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10 Centavos Overprint on P#6 Portuguese Guinea
| Uitgever | Banco Nacional Ultramarino |
|---|---|
| Jaar | 1914 |
| 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 | 120 × 71 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 | Log in om details te zien |
|---|---|
| Opschrift voorzijde | BANCO NACIONAL ULTRAMARINO PAGÁVEL EM S. THIAGO DEZ CENTAVOS EM MOEDA CORRENTE LISBOA, 5 de Novembro de 1914. (Translation: National Bank Overseas Payable in St. Thiago Ten Cents in Currency Lisbon, November 5, 1914.) |
| Beschrijving keerzijde | Central vignette shows a seated allegorical female figure turned toward the right, gazing at a sailing vessel on calm waters, rendered in fine intaglio engraving. Flanking the central scene are two ornate guilloche medallions, each bearing the denomination 0$10 in bold lettering. The bank name BANCO NACIONAL ULTRAMARINO is inscribed on ribbon banners across the upper left and upper right, with the printer's imprint BRADBURY, WILKINSON & Cº and 1ºS GRAVADORES, LONDRES at the bottom margin. |
| 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 |
When war broke out in 1914, small change across Portuguese colonial territories effectively vanished — silver and copper coins were hoarded or melted, and the colonial administration had no quick mechanism to replace them. The Banco Nacional Ultramarino's solution in Portuguese Guinea was blunt: overprint existing 10 Centavos denominations onto stock from the earlier P#6 series, pressing old paper into emergency service rather than waiting on a new printing from London.
Bradbury Wilkinson had produced the underlying notes, but the overprint itself is the diagnostic feature here — alignment varies considerably across surviving examples.