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100 Dinara not issued
| Emittent | Srpska Narodna Banka (Serbian National Bank) |
|---|---|
| Jahr | 1942 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | 100 Dinars (100 динарa) |
| 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 | Central vignette, executed in intaglio, shows a male peasant in traditional dress vigorously working the soil with a hand plough, set within an arched frame against a sparse rural landscape. To the left, a large blank watermark oval is surrounded by geometric guilloche ornament, with a Serbian double-headed eagle coat of arms above it; the denomination numeral 100 appears at upper left. A narrow right panel bears the bearer clause and denomination in Cyrillic, with the anti-counterfeiting warning text below, all framed by a repeating geometric border; the issuer name СРПСКА НАРОДНА БАНКА runs along the bottom of the left panel. |
| Rückseitenlegende | Anmelden um Details zu sehen |
| Unterschrift(en) | Anmelden um Details zu sehen |
| Sicherheitsmerkmal | Anmelden um Details zu sehen |
| Beschreibung der Sicherheitsmerkmale | Woman's head in profile |
| Varianten | Anmelden um Details zu sehen |
| Anmerkungen |
This note was prepared but never released into circulation — the German occupation authorities who controlled the collaborationist Serbian government ultimately issued a different 100 Dinara type through the Serbian National Bank under their supervision. Whether these were destroyed outright or simply held and later pulped is not fully documented, but surviving examples are genuinely scarce precisely because they were never distributed.
Zlamalik, Krnjajić, and Andrejević Kun were all working within Belgrade's pre-war engraving tradition, and this was one of the last projects they completed before the occupation thoroughly disrupted institutional printing.