review British Museum, Great Russell Street, London WC1B 3DG, tel: 020 7323 8255/8640 fax: 020 7323 8171, BANS Autumn Weekend – preview e-mail: [email protected] or XIV International Numismatic Congress (2009) – [email protected]. Call for papers deadline Anyone in the UK wishing to be added to the CCNB Newsletter mailing list should send their name and address to EXHIBITIONS Richard Kelleher at the above address, or alternatively e-mail DIARY him at [email protected]. example in 1989 finally allowed the type to be correctly FOCUS ON COIN DESIGN, Part 1 attributed to Tincomarus. Although twenty-eight of these April 2008 saw the launch of a new design for the coinage of coins have been recorded, this is the first example to enter a Great Britain and Northern Ireland to replace the familiar public collection. Christopher Ironside designs. This two-part focus explores the Very little is known about Tincomarus, a situation various ways in which word and image have been utilised on highlighted by the fact that until 1996, when a new gold stater a variety of coinages through time and from different cultures. with a particularly clear legend was discovered as part of the Alton hoard, his name had been read as Tincommius. While he is often identified with the British supplicant TIN mentioned in the Res Gestae Divi Augusti (an account of the THE EARLIEST NAMED PORTRAIT ON A achievements of Augustus written shortly before the BRITISH COIN? emperor’s death in AD 14) only his coins provide reliable A rare silver coin of Tincomarus, who ruled in central- testimony to his life. His earliest coins have the legend TINC southern England during the late Iron Age, can make the claim COMMI F suggesting that he was, or at least claimed to be, a to be one of the earliest labelled portraits of a ruler from son of Commios, who ruled sometime between about 50 and Britain. The present example was discovered by a metal 20 BC and was the first ruler in Britain to place his name on detector user near Shoreham-by-Sea, West Sussex, early in coins. Whether or not Tincomarus was his son (or some other 2007, recorded by the Portable Antiquities Scheme and descendant) of Commios, it seems likely that his reign began subsequently acquired by the British Museum. sometime between about 30 and 20 BC. Regardless of whether we believe that it was Tincomarus who fled to Augustus sometime before AD 14, it is unlikely that his reign continued any later than this time. Tincomarus’ coinage falls neatly into two groups – those which carry traditional ‘celtic’ designs, and those revealing Roman influence. It has been suggested that some of the dies used to make the latter may have been imperial gifts from Rome or even that they were struck by Roman craftsmen in Britain. John Creighton has even suggested that the appearance of Roman styled coins could point to the fact that Tincomarus was amongst the political hostages taken to Rome Silver unit of Tincomarus, c. 20 BC-AD10 during the Augustan period. The present coin clearly belongs within the earlier group. The reverse shows a left-facing Over the years the attribution of this coin has been heavily ‘Celtic’ style horse, while the obverse shows a left-facing debated. John Evans, author of the first catalogue of Iron Age diademed portrait coupled with the legend TINCOMAR[VS] coins in 1864, linked the coin with another ruler, Eppillus, in (running anticlockwise from the back of the head). The the Supplement to his catalogue, published in 1890. In the unusual association of a portrait and name, at such an early second edition of Mack’s Coinage of Ancient Britain (1964) date, allow us to identify this type as one of the earliest and Van Arsdell’s Celtic Coinage of Britain (1989) it was labelled portraits from the British Isles. ascribed to the later king Verica. The discovery of a new 2.1_CCNB_News44:Layout 1 20.8.2008 10:57 Page 3 No coins produced by Commios feature labelled portraits, while many of the earliest portrait types from the neighbouring North Thames and Kent regions are uninscribed and are perhaps likely to represent gods or mythical figures. The only possible candidates with a rival claim to have produced the earliest labelled portrait are Tasciovanus, his supposed colleagues Rues, Dias and Andoco and Dubnovellaunos. Given the problems of dating Iron Age rulers and their coins, it is very difficult to determine with any Progression of Die xii1 from stylized club to ‘fat chicken’ degree of certainty which of these men was the first Briton to take this monumental step. It is unlikely that the mint engraver intended a bird, but the Ian Leins resemblance is sufficiently close that a number of modern scholars have interpreted it as such, even going so far as to speculate what event Huvishka may have been intending to THE ROYAL IMAGE ON INDIAN COINS commemorate. On this occasion, however, the design (about Who designed coins? In the modern world we have records half the coins known show this embellishment) is the result of and accounts of the process, from the conception to the chance rather than royal instruction. finished item, and can trace the influence of many hands. In the ancient world we have just the coins, and for want of other explanation the ruling monarch usually receives sole credit. Here I will present a moment when that was not the case, in the reign of the Indian king Huvishka (AD c. 150-184). There exists a group of more than 50 coins, all of which were struck from just two obverse dies. These two obverse dies are known as MK Huvishka iii1 and MK Huvishka xii1, or less formally ‘the grotty one’ and ‘the fat chicken’ (for reasons that will become apparent). Huvishka was the fifth emperor of the Kushan Empire, A coin struck by die iii1 in its ‘grotty’ final stages which encompassed parts of modern Afghanistan, Pakistan, Kashmir, and India. In the second century it was the largest of Die iii1 on the other hand was a case of intent rather than the three Indian Empires, which controlled the trade between chance. The die was employed for an unusually long period Rome and South and East Asia. The Kushan Emperors were and as a result deteriorated quite badly, and required recutting also the first to strike a regular gold coinage in India, modeled on at least three occasions. The engraver took these (in weight and style) on the coins of Rome. Though the mints opportunities to make some imaginative leaps. By the final aspired to a Roman model the production was much smaller stage the kings jacket and helm have been embellished like (probably about a tenth the size) and they were technically less later dies but with details chosen by this particular engraver consistent than their Roman counterparts. who also added a flower represented by four dots above the club, a dramatic change to a central part of the kings image. These are just two examples from the coinage of one king, but they indicate how even in an ancient coinage the whims of chance and individual officials as well could have as large an impact on the iconography of kingship as the will of a king. Robert Bracey One of the objectives of the ongoing Kushan Coins Project at the British Museum is to try and understand why designs on coins were chosen, and who chose them. Results like this are only possible when very large numbers of coins struck from An early portrait, struck by die iii1 the same dies survive. The project is always looking for new images of coins to improve our understanding of the period. If During the reign of Huvishka the two quite distinct styles of you have a gold Kushan or Gupta coin, a stater of Diodotus, portrait are known, an early portrait in which the king wears a a tetradrachm of Eucratides, Menander, Antialkidas or simple tunic and crown, and holds the hilt of his sword in his Heliocles, a drachm of Antialkidas, or a silver coin of the left hand, and a late portrait with more elaborate regal dress in Western Ksatrap Visvasena, and would like to provide an which the king holds a spear or standard over his shoulder. Die image it would be gratefully received, please contact Robert iii1 was the last die of the early type, and die xii1 the first of Bracey ([email protected]). the late type to be employed at one of the Kushan mints. In both styles Huvishka holds before him a device, an object on a stick, which was intended to be a club. When die xii1 was ANGLO-SAXON COIN DESIGN introduced the club had been redesigned as a stack of small The first indigenous Anglo-Saxon coinage emerged in pellets, but pretty soon the die began to crack just at the top of southern England in the early seventh century.

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