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20 Francs - Charlotte John the Blind
| Uitgever | Luxembourg |
|---|---|
| Jaar | 1946-1964 |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Log in om details te zien |
| Samenstelling | Log in om details te zien |
| Gewicht | Log in om details te zien |
| Diameter | Log in om details te zien |
| Dikte | Log in om details te zien |
| Vorm | Log in om details te zien |
| Techniek | Log in om details te zien |
| Oriëntatie | Log in om details te zien |
| Graveur(s) | Armand Bonnetain |
| In omloop tot | Log in om details te zien |
| Referentie(s) | Log in om details te zien |
| Beschrijving voorzijde | Left-facing bust of Prince Jean (born 1921), hereditary Grand Duke of Luxembourg, depicted in civilian attire. To the left of the effigy appears the crowned Bourbon escutcheon, and to the right the escutcheon of Luxembourg surmounted by a crested helmet. The engraver's initials appear below the neck truncation. The circumferential legend in Luxembourgish is interrupted at the base by the denomination separated by two pellets in the exergue. |
|---|---|
| Schrift voorzijde | Log in om details te zien |
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Log in om details te zien |
| Schrift keerzijde | Log in om details te zien |
| Opschrift keerzijde | •JANG•DE•BLANNEN• SERVIAM 26-VIII- 1346 - 1946 A.B. (Translation: John the Blind I serve) |
| Rand | Log in om details te zien |
| Muntplaats | Log in om details te zien |
| Oplage | Log in om details te zien |
| Aanvullende informatie |
John the Blind, Count of Luxembourg and King of Bohemia, died at Crécy in 1346 — famously ordering his knights to tie their horses to his so he could charge into battle despite being completely sightless. Luxembourg resurrected him as the face of post-liberation coinage in 1946, a deliberate assertion of national identity after five years of German occupation and forced Germanization under the Nazis.
The series ran through 1964, spanning the reign of Grand Duchess Charlotte, whose own wartime exile in London gave the choice of imagery particular political weight.