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0 Euro - Laurel and Hardy

Uitgever Souvenir Banknote
Jaar 2024
Type Log in om details te zien
Waarde Log in om details te zien
Valuta Log in om details te zien
Samenstelling Log in om details te zien
Afmetingen 135 x 74 mm
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 Caricature vignettes of Stan Laurel and Oliver Hardy occupy the left and centre fields, with the duo again rendered in a racing car vignette; a circular medallion seal at right encloses their likenesses. The design carries licensing inscriptions and the denomination '0 EURO' in bold lettering.
Opschrift voorzijde Log in om details te zien
Beschrijving keerzijde Six European architectural vignettes are arranged across the note: the Brandenburg Gate, the Tower of Belém, the Eiffel Tower, the Colosseum, the Sagrada Família, and the Manneken-Pis. A vignette of the Mona Lisa is positioned at right, accompanied by the denomination '0€' and production inscriptions.
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

The 0 Euro souvenir series, produced by Oberthur Fiduciaire under a licensing arrangement with the European Central Bank, has operated since 2015 as a legal-curiosity novelty — technically denominated, formally printed on banknote-grade paper by a security printer with genuine currency contracts, but with no redemption value and no issuing central bank behind it. The ECB permits the format under the condition that the zero denomination makes monetary confusion impossible.

Laurel and Hardy are an odd fit for a euro-denominated souvenir — both men were American-based, neither British-born Hardy nor English-born Laurel had meaningful connection to the eurozone. The choice reflects commercial appetite rather than any cultural or historical logic.

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