Catalog
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 Krónur Landsbanki Íslands - Seðlabankinn
| Issuer | Landsbanki Íslands - Seðlabanki Íslands |
|---|---|
| Year | 1960-1962 |
| Type | Log in to see details |
| Value | Log in to see details |
| 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 | Bradbury Wilkinson and Company, United Kingdom (1856-1990) |
| 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 | Printed in blue, the reverse carries a large intaglio landscape vignette of the Þingvellir rift valley, with dramatic columnar basalt rock formations flanking a glacial river channel stretching toward distant mountains. The bank's circular seal appears at lower left, and the denomination numeral 1000 is repeated at upper left and lower right corners. |
| Reverse lettering | Log in to see details |
| Signature(s) | Log in to see details |
| Protection type | Watermark |
| Protection description | Log in to see details |
| Variants | Log in to see details |
| Comments |
Bradbury Wilkinson printed this high-denomination note during a period when Iceland's economy was under serious strain — the late 1950s and early 1960s brought chronic inflation and repeated króna devaluations, which partly explains why a 1000 Krónur note was necessary for ordinary transactions at all. The denomination's purchasing power had eroded considerably by the time these reached circulation.
Halldór Pétursson's design work for Icelandic banknotes during this period represents a coherent national aesthetic effort, though Bradbury Wilkinson's engraving house ultimately determined much of the final character of the printed surface.