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0 Euro - Paço dos Duques de Bragança Guimarães
| Uitgever | EuroSouvenir (MEBS) |
|---|---|
| Jaar | 2019 |
| 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 | Log in om details te zien |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Six European landmark vignettes are arranged across the reverse in a multicolour underprint: the Brandenburg Gate, Torre de Belém, Eiffel Tower, Colosseum, Sagrada Família, and Manneken Pis. A portrait of the Mona Lisa appears at the right. The inscription 'IMPRIME PAR OBERTHUR FIDUCIAIRE' is printed at lower centre, with the '0 EURO SOUVENIR' denomination block repeated. |
| Opschrift keerzijde | 0€ DASBRANENBUGERTOR TORRE DE BELEM COLOSSEO LATOUREIFFEL SAGRADAFAMILIA MANNEKEN PIS IMPRIME PAR OBERTHUR FIDUCIAIRE 0 EURO SOUV ENIR |
| 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 zero euro souvenir note program, administered by the Musée Européen de la Banknote in Paris and printed by Oberthur Fiduciaire, launched in 2015 as a licensed collector scheme — the notes carry genuine euro security features, including a holographic strip, but have no legal tender status anywhere. Oberthur produces them on the same equipment used for circulating currency, which is precisely the point: the tactile and visual experience of a real banknote is the product being sold.
The Paço dos Duques de Bragança in Guimarães was built in the early fifteenth century by Dom Afonso, later the first Duke of Bragança, and substantially restored under Salazar in the 1930s — a restoration widely criticized by architectural historians for prioritizing political symbolism over archaeological accuracy.