See full images - free registration
Continue with Google - no registration! or register with email

Why register? Just to keep bots out of our catalog. Your email stays private - we will never share it or send you anything uninvited. We guarantee you that!

1000 Cruzeiros Thesouro Nacional, 2nd print, 'Valor Legal'

Issuer Tesouro Nacional (National Treasury of Brazil)
Year 1963
Type Log in to see details
Value 1000 Cruzeiros (1000 BRZ)
Currency Log in to see details
Composition Log in to see details
Size Log in to see details
Shape Log in to see details
Printer Log in to see details
Designer(s) Log in to see details
Engraver(s) Log in to see details
In circulation to Log in to see details
Reference(s) Log in to see details
Obverse description Log in to see details
Obverse lettering Log in to see details
Reverse description Orange intaglio print. The entire reverse is occupied by a reproduction of the 1860 painting 'Primeira Missa no Brasil' (First Mass in Brazil) by Victor Meirelles (1832–1903), captioned 'PRIMEIRA MISSA' at center, flanked by the legend 'REPÚBLICA DOS / ESTADOS UNIDOS DO BRASIL' in panel labels to either side.
Reverse lettering REPÚBLICA DOS 1000 1000 PRIMEIRA MISSA ESTADOS UNIDOS DO BRASIL THOMAS DE LA RUE & COMPANY, LIMITED, LONDON.
(Translation: Republic of the First mass United States of Brazil Thomas De La Rue & Company, Limited, London.)
Signature(s) Log in to see details
Protection type Log in to see details
Protection description Log in to see details
Variants Log in to see details
Comments

Brazil's early 1960s were defined by accelerating inflation — the cruzeiro was losing value faster than new notes could be distributed, and the Tesouro Nacional was issuing high-denomination paper as a holding action against a monetary system under severe structural pressure. The "Valor Legal" overprint on this second printing was a formal designation distinguishing treasury-backed legal tender from other circulating instruments, a distinction that mattered less to the public than to the finance ministry.

Victor Meirelles was a 19th-century painter, not a banknote designer — his work was adapted from existing institutional art, which accounts for the somewhat rigid translation of oil-canvas imagery into intaglio.

YOU MAY ALSO LIKE