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1000 Pesetas
| Emittent | Banco de España |
|---|---|
| Jahr | 1874 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | 1000 Pesetas (1000 ESP) |
| 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 | Central vignette of a standing figure of the goddess Athena to the left, accompanied by a portrait vignette of the Spanish painter, sculptor, and architect Alonso Cano Almansa. The note carries the issuing authority's title, denomination, and date of issue in letterpress, with spaces for three manuscript signatures of the Governor, Auditor, and Cashier. |
|---|---|
| Vorderseitenlegende | Anmelden um Details zu sehen |
| Rückseitenbeschreibung | Four oval cameo-style allegorical female portrait vignettes arranged horizontally across the centre, printed in lilac on a fine guilloche underprint in orange-gold. The ornate border incorporates the issuer's name vertically on both sides, with the denomination numeral "1000" at the base and the series inscription across the top. |
| Rückseitenlegende | Anmelden um Details zu sehen |
| 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 |
The Banco de España's 1874 series was issued during one of the most turbulent stretches in nineteenth-century Spanish monetary history — the First Republic had just collapsed, the Bourbon Restoration was imminent, and the bank was simultaneously navigating the Carlist War's drain on the treasury. High-denomination paper like this 1000 Pesetas was exposed to all of that instability simultaneously.
Domingo Martínez was among the first generation of Spanish engravers working domestically on high-value state paper rather than contracting the work abroad, as earlier issues had done. The three manuscript signatures — a requirement of the series — mean that no two examples are identical in the strictest sense.