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1/4 Dinar
| Emittent | Ministry of Finance of the Kingdom of Serbs, Croats and Slovenes |
|---|---|
| Jahr | 1921 |
| Typ | Standard circulation banknote |
| Nennwert | Anmelden um Details zu sehen |
| Währung | Anmelden um Details zu sehen |
| Material | Anmelden um Details zu sehen |
| Größe | Anmelden um Details zu sehen |
| Form | Anmelden um Details zu sehen |
| Druckerei | Anmelden um Details zu sehen |
| Designer | Anmelden um Details zu sehen |
| Stecher | Anmelden um Details zu sehen |
| Im Umlauf bis | Anmelden um Details zu sehen |
| Referenz(en) | Anmelden um Details zu sehen |
| Vorderseitenbeschreibung | Anmelden um Details zu sehen |
|---|---|
| Vorderseitenlegende | Anmelden um Details zu sehen |
| Rückseitenbeschreibung | Printed in brown on a tan guilloche underprint, the reverse is dominated by a large intaglio vignette divided between a landscape view of Bled with its island church at left and an equestrian statue of Prince Mihailo on its pedestal at right, separated by a central ornamental acanthus scroll. The fractional numeral '1/4' appears in tall decorative frames at either side, with 'ДИНАРА' in bold Cyrillic at the top and 'DINARA' in Latin script at the base. The engraver's credit 'GRAVÉ PAR M D GJURIĆ' is inscribed in small text at the bottom margin. |
| Rückseitenlegende | 1/4 Dinara 1/4 ДИНАРА Gravé par M D Gjurić (Translation: 1/4 Dinars Engraved by M D Gjurić) |
| Unterschrift(en) | Anmelden um Details zu sehen |
| Sicherheitsmerkmal | Anmelden um Details zu sehen |
| Beschreibung der Sicherheitsmerkmale | Anmelden um Details zu sehen |
| Varianten | Anmelden um Details zu sehen |
| Anmerkungen |
The Kingdom of Serbs, Croats and Slovenes faced an acute shortage of small-denomination currency in its early years, with the fractional dinar series of 1920–1921 filling a gap that coins could not — minting infrastructure was still being consolidated after the collapse of four different monetary systems across the newly unified territory. The choice to print this note in Zagreb at the HDT rather than in Belgrade was politically loaded: the new kingdom was still negotiating the internal balance between its constituent regions, and distributing production across printing facilities was one small concession to that tension.
Milenko D. Đurić, the engraver credited here, was among the first generation of Serbian artists formally trained in applied graphic arts, and his involvement in the fractional issues is well documented.