The Iconography of Early Anglo-Saxon Coinage

Sixth to Eighth Centuries

Nonfiction, Home & Garden, Antiques & Collectibles, History, British, Art & Architecture, General Art
Cover of the book The Iconography of Early Anglo-Saxon Coinage by Anna Gannon, OUP Oxford
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Anna Gannon ISBN: 9780191501333
Publisher: OUP Oxford Publication: April 24, 2003
Imprint: OUP Oxford Language: English
Author: Anna Gannon
ISBN: 9780191501333
Publisher: OUP Oxford
Publication: April 24, 2003
Imprint: OUP Oxford
Language: English

This is the first scholarly art-historical appraisal of Anglo-Saxon coinage, from its inception in the late sixth century to Offa's second reform of the penny c.792. Outside numismatic circles, this material has largely been ignored because of its complexity, yet artistically this is the most vibrant period of English coinage, with die-cutters showing flair and innovation and employing hundreds of different designs in their work. By analysing the iconography of the early coinage, this book intends to introduce its rich legacy to a wide audience. Anna Gannon divides the designs of the coins into four main categories: busts (including attributes and drapery), human figures, animals and geometrical patterns, presenting prototypes, sources of the repertoire and parallels with contemporary visual arts for each motif. The comparisons demonstrate the central role of coins in the eclectic visual culture of the time, with the advantages of official sanctioning and wide circulation to support and diffuse new ideas and images. The sources of the motifs clarify the relationship between the many designs of the complex Secondary phase (c.710-50). Contemporary literature and theological writings often offer the key to the interpretation of motifs, hinting at a universal preoccupation with religious themes. The richness of designs and display of learning point to a sophisticated patronage with access to exotic prototypes, excellent craftsmanship and wealth; it is likely that minsters, as rich, learned, and well-organized institutions, were behind some of the coinage. After the economic crises of the mid-eighth century this flamboyant iconography was swept away: with the notable exeption of the coins of Offa, still displaying exciting designs of high quality and inventiveness, reformed issues bore royal names and titles, and strove towards uniformity.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

This is the first scholarly art-historical appraisal of Anglo-Saxon coinage, from its inception in the late sixth century to Offa's second reform of the penny c.792. Outside numismatic circles, this material has largely been ignored because of its complexity, yet artistically this is the most vibrant period of English coinage, with die-cutters showing flair and innovation and employing hundreds of different designs in their work. By analysing the iconography of the early coinage, this book intends to introduce its rich legacy to a wide audience. Anna Gannon divides the designs of the coins into four main categories: busts (including attributes and drapery), human figures, animals and geometrical patterns, presenting prototypes, sources of the repertoire and parallels with contemporary visual arts for each motif. The comparisons demonstrate the central role of coins in the eclectic visual culture of the time, with the advantages of official sanctioning and wide circulation to support and diffuse new ideas and images. The sources of the motifs clarify the relationship between the many designs of the complex Secondary phase (c.710-50). Contemporary literature and theological writings often offer the key to the interpretation of motifs, hinting at a universal preoccupation with religious themes. The richness of designs and display of learning point to a sophisticated patronage with access to exotic prototypes, excellent craftsmanship and wealth; it is likely that minsters, as rich, learned, and well-organized institutions, were behind some of the coinage. After the economic crises of the mid-eighth century this flamboyant iconography was swept away: with the notable exeption of the coins of Offa, still displaying exciting designs of high quality and inventiveness, reformed issues bore royal names and titles, and strove towards uniformity.

More books from OUP Oxford

Cover of the book Fiction and Narrative by Anna Gannon
Cover of the book Governance of Addictions by Anna Gannon
Cover of the book How the Mind Comes into Being by Anna Gannon
Cover of the book Oxford Figures by Anna Gannon
Cover of the book Unsettled Toleration by Anna Gannon
Cover of the book FRCR Part 1: Cases for the anatomy viewing paper by Anna Gannon
Cover of the book Iran: A Very Short Introduction by Anna Gannon
Cover of the book Sports Psychiatry by Anna Gannon
Cover of the book Bad Language by Anna Gannon
Cover of the book EU Administrative Law by Anna Gannon
Cover of the book Italy 1636 by Anna Gannon
Cover of the book A Vindication of the Rights of Men; A Vindication of the Rights of Woman; An Historical and Moral View of the French Revolution by Anna Gannon
Cover of the book Thirty Years of Economic Policy by Anna Gannon
Cover of the book Little Soldiers by Anna Gannon
Cover of the book Moonstruck by Anna Gannon
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy