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Gold 1/4 Stater Lincolnshire Boat Tree
| Issuer | Corieltauvi tribe (Celtic Britain) |
|---|---|
| Year | 45 BC - 10 BC |
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| Composition | Log in to see details |
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| Shape | Round (irregular) |
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| Obverse description | Heavily worn and stylised field retaining vestigial traces of the characteristic Corieltauvian 'men in a boat' motif, derived from a distant classical prototype. Curvilinear ridges and shallow relief elements suggest the remnants of a hull-like form traversing the flan, with indistinct pellet or linear details in the surrounding field. The design is rendered in the abstract La Tène artistic tradition, with the original figurative imagery reduced through successive die copying to near-geometric abstraction. No legend or inscription present. The flan is irregular with a slightly uneven surface typical of hammered Celtic quarter staters. |
|---|---|
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| Reverse description | A prominent raised central bar divides the field vertically, flanked by curvilinear ridges and diagonal linear elements characteristic of the Corieltauvian 'tree' type reverse design. Below the central bar, faint and indistinct subsidiary symbols are discernible, heavily abraded and difficult to resolve with precision. The overall composition is consistent with the highly abstracted tree or branch motif associated with the Lincolnshire series of Corieltauvian coinage. The relief is shallow throughout, with surface wear obscuring finer die details. No legend or inscription is present. |
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| Additional information |
The Corieltauvi occupied the East Midlands and Lincolnshire basin and were unusual among British Celtic tribes for issuing coinage over an extended period without ever naming a ruler — most of their issues remain anonymous, this type among them. The "Boat Tree" designation is a modern cataloguer's convenience, derived from the abstract forms scholars identified in the die work, not any ancient name or classification.
At 1.2g, these quarters represent the terminal fragmentation of a stater tradition ultimately traceable to Macedonian gold through Gaulish intermediaries — each generation of copying drifting the imagery further from its Hellenistic source.