Irish Money
This is not a book for coin collectors; it is for the ordinary person who would like to have a keepsake of times gone by.
Here is a collection of all the different Banknotes and Coins used in Ireland from 1928 to the present Euro. The Banknotes are presented in their actual size and in their original colour. At the end of each chapter there is technical information about the notes or coins.
Ireland’s first Banknote set 1928 to 1977
Ten Shilling Note, with the portrait of Hazel Lavery
Reverse side of this note has an image of the “Blackwater� River Head The dimensions of this Banknote are 77.79mm by 138.1mm
Pound Note, with the portrait of Hazel Lavery
Reverse side of this note has an image of the “Lee� River Head The dimensions of this Banknote are 84.14mm by 150.8mm
Five Pound Note, with the portrait of Hazel Lavery
Reverse side of this note has an image of the “Lagan� River Head The dimensions of this Banknote are 92.08mm by 165.1mm
Ten Pound Note, with the portrait of Hazel Lavery
Reverse side of this note has an image of the “Bann� River Head The dimensions of this Banknote are 107.95mm by 190.5mm
Twenty Pound Note, with the portrait of Hazel Lavery
Reverse side of this note has an image of the “Boyne� River Head The dimensions of this Banknote are 114.3mm by 203.2mm
Fifty Pound Note, with the portrait of Hazel Lavery
Reverse side of this note has an image of the “Shannon� River Head The dimensions of this Banknote are 114.3mm by 203.2mm
One Hundred Pound Note, with the portrait of Hazel Lavery
Reverse side of this note has an image of the “Erne� River Head The dimensions of this Banknote are 114.3mm by 203.2mm
There were two types of Banknotes First type had the following text at the bottom of each note (value) STERLING PAYABLE TO BARER ON DEMAND IN LONDON. The text was in Irish and English From 1928 to 1962 The promise was replaced with the value of the note in Irish and English
The Lady Hazel Lavery Story The most striking feature of the legal tender notes of the Irish Free State and the early issues of the Central Bank of Ireland is the portrait of Lady Lavery. While the portrait of Lady Lavery is well known, it was never intended that her image should be recognized on the Irish notes that circulated from 1928 until the late 1970s. The original intent was that the vignette on the notes should depict a typical Irish Cailín (Girl). However, the intention was lost and history records that an American lady adorns the notes. How did this happen? In 1921 the Irish Free State was established. After several years it was decided to reform the currency issued in Ireland as, until that time, banknotes were issued by the commercial banks—as they are today in Scotland and Northern Ireland. These notes were not legal tender, they were simply promises to pay by the banks. In 1927 it was decided to introduce legal tender notes and to reform the notes issued by the banks, which were to become ‗The Consolidated Banknotes‘. (The Consolidated Banknotes became known as the ‗Ploughman‘ notes, because of the ploughman illustrated on the front of the notes.) The committee chosen to advise on the design of both the Legal Tender Notes and the Consolidated Banknotes was Thomas Bodkin, Director of the National Gallery of Ireland, Dermod O‘Brien, President of the Royal Hibernian Academy, and Lucius O‘Callaghan, a former Director of the National Gallery. In late 1927 the ‗Note Committee‘ petitioned Sir John Lavery to provide a portrait of an archetypical Irish Cailín to adorn the notes. The choice of Sir John Lavery (1856 – 1941) to provide the portrait was no accident. Born in Belfast, by the 1920s Lavery had become the greatest contemporary portrait painter in Ireland. He had studied in Glasgow, London and Paris, and worked throughout the continent and in England. His works had been acquired by the National Portrait Gallery in London, the Louvre, and other European galleries. In 1921 he was elected to the Royal Academy and in the late 1920s he was at the height of his success. As the pre-eminent Irish portrait artist, he was well known to members of the ‗Note Committee‘. Indeed, in August 1927, Lavery had written to Thomas Bodkin, indicating a desire to donate thirty of his works to the National Portrait Gallery in Dublin. Shortly after this communication, the ‗Note Committee‘ approached Lavery to
paint the Cailín. In a letter to Bodkin dated 30 December 1927, Lavery states that the Committee asked ‗that I should design a head for them, preferably I take it, one of my wife‘ to be used on the new Irish currency. Lady Lavery had written to Bodkin a few days earlier, evidently in reply to his proposal, in the following terms: ‗I really feel that you are too kind and generous when you suggest that my humble head should figure on the note, and you know I said from the first that I thought it wildly improbable, unlikely, impractical, unpopular, impossible that any committee would fall in with such a suggestion. Indeed apart from anything else I think a classic head, some Queen of Ireland, Maeve, perhaps would be best, someone robust and noble and fitted for coinage reproduction ...‘ (Interestingly, when Lady Lavery‘s image was finally removed from the notes, Queen Maeve, or Medb, was depicted on the one-pound note.) Hazel, Lady Lavery (1880 – 1935) was Sir John‘s second wife, his first wife having died shortly after giving birth to their daughter. Lady Lavery was the daughter of an American industrialist, Edward Jenner Martyn of Chicago, and her marriage to Lavery was also her second marriage, being the widow of Dr. Edward Livingstone Trudeau of New York. Lavery often acknowledged the contribution of his wife to his career. She mixed easily in the upper echelons of society and Lavery believed that many of his commissions were due to his wife. She was known to chat with the subjects of her husband‘s portraits during their sittings. In preparing the portrait for the note, it was Lavery‘s intention to produce a painting of Cathleen ni Houlihan, the legendary heroine who had been made popular by William Butler Yeats. Interestingly, Lavery was known to have in his possession at his death a portrait by Sean Keating, a young Irish artist, which was titled ‗Cathleen ni Houlihan‘. It is possible that ownership of this painting predated his commission by the Note Committee and this work may have influenced his portrait. Lavery worked on his portrait over Christmas 1927 and evidently sent a photograph of the painting to the Note Committee. However, he was unhappy with the portrait and commenced alterations. Lady Lavery wote to Thomas Bodkin at the end of February: ‗... John greatly improved the ―note‖ head and altered the size by reducing the drapery around the head and making it less clumsy about the chin: he also accentuated certain things about the face, and had it re-photographed. They received instructions from him to use their latest photograph and to reproduce the alterations he had made in their final design ...‖
The final portrait shows ‗Cathleen ni Houlihan‘ leaning on a Cláirseach (Irish harp), supporting her chin in her hand. She is dressed in simple Irish clothing, with the lakes and mountains of Ireland in the background. According to Kenneth Mc Conkey, in his book Sir John Lavery, the portrait is not typical of Lavery‘s work. Mc Conkey states ‗... it lacks the active paint surface which characterises the immediacy of his style. Its colours are dull and muted and in general terms, the work has something of a mural like quality ... These stylistic devices obviously made it easier for the work to be photographed and then engraved‘. The original portrait of Lady Lavery, which is a mirror image of the portraits on the notes, is today in the possession of the Central Bank of Ireland. As it transpires, there are two portraits of ‗Cathleen ni Houlihan‘ that appear on the banknotes. Sir John‘s complete half-length portrait, with Lady Lavery supporting her chin in her hand, appears on the 10-, 20-, 50- and 100-pound notes. A smaller portrait of Lady Lavery‘s head and shoulders, without her hand on her chin, appears on the 10-shilling, 1- and 5-pound notes. It is believed that the smaller portrait was adapted from Lavery‘s lager portrait by Mr. John Harrison, the chief portrait engraver of Waterlow and Sons Limited, the manufacturers of the notes. It is intriguing that the portrait on the Irish banknotes is now universally acknowledged as ‗Lady Lavery‘ whenever the notes are discussed. The depiction of an American on an Irish note is a far cry from the object of the Currency Commission, which requested an archetypical Irish girl, and perhaps further still from the Irish heroine, Cathleen ni Houlihan, that Sir John Lavery intended to depict. However, from the correspondence to Thomas Bodkin by Lavery and his wife, it is possible to deduce that Bodkin always desired Lady Lavery‘s image on the notes, despite the official request for the Cailín.
Riverheads of Ireland (Heads of the River Gods) James Gandon's Custom House in Dublin is considered by many to be Ireland's greatest architectural masterpiece. Standing alongside the river Liffey it was built in the 1780's overlooking what was then the main docks. Gandon employed Edward Smyth to carry out the sculpture work for the building. Included amongst this work are fourteen heads on the keystones of arches of the main doorways and windows. These magnificent carvings represent thirteen of the most important rivers in Ireland and the Atlantic Ocean.
Shannon Riverhead The greatest of the Irish rivers - the lordly Shannon features oak leaves and acorns, themselves symbols of strength and nobility. The trident represents Limerick Cit y's sovereignty over the mighty estuary.
Bann Riverhead The Bann head has a happy smiling face above which is a turban of linen representing the important flax growing and linen weaving industries of the upper reaches. The head also features pearls and berries.
Liffey Riverhead The Liffey is the only female riverhead and occupies the place of honour facing onto the quays and the river. The face is crowned by flowers and fruits and superimposed by a trident representing the city's powers over the waters of Dublin Bay and the Irish Sea.
Barrow Riverhead The face is very sullen with a long drawn mouth. The beard features many small fish. A sheep with its forelegs hanging down adorns the top of the head with an urn at either side.
Lagan Riverhead The Lagan face is relatively young as Belfast City was in the 1780's. Beneath the face are folds of linen representing the main industry of the area. The head is crowned by two intertwined swans above flowers and bulrushes.
Blackwater Riverhead This head features a basket of apples. In eighteenth centuryWaterford County was renowned for its cider making. Immediately above the eyes is a multitude of small fishes.
Lee Riverhead The sea trade through Cork and Cobh, one of the most important ports in Ireland, is portrayed above the Lee. An upturned anchor is shown between the prows of two ships with truncated bowsprits. The ships are laden with barrels and bales.
Boyne Riverhead The Boyne head features the date "1690" - the year of the battle of the Boyne when Catholic King James was defeated by King William (Billy) of Orange.
Nore Riverhead The Nore, a relatively slow moving river, is represented by a sleeping yet strong face and features above it a fishing net.
Erne Riverhead The River Erne head is surmounted by an abundance of varied fish life which can be found along the river's course through a myriad of lakes.
Slaney Riverhead The Slaney head embellishments portray the one time abundance of shell fish in Wexford Harbour and features a very large crab.
Foyle Riverhead The Foyle head takes for its embellishment the historic siege and relief of the City of Derry which lies at the mouth of the river in Lough Foyle. A strong face is surmounted by a headband bearing the date "1689" above which is a representation of the relieving force breaking through an enormous chain stretched across the river between castle fortresses.
Suir Riverhead All the ornamentation of the River Suir concerns the wool trade. Above the face is draped the fleece of a sheep and three bobbins surmounting folds of cloth.
Atlantic Ocean The head representing the Atlantic Ocean features Neptune's trident upholding a crescent shaped moon, indicative of the relationship between the moon and the tides. To one side is a compass chart and to the other is the compass box top bearing the name "Atlantic". There is a string of pearls above the eyebrows. Dolphins intermingle with the beard.
Ireland’s second Banknote set 1976 to 1983
Pound Note, with the portrait of Queen Meadhbh
Reverse side of this note has an image of “Irish Script� The dimensions of this Banknote are 78mm by 148mm
Five Pound Note, with the portrait of Johannes Scotus Eriugena
Reverse side of this note has an image of “Irish Script� The dimensions of this Banknote are 82mm by 156mm
Ten Pound Note, with the portrait of Dean Jonathan Swift
Reverse side of this note has an image of “Irish Map� The dimensions of this Banknote are 86mm by 164mm
Twenty Pound Note, with the portrait of William Butler Yates
Reverse side of this note has an image of “Irish Island� The dimensions of this Banknote are 90mm by 172mm
Fifty Pound Note, with the portrait of Turlough O’ Carolan
Reverse side of this note has an image of “Organ Carvings� The dimensions of this Banknote are 94mm by 180mm
One Hundred Pound Note was never issued
Series B 1976 to 1982 History of Ireland The Series B Banknotes of the Republic of Ireland replaced the Series A Banknotes. The banknotes were issued between 1976 and 1982 by the Central Bank of Ireland, the series was replaced in 1993 by Series C Banknotes. The Central Bank announced its intention for the new banknotes in December 1971 and Servicon, an Irish design company, was employed to design the notes of the denominations; £1, £5, £10, £20, £50 and £100. The £100 note was never issued or circulated, this remains somewhat of an idiosyncrasy in the issue of Irish banknotes as this is the only series without a note of this denomination. The theme chosen for these notes was history of Ireland, and each note featured the portrait of a person with this theme in mind from a particular era from historic to modern and complementing visual elements. The female head painted by Sir John Lavery was retained from Series A, it is contined in the unprinted space. Each banknote has the signature of the Governor of the Central Bank of Ireland and the Secretary of the Department of Finance. During much of the period of circulation of this series, foreign exchange controls prohibited the export of any notes larger than £20 from the Republic.
One Punt The green one pound note had a portrait of Medb, the legendary Queen of Connaught in Irish mythology. Also a pre-Christian geometric design based on those found on bone slips is used in on the note, the background is an excerpt from the Tรกin. The reverse had a decorated excerpt from Lebor na hUidre, the oldest surviving Irish manuscript, with some red in addition to the dominant green. The dimension of the notes are 78.0 X 148.0 millimetres. The one pound note was removed from circulation from June 1990 as it became replaced by the Irish pound coin, this note was the final one pound note to be circulated and it was the first note of Series B to be removed from circulation. Five Punt The orange five pound note had a portrait of Johannes Scotus Eriugena, the philosopher and theologian, of the ninth century. The letter A from the start of Psalm 17 of the Psalter of Ricemarcus is used against the Book of Durrow. The reverse featured an adaptation of animal and script extracts from the Book of Kells, an eighth century copy of the gospels. The dimension of the notes are 82.0 X 156.0 millimetres. In addition to the dominant orange, red and brown is used on both sides of the note.
Ten Punt The purple ten pound had a portrait of Dean Jonathan Swift the poet and satirist. The background contains a reproduction of the Aras of Dublin from a city council resolution against a letter by Swift from April 1735. The reverse had a portion of a map of Dublin which was published by John Rocque in 1756. Great Abbey Street and Astons Key - now known as Middle Abbey Street and Aston Key repectively are shown as well as the River Liffey. The dimension of the notes are 86.0 X 164.0 millimetres. The note consists of shades of purple - three shades on the front and two on the back. Twenty Punt The blue twenty pound note had a portrait of William Butler Yeats, the poet, dramatist, and mystic together with a representation of the mythological hero Cuchulainn, based on the motif used by the Abbey Theatre. The background is of a Deirdre, a Yeats manuscript. The reverse had image the Blasket Islands, off County Kerry with the background of An tOileanach by Tomas O Criomthain. The dimension of the notes are 90.0 X 172.0 millimetres. The note consists of shades of blue - six shades on the front and four on the back.
Fifty Punt The red-brown fifty pound note had a portrait of Turlough O'Carolan, the blind Irish harper and composer, with the background from Timbrell. The reverse had a design based on the wood carvings on the organ loft of St. Michan's Church, Dublin. The dimension of the notes are 94.0 X 180.0 millimetres. Using the red-brown colours it is set using five shades on the front and four on the back. The hundred pound note was never issued, the "Series A" ÂŁ100 note remained in circulation.
Ireland’s third Banknote set 1992 to 2001
Five Pound Note, with the portrait of Catherine Mc Auley
Reverse side of this note has an image of “Classroom� The dimensions of this Banknote are 64mm by 120mm
Ten Pound Note, with the portrait of James Joyce
Reverse side of this note has an image of “River Head� The dimensions of this Banknote are 68mm by 128mm
Twenty Pound Note, with the portrait of Daniel O’ Connell
Reverse side of this note has an image of “Four Courts� The dimensions of this Banknote are 72mm by 136mm
Fifty Pound Note, with the portrait of Duglas Hyde
Reverse side of this note has an image of “Conradh na Gaeilge� The dimensions of this Banknote are 67mm by 144mm
One Hundred Pound Note, with the portrait of Charles Stewart Parnell
Reverse side of this note has an image of “Parnell Monument� The dimensions of this Banknote are 80mm by 152mm
Series C, 1992 to 2001 People of a modern Ireland, The Series C Banknotes of the Republic of Ireland were the final series of notes created for the state before the advent of the Euro, it replaced Series B Banknotes
Banknotes The notes were commission by the then Central Bank of Ireland, in five denominations. The Central Bank held a limited competition in 1991 and invited nine Irish artists having decided on the theme itself previous to invitation. The designs of Robert Ballagh were chosen, and his designs were used in all the denominations to follow a unified design pattern. The theme for this series was people who contributed to the formation of a modern Ireland, and to this effect it includes politicians, a language, literary and religious figure. The political figures do not include anyone directly associated with the Irish War of Independence, which eventually lead to the creation of the Irish Free State, as this might have proved controversial both because of the war itself and its aftermath, the Irish Civil War. These notes were notable as they incorporate a number of sophisticated features for security, and the partially sighted and blind not previously seen on banknotes in Ireland.
Five Punt The five pound note was first issued on April 1994 and last in 2000. The front of the note features Catherine McAuley who founded the Sisters of Mercy, the background features the Mater Misericordiae Hospital, Dublin which was founded by the Sisters of Mercy. (The placing of the notes' value led to jokes about "a nun with a price on her head".) The back of the note features three children in a classroom. The first verse of the poem "Mise Raifteri an File" is presented on the blackboard in Gaelic script. A map of Europe, without political boundaries, is at the back. The dominant colour of the banknote is brown and blue, its dimensions are 120.0 x 64.0 millimetres.
Ten Punt The ten pound note was issued in September 1993 and last in 2000. The front of the note features James Joyce, the background features Dublin and Wicklow, particularly Dublin Bay. The back of the note features one of the heads on The Custom House, Dublin by Edward Smyth. The head is one of fourteen and believed to represent the River Liffey. A nineteenth century map and part of "Finnegans Wake" also feature. The dominant colour of the banknote is green, its dimensions are 128.0 x 68.0 millimetres. Twenty Punt The twenty pound note was issued in November 1992 and last in 2000. The front of the note features Daniel O'Connell from the nineteenth century, the background features Derrynane Abbey, County Kerry. The back of the note features a pledge signed in 1845 by a number of early Irish statesmen, the Four Courts features in the background. The dominant colour of the banknote is violet, its dimensions are 136.0 x 72.0 millimetres. Fifty Punt The fifty pound note was issued in November 1995 and last in 2000. The front of the note features Douglas Hyde, first President of Ireland, the background features Ă ras an UachtarĂĄin set against the interior of the base of the Ardagh Chalice. The back of the note features a piper and the seal of Conradh na Gaeilge. An except from a sixteenth century manuscript kept by the Royal Irish Academy also features. The dominant colour of the banknote is blue, its dimensions are 144.0 x 76.0 millimetres. Hundred Punt The hundred pound note was issued in September 1996 and last in 2000. The front of the note features Charles Stewart Parnell, the background has a view of his residence Avondale House of Rathdrum, County Wicklow. A hound also features. The back of the note features part of the Parnell Monument, O'Connell Street, Dublin. The signature of Parnell is the one which he used in response to the Home Rule Bill The dominant colour of the banknote is red and green, its dimensions are 152.0 x 80.0 millimetres.
Ireland’s first Coin set 1928 to 1971
Pounds, Shillings & Pence
1928 to 1971
Farthing
Halfpenny
Feoirling
Leath Phingin
Woodcock
Sow and Litter
Hen and Chickens
1928 to 1959
1928 to 1969
1928 to 1971
Penny Pingin
Three-Pence
Sixpence
Shilling
Leath Reul
Reul
Scilling
Hare
Irish Wolfhound
Bull
1928 to 1971
1928 to 1969
1928 to 1968
Florin
Half-Crown
Fl贸ir铆n
Leath Chor贸in
1928 to 1937
Salmon
Horse
1928 to 1968
1928 to 1967 1939 to 1999
Ten Shilling Deich Scilling
CĂşchulainn / Pearse 1966 NOTE 1st Irish Coin without the Harp
Designer of the Irish coins 1928 to 1971 Percy Metcalfe (1895-1970), CVO, RDI, was an English artist and designer. He studied art in Leeds, London and Paris. One of his noted works is the bronze war memorial in Durban, South Africa. He was responsible for the design of the George Cross in 1940, particularly the head of King George VI on it; and was involved in the design of the Great Seal of the Realm. He produced designs for coinage of several countries including Ireland and Australia
Irish farthing coin The animal chosen for the farthing is a woodcock in flight. Despite its diminutive size the woodcock was both an important game bird and an occasional addition to the table of the poorest agricultural labourer. The farthing coin (Irish: Feoirling) was the smallest value coin of the pre-decimal Irish pound at 1/960 of the pound, Âźd. Long before decimalisation the coin had lost much of its value through inflation and during the 1960s no coins were produced for general circulation; those minted in 1966 were produced only for commemoration sets. The design was by Percy Metcalf, and the coin had a diameter of 0.795 inches (20.2 mm) and weight of 2.83405 grams. The coin was introduced in 1928 and ceased to be legal tender on August 1, 1969.
Irish halfpenny coin The animal chosen for the halfpenny is a sow with piglets. The pig was a very important animal in Irish rural life. Most families kept at least one animal which was fed on the kitchen refuse and other vegetable and animal scraps. The halfpenny coin was the second smallest denomination of the pre-decimal Irish pound at 1/480 of the pound. The artist was given the choice of a boar, sow or ram and ultimately the sow, with a litter was chosen. The design was by Percy Metcalf, and the coin had a diameter of 1.005 inches (25.5 mm) and weight if 5.66990 grams. The coin was introduced in 1928 and ceased to be legal tender on August 1, 1969.
Irish penny coin The animal chosen for the Penny is a hen with chicks. The penny coin was the third smallest denomination of the Irish pound at 1/240 of a pound. At the time of the coin's introduction it was described as "most frequently used by the women of the house and by the children", this description today would almost certainly lead to accusations of sexism but in the Irish Free State of 1928 it caused little effect. Of the original series of Irish coins, produced in 1928, this coin is the only to feature an inanimate object - the hen clutches an arrowhead in its left claw. The design was by Percy Metcalf. The coin diameter was 1.215 inches (30.9 mm) and the weight was 9.44984 grams. The coin was introduced in 1928 and ceased to be legal tender on December 31, 1971.
Irish three-pence coin The animal chosen for the Three-pence is a Hare. The three-pence coin was a pre-decimal coin worth 1/80 of an Irish pound. The design was by Percy Metcalf. Originally it was struck in nickel and was very hard-wearing. In 1942, as nickel became more valuable, the metal was changed to cupro-nickel of 75% copper and 25% nickel. The coin diameter was 0.695 inches (17.7 mm) and the weight was 3.23995 grams; this did not change with cupro-nickel coin. The coin was minted at the Royal Mint starting from 1928, and ceased to be legal tender after decimalisation on December 31, 1971. The reverse showed a hare and the inscription of the value in the Irish script alphabet, while the obverse featured the harp, with the date and inscription Saorstát Éireann (Irish Free State), or later Éire (Ireland).
Irish sixpence coin The animal chosen for the sixpence is an Irish Wolfhound. It is the largest bread of dog on the planet. The sixpence coin was a pre-decimal coin and worth 1/40 of an Irish pound. The coin was originally struck in nickel, like the threepence coin and was very well wearing. The metal was changed to cupronickel in 1942 as the metal became more valuable; this coin is less well wearing and consisted of 75% copper and 25% nickel. The design of the sixpence coin is by Percy Metcalf. The coin's diameter is 0.825 inches (30.0 mm) and a weight of 4.53593 grams. It was expected that this coin would circulate alongside the new decimal coins, with a value of 2½ new pence as in the United Kingdom. With this in mind the Central Bank of Irelandcontinued to have the coin minted, last dated 1969, whilst minting decimal coins. However the coin was withdrawn never to become a decimal based coin, it remains the last predecimal coin to come off the production run.
Irish shilling coin The animal chosen for the shilling is a bull. The cow and the breeding of cattle was (and is) very important to Irish agriculture. The shilling coin was a pre-decimal coin and worth 1/20 of an Irish pound. The coin featured the bull and the original minting of the coin from 1928 until 1942 contained 75% silver; this Irish coin had a higher content than the equivalent British coin. It is believed that this was done so that the new currency would not be seen as a poor substitute to the British currency which circulated alongside. The silver coins are quite noticeable as they have a more "whitish" look than the later cupronickel variety that were minted from 1951, also the silver coins wear less well. The cupronickel variety of coin consisted of 75% copper and 25% nickel. The coin design, by Percy Metcalf, was a diameter of 0.935 inches (23.7 mm) and weight of 87 3/11 grains (5.655 grams). The last shillings were produced in 1968. When the currency was decimalised this coin continued to circulate alongside its replacement five pence, and the shilling was finally withdrawn from January 1, 1993 as a smaller five pence coin was introduced.
Irish florin coin The animal chosen for the florin is a salmon. The fishing industry was (and is) very important to the Irish economy. The salmon represents both the sea fisheries and the freshwater game fishing. The florin coin was a pre-decimal coin and worth 1/10 of an Irish pound. The coin featured the salmon and the original minting of the coin from 1928 until 1943 contained 75% silver, a higher content than the equivalent British coin. It is believed that this was done so that the new currency would not be seen as a poor substitute to the British currency which circulated alongside. The silver coins are quite noticeable as they have a more "whitish" look than the later cupronickel variety that were minted from 1951, also the silver coins wear less well. The cupronickel variety of coin consisted of 75% copper and 25% nickel.
The coin design, by Percy Metcalf, was a diameter of 1.125 inches (28.6 mm) and weight of 11.3 grams. The last florins were produced in 1968. When the currency was decimalised this coin continued to circulate alongside its replacement ten pence, and the florin was finally withdrawn from June 1, 1994 as a smaller ten pence coin was introduced.
Irish half-crown coin The half-crown coin was a pre-decimal coin and was worth 1/8 of an Irish pound. The coin featured the Irish hunter, a horse, and the original minting of the coin from 1928 until 1943 contained 75% silver, a higher content than the equivalent British coin. It is believed that this was done so that the new currency would not be seen as a poor substitute to the British currency which circulated alongside. The silver coins are quite noticeable as they have a more "whitish" look than the later cupronickel variety that were minted from 1951, also the silver coins wear less well. The cupronickel coin was of 75% copper and 25% nickel. The design of the coin, by Percy Metcalf, was later featured in the twenty pence coin issued in 1986. The diameter of the coin was 1.275 inches (32.4 mm) and a weight of 14.1 grams, the value was 1/8 of the then Irish pound. The last half-crowns were produced in 1967 and withdrawn two years later on January 1, 1970.
Irish ten shilling coin The ten shilling coin was a pre-decimal coin and worth 1/2 of an Irish pound; the highest value coin in the predecimal system. The coin featured CĂşchulainn, the mythical Irish hero, the coin was produced for the 50th anniversary of the Easter Rising and commenced circulation on April 12 1966 and was designed by T Hugh Paget. The coin was 83.5% silver and 16.5% copper. The figure of CĂşchulainn is a miniature of the statute presently in the General Post Office, Dublin by Oliver Shepherd. The coin did not prove popular and 1,270,000 of the 2 million produced were withdrawn and melted down, this unpopularity maybe due to the ten shilling Series A Banknote which was in circulation, 20.000 coins were issued as proofs in issue cases.
Obverse featuring Padraig Pearse The ten shilling is the only Irish coin to not to have the harp on the obverse and to have a feature of an inscription on edge until the Irish euro coins, this is "Éirí Amach na Cásca 1916", which can be translated as "1916 Easter Rising"; the inscription was in Gaelic script on a smooth edge. The coin is also the only modern circulated Irish coin not to feature the harp, instead featuring the bust of Padraig Pearse the revolutionary. Diameter (mm)
Denomination
Weight (gm)
Composition 1928-43 0.750 Silver, 0.250 Copper
Halfcrown
32.0
14.138
Florin
28.5
11.31
Shilling
23
5.655
Sixpence
19
4.536
Threepence
16
3.240
Penny
31
9.450
Bronze 0.955 Copper 0.030, Tin 0.015 Zinc
Halfpenny
26
5.67
Bronze 0.955 Copper 0.030 Tin 0.015 Zinc
Farthing
20
2.835
Bronze 0.955 Copper 0.030 Tin 0.015 Zinc
1951-68 0.750 Copper, 0.250 Nickel 1928-43 0.750 Silver, 0.250 Copper 1951-68 0.750 Copper, 0.250 Nickel 1928-43 0.750 Silver, 0.250 Copper 1951-68 0.750 Copper, 0.250 Nickel 1928-41 Nickel 1942-69 0.750 Copper, 0.250 Nickel 1928-41 Nickel 1942-69 0.750 Copper, 0.250 Nickel
Ireland’s second Coin set 1971 to 2001
Decimal Coins 1/2 penny 19711987 17.15 mm 1.78 g 1 penny 19712001 20,3 mm 3,56 g 2 pence 19712001 25,9 mm 7,13 g
1971 to 2001
5 pence 19711992 23.6 mm 5.66 g
5 pence 19922001 18,5 mm 3,25 g 10 pence 19711993 28.5 mm 11.3 g
10 pence 19932001 22,0 mm 5,45 g 20 pence 19862001 27,1 mm 8,47 g
50 pence 19712001 30,0 mm 13,5 g
50 pence 19882001 30,0 mm 13,5 g
1 pound 19902001 31,1 mm 10,0 g
1 pound 20002001 31,1 mm 10,0 g
Designer of the Irish decimal coins.
Gabriel Hayes (1909-1978) Gabreil Hayes was born in Monestereven, Co. Kildare. She attended the Metropolitan School of Art, and later studied inFrance and Italy. A sculpture by distinction, her most accomplished works are the blodly Limestone pillers on the Department of Industry & Commerce, Dublin (1942). Other major commissions include The Three Graces (1941) on the Colledge of Catering, Dublin. Stations of the Cross (1957-69), Galway Cathedral, and a monumental gronze figure of Luke Wadding (1958) in Waterford. She is renound for designing the bronze coins (1/2p, 1p & 2p) for the new Irish Decimal coin series, introduced in 1971.
The late Sean O'Riordain, Professor of Archaeology, UCD, and his wife, Gabriel Hayes O'Riordain, sculptor and coin designer, both of whom are deceased and buried in Donaghcumper.
Irish halfpenny (decimal coin) The halfpenny coin was the smallest denomination of the Irish pound which was decimalised on Decimal Day, February 15, 1971 it was one of three new designs introduced all in bronze. The coin suffered from the effects of inflation and very few were produced beyond the initial run for 1971. The coin was removed from circulation and demonetised on January 1, 1987. The coin was designed by the Irish artist Gabriel Hayes and the design is adapted from manuscript MS.213 in Cathedral Library in Cologne, Germany. The coin has a diameter of 1.7145 centimeters and mass of 1.782 grams consisting of copper, tin and zinc. The coin was 1/200 of an Irish Pound.
Irish penny (decimal coin) The penny coin was the second smallest denomination of the Irish pound which was decimalised on Decimal Day, February 15, 1971 it was the second of three new designs introduced all in bronze. The coin was designed by the Irish artist Gabriel Hayes and the design is adapted from the Book of Kells held in Trinity College, Dublin, Ireland. The coin originally had a diameter of 2.032 centimeters and mass of 3.564 grams consisting of copper, tin and zinc. The coins official designation was "new penny" and this was changed in 1985 to "penny". In 1990 the decision was taken to produce the coin on a copper plated steel base as the bronze had become relatively expensive. This accounts for the reason that some coins are affected by magnets - these are the steel base plate coins. The coin was 1/100 of an Irish Pound and was withdrawn on the advent of the euro.
Irish two pence (decimal coin) The two pence coin was the third smallest denomination of the Irish pound which was decimalised on Decimal Day, February 15, 1971 it was the third of three new designs introduced all in bronze. The coin was designed by the Irish artist Gabriel Hayes and the design is adapted from the Second Bible of Charles the Bald held at Bibliotheque Nationale, Paris, France. The coin originally had a diameter of 2.591 centimeters and weight of 7.128 grams consisting of copper, tin and zinc. In 1990 the decision was taken to produce the coin on a copper plated steel base as the bronze had become relatively expensive. This accounts for the reason that some coins are affected by magnets - these are the steel base plate coins. After reducing the size of the five and ten pence coins introduced in the early 1990s, the two pence coin was the fourth largest Irish coin, with only the twenty and fifty pence and the pound coin coins being larger in the series. The coin was 1/50 of an Irish Pound and was withdrawn on the advent of the euro.
Irish five pence (decimal coin) The five pence coin was introduced on Decimal Day, February 15, 1971 and reused the design on the shilling coin produced for the Irish Free State in 1928. Some shilling coins remained in circulation until the early 1990s, with the same nominal value as the five pence coin. The five pence, introduced in 1971, was 5.65518 grams in weight with a diameter of 2.3595 centimeters. This matched the British five pence coin. As a modern coin it became apparent in the late 1980s that the coin's physical dimensions were large relative to its value. Thus the original five pence was last minted in 1990 and in 1992 a replacement was struck at 1.85 centimeters diameter (differing from the corresponding new British five pence coin). This new coin kept the old design but incorporated some changes, notably the location of the figure and reversing the main design of the bull. The composition of the five pence was 75% copper and 25% nickel.
The coin was 1/20 of an Irish Pound and was finally withdrawn on the advent of the euro.
Irish ten pence (decimal coin) The ten pence coin was introduced on Decimal Day, February 15, 1971 and reused the design on the florin coin produced for the Irish Free State in 1928. Some florin coins remained in circulation until 1994, with the same nominal value, size and weight as the ten pence coin. The ten pence, introduced in 1971, was 11.31036 grams and a diameter of 2.85 centimeters, as a modern coin it became apparent in the late 1980s that the coins physical dimensions were large for its low value. Thus the original ten pence was last minted in 1986. In 1993 a replacement was struck at 2.2 centimeters diameter, this new coin kept the old design but incorporated some changes notably the location of the figure and reversing the main design of the salmon. The composition of the ten pence was 75% copper and 25% nickel. The coin was 1/10 of an Irish Pound. All of the original ten pence coins were withdrawn from June 1, 1994, the miniature was withdrawn on the advent of the euro.
Irish twenty pence (decimal coin) The twenty pence coin, which features the horse (an Irish hunter) that was on the half-crown coin that was produced for the Irish Free State in 1928, was introduced on October 30 1986. This is first Irish decimal coin that was of a different size to the corresponding decimal British coinage which had until this point remained the same. The coin has a yellow-brass colour due to its composition which is 79% copper, 20% zinc and 1% nickel, it was determined that this composition would reduced production cost by 25% as against cupro-nickel then used. The edge of the coin has six bands, alternately finished smooth and grained. The mass of the coin is 8.47 grams, whilst
the diameter is 2.71 centimeters. The coin was provided to relieve the expense of creating the lower value coins and also to assist the public and traders alike by creating higher value coin which could assist in the removal of some five and ten pence coins. In 1982 the then Minister for Finance, Ray Mac Sharry, announced that a twenty or twentyfive pence coin might be designed, in August 1984 the twenty pence was decided, the Arts Council recommended the horse design. The coin was worth 1/5 of the Irish pound and was withdrawn in 2002 with the advent of the euro.
Irish fifty pence (decimal coin) The fifty pence coin was introduced on February 17, 1970 and is a seven sided coin, an equilateral curve heptagon of constant breadth (3 centimeters) and mass 13.5 grams. The sides are not straight but are curved so that the centre of curvature is the opposite apex of the coin - this is an equilateral curve which allows the coin to roll freely in slot machines. The coin used the woodcock design from the farthing coin produced for the Irish Free State in 1928. On May 31 1988 a special design was circulated for the "Dublin Millennium", although it was noted, at the time, that Dublin was older than 1,000 years - the issue was regarded for publicity and collectors only. Dublin Millennium The millennium coin was the first decimal to feature words on it, the word "Dublin" in Roman script and "ﾃ》h Cliath" in Gaelic script, its equivalent in the Irish language. The coin was designed by Tom Ryan who would later design the Irish pound coin featuring the Irish red deer. Fifty pence coins became somewhat rare during the 1990s, this is because none were produced after 1988 until 1996. The coin was worth 1/2 of an Irish Pound and was withdrawn on the advent of the euro in 2002 . The one pound coin was introduced on June 20, 1990 using the design of a red deer, by the Irish artist Thomas Ryan and based on
Irish one pound coin photographs taken by Sean Ryan of red deer from the Irish national deer herd inKillarney National Park. The 2000 Millennium was used to issue a commemorative coin, the design was based on the "Broighter Boat" in the National Museum of Ireland; the coins design was by Alan Ardiff and Garrett Stokes and were issued on November 29, 1999. The coin featured a milled edge pattern, a dotted line banded by milling on either side. The Irish pound coin, which was introduced in 1990, remains the largest Irish coin introduced since decimalisation at 3.11 centimeters diameter and was 10 grams weight. The coin was almost identical in dimensions to the old penny coin that circulated before 1971, and was quite similar in diameter to, but thinner, than the half-crown coin. Broighter Boat During the early circulation of the coin, many payphone and vending machines which had been changed to accept the pound coin also accepted the old penny because of the similar size, the latter coin which was no longer legal tender and had little value to collectors. As a result losses accrued to vending machine operators due to the substitution of the penny coin and further costs were associated with updating the machines so they would no longer accept the penny.
THE IRISH HARP The Brian Boru harp, is sometimes called The Celtic Harp, The Irish Harp or The Trinity Harp. It is the oldest intact wire-strung frame harp in the world. It is the national symbol of Ireland, and is depicted on the Presidential Seal of Office, the Government Seal of Office, on coins, passports and all Government documents.
Thought to date from about 1400 A.D., it is difficult to determine its early history with any accuracy; facts tend to be obscured by a mist of romantic tradition. It is not possible to say where it was made, or by whom, or even for whom. One thing at least is certain: the instrument could not have belonged to High King Brian Boru, for whom it is named, because he died in the year 1014, some 400 years before it was made. It is likely, however, that the harp was made for a member of an important family, for it is skilfully constructed and intricately ornamented. According to a persistent tradition it passed from Ireland to Rome, where it was preserved by the Popes until it was presented to King Charles II. It was then sent back to Ireland, and after various obscure transactions it is said to have been sold to a Hazel Henley "for twenty lambs and as many ewes." It passed from her to her son-in-law, Henry McMahon, of Co. Clare, and finally to the Rt. Hon. William Conyngham, who presented it to Trinity College in Dublin around 1760. One hundred years later some rather clumsy repairs were made which helped to preserve the instrument, but changed its shape somewhat. Finally, in the late 1950s, the harp was displayed at an exhibition in London, after which Trinity College sent it to the British Museum for assessment and repair. There the instrument was photographed, and then x-rayed in order to identify stray screws or nails. It was then dismantled and examined. It was found that the earlier repairs had not been well done; putty used to repair cracks had obscured some of the ornamentation, while at some stage the forepillar had been extended, thus altering the symmetry of the harp. Much of the wood was decayed or worm eaten, while many pegs or shoes were missing. The Museum restored the forepillar to its probable original form, and replaced decayed and missing parts. All parts were cleaned and polished, and the instrument put together again. At this point Joan Rimmer, an expert in this field, was called in to restring the harp, after which it was tuned, and then Mary Rowland - who occasionally played her gut-strung harp with nails - was invited to play it. She gave much thought to the question of how the harp should be positioned. There are wear marks on both sides of the soundbox, and she found that she could only match these while playing, by sitting on a low stool, leaning the harp on her chest, and holding it with one knee and both wrists a somewhat cramping position for the hands, though she found it comfortable enough. She said playing the instrument was "intoxicating, despite its condition." This is a remarkable compliment, considering the harp's age, and that it had been silent for 200 years before this. Joan Rimmer described the sound as bell-like, with some characteristics of the guitar and harpsichord. These descriptions are much as the Irish harp has been described throughout many centuries. After the harp had been played for some time, a crack appeared in the soundbox. This was repaired, and some strings were replaced by thinner ones tuned to the lowest practicable tension. When played again the tone was smaller, but still retained its unique quality. Eventually it was decided that the harp was too fragile to be kept up to pitch, so the strings were slackened and
this unique occasion was over. This last playing of the Brian Boru harp was recorded by the BBC. On the recording Mary Rowland can be heard playing Is umbo agus éiriú from the Bunting Collection, and Jolivete, a French dance arranged by Joan Rimmer. She also played some harmonics, and in general tried out the capabilities of the harp. There has been one last adventure in the long history of the Brian Boru harp. Some years after it had returned to Trinity College, the harp was stolen, and a ransom was demanded for its return. The College authorities, however, refused to pay, and after some months a senior Professor turned detective, and tracked the instrument down to where it had been buried in a heap of sand. It was then sent back to the British Museum, where it was confirmed that miraculously it had suffered little damage. The Brian Boru harp now leads a quiet life in the Library of Trinity College. © Gráinne Yeats 2003 The up-keep of The Brian Boru Harp is financially secure. Guinness pays royalties to use the image of the other side of The Brian Boru Harp as its company logo.
Euro Éire Commemorative Coins
2003
2003
2004
2005
10 euro: European Union Accession
10 euro: Sir William Rowan Hamilton Birth 200th Anniversary
5 euro: Special Olympics World Summer Games
10 euro: Special Olympics World Summer Games
2006
2006
2007
2007
15 euro: Ivan Meťtrović's design.
2 euro: 50th Anniversary of the Treaty of Rome
20 euro: Samuel Beckett Birth 100th Anniversary
10 euro: Samuel Beckett Birth 100th Anniversary
2007
2007
2008
2008
20 euro: Ireland’s Influence on European Celtic culture 10 euro: Ireland’s Influence on European Celtic culture
2008
10 euro: UNESCO Heritage Site of Skellig Michael
5 euro: Polar Year 100 euro: Polar Year
2008
20 euro: UNESCO Heritage Site of Skellig Michael
2009
10 euro: 80th Anniversary of Ploughman´s Banknotes Launch
2009
20 euro: 80th Anniversary of Ploughman´s Banknotes Launch
2009
2009
2010
20 euro: 25th anniversary of Gaisce/The President's Award
15 euro: 125 Years of the GAA
2 euro: 10th Anniversary of the Introduction of the Euro
2010
10 euro: 25th anniversary of Gaisce/The President's Award
2010
2011
2011
2011
20 euro: Celtic Cross
15 euro: The Horse
10 euro: St. Brendan The Navigator
2012
2012
2012
10 euro: Jack Butler Yeats
15 euro: The Hound
2 euro: Ten years of Euro
15 euro: The Salmon
2012
20 euro: Book of Kells
2012
10 euro: 90th Anniversary of the Death of Michael Collins
2013
2012
20 euro: 90th Anniversary of the Death of Michael Collins
2013
20 euro: Rock of Cashel 10 euro: 50th Anniversary of President John F. Kennedy’s visit to Ireland
2013
2013
10 euro: James Joyce 15 euro: The centenary of the 1913 Dublin Lockout
2013
20 euro: 50th Anniversary of President John F. Kennedy’s visit to
2014
10 euro: Count John McCormack
This is not a book for coin collectors; it is for the ordinary person who would like to have a keepsake of times gone by. Here is a collection of all the different Banknotes and Coins used in Ireland from 1928 to the present Euro. The Banknotes are presented in their actual size and in their original colour. At the end of each chapter there is technical information about the notes or coins.