Lithographed One Anna (1854)
Die I
Die II
Sunday, October 19, 2008
India, Early Lithographed Issues, Part 2
Thuillier began work on the One Anna variety using a better version of the Indian vermilion ink. Similar to the Half Anna variety, three different dies of the One Anna variety are known. These can again be distinguished on the basis of the differences in details of the chignon, corner ornaments, diadem, etc.
Lithographed One Anna (1854)
Die I
Die II
Lithographed One Anna (1854)
Die I
Die II
Friday, August 15, 2008
Punch-marked Karshapana of Ashoka the Great (304–232 BC) (G/H Series VIB, Type 561)
Punch-marked Karshapana of Ashoka the Great
http://en.wikipedia.org/wiki/Ashoka_the_great
Another link, for those who love conspiracy theories:
http://en.wikipedia.org/wiki/Nine_Unknown_Men
Obverse
Reverse
Symbols
Obverse
Five symbols:
1. Sun
2. Sadaracakra (dynasty wheel) or Dharmacakra (Wheel of Dharma) (type uncertain)
http://en.wikipedia.org/wiki/Dharmacakra
3. Caduceus (Ashoka's royal symbol)
http://en.wikipedia.org/wiki/Caduceus
4. Three-arched hill
5. Triskeles and unknown symbol
http://en.wikipedia.org/wiki/Triskelion
Reverse
Ashoka's mudra (Caduceus)
Note: The caduceus (depicted as three ovals crossed by a line) can also be found on older punch-marked coins. However, Ashoka's signet has ovals that touch each other, which is not the case in the symbol found on older coins.
General information on punch-marked coins:
Shape:
Chandragupta Maurya's Prime Minister Kautilya (also known as Chanakya) describes in his book Arthashastra how the coins of this period were made. The metal was melted, purified with alkalies, beaten into sheets, and cut into pieces. Subsequently, the symbols were punched on these pieces. Since the pieces had to be cut and clipped to make them conform to a particular weight, coins were made in all kinds of shapes and sizes. Sometimes, metal of the desired weight was melted and either poured on a flat board to take its own shape or made into pellets, which were then flattened.
Symbols:
Initially, the coins carried only one symbol. Gradually, the number of symbols increased to two, and then five. If the coin bore a single symbol, it was placed at the center of the flan. If there were two symbols, they were placed side by side. Four symbols were usually placed in pairs (one pair opposite the other).
The flan of the coin was often much smaller than the size of the punches. Therefore, in coins with four or five symbols (such as the one I have posted), it is common to find parts of the symbols off the flan or overlapping one another. These factors (coupled with the astounding varity of the symbols) often make the correct identification of the symbols very challenging.
Originally, the symbols were punched only on one side of the coin (which may be called the obverse). When the coin became worn, a fresh symbol (or group of symbols) was pressed on the reverse. For coins bearing four or five symbols, the reverse was either blank or bore minute symbols (mostly one or two in number), which are believed to be those of shroffs or money testers. Coins of later period (bearing five obverse symbols) carried a conpicuous symbol on the center of the reverse, which became quite bold during the Mauryan period.
Coins of Magadha (the seat of the powerful Maurya dynasty) can be divided into two periods.
1. Earlier issues of the time when Magadha was merely a janapada (small state):
These can again be divided into two sub-periods.
(a) The period during which Rajagriha was the capital: Coins of this period are of an irregular, roughly rectangular shape. The number of symbols on them varies from one to six.
(b) Coins issued after the capital was shifted to Patliputra (Patna): These coins bear four symbols, of which two are the sun and the six-armed symbol (Sadaracakra). The earlier coins of this period are irregular, and the later ones circular.
2. Coins issued during the period of Magadha's imperial expansion: Thin, broad coins are thought to be earliest in chronology and the thick, smaller ones latest. These coins are found in a variety of shapes, all of which have five different symbols on the obverse, placed in a definite order. More than 450 varieties of these symbols can be identified on these coins! Based on the symbol groups, the coins can be classifed into about 600 varieties, which can be sub-divided into various classes and, in turn, into six or seven series.
Coins of the first four series bear minute symbols on the reverse. Coins of series five bear a distinct mark on the reverse, in addition to these minute marks. Coins of series six and seven have a reverse mark as bold as the obverse symbols.
http://en.wikipedia.org/wiki/Ashoka_the_great
Another link, for those who love conspiracy theories:
http://en.wikipedia.org/wiki/Nine_Unknown_Men
Obverse
Reverse
Symbols
Obverse
Five symbols:
1. Sun
2. Sadaracakra (dynasty wheel) or Dharmacakra (Wheel of Dharma) (type uncertain)
http://en.wikipedia.org/wiki/Dharmacakra
3. Caduceus (Ashoka's royal symbol)
http://en.wikipedia.org/wiki/Caduceus
4. Three-arched hill
5. Triskeles and unknown symbol
http://en.wikipedia.org/wiki/Triskelion
Reverse
Ashoka's mudra (Caduceus)
Note: The caduceus (depicted as three ovals crossed by a line) can also be found on older punch-marked coins. However, Ashoka's signet has ovals that touch each other, which is not the case in the symbol found on older coins.
General information on punch-marked coins:
Shape:
Chandragupta Maurya's Prime Minister Kautilya (also known as Chanakya) describes in his book Arthashastra how the coins of this period were made. The metal was melted, purified with alkalies, beaten into sheets, and cut into pieces. Subsequently, the symbols were punched on these pieces. Since the pieces had to be cut and clipped to make them conform to a particular weight, coins were made in all kinds of shapes and sizes. Sometimes, metal of the desired weight was melted and either poured on a flat board to take its own shape or made into pellets, which were then flattened.
Symbols:
Initially, the coins carried only one symbol. Gradually, the number of symbols increased to two, and then five. If the coin bore a single symbol, it was placed at the center of the flan. If there were two symbols, they were placed side by side. Four symbols were usually placed in pairs (one pair opposite the other).
The flan of the coin was often much smaller than the size of the punches. Therefore, in coins with four or five symbols (such as the one I have posted), it is common to find parts of the symbols off the flan or overlapping one another. These factors (coupled with the astounding varity of the symbols) often make the correct identification of the symbols very challenging.
Originally, the symbols were punched only on one side of the coin (which may be called the obverse). When the coin became worn, a fresh symbol (or group of symbols) was pressed on the reverse. For coins bearing four or five symbols, the reverse was either blank or bore minute symbols (mostly one or two in number), which are believed to be those of shroffs or money testers. Coins of later period (bearing five obverse symbols) carried a conpicuous symbol on the center of the reverse, which became quite bold during the Mauryan period.
Coins of Magadha (the seat of the powerful Maurya dynasty) can be divided into two periods.
1. Earlier issues of the time when Magadha was merely a janapada (small state):
These can again be divided into two sub-periods.
(a) The period during which Rajagriha was the capital: Coins of this period are of an irregular, roughly rectangular shape. The number of symbols on them varies from one to six.
(b) Coins issued after the capital was shifted to Patliputra (Patna): These coins bear four symbols, of which two are the sun and the six-armed symbol (Sadaracakra). The earlier coins of this period are irregular, and the later ones circular.
2. Coins issued during the period of Magadha's imperial expansion: Thin, broad coins are thought to be earliest in chronology and the thick, smaller ones latest. These coins are found in a variety of shapes, all of which have five different symbols on the obverse, placed in a definite order. More than 450 varieties of these symbols can be identified on these coins! Based on the symbol groups, the coins can be classifed into about 600 varieties, which can be sub-divided into various classes and, in turn, into six or seven series.
Coins of the first four series bear minute symbols on the reverse. Coins of series five bear a distinct mark on the reverse, in addition to these minute marks. Coins of series six and seven have a reverse mark as bold as the obverse symbols.
Saturday, August 9, 2008
India, Early Lithographed Issues, Part 1
The first lithographed stamps issued in India were designed by Captain H.L. Thuillier, Deputy Surveyor General, who was in charge of the lithographic department of the Survey office in Calcutta. These stamps were issued in denominations of Half Anna, 1 Anna, and 4 Anna (the 8 Anna variety proposed by Thuillier was rejected).
Thuillier wanted to use black ink for printing the stamps (in the style of the Penny Black). However, this idea was rejected on the grounds that black colour would make re-use of lightly-cancelled stamps considerably easier. The approved design of the 1/2 Anna variety was first printed using English Vermilion ink. When the supply of the aforementioned ink was exhausted, Indian Vermilion was tried. However, this proved disastrous and ended up spoiling the printing stones. The stock that had already been dispatched for issue was withdrawn immediately. Fresh plates were made after making changes in the design and stamps printed using refined indigo blue ink from Bengal. These were engraved by Indian artist and draughtsman Muneerooddin.
The process adapted for printing these stamps is described below:
1. The design of the stamp was engraved (in reverse) on copper plates.
2. This design was transferred to a transfer paper.
3. The design obtained on the transfer paper was transferred on to the printing stone (using greasy ink).
4. The stone was moistened and coloured with greasy ink.
5. A sheet of paper was pressed against the stone and a print of the stamps obtained.
For the Half Anna variety, 24 impressions (in three rows of 8 stamps each) were transferred to a small stone (using the process described above), termed the Intermediate Stone. Printing from this small stone was not feasible as a million or so stamps were required. Therefore, Thuillier transferred these 24 impressions four times onto a large stone, completing a sheet of 96 stamps. This stone is referred to as the Parent Stone. The Parent Stone was still not enough for the volume of stamps required to be printed. Therefore, a fresh transfer was made from the Parent Stone and laid down thrice onto a large stone (to obtain 288 stamps in one impression)(referred to as the Printing Stone). More transfers were made from the printing stone to newer stones, called Sub-stones.
These stones were subject to wear and tear during the course of printing and the worn areas had to be repaired from time to time. Such alterations are termed "re-touches". When the stones were so worn that printing from them was no longer possible, the Intermediate Stone had to be taken out and the entire process repeated! Several such cycles resulted in the wearing of the Intermediate Stone itself. At this stage, the master die was taken out and the design was re-drawn, resulting in a new die known as Die II. Stamps produced from Die II were expected to be enough to meet the local demand till stamps from M/s Thomas de la Rue & Co., London, arrived. However, overwhelming demand resulted in a new die, Die III.
Differences in the details of the chignon, corner ornaments, diadem, etc., allow us to distinguish between the stamps printed using different dies.
Lithographed Half Anna, Die I (Issued on 1 October, 1854)
Thuillier wanted to use black ink for printing the stamps (in the style of the Penny Black). However, this idea was rejected on the grounds that black colour would make re-use of lightly-cancelled stamps considerably easier. The approved design of the 1/2 Anna variety was first printed using English Vermilion ink. When the supply of the aforementioned ink was exhausted, Indian Vermilion was tried. However, this proved disastrous and ended up spoiling the printing stones. The stock that had already been dispatched for issue was withdrawn immediately. Fresh plates were made after making changes in the design and stamps printed using refined indigo blue ink from Bengal. These were engraved by Indian artist and draughtsman Muneerooddin.
The process adapted for printing these stamps is described below:
1. The design of the stamp was engraved (in reverse) on copper plates.
2. This design was transferred to a transfer paper.
3. The design obtained on the transfer paper was transferred on to the printing stone (using greasy ink).
4. The stone was moistened and coloured with greasy ink.
5. A sheet of paper was pressed against the stone and a print of the stamps obtained.
For the Half Anna variety, 24 impressions (in three rows of 8 stamps each) were transferred to a small stone (using the process described above), termed the Intermediate Stone. Printing from this small stone was not feasible as a million or so stamps were required. Therefore, Thuillier transferred these 24 impressions four times onto a large stone, completing a sheet of 96 stamps. This stone is referred to as the Parent Stone. The Parent Stone was still not enough for the volume of stamps required to be printed. Therefore, a fresh transfer was made from the Parent Stone and laid down thrice onto a large stone (to obtain 288 stamps in one impression)(referred to as the Printing Stone). More transfers were made from the printing stone to newer stones, called Sub-stones.
These stones were subject to wear and tear during the course of printing and the worn areas had to be repaired from time to time. Such alterations are termed "re-touches". When the stones were so worn that printing from them was no longer possible, the Intermediate Stone had to be taken out and the entire process repeated! Several such cycles resulted in the wearing of the Intermediate Stone itself. At this stage, the master die was taken out and the design was re-drawn, resulting in a new die known as Die II. Stamps produced from Die II were expected to be enough to meet the local demand till stamps from M/s Thomas de la Rue & Co., London, arrived. However, overwhelming demand resulted in a new die, Die III.
Differences in the details of the chignon, corner ornaments, diadem, etc., allow us to distinguish between the stamps printed using different dies.
Lithographed Half Anna, Die I (Issued on 1 October, 1854)
Hungary, 1 Korona, 1893
Obverse FERENCZ JÓZSEF I.K.A.CS. ÉS M.H.S.D.O.AP.KIR. (Franz Joseph by the Grace of God Emperor of Austria and Apostolic King of Hungary, Croatia, Slavonia, Dalmatia)
Mint mark: K.B. for Körmöcbánya (now Kremnica, Slovakia)
Reverse Crown of St. Stephen, 1 Korona, 1893
Edge inscription BIZALMAM AZ ŐSI ERÉNYBEN (My trust in the ancient virtue)
Mint mark: K.B. for Körmöcbánya (now Kremnica, Slovakia)
Reverse Crown of St. Stephen, 1 Korona, 1893
Edge inscription BIZALMAM AZ ŐSI ERÉNYBEN (My trust in the ancient virtue)
British East India Company, 1 Rupee, 1840 (Divided legend)
Obverse
The initials "W.W." (seen under the Queen's neck) are of William Wyon, the engraver of Victoria's young head dies.
Reverse
The initials "W.W." (seen under the Queen's neck) are of William Wyon, the engraver of Victoria's young head dies.
Reverse
British East India Company, William IV 1 Rupee, 1835 (Calcutta Mint, KM 450.3)
Obverse
"F" incuse (seen below the King's neck) is the initial of Lt.-Col. William Nairn Forbes R.E., Master of the Calcutta Mint from 5th January 1836 to 23rd January 1855.
Reverse
"F" incuse (seen below the King's neck) is the initial of Lt.-Col. William Nairn Forbes R.E., Master of the Calcutta Mint from 5th January 1836 to 23rd January 1855.
Reverse
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