Tag: CBRT

Artists whose designs were used on Turkish currency

We compiled the list of artists who created the designs of the coins and banknotes of Republic of Türkiye.

Most of the coins were produced by artists employed by the Mint, and most of the banknotes by the engravers of the Central Bank’s Banknote Print, yet in the early periods of the Republic, foreign experts were consulted and the works of artists participating in occasional competitions have also taken place on commemorative and circulation coins.

Artists whose designs were used on Turkish currency:

(dates in brackets indicate the year which the artist’s first design ewas released into circulation.)

Artists who were awarded degrees in competitions, but whose designs were not used on coins:

Artists whose artwork is used on currency indirectly:

*designers of some of the coins and most of the banknotes are missing from the list. It will be updated as new information surfaces.

cover photo: 2018 annual report of the Turkşsh Stete Mint

Chronology of the Republican Era Currency

Part 1

(from Declaration of the Republic until 1950)

October the 29th, 1923

The Turkish Republic was declared on the 29th of October, 1923. However, the first coins could be struck a year later.

In order not to hinder daily trade, coins and banknotes that the newly formed Republic inherited from the Ottoman Empire (*1) remained valid.

1924

The Law allowing the Republic to strike its own money was passed in February of 1924. In August, the 10 Kuruş, in September the 5 Kuruş and in October the 100 para bronze coins were put into circulation (*2). The coins inscribed with old text were designed by Ahmet Mesrur Durum (aka Mesrur Izzet Bey). Customary units were retained, 1 Lira was equal to 100 Kuruş, 1 Kuruş was equal to 40 Para.

1925

On 5th of October, 1925, the first golden coins of the Republic were produced. The 5 Lira pieces were struck ceremoniously. The very first piece take out of the press was entrusted to the Minister of Finance Abdülhalik Renda, to be delivered to the president Mustafa Kemal Atatürk(*3).

Meanwhile, the 25 Kuruş nickel coins were released into circulation. The public nicknamed them the “buffalo eye”, due to their large size.

1926

Until 1926, the Ottoman fiscal calendar was the Rumi Calendar. In the Republican era, Türkiye switched to using the Gregorian Calendar.

Then the coins of 1926 and forward had the dates inscribed in that format. However, until the alphabet reform in 1928, years were still written in Eastern Arabic numerals as (١٩٢٦)  (*4)

Ankara golds in two and a half (2½) Lira, One Lira, Half (½) and Quarter (¼) Lira coins were also introduced.

1927

Embellished Monnaies-de-Lux gold coins were introduced. They were struck in five types like the “Ankara Golds” the bullion coins of the Republic.

The first banknotes of the Republic were released on 5th of December 1927. The designs were made by Artist Ali Sami Boyar (*5) and the printing was done in London. The set of 1, 5, 10, 50, 100, 500 and 1.000 Lira are known as the “First Emission” within the Turkish financial circles.

Because the banknotes were printed before the alphabet reform, the texts are in Ottoman Turkish Arabic, and the value of the notes are also indicated in French; retaining the customs from the Ottoman Bank notes.

Due to the fact that banknotes were convertible to the gold standard, large denominations like 500 or 1.000 Lira had a great purchasing power. That is why it was unlikely that they were kept for collection purposes. Only few have remained to date.

1931

Part of the reforms of the Republic, a modified version of the Latin letters was accepted as the official alphabet in 1928. In 1931, drafts for the banknotes in new letters were made. There are few specimens of 50 and 1.000 Lira notes that survived to day, however they were not mass printed for circulation (*36).

1934

Türkiye was also affected by the Great Depression of 1929,  hence releasing any currency in the new alphabet was not possible until 1934.

The first coin with the new letters was 100 Kuruş of 1934. For its design, a contest was organised. The winning coin design bore an effigy of Mustafa Kemal Atatürk above branches of olive on the obverse, and a Crescent with star encircled with ears of wheat and oak branches. The design was the artwork of Artist Ali Cemal.

The word Cumhuriyet (Republic) was written with an “ü” letter as the exact orthography was not yet settled. Previous Arabic text lacked all the vowels Turkish language uses, hence transition to the new Turkish alphabet created such discrepancies for some time (*8).

1935

A new set of coins consisting of 1, 5, 10, 25 ve 50 Kuruş coins was introduced. The designs were the work of Percy Metcalfe.

Inherently valuable silver pieces bore the effigy of Mustafa Kemal Atatürk, facing left on the obverse and a single ear of wheat with the denomination on their reverse sides.

The less valuable cupronickel pieces had crescent and star in a pre-standardized form on their obverse, and oak branches for 10 Kr piece, olive branches on the 5 and 1 Kr pieces reverse sides. The designs were of the typical art deco style of Metcalfe.

 

1937

100 Kuruş was withdrawn, and silver coins denominated at 1 Lira value were introduced. Atatürk’s effigy remained as on the 50 and 25 Kr pieces, but the reverse had crescent and star with two ears of wheat. Examples of this coin dated 1935 exist but are very rare (*42 p.50).

First note of the 2nd emission; 5 Lira was released.

1938

Monnaies-de-Lux gold coins bearing Ataturk’s effigy were minted. Their design used the floral frame from V. Mehmed Resad’s 500 Kurus gold coin; the Ottoman Coat of Arms being replaced by an effigy of Ataturk within a ring of 32 stars, the reverse bearing a calligraphic inscription that reads Türkiye Cümhuriyeti (Turkish Republic).

1 Kurus coins were redesigned in undulated form because they were being confused with the silver 25 Kuruş pieces of same diameter. Examples of this coin dated 1938 with 10 bulges exist but are very rare (*42 p.31).

10, 50 and 100 Lira banknotes bearing texts in the new Latin letters were released as part of the 2. Emission.

1939

Two and a half (2½), 500 and 1.000 Lira banknotes were released continuing the 2. emission.

1940

Silver 1 Lira coins bearing the portrait of the second president İsmet İnönü, and bronze 10 Para (quarter of a Kurus) coins were introduced into circulation.

500 and 1000 Lira banknotes bearing President Inonu were also released.

1941

The ship carrying the 50 Kr and 100 Lira banknotes printed in UK, was bombed by the German planes at Port of Piraeus, Greece. The banknotes were scattered and collected by the locals, hence were declared void and were never released into circulation (*14, *36).

1942

1 Lira banknotes bearing İnönü’s portrait were released as part of 2nd Emission.

10, 50 and 100 Lira banknotes with İsmet İnönü’s image, were released into circulation. They were part of part of the 3. Emission.

Türkiye was following a neutrality policy and until a couple of months before the end of the war, retained relations both with the Allied and the Axis Powers. As the Turkish Republic did not have its own banknote printing house, banknotes for circulation were produced partly at the British and partly at the German printing houses. Sometime after the initial order of the 100 Lira banknotes printed in Germany, some unapproved series were seen in circulation (*36). Afterwards, the German printing houses were not used and following banknotes were printed by printers in USA.

1943

Monnaies-de-Lux gold coins bearing the portrait of İnönü were minted.

1944

Republican bullion gold coins with the new alphabet were minted in two types; half bearing Atatürk’s half İnönü’s effigy.

25 Kurus small change was no more struck in silver, but in cupronickel instead. This effectively meant a demotion of its status, hence the obverse could not bear Atatürk’s effigy and it was replaced by the crescent and star in the, by then, standardized form. These coins are of an alloy of zinc and bronze and produced by melting surplus artillery shell casings (*Ulus newspaper article by Ziya Tansu dated 14th of March 1948 and *42 p.46)

The word Cumhuriyet (Republic) was also amended into the settled syntax; with both u letters without any umlaut dots (*8).

50 Kr banknotes printed in Germany, part of the 2. emission group were introduced.

1946

500 and 1000 Lira banknotes were released.

1947

Silver 1 Lira and 50 Kurush coins with the obverse bearing crescent and star, and also bronze 1 Kurus coins were released into circulation. These coins were designed by Prof. Emin Barın; a prominent calligrapher of the time. Coins of the lowest denomination were struck with holes in them. All the coins since 1924 were being struck in medallion orientation, the new ones were switched into coin orientation.

3rd emission two and a half (2½) Lira, 50 Lira in the 2nd layout and 4th emission 10 and 100 Lira banknotes were released.

1948

In 1944, 25 Kuruş pieces were struck in bronze and their obverse was matched to those of 1 Lira and 50 Kr coins already in circulation.

Two and a half (2½) Kurush (previously denominated at 100 Para) were minted in bronze with holes.

Half (½) Kuruş pieces were also designed and minted, completing the set of small change with the 1 and 2½ Kurus coins. However, they were not released into circulation. Some were included in the 1949 State Mint Sets and some were kept by the mint workers. It is estimated that there are circa 300 pieces in total (*25), hence they are among the rarest and most valuable coins of the Turkish Republic.

10 Lira 4. emission 2nd type were released.

1949

10 and 5 Kuruş coins bearing the crescent and a star on their obverse were released. The circulation coins set of 1 Lira, 50, 25, 10 and 5 Kuruş gained a layout consistency.

… more to follow

Nazan Tanyu

Nazan Tanyu is the engraver who produced the portraits on the E9 Ninth Emission 20 and 50 Lira banknotes in use today (*1).

The portrait of Mustafa Kemal Atatürk on the E9 20 and 50 Lira banknotes is produced using the photograph taken by Cemal Işıksel.

The portrait of Architect Kemaleddin depicted on the back of the 20 Lira banknote, and that of Novelist Fatma Aliye depicted on the reverse of the 50 Lira banknotes are also her handiwork.

 

 

[1] Central Bank of Türkiye (TCMB) Bulletin LİRA, 2012 #64, , The article titled “Banknotes and Gravure“.

İlknur Ateş

İlknur Ateş is the artist who produced the portrait engravings on the 5 and 10 Lira banknotes of the ninth emission which are currently in circulation (*1).

The engravings of the Mustafa Kemal Atatürk portrait on the E9 5 and 10 Lira banknotes (which are produced using the photograph taken by Etem Tem (*2)), the portrait of distinguished professor Aydın Sayılı on the 5 Lira banknote, and the portrait of distinguished professor Cahit Arf on the back of the 10 Lira banknotes are her handiwork.

[1] TCMB; Central Bank of Türkiye Bulletin LİRA, 2012 #64, , The article titled “Banknotes and Gravure“

[2] Central Bank of Türkiye, Turkish Lira Banknotes and Coins Introduction Meeting Notes (in Turkish).

Şükrü Ertürk

Born in 1947 in Şebinkarahisar, Giresun, and working at the Central Bank of the Republic of Türkiye between 1977 and 2003, the first work of the engraving artist Şükrü Ertürk was the composition of children offering flowers to Atatürk on the back of the 7th issue 10 Lira banknotes printed in 1979, the International Year of Children.

Later, he produced many landscapes and patterns such as the Mehmet Akif Ersoy portrait, the Mevlana Museum on the 7th issue 5,000 Lira banknotes, and the view of the ancient city of Ephesus using the intaglio (taille-douce) technique, which is directly hand-engraved on copper or steel plates.

 

Sukru Erturk, who was an observer in the production process of the plates of 100,000 Lira banknotes ordered abroad, produced a portrait of Ataturk on tracing paper in 17 days, when he returned to Ankara, he transferred the portrait onto a steel mold over a period of 4 months, working 4 to 5 hours a day.

The portrait was based on a photograph taken by Cemal Isiksel and a result of a through and detailed archive study. It was later used on banknotes of 100,000 to 20,000,000 Lira value of the 7th emission. He also engraved the portrait used on the 50 and 100 Lira banknotes of the 8th emission.

The engraver, who produced 15 separate Atatürk portraits for the Banknote Printing House, has his name engraved as Ş.ERTÜRK on some of the engravings used on the banknotes. (*42, p. 144 & 177).

Şükrü Ertürk, who studied at Sivas High School, continued his education at the Department of Art and Craft Teaching at the Gazi Education Institute in 1966. After working as an art teacher at the Diyarbakır Dicle Primary School between 1969 and 1971. He worked as an assistant at the Gazi Education Institute Art and Craft Department between 1974 and 1977.

Şükrü Ertürk, who met with executives of the Banknote Printing House who Gazi Education Institute in 1976, learned that the printing house needed an engraving artists. Later he passed the admission exams and started working as an engraving artist at the Banknote Printing House.

In 1986, he visited the workshop of Prof. Trento Cionini, who produced the portraits on Italian banknotes, with Mustafa Çakırcalı. Prof. Cionini was also an apprentice of Mario Baiardi. Sukru Erturk speaks of about Baiardi: “I never met him, but the engraving portraits he made became my second teacher.”

Şükrü Ertürk 2002 Banknot Matbaası Atölyesinde

The artist also created the designs for many stamps.

Şükrü Ertürk tells about the first time a picture he drew was used on a stamp:

“I was in the senior year of Sivas High School in 1966. My art teacher Emrullah Bulurman came to me and tasked me to draw the Şifahiye Madrasah. I was so excited that I even forgot about the final exams in the first days of June. My drawing would be printed on a stamp, so I was overjoyed. I climbed atop the balcony of Çifte Minaret across from Şifahiye Madrasah and made a draft drawing. Then I made a clean copy, found my art teacher, and together we went to Sivas Governor Vefik Kitapçıgil. The governor offered us tea. I don’t remember what else he said. Then My teacher and I left the office.

…

Later when I was in the second year of Gazi Education Institute in 1967, I attended the meeting of the Ankara Sivas Association. I learned from the association president that they had printed a stamp for Şifahiye Madrasah. The next day, I went to the big post office in Ulus and inquired about the stamp. They forwarded it to the relevant unit. I bought 5 stamps. Finally I had one in my hand.

I learned about the First Day Cover and other detils during my duty at the Banknote Printing House when I was the representative in PTT’s stamp competitions. The stamp department manager Halil Say, whom I love very much, had these stamps made for me. I remember him with respect and gratitude.

I met Metin Bey, who worked in the film department at the Ajans Türk Printing House where the stamp was printed. When my drawing was reduced to the size of the stamp, many fine lines could not be printed. I had no knowledge of stamp printing when I made the drawing. Metin Bey retouched these lines. I wish him a healthy life if he is alive and mercy if he has passed away.”

 

Şükrü Ertürk defines banknotes as “functional printwork” and he has also been working on exlibris since 1997. He has produced bookplates for Prof. Hasip Pektaş, Müjde Ayan, Luc van den Briele, Benoit Junod and Prof. Dr. Aziz Sancar. The most prominent element in his exlibris, which have similarities with banknote portraiture, is the portrait of the owner.

Click for the Bulgarian Exlibris competition website, where he won an award in 2014.

Click on the image below for the exlibris works in the Frederikshavn Art Museum inventory

Şükrü Ertürk'ün Atatürk portreli, "Türkiye Cumhuriyeti İlelebet Payidar Kalacaktır" sloganlı banknot görünümündeki exlibris çalışması
Şükrü Ertürk exlibris

 

* Click here for other artists whose patterns are included in the design of Turkish coins.

(We would like to express our deepest gratitude to the artist who contributed to this compilation with valuable details)

[1] The graphic design of the background compositions of the stamps in the series and also the portraits of Haldun Taner and Bedia Muvahhit are the work of Mustafa Çakırcalı (stamp images courtesy of Pulhane.com).

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Selahattin Tuğa (1945 ~ 2023)

Selahattin Tuğa, one of the engraving artists of the Central Bank of the Republic of Türkiye, has his name imprinted as S.TUĞA on the Mustafa Kemal Atatürk portrait and the Bosphorus view on the sixth issue 1.000 Lira banknotes. (*42, p 133).

He is also the engraver who produced the Atatürk portraits on the seventh-edition 10 Lira and 5.000 Lira banknotes.

 

 

Selahattin Tuğa was born in Diyarbakır in 1945. He completed his primary and secondary education in Diyarbakır and graduated from the Decorative Arts Department of the Istanbul State Academy of Fine Arts in 1966.

As a student at the academy, he engraved pictures and portraits on copper plates. Due to these engravings, he was recommended to the Banknot Printing House engraving workshop and after the entrance exam, he started working at the CBRT Banknot Printing House engraving workshop in 1966. During his internship, he received his first information about the taydus (taille-douce, soft carving) engraving technique from Polish engraving artist Jan Piwczyk.

Instead of direct engraving by hand, he transferred the linear portraits onto copper plates via a photomechanical method, etched them with acid and used the deepening method with engraving pens.

In the second half of the 1970s, he made the engraving of the portrait of Atatürk on the front of the E-6 series 1.000 TL banknote, and the Rumelian Fortress Bosphorus view on the back, including the Bosphorus Bridge. The graphic design of the banknote was made by Mustafa Üstün.

When preparations for the E-7 series small-sized banknotes began in 1978, he produced the Atatürk portrait on the 10 Lira and 5.000 TL banknotes of the of the E-7 series.

In 1985, he made the front and back graphic designs of the second series of the E-7 5,000 TL. He served as assistant manager between 1979 and 1990 and then served as a consultant until his retirement.

Selahattin Tuğa, who also designed countless National Lottery tickets, is also the designer and engraver of many stamps *1. Atatürk portraits on stamps of various years, the portrait of İsmet İnönü, and the “Turkish Celebrities” series of 1992 and 1993 are few of many.

 

In addition to these works, he engraved portraits on copper plates on decorative items. He also made watercolor paintings of the subjects on the front of the National Lottery tickets, and supervised the color separation, mold and printing stages of these tickets printed in the banknote printing house.

Selahattin Tuğa, who exhibited Atatürk portrait engravings and oil paintings in his personal exhibitions, passed away in 2023.

[1] stamp images: Pulhane.com
[2] “Selahattin Tuğa, Selahattin Tuğa, Oil Painting Exhibition, Destek Reassurance Art Gallery, İstanbul“, Salt Research

(We would like to express our sincere thanks to his family and also to Mr. Mustafa Çakırcalı, who provided valuable information about Selahattin Tuğa in our article.)

 

* Click for other artists whose work has been used in the design of Turkish currency.

Mustafa Üstün

Mustafa Ustun has graphic designs on the front and back of the 6th Emission 1.000 Lira, and the front of the E7 1.000 TL. He also designed the back side of the E-7 series 5.000 TL 1st type banknote, that was put into circulation in 1979. Ataturk portrait on both banknotes is engraved by Selahattin Tuga. Mevlana engraving on the back of the 5.000 Lira is the handiwork of Şükrü Ertürk.

One of the graphic designs he made in previous years was transformed into the front face design of the seventh issue 100 TL in 1983.

Born in Akseki district of Antalya towards the end of the 1930s, Mustafa Üstün graduated from Antalya Aksu Primary Teachers School and then studied at the Ankara Gazi Education Institute Painting-Work Department. Then he began teaching art. In the meantime, he made graphic designs for diplomas and similar documents printed at the Apa Ofset Printing House founded by Ferit Apa, a graphics teacher at the Gazi Education Institute.

In the early 1960s, upon Ferit Apa’s recommendation, he started working at the banknote printing house painting workshop. Then, he completed his undergraduate studies at the Kassel Fine Arts School in Germany and received a graphic designer diploma. During his internship at the Austrian state printing house, he acquired information about banknote graphic design and engraving in the taydus technique.

He made graphic designs for some stamps:

  • 1970 United Nations 25th Anniversary 220 Kurus value stamp
  • 1970 “Ankara 70 Postage Stamps Turkey 3rd National Exhibition” commemorative block with tulip motif
  • 1971 Izmir Mediterranean Games 100 Kr
  • 1983 World Communication Year 70 TL value stamp

He designed banknote graphic designs of the Service Souvenir certificates of the Central Bank of the Republic of Türkiye. Also valuable papers such as checks and treasury bonds. He worked as Assistant Manager at the Banknote Printing House between 1983 and 1990, then was hired as a consultant and retired a few years later.

(We would like to express our sincere gratitude to Mr. Mustafa Çakırcalı, who contributed to our article with valuable information about Mustafa Üstün)

 

* Click for other artists who contributed to the design of Turkish currency.

[1] stamp images source Pulhane.com
[2] banknote images source CBRT Virtual Museum

Alfred Nefe (1923 ~ 2019)

Born in Kleinraming, Austria in 1923, the artist studied at the Iron & Steel Processing Technical School (Fachschule für Eisen- und Stahlbearbeitung) in Stern. He produced portraits on various banknotes for the Austrian Central Bank.

Alfred Nefe, who produced portraits for the Swedish Central Bank in the early 1960s, also produced many stamps and became a name well-known to philatelists.

6 Emisyon 50 TL Atatürk portresi

His name, inscribed as “A.NEFE” can be seen on the portrait of Mustafa Kemal Atatürk on the 6th Emission 50, 100 and 500 Lira banknotes  (*42, Sf. 127).

* Click here for other artists whose engravings are used in the design of Turkish currency.

 

see more: sellosyartistas.blogspot.com

Masino Bessi

Fiorenzo Masino Bessi is the graphic designer of the sixth emission 50, 100 and 500 Lira banknotes, whose Atatürk portrait engravings were made by Alfred Nefe (*1).

Masino Bessi’s most famous works are the Italian banknotes from the early 1960s, when he was commissioned by the Bank of Italy to redesign banknotes in need of renewal in a way that would honor Italian creativity.

Portraits of Verdi, Raphael and Michelangelo were initially proposed for the 1.000, 5.000 and 10.000 Lire banknotes. Later, Raphael was replaced by Christopher Columbus, and Leonardo da Vinci was chosen for the 10,000 Lire banknote as a pioneer of scientific research and modern technology.

Bessi also reworked the designs of the 5.000 and 10.000 Lire banknotes, previously designed by artist Lazzaro Lazzarini, to ensure a coherent design for the entire series (*2).

Sketches and examples of Italian banknotes.

He also designed the graphic banknotes of various countries such as Indonesia (1952 1.000 Rupees), Belgium (1961 series of 100, 500 and 1.000 Francs) and Israel (1968 10, 50 and 100 Pounds).

* Click for other artists who contributed to the design of Turkish coins.

 

[1] EkoTürk TV interview with Şükrü Ertürk (in Turkish).

[2] source: Bank of Italy, history of emissions.

[3] banknote images: (CBRT) Central Bank of the Republic of Türkiye Virtual Museum

Jan Piwczyk (1897 ~1972)

Jan Piwczyk, was the engraver who produced the Atatürk portrait used on the 100 Lira banknotes of the 5th Emission (4th serie), released into circulation in 1962.

The same portrait is also on the 500 Lira banknotes (the 3rd serie), issued in the same year..

The portrait, which was produced based on the photograph taken by Cemal Işıksel at the Atatürk Forest Farm in 1929.

This was the first portrait plate locally produced at the TCMB Banknote Printing House.

 

Jan Piwczyk was born in Poland in 1897. He worked in the Polish stamp printing houses in Warsaw. From 1943, he produced stamp engravings in Berlin, Germany. In the mid-1950s, he worked at the Giesecke & Devrient printing house based in Munich.

According to the official Turkish archival records, he worked in Turkey during the establishment of the Central Bank Banknote Printing House, at least between 1957 and 1964. He trained local engravers such as Selahattin Tuga.

Jan Piwczyk passed away in 1972.

His name is often mentioned among stamp engravers:

 

* Click here for other artists who contributed to the design of Turkish coins and banknotes of the Republic period.

banknote photos: TCMB Virtual Museum