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0 Euro - Cinema classics - Charlie Chaplin
| Uitgever | Euro Souvenir |
|---|---|
| Jaar | 2024 |
| Type | Log in om details te zien |
| Waarde | 0 Euro (0 EUR) |
| Valuta | Log in om details te zien |
| Samenstelling | Log in om details te zien |
| Afmetingen | Log in om details te zien |
| Vorm | Log in om details te zien |
| Drukker | Log in om details te zien |
| Ontwerper(s) | Log in om details te zien |
| Graveur(s) | Log in om details te zien |
| In omloop tot | Log in om details te zien |
| Referentie(s) | Log in om details te zien |
| Beschrijving voorzijde | Central vignette shows Charlie Chaplin's iconic Tramp character seated inside a cabin, drawn from the 1925 film 'The Gold Rush' poster composition. The denomination '0 EURO' appears alongside the series title 'CINEMA CLASSICS' and artist signature R. Faille. Guilloche underprint in warm tones frames the composition. |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Standard Euro Souvenir reverse on a lavender guilloche underprint, bearing intaglio-style vignettes of iconic European landmarks: the Eiffel Tower and Louvre Pyramid (France), the Colosseum (Italy), the Sagrada Família (Spain), and the Brandenburg Gate (Germany). The denomination '0 €' appears at upper left, with a ring of EU stars and the 'EURO SOUVENIR' logo at lower right. |
| Opschrift keerzijde | Log in om details te zien |
| Handtekening(en) | Log in om details te zien |
| Beveiligingstype | Log in om details te zien |
| Beschrijving beveiliging | Log in om details te zien |
| Varianten | Log in om details te zien |
| Opmerkingen |
Euro Souvenir notes are legal collector issues authorized under a European Central Bank framework that permits zero-denomination commemoratives to circulate as novelty items without conflicting with official euro banknote regulations. Oberthur Fiduciaire prints the series to full security-note specification — UV-reactive inks, microprinting, the works — which is either a reassuring commitment to quality or a spectacular use of anti-counterfeiting infrastructure for something worth nothing.
Chaplin's inclusion in the Cinema Classics run is unsurprising given his global recognition, though his complicated postwar relationship with the United States — stripped of his re-entry permit in 1952 during the McCarthy period, he didn't return for twenty years — gives the subject more edge than the format typically invites.