Katalog
| Emittent | Narodna Banka Hrvatske (National Bank of Croatia) |
|---|---|
| Jahr | 1993 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | Anmelden um Details zu sehen |
| 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) | P#32 |
| Vorderseitenbeschreibung | Anmelden um Details zu sehen |
|---|---|
| Vorderseitenlegende | NARODNA BANKA HRVATSKE STO KUNA 100 (Translation: NATIONAL BANK OF CROATIA / ONE HUNDRED KUNA / 100) |
| Rückseitenbeschreibung | Anmelden um Details zu sehen |
| Rückseitenlegende | Anmelden um Details zu sehen |
| Unterschrift(en) | Anmelden um Details zu sehen |
| Sicherheitsmerkmal | Anmelden um Details zu sehen |
| Beschreibung der Sicherheitsmerkmale | Ivan Mažuranić portrait, visible when held to light; embedded security thread running vertically through the note. |
| 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.