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100 Kroner
| Uitgever | Norges Bank |
|---|---|
| Jaar | 1976-1994 |
| Type | Log in om details te zien |
| Waarde | 100 Kroner (100 NOK) |
| 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 | The reverse is centred on a large ornate rosette medallion drawn from traditional Norwegian decorative art, executed in multicolour intaglio with intricate scrollwork and floral motifs within concentric guilloche bands in shades of purple, green, and pink. A vertical strip of colour-coded security blocks runs along the left margin. The denomination '100' and the issuer name are presented in bold letterpress within a guilloche panel at right. |
| 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 | Camilla Collett's portrait watermark embedded in the paper; embedded security thread visible when held to light. |
| Varianten | Log in om details te zien |
| Opmerkingen |
P#43 ran for nearly two decades partly because Norges Bank was satisfied with the in-house printing operation it had established at Norges Banks Seddeltrykkeri — one of relatively few central banks in the world to print its own currency domestically throughout this period rather than contracting to specialist firms like De La Rue or Bradbury Wilkinson. That self-sufficiency gave the bank unusual control over security feature implementation as standards evolved across the series run.
Leif Anisdahl designed several notes in the Norwegian series of this era. Notes from the earliest years of this issue occasionally show ink consistency differences from those printed in the late 1980s — a minor but traceable artifact of incremental press changes at the Oslo facility.