Managing the Collection: An Interview with Dr. Elena Stolyarik

Dr. Elena Stolyarik, Collections Manager at the American Numismatic Society, has held nearly every single one of the Society’s over 800,000 objects. As a critical member of the curatorial staff, the Collections Manager diligently maintains the Society’s vast, encyclopedic holdings of coins and currency, medals and money—all behind the scenes. Dr. Stolyarik’s background in museological, archaeological, and numismatic methods gives her a unique perspective on the purpose and function of the ANS. Prior to coming to the ANS in 1994, she led the Numismatic Department at the Odessa Archaeological Museum, excavated at Tyras on the Black Sea, and was a research associate at the University of Pennsylvania Museum of Archaeology and Anthropology. In an interview at the Society’s headquarters in New York City, Dr. Stolyarik and Assistant Director Austin Goodwin Andrews discussed her work and the particularities of the Society and its holdings.

Austin Goodwin Andrews: What is the role of the Collections Manager at a research institution like the ANS, where object care and curation are so intermingled? 

Elena Stolyarik: First of all, it means that you are a part of the professional team of one of the oldest museums and research institutions in the United States. The Society has been dedicated to researching numismatic objects and popularizing the field of numismatics since it was founded in 1858. Over the past 163 years, the Society obtained the objects in its collection from a range of sources, including from generous donations, bequests, and purchases. These and any new acquisitions should be properly maintained, preserved, and archived according to established museum practices and procedures. As the Collections Manager, I have several obligations. I register and manage documentation for all new museum objects, including accessioning and deaccessioning, cataloging, inventories, and other records. All of us in the curatorial department share responsibilities. We work as a team to ensure the collection is well cared for, documented, and made accessible to the public and for research. Because every one of us can replace each other when necessary, these are our mutual jobs.

AGA: I enjoy reading your column in the ANS Magazine with highlights of recent acquisitions. Before you write these, I know a lot of work goes into processing objects and accessioning them to be part of the Society’s collection, officially. What does the process of accessioning look like at the ANS?

ES: To accession objects, I prepare a list of gifts or purchases for the Trustees to approve. After approval, I register them, assign a group number, and then catalogue each object individually. We have a computer program set up with the correct fields. I indicate what we received and from whom we received. I write a short description and give each item its unique accession number. The curators also assign accession numbers, but I often accession Greek, Roman, and Byzantine coins and for the Medals Department.

Before we accession objects, we need to be sure that they have a proper provenance, especially for ancient and medieval coins. We need to confirm that an object was not stolen from an excavation or taken illegally out of another country; we need to be sure that nobody will claim that this is their property. After accessioning, I give materials to our exceptional photographer, Alan Roche, and I write about a few examples for the magazine. When Alan is done with photographing, we insert them into the appropriate trays in our vault. When someone visits for research or a curator needs to find something, we need to know exactly where everything sits. Objects are grouped by periods, mints, or another system. If we have twenty coins from Roman Alexandria from the second or third centuries, they need to be inserted with the other coins from this mint, according to chronology. On the back of the box, we indicate who made the donation. 

Before our move to digitizing the collection, this process was done on a card the same way books are processed in a library. Now, I register and catalogue on our computer program and this creates an electronic record. We also make records of what we’ve cataloged available publicly with high-resolution images through our online collections database, MANTIS. After that, we have another back-up record: I put all of this information in our huge accession book.

AGA: You’re also involved with exhibitions and oversee all of the loans we make to other institutions. While the ANS regularly loans objects to major museums like the Metropolitan Museum of Art here in New York or the J. Paul Getty Museum in Los Angeles, we have loans to much smaller organizations, too, like the Bechtler House in rural North Carolina. What are some interesting examples of loans you’ve helped arrange? 

ES: This is also my job: to keep track of loans, to process new loans, to renew loans, for sending insurance and loan agreements. Along with the curatorial staff, I provide consultation services, help with selections and installations of our objects, and serve as courier to the borrowing institutions to accompany our loans. Today, we have over 380 objects on view in permanent, temporary, and traveling exhibitions. We don’t have space for a big exposition here at the ANS, but we maintain our own Exhibition Hall with several cases on display to introduce our visitors to the history of numismatics. At the end of the year, the curatorial staff organizes a display with new annual acquisitions.

When we had the original screw-press for the gold Bechtler dollars in a popular exhibit at the Federal Reserve, someone visiting from the Bechtler House saw it there and coordinated requesting the loan. This unique artifact became the centerpiece in their exhibition at the historic home of Christopher Bechtler in Rutherfordton, North Carolina. This is very important because, year after year, people can now visit this house and they can see real history: not only the coins, but they can see how these coins were produced.

We had another interesting experience participating in an unusual exhibit organized by BVLGARI, known for its glamorous luxury products. This show, which was organized at their flagship store on Fifth Avenue, connected ancient Rome and the luxury brand since it was founded in Rome in 1884. It provided an opportunity to display some extraordinary objects from the ANS Roman Department, including a portrait coin of Julius Caesar and a remarkable example of a silver tetradrachm of Mark Antony and Cleopatra, among others.

We have objects at some of the best museums in the US and abroad. The Met often has objects from the ANS for temporary exhibits—such as their successful World between Empires exhibit about art and identity in the ancient Middle East—but they also prominently display our numismatic objects in their permanent exhibits.

I can think of many other interesting examples. The Jefferson Foundation at Monticello has displayed our silver Thomas Jefferson Indian Peace Medal since 1992 and War and Peace in Miniature: Medals from the American Numismatic Society was recently on temporary display at the Education Center at George Washington’s Mount Vernon. For several years, an exhibition organized by the American Museum of Natural History, called GOLD, traveled with over 70 gold coins from our collections and the Israel Museum presented a temporary exhibit with our material dedicated to the extraordinary discovery of Herod’s tomb at Herodium. The Block Museum of Art organized a traveling exhibit, Caravans of Gold, about cultural and economic exchanges across the Sahara Desert in the medieval period. This show was exhibited at the Aga Khan Museum in Toronto and then traveled to the Smithsonian National Museum of African Art in Washington, DC, where it will be on view until February 2022. All of these loans make our collection even more accessible to people around the world. Coins and medals and other objects from the ANS enrich exhibitions with sometimes very different topics.

AGA: This year has seen a lot of important discourse around how we collectively acknowledge and commemorate aspects of the past. Unlike memorial statues or public plaques, the money and medals in the ANS collection are contextualized, studied, and criticized without necessarily glorifying what they represent. How can the collection be a tool for education and deeper inquiry into these subjects? 

ES: It’s why museums are so important. Each museum aims to preserve knowledge for many generations—information which should be accessible not for one year or two years, but it should be for a thousand years. For me, it’s about the preservation of historical sources. This is our mission and it’s an educational mission. We preserve to teach. 

To examine an idea, you should use as many different sources as you can, to understand it. For history, this can include different literary sources, archaeological sources, and also numismatics. You can look at ancient coins, like the coins of Lysimachus or Ptolemy, and you can see faces. This is astonishing because you can see what they really looked like or how they wanted to be seen from thousands of years ago. I believe numismatics is a valuable kind of evidence for history and for teaching about the past. The Virginia Museum of History and Culture displayed the Society’s Butler silver medal of the Army of the James, which was given to Black soldiers in the Civil War, who were integral in winning the war and abolishing slavery in United States. It might be surprising, but this is why it’s important to see and learn the stories from these objects. 

Along with written historical sources, epigraphic, archaeological, and numismatic sources are a materialization of the past. I still believe that you cannot remove from history difficult events, that you cannot erase the past. You can only learn from it. Coins and other artifacts show us how the world really was in a particular time and place, what was valued and who was in power. Coins are not just dead objects. They can talk, if you listen—if you really want to listen. This is ultimately the purpose of our collection, to allow for this kind of careful study.

AGA: Over the years, you have supported many scholars and researchers as they access the collection to conduct their research. From your perspective, what are the most studied areas of the collection and which could use more attention? 

ES: The current most popular areas for study at the ANS are ancient numismatics, medals, and US material. A lot of people—especially from universities—visit to research ancient material because it’s the basis of their thesis or part of some study. The medieval and Islamic collections are less studied, but that, I think, is due to colleges not offering as many courses in the same way. Classes on the ancient Mediterranean exist and classes on the ancient Roman economy exist, but there are fewer programs in medieval studies like this. We have a brilliant curator of our Medieval Department, David Yoon, who is a well-educated historian, archaeologist, and numismatist. He’s currently leading our new project to digitize the medieval collection, which will put more images and updated information on our database. David does a lot to popularize this area of study and this project will open new opportunities for new research.

Because we are in the United States, there are many people interested in American history—and the ANS’s collection includes a large number of items in the US portion of the Medals Department and in the American Coins Department. On the other hand, if you look at our Summer Seminar, it’s less common for graduate students to come and research US material, even though there are many people interested in American numismatics. Right now, it’s wonderful for us to have someone who is so knowledgeable like Jesse Kraft, who is the Assistant Curator of American Numismatics. I see big potential for our new curatorial staff like him and Lucia Carbone, the Assistant Curator of Roman Coins, who is very hard-working and energetic.

Our chief curator, Peter van Alfen, is also great because he understands people, as a colleague and as an educator. His expertise in the Greek Department and passion for medallic art continues to drive the traditional areas of study at the ANS, while he also spearheads many of our recent innovations and digital efforts. All of our curators are very educated and professional; they conduct their own research and enjoy supporting other scholars and institutions for their research, too. We have very enthusiastic people here at the ANS. Along with our collection, this is our great strength.

Royal Numismatic Society Awards Gilljam Prize to George Watson

The Royal Numismatic Society has awarded its Gilljam Prize for Third-Century Numismatics to George Watson’s book, Connections, Communities, and Coinage: The System of Coin Production in Southern Asia Minor, AD 218–276 (Numismatic Studies 39). The prize, awarded every two years, recognizes the book or article that represents the best contribution to the numismatics of the third century before the reform of Diocletian.

“I am honoured to receive this prize,” Watson said, “which has been awarded to many distinguished scholars of third-century numismatics in the past. I am very grateful to the ANS for producing such a beautiful book that is worthy of this honour.”

Connections, Communities, and Coinage addresses the system of coin production in the regions of Pamphylia, Pisidia, and Cilicia during the third century AD, radically reappraising the numismatic evidence of die-sharing between cities in Southern Asia Minor.

The ANS congratulates Watson on this achievement.

Order the book from our distributors Casemate Academic (US only) and Oxbow Books (rest-of-world).

Trouble with Names

Augustus Saint-Gaudens by Kenyon Cox (Metropolitan Museum of Art)

Du Bois was a big name at the U.S. mint in the nineteenth century. Or was it DuBois? Dubois? du Bois? This kind of thing can drive you crazy when writing. (It’s worse when you have to speak these historical names aloud. In this case I was assisted by numismatic researcher Joel Orosz, who found out that the descendants pronounce it doo-BOYZ.) For guidance you can try looking at an individual’s publications, if they have any, though you might be dealing with someone like the noted numismatist Edouard Frossard (Édouard? Edward?), who didn’t help matters by putting an abbreviation of his name (Ed.) on everything. There is an excellent online tool for straightening this out, the Virtual International Authority File (VIAF), which gives the preferred forms from around the world. This works pretty well for Du Bois, but the entry (by the Library of Congress) for Frossard—Frossard, Ed.‏ ‎ (Edouard),‏ ‎1837–1899—might be helpful for catalogers but is a little less than definitive‏ for writers.

Saint-Gaudens’s signature on a letter to George Kunz in the ANS Archives

One name I always have to double-check is that of revered American sculptor Augustus Saint-Gaudens. (Hyphenated or not? Or is it St. Gaudens?) Curious about the sculptor’s own usage, I had a look at some of his documents in our collection. It seems he most often used the abbreviated St. Gaudens form when signing, though he did sometimes spell it out, as in the signature that accompanies his photograph in the book of reminiscences published by his son Homer. His wife, the similarly named Augusta, used the spelled-out form in letters she sent to the ANS. The Society sometimes rather insouciantly replied using “St.”

St. Ganden?

In one egregious blunder, the ANS not only used the St. form in the catalog for its “Million Dollar Exhibition” of 1914, but managed also to botch the spelling AND misuse a possessive, a move that must have horrified the ANS’s brand new curator Howland Wood, who I assume was responsible for the catalog. (I don’t mean to dump on Wood too much here. I could easily see something like this happening to me.)

One of the notes that accompanied plaquettes sent to those who participated in a masque honoring Saint-Gaudens at his home in Cornish, New Hampshire.

Of course, Saint-Gaudens didn’t care about such things when it came to those closest to him. Just as the personal correspondence of the Chapman Brothers tells us that, though the two coin dealers went by “Henry” and “S. H.” in business, they were always “Harry” and “Hudson” to friends and family, documents in the ANS Archives show that Saint-Gaudens was called “Gus” by his friends and relatives. (His wife was “Gussie.”) In fact, the artist refers to himself as “Stick in the Mud Uncle Gus” in one of several notes of appreciation we have from him on file.

A masque plaquette (ANS 1961.137.3)
ANS librarian and archivist David Hill admires the Roman temple built at the site of the Saint-Gaudens masque (photograph courtesy of Grace Hill).

These notes originally accompanied plaquettes the sculptor distributed to thank those who participated in a masque presented in his honor at Aspet, his home in Cornish, New Hampshire, an elaborate affair featuring music composed by Arthur Whiting and masks by Maxfield Parrish, who also appeared in the production. The masque was performed in 1905 at a temple resembling a Roman alter built onsite for the occasion, which is reproduced on the plaque. The decaying original plaster temple was replaced in 1914 by a marble one designed by William Kendall of McKim, Mead & White, and this is where the ashes of Saint-Gaudens and his wife and son are interred. The Cornish site is now a U.S. national park—one I highly recommend visiting.

The Aedes of Vesta on Cistophori of C. Fannius

Anyone who has been paying attention to the ANS Pocket Change blog or to the ANS Magazine over the last while will be aware that over the course of this year a lot of work has been going on with respect to the large body of numismatic material left to the American Numismatic Society by Rick W. Witschonke in 2015. This includes 524 (14% of the collection) cistophoric tetradrachms and fractions struck for use in the Hellenistic Attalid kingdom and the Roman province of Asia that it became after 133 BC (Fig. 1).

Figure 1. Silver cistophorus (Pergamum, ca. 166–160 BC). ANS 2015.20.1210 (Witschonke collection).

Of the cistophori, named for the cista mystica that serves as the standard obverse type, 146 (27% of the cistophori in the collection) belong to a special class known as Later Republican cistophori. These were struck in the relatively brief period from 58 to 49 BC and are distinguished by their inclusion of the names of Roman governors written in Latin. Issues naming T. Ampius Balbus (58–57 BC) and C. Fannius (49 BC) are also notable for their modifications to the traditional cistophoric reverse type. On coins of Balbus the traditional bowcase of Heracles on the reverse is replaced by a tripod (Fig. 2) while on those of Fannius it is replaced by a tholos temple surmounted by a female figure holding a patera and a scepter (Fig. 3).

Figure 2. Silver cistophorus of T. Ampius Balbus (Tralles, 58–57 BC). ANS 2015.20.36 (Witschonke collection).
Figure 3. Silver cistophorus of C. Fannius (Ephesus, 49/8 BC). ANS 2015.20.90 (Witschonke collection).

Curiously, the depiction of this temple, which seems very similar to the aedes of Vesta in Rome (Fig. 4), has excited relatively little interest in the major numismatic studies of the coins.

Figure 4. The remains of the aedes of Vesta in the Forum Romanum.

In the January 1973 issue of the American Journal of Archaeology, Jane Cody argued that Fannius’ temple should indeed be identified with the aedes of Vesta on the basis of Roman Republican denarii of Q. Cassius Longinus (RRC 428) struck in 55 BC. These depict a virtually identical temple that almost certainly represents the aedes of Vesta (Fig. 5).

Figure 5. Silver denarius of Q. Cassius Longinus (Rome, 55 BC). ANS 1948.19.203.

The moneyer’s ancestor, L. Cassius Longinus Ravilla, served as prosecutor in the infamous second trial of the Vestal Virgins for failure to honor their vows of chastity in 113 BC. In the 2007 volume of Klio, Linda Zollschan argued that the edifice alluded to the events of 61 BC, in which Fannius and two other members of the college of pontifices (Fannius is consistently described as pontifex on his cistophori) brought the politically-motivated indictment against P. Clodius Pulcher for profaning the female-only rites of the Bona Dea—an important goddess of the Roman state who enjoyed the special patronage of the gens Fannia.  Thus, the temple on Fannius’ cistophori should be identified as the temple of the Bona Dea for Roman political reasons and because, in Zollschan’s view, its design and the appearance of the statue that surmounts it are not appropriate for the aedes of Vesta. She cites several dissimilarities:

1. The aedes of Vesta in Rome had 20 columns and only six are depicted on the temple on Fannius’ cistophori—hardly a convincing argument since the unequivocal aedes of Vesta on the denarius of Cassius is also depicted with six columns as a means of revealing the interior.

2. The denarii of Cassius depict the aedes of Vesta with Corinthian column capitals while Fannius’ temple has Ionic capitals. However, close inspection of numerous specimens of Fannius’ cistophori shows that in many cases, the capitals are actually Corinthian and that the “Ionic” capitals are really Corinthian capitals with overly prominent volutes.    

3. The aedes of Vesta in Rome was mounted on a podium, but the temple on Fannius’ coins has no podium—and yet the aedes of Vesta on Cassius’ coinage also lacks a podium.

4. The statue atop Fannius’ temple is not appropriate for a representation of Vesta. This is a rather more serious argument since specimens exist in which it is very clear that the female image is not veiled—the primary attribute of Vesta (an especially impressive and clear example appears in a recent update to a blog post on Fannius’ temple by Liv Yarrow). This being said, I have not yet been able to find an example of Cassius’ denarius in print or in CRRO or Coin Archives where it is possible to determine whether the statue on the aedes of Vesta is veiled or not.

Zollschan attempted to identify the statue on Fannius’ temple as the Bona Dea on the basis of her scepter and patera—both rather generic attributes—and a supposed serpent at the top of the scepter that she described as visible on one specimen. However, a close examination of the coin image suggests that what she was seeing as a serpent is really the arm of the figure holding the scepter. She also fails to note that the most prominent attribute of the Bona Dea is her cornucopia (Fig. 6)—something that is entirely lacking from the coins.

Figure 6. Inscribed marble statue of the Bona Dea.

Based on the preceding, and on the probability that the die engravers for Fannius’ temple were using a denarius of Q. Cassius Longinus as a model, Cody’s case for the aedes of Vesta still seems quite strong. The potential problem of the female statue may perhaps be mitigated by Flavian aurei that depict the aedes of Vesta in the form it took after its rebuilding under Nero (Fig. 7).

Figure 7. Gold aureus of Vespasian depicting the aedes of Vesta (Rome, AD 73). ANS 1956.184.26.

Here the shrine is shown with only four columns(!) and the cult image of Vesta standing inside. She appears to hold a patera and scepter, but again, it is very difficult to tell if she is actually veiled although we would expect it. Other female statues stand to the left and the right of the aedes, which presumably represent deities other than Vesta. Interestingly, the statue on the right also appears holding a patera and scepter in the same manner as the statue on Fannius’ temple, thus raising the possibility that it could still represent the aedes of Vesta without the image of Vesta necessarily surmounting it.

If Fannius’ temple on the cistophori is indeed the aedes of Vesta and the image was copied from the coinage of Cassius, we must then ask why this model was used. It is tempting to suggest that the denarius type may have provided a convenient image of a Roman temple and was used simply to emphasize Fannius’ status as pontifex. Alternatively (or simultaneously?) the temple may have been intended as a punning reference to Fannius’ name (fanum was a somewhat generic Latin term for a temple or shrine).

It is unclear whether there may have been any political motivation in borrowing Cassius’ type. In 49 BC, Q. Cassius Longinus had become tribune of the plebs with the support of Julius Caesar. Fannius, on the other hand, was clearly a Pompeian at the time of the Bona Dea affair in 61 BC. Subsequent events suggest that he may have changed his political alignment. Cicero implicates Fannius in an alleged plot against Pompey (Att. 2.4) in 59 BC and identifies him as a legate sent to Sextus Pompey by the triumvir M. Lepidus in 43 BC (Philipp. 3.16), all of which might imply an association of Fannius with the Caesarean faction in the 50s and much of the 40s BC. However, Fannius was a political opportunist, and in late 43 BC he switched his allegiance again and became a leading supporter of Sextus Pompey in Sicily. This lasted until 36 BC, when it became clear that the Pompeian cause was doomed and Fannius then threw in with Mark Antony. Thus, it seems not impossible that Fannius’ reuse of Cassius’ image of the aedes of Vesta in 49 BC could have served as a somewhat oblique declaration for Caesar through the person of his tribune of the plebs. It would have been very timely for Fannius to do so considering that he probably departed to take up his position as governor of Asia just as, or not long after Caesar cast his die and the Roman state began its descent into civil war.

A Caffeinated Tour of the ANS Collection

In the world of humorous coffee shop signs, there is one that has always rung particularly true for this numismatic devotee: “I Don’t Drink Coffee To Wake Up, I Wake Up To Drink Coffee.”

For many, coffee and tea drinks are mere caffeine delivery systems with varying levels of real or artificial sucrose. For others, they are magical brews sent down from on high, and possess an elevated status on par with the finest Grand Crus of Burgundy and the rarest of Scottish single malts. The truth of course lies somewhere in the middle, but after coming across a coffee-themed Civil War merchant token ultimately destined for the American Numismatic Society’s eBay store, it begged the question as to what other coffee or tea-related objects reside in the Society’s vast collection. Let us embark, then, on a kind of “world tour” as it were, to sample a few of the coins, tokens, and medals linked to the consumption of coffee or tea (sometimes both on the same object). These are presented with limited commentary, to illustrate the kind of broad searches that can be performed within the American Numismatic Society’s MANTIS database.

The Civil War merchant token that inspired this post. Note the similarity of the merchant’s name to that of the author’s, although there is no (known) familial connection to the issuer of this token.

Islamic Department

Given that both coffee and tea were not introduced to Europe until the end of the 15th century and early 16th century respectively—interestingly, both sources of caffeine made landfall in Europe just decades apart—it is not surprising that a cursory search of the Greek, Roman, and Byzantine Departments do not yield any numismatic specimens with which this blog post is concerned. Suffice it to say, we are starting our journey in the Islamic Department, fitting when considering that the first historical accounts of coffee have its origins situated in present-day Yemen. That said, there are several fascinating (if not apocryphal) stories about coffee’s birthplace belonging to Ethiopia instead, which the reader is highly encouraged to explore on their own. Tea, of course, is just as popular as coffee (perhaps more so) in many Middle Eastern countries, so it is equally fitting that the first object on our numismatic tour is actually a bronze Iranian tea house token circa 1945–1956, an interesting piece that the author is keen to learn more about.

East Asian Department

Our next stop is the East Asian Department, more specifically China, the undisputed birthplace of tea, or Camellia sinensis. Here we also have a tea house token, this time in a copper alloy, oval-shaped, and uniface, with the reverse having an incuse impression of the characters on the obverse. It was issued by the Chung Ch’eng Tea House. Also featured is a wonderful tea brick produced by the Chao Li Qiao Brick Tea Manufacturing Company, circa 1875–1925. Although they are one of the few types of edible currencies known to circulate, the tea bricks that are still produced today have lost their role as a commonly accepted medium of exchange. According to the passage on brick tea in Robert D. Leonard’s Curious Currency, tea bricks came in various sizes, and mostly served the areas of eastern Tibet, Mongolia, and Siberia throughout the 19th century, and even into the early 20th century. Additionally, some tea bricks were of better or lesser quality depending on where they were intended to circulate, and whether the bricks contained Russian Cyrillic inscriptions or Chinese ones.

South Asian Department

If the reader is noticing a trend with respect to tea dominating the tokens found in the Islamic, East Asian, and now South Asian Departments, this is a function of the importance that tea plays in this region of the world, although one should not underestimate the popularity of coffee in countries such as Japan, Korea, and Vietnam, as well as in some Pacific Island nations (e.g., Hawaii) and Australia. The following bronze token was produced by the Lungla (Sylhet) Tea Co. Ld. Lungla Division, circa 1879–1900, and likely played a similar role as the previous tokens, either as advertising pieces, or tokens that could be exchanged for goods.

Modern Department

Crossing the threshold into the Modern Department, we see a shift to coffee-themed tokens, although there is no shortage of tea-related objects in MANTIS as well. First is a copper alloy token dated 1671 featuring the bust of an Ottoman Turk and “Solyman” on the obverse, almost certainly alluding to Suleiman I ‘The Magnificent’ (1494–1566), the longest-reigning Sultan of the Ottoman Empire, despite this token being issued by “Wards Coffee House” more than 100 years after the death of Suleiman I. Next is a copper alloy token dated slightly earlier (1669) issued by Charles Kiftell to advertise their “Coffee House In Cheap Side” by displaying a hand pouring a fresh cup of coffee into an eagerly-awaiting cup. What better call-to-action could a proprietor pick to advertise a drink that was (purportedly) declared fit for Christians to drink by Pope Clement VIII (1536–1605) a mere 69 years earlier in 1600—although the reader is encouraged to take this story with a grain of salt, or perhaps a pinch of sugar in the case of coffee. Lastly we have an undated but definitely modern-era aluminum token for an aptly named “Coffee Bar” in Regina, Saskatchewan, Canada—a purely utilitarian token versus one meant for advertising, as this piece was issued by the Saskatchewan Government Insurance Office.

ANS 1951.194.169
ANS 1967.159.836

United States Department

Representing the United States, highlighted here are two different tokens—although they are almost medal-like in their artistry—produced for the Union Coffee Co. Limited of New York in the 2nd half of the 19th century. One token, in white metal with proof-like surfaces, displays the head of a woman on the obverse, while the other token, in hard red rubber, boasts the bust of U.S. President John Adams. The “Alaroma” and “Bunola” on the obverse of both tokens refer to the two most popular brands of coffee that the Union Coffee Company produced. The company was a prolific issuer of tokens, and the hard rubber or vulcanite types featuring different U.S. Presidents were often released in multiple color varieties.

The final object representative of the United States is also representative of Canada, as it is a paper advertisement for a Buffalo, New York “Coffee House” pasted onto the obverse of an 1859 Canadian large cent—not wholly unsurprising given Buffalo’s proximity to the Canadian border. Also interesting is the volume of information the business chose to include; it’s evident they wanted to make the most of the large cent’s real estate by advertising the prices of no less than 10 items on this repurposed coin-token.

ANS 1936.18.10
ANS 1934.42.1

Latin America Department

Latin America is of course very well-known for their coffee production, so it should come as no great shock that several paper notes from Latin American countries contain printed engravings detailing various facets of coffee farming and production. On the reverse of this 1965 paper 5-Colon note of Costa Rica, a figure is seen drying unroasted “green” coffee beans in the sun, one of many steps required to get coffee from a farm to a consumer’s cup, a process wherein the final product often ends up many thousands of miles away from where it began.

Medals Department

Rounding out our “world tour” is another object from Latin America, but more specifically from the Medals Department. It is a simple but elegant medal featuring a coffee leaf, coffee flower, and coffee “cherry” (the fruit that encapsulates the two “beans” found in each cherry) along with the inscription “Uruguay-Brazil 1903” on the obverse, and three flowers and a cherry on the reverse.