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100 Pesos Saint George Palace
| Issuer | Cuba |
|---|---|
| Year | 1992 |
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| Composition | Log in to see details |
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| Technique | Milled |
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| Obverse description | The Cuban national coat of arms occupies the central field, featuring the traditional quartered shield with a key, royal palm, and rising sun, supported by an oak branch and laurel wreath. The national inscription REPUBLICA DE CUBA arcs along the upper periphery as the primary legend. The face value 100 PESOS appears along the lower periphery, while the weight designation 1 OZ and fineness AU 0.999 are inscribed in the side fields flanking the arms. |
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| Reverse description | The central field depicts the Palau Sant Jordi (Sant Jordi Sports Palace), the iconic domed arena designed by Arata Isozaki and constructed for the 1992 Barcelona Olympic Games. The curved upper legend reads AÑO DE ESPAÑA 1992, referencing the Year of Spain. The bilingual lower inscription presents the venue name in both Catalan (PALAU SANT JORDI) and Spanish (PALACIO SAN JORGE), separated by dashes. The date 1992 and mintmark appear above the architectural vignette. |
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| Additional information |
Cuba's hard-currency gold program of the late 1980s and early 1990s was a direct response to the collapse of Soviet subsidies, which had propped up the Cuban economy for three decades. With the USSR disintegrating, the Cuban government turned to numismatic exports as a rare source of convertible foreign exchange — coins like this one were never intended to circulate domestically and were sold almost exclusively through foreign dealers and at international coin shows.
The Palacio de Valle in Cienfuegos, known colloquially as the Saint George Palace, was completed in 1917 after a decade of construction funded by Acisclo del Valle Blanco, a wealthy merchant of Spanish origin. The architectural eclecticism of the building — pulling from Venetian Gothic, Moorish, and Baroque traditions simultaneously — made it an unusual choice for a bullion-adjacent commemorative, but Cuban issues of this period frequently drew on provincial architecture rather than Havana landmarks.