Catalogus
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| Uitgever | Democratic Republic of the Congo (1997-date) |
|---|---|
| Jaar | 2007 |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Franc (1998-date) |
| Samenstelling | Log in om details te zien |
| Gewicht | Log in om details te zien |
| Diameter | Log in om details te zien |
| Dikte | Log in om details te zien |
| Vorm | Log in om details te zien |
| Techniek | Log in om details te zien |
| Oriëntatie | 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 |
|---|---|
| Schrift voorzijde | Latin |
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | A full-color reproduction of Gustav Klimt's celebrated 1907–1908 oil painting 'The Kiss' occupies the central field, depicting a couple in a tender embrace, their figures enveloped in richly ornamented robes decorated with gold geometric and floral motifs. The couple kneels on a floral meadow, the man's face obscured as he bends to kiss the woman's cheek, while she tilts her head in serene surrender. The composition is enclosed within an ornate decorative border, characteristic of the Viennese Secession style, which frames the colored image against the silver-plated rectangular planchet. |
| Schrift keerzijde | Log in om details te zien |
| Opschrift keerzijde | Log in om details te zien |
| Rand | Log in om details te zien |
| Muntplaats | Log in om details te zien |
| Oplage | Log in om details te zien |
| Aanvullende informatie |
The Democratic Republic of the Congo has issued silver-plated copper pieces under its "Famous Paintings" program since the mid-2000s, targeting the collector market rather than any domestic monetary use. Klimt's 1907–08 painting — completed the same year this coin was struck — was itself produced during the height of Vienna's Secession movement, at a moment when the Austro-Hungarian censors were still debating whether his work constituted obscenity.
The centenary timing is the only notable coincidence here. These pieces were never intended for circulation and move almost exclusively through European and Asian secondary dealer networks.