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100 Kuna
| Emittent | Narodna Banka Hrvatske (National Bank of Croatia) |
|---|---|
| Jahr | 1993 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | 100 Kuna (100 HRK) |
| 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 | A detailed intaglio vignette of St. Vitus Cathedral (Crkva sv. Vida, 1638–1742) in Rijeka occupies the left portion of the note, rendered in fine architectural line engraving against a warm red-orange guilloche field. To the right, a circular floor-plan diagram of the church is set within a multicolour underprint with wavy security lines and the large numeral '100' in intaglio at lower centre. The date 'Zagreb, 31. listopada 1993.' and the title 'GUVERNER' with a facsimile signature appear in the upper right area. |
| Rückseitenlegende | NARODNA BANKA HRVATSKE STO KUNA 100 RIJEKA CRKVA SV. VIDA 1638-1742 ZAGREB, 31. LISTOPADA 1993. GUVERNER (Translation: NATIONAL BANK OF CROATIA / ONE HUNDRED KUNA / 100 / RIJEKA / ST. VITUS CHURCH 1638-1742 / ZAGREB, 31 OCTOBER 1993 / GOVERNOR) |
| 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 |
Croatia's 1993 banknote series was the second kuna issue, replacing the Croatian dinar after only two years of circulation — the dinar itself had been introduced in 1991 as a transitional currency following independence from Yugoslavia. The kuna denomination name drew immediate controversy given its use by the Ustasha puppet state during World War II, a point the Croatian government addressed publicly before reintroduction.
Giesecke & Devrient's Leipzig plant, operating under East German management until reunification, had by 1993 fully reintegrated into the parent firm's western production network. The Šutej father-and-son design team — Miroslav being one of Croatia's most recognized graphic artists — gave the series a visual coherence unusual for a newly independent state printing its second currency in as many years.