“Blank” Coin ID Discs…

What exactly is a Blank Coin ID Disc, [coin ticket] very simply put, it is a round disc of white card to write on, these will fit in either a coin tray, plastic envelope or the round coin holders etc, with its other uses for Artefacts, Fossils, Bottles etc-etc – the list of possibility’s for there use is endless… An example & one of the most popular uses is to have a log book or ledger for coins, artefacts etc, it works by putting the  – “essential* information onto an ID Disc, when using them for coins you would put – monarch, mint mark & date*-” to which you add a unique number, letter or a combination of the two, this unique combination can then be wrote on one or both sides of the disc, usually though it is wrote on one side of the ID Disc, whilst an Artefact would simply have the unique combination on show, with all the relevant information on the item wrote up in the ledger, for example you have identified a coin, & wrote the essentials onto an ID Disc with your unique combination, with the disc being placed under the newly ID’ed coin, in the future it can then be cross referenced to a book, where you have wrote down all of the information, you obtained about that coin… At the moment we supply the Discs in either – 13mm… Which is a small disc, but it still can be wrote on, obviously not as much information can be stored, but the essentials* & unique combination can be added… 19mm… Slightly larger with the essentials* & maybe more if it is consided  necessary, plus the unique combination 25mm… massive amounts can be wrote on both sides, but be careful not to get carried away, and making the disc to busy, again the essentials* plus the unique combination are a definite… 28mm… all you need can be wrote on this, again a choice has to be made but I think the essentials* and the unique number are fine… With a larger 40mm or equivalent being arranged at the moment, but it is still in the planning stages as yet…these ID Discs will be ideally suited for larger items, such as Fossils, Bottles, Artefacts etc… All of these discs are produced from the Forest Stewardship Council [FSC] & are off White / White card, one of the most important things about these discs is that they are Acid Free, which for coin collectors, it is so important, as these ID Discs are neutral Acid, it means they do not react with the coins, another important thing about these ID Disc is that they are thick enough to be wrote on from both sides, without any bleeding through of the ink from one side to another...*pens will be dealt with below*  Another poplar idea is the coloured round discs which come supplied in various sizes “in the same packet” which is ok as they are for the purpose of laying on top of coins or artefacts so the size is irrelevant, these are used to denote that they are waiting for identification, I like using these as being a collector of the coins, or artefacts that I find I do not necessarily ID an item straight away, so when I have a spare moment I choose something to positively ID, even better if I only get half way through or need further research, these coloured discs remain on top to say that it still needs finishing, so it also acts as a  good reminder…

Shown below is a paper that was wrote many years ago, but is still relevant today, which supports the use of coin tickets and there importance, in there use for recording coins, there providence… Before we go to far some basic facts need to be addressed before we start on our journey to write our own coin tickets…


One of the most important things to use is Acid Free Paper / Card to write on; also your coin ticket needs to be Archival Quality, Acid & Lint Free and thick enough to be able to write on both sides, without the ink bleeding through, as already mentioned there come in various sizes, sounds a lot to remember, but if purchased from a reputable dealer, then that removes the hassle of trying to get it right…

 

MUDDYHERITAGE107 (3)
28mm Coin Tickets…


Another of the most important things people tend to forget, & I mean the Numismatics and Professionals alike, they all grab the nearest pen to write the details down with, which is ok for temporary measures, but if the ink is not acid free it could interact with the coin over time, spoiling a coin with a dark stain, it has been known for a coin to have a letter or figure imprinted as a stain on a coin, which is very hard to remove, and the coin then has to be reclassified as a coin with a blemish… so the moral of the story here & best practice is to always have an archival pen to hand, once upon a time these retailed at about ten pounds per pen, and depending on the size of the coin ticket, most of the time you needed two pens, one each of writing width… well one of my pens was playing up, after ten years I don’t suppose that’s to bad, but I needed another pen, so after hunting around I was so surprised at the low cost, that I had to do a bit more research to make sure I was not missing something, fortunately I had read it right, the five pens shown here, fitted the bill for eight pounds and free postage from amazon, the package duly arrived within two days & itself was well packaged, I suppose shopping online is the way things are progressing, and long gone are the days when you planned a trip to the coin dealer, to not only stock up on supply’s but to have a look around to see what was new, have a chat and do some general catch up time, ah-well it seems those days are ling gone… 

IMG_7667 (2)_LI
The Pens arrived well packaged, and within two days, from an English based company…


So “back” to the pens if it is all true, & they are Acid Free, Lint Free, Anti-Smudge [when dry] and most important the pens are Archival, which means they fit the bill nicely, another bonus is the pens range in size from .25 to 1,5, which is great, as it means the smallest coin ticket of 13mm can be wrote on with the .50 meaning the lines are not overbearing and through minimal practice your handwriting fits even the smallest  of coin tickets…

IMG_7668 (2)
Acid Free & Archival Pens & Five different nib sizes…


One thing to remember, these pens do “leak” I don’t suppose the company find it important to remedy this, but I keep mine horizontal in a wooden pen box, it tends to stop them from leaking if they are laying down, but I must say i have never had an issue with them leaking

 

 


COIN TICKETS IN THE BRITISH HAMMERED SERIES
Thank you to the Authors – Robin J. Eaglen, Peter D. Mitchell & Hugh E. Pagan…
Preface;
This paper arose from a conviction that a study, identifying the coin tickets written by notable collectors from the past and by major dealers in the British hammered series, would be both interesting & valuable. The ability to recognise such writing mainly resides in the expertise of those, particularly long-standing dealers, through whose hands large numbers of coins have passed over the years. Because this skill is largely unrecorded it is in danger of being lost with the passing of those possessing it. This was brought home to me with the recent loss of Douglas Mitchell of Baldwins who, at the time of his death, was the most senior member of the Society, and of Patrick Finn who for forty years had pursued a distinguished career as a professional numismatist and coin dealer.
COIN TICKETS IN THE BRITISH HAMMERED SERIES 137
Amongst the dealers some select themselves for inclusion as household names in the numismatic world. For others, the normal yardstick has been whether the firm or individual is or has been in the habit of issuing printed lists of coins for sale. Plate 10 reproduces two pages of Daniels’ copy of Verity’s catalogue of 1881, before Daniels became a dealer. From the Plates it will be clear that the authors have not always been able to find examples of tickets in the chosen collectors’ (or dealers’) handwriting. This may be through mischance or because such tickets no longer exist or never did. In a few instances, when the authors are uncer- tain of the attribution of handwriting, this is made clear in the biographical notes and a question mark has been placed after the name of the collector or dealer in the actual plates. Hopefully, an outcome of this paper will be to lead others to resolve these uncertainties.
1 – Relevance of coin tickets
Coin tickets are part of a coin’s identity and pedigree. A coin that has passed through one or more important collections is intrinsically more interesting – and potentially more valuable than a similar coin of unknown background. Nowadays, the increased price of coins and the ease of photographic reproduction have led to the widespread illustration of all but the commonest coins offered through dealers’ lists and auc- tion catalogues. This helps in establishing the lineage of a coin and may enable the collector or scholar to determine if separate references to seemingly identical coins do indeed refer to the same coins or not. The answer to this question is of value to the dealer and collector in assessing rarity and to the scholar in attempting to draw conclusions from the study of surviving coins. Individual coins now considered important enough to be fully described and illustrated were often, in the past, grouped together in a lot or batch with, perhaps, the odd one or even none being illustrated. This is seen, for example, not only in the great Montagu and Murdoch sales a century ago but even as late as the Lockett sales between 1955 and 1961.2 Added to this, the coin descriptions in auction catalogues were often rudimentary and the transcription of legends unreliable or incorrect. Indeed not all modern cataloguing is immune from this canker. The survival of tickets may help to detect such inaccuracies as well as avoiding double counting of individual coins when studying survival and output. As a general rule, no coin should be treated as having a distinct and certain existence unless the coin itself or adequate illustrations, photographs, rubbings or casts of it are available to endorse its separate identity. With such strict criteria, knowledge of lineage through tickets may help to elucidate if a coin known by description alone is to be presumed unaccounted for, or is to be identified with a coin known today. There must be concern that increasing use of the website by dealers to describe and illustrate coins on offer may result in a less permanent record of such offerings being accessible.
Use of tickets
In the modern world, coins began to be collected and housed in cabinets from the Renaissance onwards. The earliest collectors were princely laymen and ecclesiastics in the sixteenth and seventeenth centuries.3 The spread of antiquarian study in the eighteenth century led to a wider range of collectors whose interest extended beyond the Greek and Roman periods and medals. During the nineteenth century the expansion of interest continued, stimulated by the discovery of hoards and more sophisticated attempts to classify the surviving coins. Both the collecting and study of
British hammered coins presented a satisfying challenge. From the biographical summaries in this paper it will be apparent that from late in the nineteenth century dedicated coin collectors were to be found from many walks of life. The cost of coins in those days meant that it was possible for someone of relatively modest means to amass an impressive collection which only the very wealthy could hope to match today.
2 a photographic record of Lockett’s English coins to the end of the Long Cross issue and his Scottish coins is. in fact, in the British Museum, and Baldwin photographed all those not illustrated. –
1 – See Ian Carradice and Martin Price, Coinage in the Creek World (London, 1988), p. 10; Philip Grierson, Numismatics (London, 1975), p. 185.
138 COIN TICKETS IN THE BRITISH HAMMERED SERIES…
It is uncertain when the first coin tickets came to be used. Although square tickets occur, they are mostly round, to fit circular recesses in cabinet trays. The Browne Willis collection at the Ashmolean Museum, Oxford, is housed in mid-eighteenth century cabinets with circular recesses. The tickets, which are roughly hand-cut, are written in a contemporary hand although whether that of Browne Willis or of an eighteenth century curator, after the coins were donated to the university, is not known. They are, however, the earliest which the authors have so far encountered in the British hammered series (see Fig. I).4 Fig. 1. Eighteenth century tickets accompanying ex Browne Willis coins at the Ashmolean Museum. It is probable that a number of early collectors kept hand lists of their coins rather than making out tickets. This appears to be so with William Hunter, whose coins passed to Glasgow in 1807s and with Sarah Sophia Banks, whose collection passed to the British Museum in 1886. She kept a somewhat untidy register of acquisitions and two manuscript catalogues also exist. The latter of these, annotated later by the British Museum, appears to be in her own hand (Plate 11). The drawback of catalogues is their inflexibility and this obviously stimulated the use of tickets. This drawback was overcome by such collectors as Morrieson (who also used tickets) by employing an album into which hand written strips could be inserted, a system marketed by the Kalamazoo Company before the invention of word processing (Plate 12). Doubtless, the publication of detailed classifications of coins in the hammered series would also have encouraged the use of tickets, to record more esoteric distinctions not apparent with- out careful scrutiny of a coin or exceptional powers of memory. Hawkins published a first edi- tion of The Silver Coins of England in 1841, shortly after the third edition of Ruding’s Annals7 Further editions, by Hawkins’ grandson R.L. Kenyon, followed in 1876 and 1887. Meanwhile, in 1846, Hildebrand published his Anglo – sachsiska Mynt, of which the definitive, augmented edition in use to this day appeared in 1881.8 In 1887 Burns’ Coinage of Scotland appeared in three volumes9 and, the same year, Keary’s Catalogue of Anglo-Saxon Coins in the British Museum in two volumes.10 This was followed in 1916 by Brooke’s catalogue of the Norman Kings.11 His later, more general work on English Coins classified the issues he described and for a time was widely used for reference purposes, as Hawkins (‘Hks’) had been previously – 12 More recently, of course, apart from BMC numbering, the numeration given in the Seaby Catalogue of British Coins, now published by Spink – 13 and in North’s English Hammered Coinage14 have been popular, particularly with some dealers. It is nowadays most unusual for a coin of any consequence to be offered by a dealer without a ticket, although not necessarily accompanied by any earlier tickets. 4 SCBI Ashmolean, Anglo-Saxon Pennies (London, 1967), pp. xiii-xiv. 5 SCBI Hunterian and Coats Collections, University of Glasgow (London, 1961), I, p. xii. 6 SCBI British Museum, Anglo-Saxon Coins (London, 1986), V, p. xi. 7 Revd Rogers Ruding, Annals of the Coinage of Great Britain & its Dependencies, 3rd edn, 3 vols (London, 1840). 8 Bror Emil Hildebrand, Anglosachsiska Mynt (Stockholm, 1881). 9 E. Burns, The Coinage of Scotland, 3 vols (Edinburgh, 1887). 10 Charles Francis Keary, A Catalogue of English Coins in the British Museum, Anglo-Saxon Series, edited by Reginald Stuart
Poole, 2 vols (London, 1887). ” George Cyril Brooke, A Catalogue of Coins in the British Museum, the Norman Kings, 2 vols (London, 1916). 12 George C. Brooke, English Coins (London, 1932). 13 Spink, Standard Catalogue of British Coins, Coins of England and the United Kingdom, 37th edn (London, 2002). 14 J.J. North, English Hammered Coinage, 3rd edn, I (London, 1994), II (London, 1991).
Accordingly, I approached Peter Mitchell who readily agreed to contribute his unrivalled ability to recognise coin tickets, garnered from forty-eight years of experience at Baldwin’s. I also approached Hugh Pagan who most generously offered to draw upon his extensive researches into the activities and backgrounds of notable collectors to provide biographical details of those to be included in the study. Without these vital contributions this paper could not have been written. The great debt owed by the authors to others is recorded in the acknowledgements below. R.J.E. Scope of the study this paper is devoted to the British hammered series and the authors hope that it will encourage experts in other series – such as milled coins and tokens – to carry out a similar study. This paper sets out to identify and illustrate the tickets written in the hands of notable deceased collectors and the personnel of leading UK-based dealers in the series of hammered coins, and to provide biographical notes on the collectors and dealers represented. The paper makes no pretence at completeness. The collectors included are those considered by the authors as ‘major’ and who were no longer living when we wrote this, at the end of 2001. Where notable collections have been donated to or acquired by museums in their entirety – such as those of William Hunter and Sarah Sophia Banks – they have been excluded regardless of importance, for examples of their tickets (if they exist) will not come into the hands of later collectors. Beyond this, the authors freely recognise that through misjudgement or oversight certain collections may have been omitted which others consider have a persuasive claim to be represented.

 

Shown below is a paper that was wrote many years ago, but is still relevant today, which supports the use of coin tickets and there importance, in there use for recording coins, there providence… Before we go to far some basic facts need to be addressed before we start on our journey to write our own coin tickets…

 

MUDDYHERITAGE107 (3)
Acid & Lint Free 28mm Coin Tickets…


One of the most important things to use is Acid Free Paper / Card to write on; also your coin ticket needs to be Archival Quality, Acid & Lint Free and thick enough to be able to write on both sides, without the ink bleeding through, as already mentioned there are various sizes…
One of the most important things people tend to forget, & I mean the Numismatics and Professionals alike, they all grab the nearest pen to write the details down with, which is ok for temporary measures, but if the ink is not acid free it could interact with the coin over time, spoiling a coin with a dark stain, it has been known for a coin to have a letter or figure imprinted as a stain on a coin, which is very hard to remove, and the coin then has to be reclassified as a coin with a blemish… so the moral of the story here is to always have an archival pen to hand, once upon a time these retailed at about ten pounds per pen, and depending on the size of the coin ticket, most of the time you needed two pens, one each of writing width… well one of my pens was playing up, after ten years I don’t suppose that’s to bad, but I needed another pen, so after hunting around I was so surprised at the low cost, that I had to do a bit more research to make sure I was not missing something, fortunately I had read it right, the five pens shown here, fitted the bill for eight pounds and free postage from amazon, the package duly arrived within two days & itself was well packaged, I suppose shopping online is the way things are progressing, and long gone are the days 

IMG_7667 (2)_LI
The Pens arrived well packaged, and within two days, from an English based company… itself was well packaged, that’s online shopping I suppose, gone are the days when you planned a trip to a coin dealer, to not only, stock up on supply’s, but to have a look around to see what is new, have a chat and do some general catch up time, well it seems those days are long gone…

 

So “back” to the pens if it is all true they are Acid Free, Lint Free, Anti-Smudge [when dry] and most important the pens are Archival, which means they fit the bill nicely, another bonus is the pens range in size from .25 to 1,5, which is great, as it means the smallest coin ticket of 13mm can be wrote on with the .50 meaning the lines are not overbearing and through minimal practice your handwriting fits even the smallest of coin tickets…

COIN TICKETS IN THE BRITISH HAMMERED SERIES
Thank you to the Authors – Robin J. Eaglen, Peter D. Mitchell & Hugh E. Pagan…
Preface;
This paper arose from a conviction that a study, identifying the coin tickets written by notable collectors from the past and by major dealers in the British hammered series, would be both interesting & valuable. The ability to recognise such writing mainly resides in the expertise of those, particularly long-standing dealers, through whose hands large numbers of coins have passed over the years. Because this skill is largely unrecorded it is in danger of being lost with the passing of those possessing it. This was brought home to me with the recent loss of Douglas Mitchell of Baldwins who, at the time of his death, was the most senior member of the Society, and of Patrick Finn who for forty years had pursued a distinguished career as a professional numismatist and coin dealer.
COIN TICKETS IN THE BRITISH HAMMERED SERIES 137
Amongst the dealers some select themselves for inclusion as household names in the numismatic world. For others, the normal yardstick has been whether the firm or individual is or has been in the habit of issuing printed lists of coins for sale. Plate 10 reproduces two pages of Daniels’ copy of Verity’s catalogue of 1881, before Daniels became a dealer. From the Plates it will be clear that the authors have not always been able to find examples of tickets in the chosen collectors’ (or dealers’) handwriting. This may be through mischance or because such tickets no longer exist or never did. In a few instances, when the authors are uncer- tain of the attribution of handwriting, this is made clear in the biographical notes and a question mark has been placed after the name of the collector or dealer in the actual plates. Hopefully, an outcome of this paper will be to lead others to resolve these uncertainties.
1 – Relevance of coin tickets
Coin tickets are part of a coin’s identity and pedigree. A coin that has passed through one or more important collections is intrinsically more interesting – and potentially more valuable than a similar coin of unknown background. Nowadays, the increased price of coins and the ease of photographic reproduction have led to the widespread illustration of all but the commonest coins offered through dealers’ lists and auc- tion catalogues. This helps in establishing the lineage of a coin and may enable the collector or scholar to determine if separate references to seemingly identical coins do indeed refer to the same coins or not. The answer to this question is of value to the dealer and collector in assessing rarity and to the scholar in attempting to draw conclusions from the study of surviving coins. Individual coins now considered important enough to be fully described and illustrated were often, in the past, grouped together in a lot or batch with, perhaps, the odd one or even none being illustrated. This is seen, for example, not only in the great Montagu and Murdoch sales a century ago but even as late as the Lockett sales between 1955 and 1961.2 Added to this, the coin descriptions in auction catalogues were often rudimentary and the transcription of legends unreliable or incorrect. Indeed not all modern cataloguing is immune from this canker. The survival of tickets may help to detect such inaccuracies as well as avoiding double counting of individual coins when studying survival and output. As a general rule, no coin should be treated as having a distinct and certain existence unless the coin itself or adequate illustrations, photographs, rubbings or casts of it are available to endorse its separate identity. With such strict criteria, knowledge of lineage through tickets may help to elucidate if a coin known by description alone is to be presumed unaccounted for, or is to be identified with a coin known today. There must be concern that increasing use of the website by dealers to describe and illustrate coins on offer may result in a less permanent record of such offerings being accessible.
Use of tickets
In the modern world, coins began to be collected and housed in cabinets from the Renaissance onwards. The earliest collectors were princely laymen and ecclesiastics in the sixteenth and seventeenth centuries.3 The spread of antiquarian study in the eighteenth century led to a wider range of collectors whose interest extended beyond the Greek and Roman periods and medals. During the nineteenth century the expansion of interest continued, stimulated by the discovery of hoards and more sophisticated attempts to classify the surviving coins. Both the collecting and study of
British hammered coins presented a satisfying challenge. From the biographical summaries in this paper it will be apparent that from late in the nineteenth century dedicated coin collectors were to be found from many walks of life. The cost of coins in those days meant that it was possible for someone of relatively modest means to amass an impressive collection which only the very wealthy could hope to match today.
2 a photographic record of Lockett’s English coins to the end of the Long Cross issue and his Scottish coins is. in fact, in the British Museum, and Baldwin photographed all those not illustrated. –
1 – See Ian Carradice and Martin Price, Coinage in the Creek World (London, 1988), p. 10; Philip Grierson, Numismatics (London, 1975), p. 185.
138 COIN TICKETS IN THE BRITISH HAMMERED SERIES…
It is uncertain when the first coin tickets came to be used. Although square tickets occur, they are mostly round, to fit circular recesses in cabinet trays. The Browne Willis collection at the Ashmolean Museum, Oxford, is housed in mid-eighteenth century cabinets with circular recesses. The tickets, which are roughly hand-cut, are written in a contemporary hand although whether that of Browne Willis or of an eighteenth century curator, after the coins were donated to the university, is not known. They are, however, the earliest which the authors have so far encountered in the British hammered series (see Fig. I).4 Fig. 1. Eighteenth century tickets accompanying ex Browne Willis coins at the Ashmolean Museum. It is probable that a number of early collectors kept hand lists of their coins rather than making out tickets. This appears to be so with William Hunter, whose coins passed to Glasgow in 1807s and with Sarah Sophia Banks, whose collection passed to the British Museum in 1886. She kept a somewhat untidy register of acquisitions and two manuscript catalogues also exist. The latter of these, annotated later by the British Museum, appears to be in her own hand (Plate 11). The drawback of catalogues is their inflexibility and this obviously stimulated the use of tickets. This drawback was overcome by such collectors as Morrieson (who also used tickets) by employing an album into which hand written strips could be inserted, a system marketed by the Kalamazoo Company before the invention of word processing (Plate 12). Doubtless, the publication of detailed classifications of coins in the hammered series would also have encouraged the use of tickets, to record more esoteric distinctions not apparent with- out careful scrutiny of a coin or exceptional powers of memory. Hawkins published a first edi- tion of The Silver Coins of England in 1841, shortly after the third edition of Ruding’s Annals7 Further editions, by Hawkins’ grandson R.L. Kenyon, followed in 1876 and 1887. Meanwhile, in 1846, Hildebrand published his Anglo – sachsiska Mynt, of which the definitive, augmented edition in use to this day appeared in 1881.8 In 1887 Burns’ Coinage of Scotland appeared in three volumes9 and, the same year, Keary’s Catalogue of Anglo-Saxon Coins in the British Museum in two volumes.10 This was followed in 1916 by Brooke’s catalogue of the Norman Kings.11 His later, more general work on English Coins classified the issues he described and for a time was widely used for reference purposes, as Hawkins (‘Hks’) had been previously – 12 More recently, of course, apart from BMC numbering, the numeration given in the Seaby Catalogue of British Coins, now published by Spink – 13 and in North’s English Hammered Coinage14 have been popular, particularly with some dealers. It is nowadays most unusual for a coin of any consequence to be offered by a dealer without a ticket, although not necessarily accompanied by any earlier tickets. 4 SCBI Ashmolean, Anglo-Saxon Pennies (London, 1967), pp. xiii-xiv. 5 SCBI Hunterian and Coats Collections, University of Glasgow (London, 1961), I, p. xii. 6 SCBI British Museum, Anglo-Saxon Coins (London, 1986), V, p. xi. 7 Revd Rogers Ruding, Annals of the Coinage of Great Britain & its Dependencies, 3rd edn, 3 vols (London, 1840). 8 Bror Emil Hildebrand, Anglosachsiska Mynt (Stockholm, 1881). 9 E. Burns, The Coinage of Scotland, 3 vols (Edinburgh, 1887). 10 Charles Francis Keary, A Catalogue of English Coins in the British Museum, Anglo-Saxon Series, edited by Reginald Stuart
Poole, 2 vols (London, 1887). ” George Cyril Brooke, A Catalogue of Coins in the British Museum, the Norman Kings, 2 vols (London, 1916). 12 George C. Brooke, English Coins (London, 1932). 13 Spink, Standard Catalogue of British Coins, Coins of England and the United Kingdom, 37th edn (London, 2002). 14 J.J. North, English Hammered Coinage, 3rd edn, I (London, 1994), II (London, 1991).
Accordingly, I approached Peter Mitchell who readily agreed to contribute his unrivalled ability to recognise coin tickets, garnered from forty-eight years of experience at Baldwin’s. I also approached Hugh Pagan who most generously offered to draw upon his extensive researches into the activities and backgrounds of notable collectors to provide biographical details of those to be included in the study. Without these vital contributions this paper could not have been written. The great debt owed by the authors to others is recorded in the acknowledgements below. R.J.E. Scope of the study this paper is devoted to the British hammered series and the authors hope that it will encourage experts in other series – such as milled coins and tokens – to carry out a similar study. This paper sets out to identify and illustrate the tickets written in the hands of notable deceased collectors and the personnel of leading UK-based dealers in the series of hammered coins, and to provide biographical notes on the collectors and dealers represented. The paper makes no pretence at completeness. The collectors included are those considered by the authors as ‘major’ and who were no longer living when we wrote this, at the end of 2001. Where notable collections have been donated to or acquired by museums in their entirety – such as those of William Hunter and Sarah Sophia Banks – they have been excluded regardless of importance, for examples of their tickets (if they exist) will not come into the hands of later collectors. Beyond this, the authors freely recognise that through misjudgment or oversight certain collections may have been omitted which others consider have a persuasive claim to be represented.


Acknowledgements: This paper would not have been possible without the enthusiastic co-operation of many persons. In the museum world thanks are due to John Allan (Exeter), Dr Martin Allen (Fitzwilliam), Marion Archibald (formerly of British Museum). Donal Bateson (Glasgow), Dr Simon Beal (Liverpool), Edward Besly (Cardiff), Dr Mark Blackburn (Fitzwilliam), Frank Caldwell (Tamworth), Dr Barrie Cook (British Museum), Adam Daubney (Lincoln), Dr John Davies (Norwich), Dr Geoffrey Denford (Winchester), Dominic Farr (Stafford), Nicholas Holmes (Edinburgh), Ann Inscker (Nottingham), Dr Nicholas Mayhew (Ashmolean). Stephen Nye (Rochester), Dan Robinson (Chester), Roger Shelley (Derby), David Symons (Birmingham), Catherine Walling (Hastings), Sarah Wear (Warwick), and Stephen Whittle (Blackburn); amongst those in (or associated with) the numismatic trade, past and present, Edward Baldwin, Lloyd Bennett, Lawrence Brown, Garry Charman, Peter Clayton, Thomas Curtis, Paul Dawson, Christopher Denton, Linda Finn, Brian Grover, Robert Ilsley, Christopher Martin, Eric McFadden, Stephen Mitchell, Peter Preston- Morley, Simon Porter, Mark Rasmussen, Alan Rayner, Colin Rumney, Douglas Saville, Mark Senior, Robert Sharman, Michael Sharp, May Sinclair, Nigel Tooley, Michael Trennery, Michael Vosper and Paul Withers; and amongst numismatists. Dr Christopher Challis, William Clarke, Robert Grayburn, John Hartridge, William Lean, Robert Thompson and Peter Woodhead. Special thanks are due to Richard Varnham of Vale Coins and Terence Robertson, who generously made available their own albums of tickets, the former compiled with the help of Christopher Comber; to Ian, Lord Stewartby for help with and providing tickets for Scottish collectors, to Jenny Eaglen who typed the introduction, and to Dr Barrie Cook, Jeffrey North and Stewart Lyon, for supplying the material for Plates 11, 10 and 12, and 13 respectively. The authors take sole responsibility for errors of commission or omission to which such a potentially boundless study is inexorably prone. 1 For an obituary of Douglas Mitchell, see NCirc, April 2000, 54, and of Patrick Finn, NCirc (December, 2000), 318-19.


as a show of importance Glendinings the auctioneers commissioned special coin tickets for the sale of The Willis Collection in 1991…


Below is a link, which goes on to explain the Importance of these Coin Tickets, and there history in Numismatics… http://www.britnumsoc.org/publications/Digital%20BNJ/pdfs/2001_BNJ_71_13.pdf


if you want to try them, with free postage, click on the link below to be taken to our shop, where your transaction can be completed with confidence via PayPal… http://muddyheritage.com/


Before we have a look at a paper that was wrote many years ago, but is still relevant today, which supports the use of coin tickets and there importance, in there use for recording coins, there providence and just some of the basic some basic facts need to be addressed before we start on our journey to write our own coin tickets…
One of the most important things to use is Acid Free Paper / Card to write on; also your coin ticket needs to be Archival Quality, Acid & Lint Free and thick enough to be able to write on both sides, without the ink bleeding through…
28mm Coin Tickets
One of the most important things people tend to forget, & I mean the Numismatics and Professionals alike, they all grab the nearest pen to write the details down with, which is ok for temporary measures, but if the ink is not acid free it could interact with the coin over time, spoiling a coin with a dark stain, it has been known for a coin to have a letter or figure imprinted as a stain on a coin, which is very hard to remove, and the coin then has to be reclassified as a coin with a blemish… so the moral of the story here is to always have an archival pen to hand, once upon a time these retailed at about ten pounds per pen, and depending on the size of the coin ticket, most of the time you needed two pens, one each of writing width… well one of my pens was playing up, after ten years I don’t suppose that’s to bad, but I needed another pen, so after hunting around I was so surprised at the low cost, that I had to do a bit more research to make sure I was not missing something, fortunately I had read it right, the five pens shown here, fitted the bill for eight pounds and free postage from amazon, the package duly arrived within two days & itself was well packaged, that’s online shopping I suppose, gone are the days when you planned a trip to a coin dealer, to not only, stock up on supply’s, but to have a look around to see what is new, have a chat and do some general catch up time, well it seems those days are long gone…
So “back” to the pens if it is all true they are Acid Free, Lint Free, Anti-Smudge [when dry] and most important the pens are Archival, which means they fit the bill nicely, another bonus is the pens range in size from .25 to 1,5, which is great, as it means the smallest coin ticket of 13mm can be wrote on with the .50 meaning the lines are not overbearing and through minimal practice your handwriting fits even the smallest of coin tickets…

COIN TICKETS IN THE BRITISH HAMMERED SERIES
Thank you to the Authors – Robin J. Eaglen, Peter D. Mitchell & Hugh E. Pagan…
Preface;
This paper arose from a conviction that a study, identifying the coin tickets written by notable collectors from the past and by major dealers in the British hammered series, would be both interesting & valuable. The ability to recognise such writing mainly resides in the expertise of those, particularly long-standing dealers, through whose hands large numbers of coins have passed over the years. Because this skill is largely unrecorded it is in danger of being lost with the passing of those possessing it. This was brought home to me with the recent loss of Douglas Mitchell of Baldwins who, at the time of his death, was the most senior member of the Society, and of Patrick Finn who for forty years had pursued a distinguished career as a professional numismatist and coin dealer.
COIN TICKETS IN THE BRITISH HAMMERED SERIES 137
Amongst the dealers some select themselves for inclusion as household names in the numismatic world. For others, the normal yardstick has been whether the firm or individual is or has been in the habit of issuing printed lists of coins for sale. Plate 10 reproduces two pages of Daniels’ copy of Verity’s catalogue of 1881, before Daniels became a dealer. From the Plates it will be clear that the authors have not always been able to find examples of tickets in the chosen collectors’ (or dealers’) handwriting. This may be through mischance or because such tickets no longer exist or never did. In a few instances, when the authors are uncer- tain of the attribution of handwriting, this is made clear in the biographical notes and a question mark has been placed after the name of the collector or dealer in the actual plates. Hopefully, an outcome of this paper will be to lead others to resolve these uncertainties.
1 – Relevance of coin tickets
Coin tickets are part of a coin’s identity and pedigree. A coin that has passed through one or more important collections is intrinsically more interesting – and potentially more valuable than a similar coin of unknown background. Nowadays, the increased price of coins and the ease of photographic reproduction have led to the widespread illustration of all but the commonest coins offered through dealers’ lists and auc- tion catalogues. This helps in establishing the lineage of a coin and may enable the collector or scholar to determine if separate references to seemingly identical coins do indeed refer to the same coins or not. The answer to this question is of value to the dealer and collector in assessing rarity and to the scholar in attempting to draw conclusions from the study of surviving coins. Individual coins now considered important enough to be fully described and illustrated were often, in the past, grouped together in a lot or batch with, perhaps, the odd one or even none being illustrated. This is seen, for example, not only in the great Montagu and Murdoch sales a century ago but even as late as the Lockett sales between 1955 and 1961.2 Added to this, the coin descriptions in auction catalogues were often rudimentary and the transcription of legends unreliable or incorrect. Indeed not all modern cataloguing is immune from this canker. The survival of tickets may help to detect such inaccuracies as well as avoiding double counting of individual coins when studying survival and output. As a general rule, no coin should be treated as having a distinct and certain existence unless the coin itself or adequate illustrations, photographs, rubbings or casts of it are available to endorse its separate identity. With such strict criteria, knowledge of lineage through tickets may help to elucidate if a coin known by description alone is to be presumed unaccounted for, or is to be identified with a coin known today. There must be concern that increasing use of the website by dealers to describe and illustrate coins on offer may result in a less permanent record of such offerings being accessible.
Use of tickets
In the modern world, coins began to be collected and housed in cabinets from the Renaissance onwards. The earliest collectors were princely laymen and ecclesiastics in the sixteenth and seventeenth centuries.3 The spread of antiquarian study in the eighteenth century led to a wider range of collectors whose interest extended beyond the Greek and Roman periods and medals. During the nineteenth century the expansion of interest continued, stimulated by the discovery of hoards and more sophisticated attempts to classify the surviving coins. Both the collecting and study of
British hammered coins presented a satisfying challenge. From the biographical summaries in this paper it will be apparent that from late in the nineteenth century dedicated coin collectors were to be found from many walks of life. The cost of coins in those days meant that it was possible for someone of relatively modest means to amass an impressive collection which only the very wealthy could hope to match today.
2 a photographic record of Lockett’s English coins to the end of the Long Cross issue and his Scottish coins is. in fact, in the British Museum, and Baldwin photographed all those not illustrated. –
1 – See Ian Carradice and Martin Price, Coinage in the Creek World (London, 1988), p. 10; Philip Grierson, Numismatics (London, 1975), p. 185.
138 COIN TICKETS IN THE BRITISH HAMMERED SERIES…
It is uncertain when the first coin tickets came to be used. Although square tickets occur, they are mostly round, to fit circular recesses in cabinet trays. The Browne Willis collection at the Ashmolean Museum, Oxford, is housed in mid-eighteenth century cabinets with circular recesses. The tickets, which are roughly hand-cut, are written in a contemporary hand although whether that of Browne Willis or of an eighteenth century curator, after the coins were donated to the university, is not known. They are, however, the earliest which the authors have so far encountered in the British hammered series (see Fig. I).4 Fig. 1. Eighteenth century tickets accompanying ex Browne Willis coins at the Ashmolean Museum. It is probable that a number of early collectors kept hand lists of their coins rather than making out tickets. This appears to be so with William Hunter, whose coins passed to Glasgow in 1807s and with Sarah Sophia Banks, whose collection passed to the British Museum in 1886. She kept a somewhat untidy register of acquisitions and two manuscript catalogues also exist. The latter of these, annotated later by the British Museum, appears to be in her own hand (Plate 11). The drawback of catalogues is their inflexibility and this obviously stimulated the use of tickets. This drawback was overcome by such collectors as Morrieson (who also used tickets) by employing an album into which hand written strips could be inserted, a system marketed by the Kalamazoo Company before the invention of word processing (Plate 12). Doubtless, the publication of detailed classifications of coins in the hammered series would also have encouraged the use of tickets, to record more esoteric distinctions not apparent with- out careful scrutiny of a coin or exceptional powers of memory. Hawkins published a first edi- tion of The Silver Coins of England in 1841, shortly after the third edition of Ruding’s Annals7 Further editions, by Hawkins’ grandson R.L. Kenyon, followed in 1876 and 1887. Meanwhile, in 1846, Hildebrand published his Anglo – sachsiska Mynt, of which the definitive, augmented edition in use to this day appeared in 1881.8 In 1887 Burns’ Coinage of Scotland appeared in three volumes9 and, the same year, Keary’s Catalogue of Anglo-Saxon Coins in the British Museum in two volumes.10 This was followed in 1916 by Brooke’s catalogue of the Norman Kings.11 His later, more general work on English Coins classified the issues he described and for a time was widely used for reference purposes, as Hawkins (‘Hks’) had been previously – 12 More recently, of course, apart from BMC numbering, the numeration given in the Seaby Catalogue of British Coins, now published by Spink – 13 and in North’s English Hammered Coinage14 have been popular, particularly with some dealers. It is nowadays most unusual for a coin of any consequence to be offered by a dealer without a ticket, although not necessarily accompanied by any earlier tickets. 4 SCBI Ashmolean, Anglo-Saxon Pennies (London, 1967), pp. xiii-xiv. 5 SCBI Hunterian and Coats Collections, University of Glasgow (London, 1961), I, p. xii. 6 SCBI British Museum, Anglo-Saxon Coins (London, 1986), V, p. xi. 7 Revd Rogers Ruding, Annals of the Coinage of Great Britain & its Dependencies, 3rd edn, 3 vols (London, 1840). 8 Bror Emil Hildebrand, Anglosachsiska Mynt (Stockholm, 1881). 9 E. Burns, The Coinage of Scotland, 3 vols (Edinburgh, 1887). 10 Charles Francis Keary, A Catalogue of English Coins in the British Museum, Anglo-Saxon Series, edited by Reginald Stuart
Poole, 2 vols (London, 1887). ” George Cyril Brooke, A Catalogue of Coins in the British Museum, the Norman Kings, 2 vols (London, 1916). 12 George C. Brooke, English Coins (London, 1932). 13 Spink, Standard Catalogue of British Coins, Coins of England and the United Kingdom, 37th edn (London, 2002). 14 J.J. North, English Hammered Coinage, 3rd edn, I (London, 1994), II (London, 1991).
Accordingly, I approached Peter Mitchell who readily agreed to contribute his unrivalled ability to recognise coin tickets, garnered from forty-eight years of experience at Baldwin’s. I also approached Hugh Pagan who most generously offered to draw upon his extensive researches into the activities and backgrounds of notable collectors to provide biographical details of those to be included in the study. Without these vital contributions this paper could not have been written. The great debt owed by the authors to others is recorded in the acknowledgements below. R.J.E. Scope of the study this paper is devoted to the British hammered series and the authors hope that it will encourage experts in other series – such as milled coins and tokens – to carry out a similar study. This paper sets out to identify and illustrate the tickets written in the hands of notable deceased collectors and the personnel of leading UK-based dealers in the series of hammered coins, and to provide biographical notes on the collectors and dealers represented. The paper makes no pretence at completeness. The collectors included are those considered by the authors as ‘major’ and who were no longer living when we wrote this, at the end of 2001. Where notable collections have been donated to or acquired by museums in their entirety – such as those of William Hunter and Sarah Sophia Banks – they have been excluded regardless of importance, for examples of their tickets (if they exist) will not come into the hands of later collectors. Beyond this, the authors freely recognise that through misjudgment or oversight certain collections may have been omitted which others consider have a persuasive claim to be represented.


Acknowledgements: This paper would not have been possible without the enthusiastic co-operation of many persons. In the museum world thanks are due to John Allan (Exeter), Dr Martin Allen (Fitzwilliam), Marion Archibald (formerly of British Museum). Donal Bateson (Glasgow), Dr Simon Beal (Liverpool), Edward Besly (Cardiff), Dr Mark Blackburn (Fitzwilliam), Frank Caldwell (Tamworth), Dr Barrie Cook (British Museum), Adam Daubney (Lincoln), Dr John Davies (Norwich), Dr Geoffrey Denford (Winchester), Dominic Farr (Stafford), Nicholas Holmes (Edinburgh), Ann Inscker (Nottingham), Dr Nicholas Mayhew (Ashmolean). Stephen Nye (Rochester), Dan Robinson (Chester), Roger Shelley (Derby), David Symons (Birmingham), Catherine Walling (Hastings), Sarah Wear (Warwick), and Stephen Whittle (Blackburn); amongst those in (or associated with) the numismatic trade, past and present, Edward Baldwin, Lloyd Bennett, Lawrence Brown, Garry Charman, Peter Clayton, Thomas Curtis, Paul Dawson, Christopher Denton, Linda Finn, Brian Grover, Robert Ilsley, Christopher Martin, Eric McFadden, Stephen Mitchell, Peter Preston- Morley, Simon Porter, Mark Rasmussen, Alan Rayner, Colin Rumney, Douglas Saville, Mark Senior, Robert Sharman, Michael Sharp, May Sinclair, Nigel Tooley, Michael Trennery, Michael Vosper and Paul Withers; and amongst numismatists. Dr Christopher Challis, William Clarke, Robert Grayburn, John Hartridge, William Lean, Robert Thompson and Peter Woodhead. Special thanks are due to Richard Varnham of Vale Coins and Terence Robertson, who generously made available their own albums of tickets, the former compiled with the help of Christopher Comber; to Ian, Lord Stewartby for help with and providing tickets for Scottish collectors, to Jenny Eaglen who typed the introduction, and to Dr Barrie Cook, Jeffrey North and Stewart Lyon, for supplying the material for Plates 11, 10 and 12, and 13 respectively. The authors take sole responsibility for errors of commission or omission to which such a potentially boundless study is inexorably prone. 1 For an obituary of Douglas Mitchell, see NCirc, April 2000, 54, and of Patrick Finn, NCirc (December, 2000), 318-19.