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2000 Lei
| Uitgever | Banca Națională a României |
|---|---|
| Jaar | 1943-1945 |
| 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 |
| Afmetingen | 201 × 113 mm |
| Vorm | Log in om details te zien |
| Drukker | Log in om details te zien |
| Ontwerper(s) | Log in om details te zien |
| Graveur(s) | Log in om details te zien |
| In omloop tot | Log in om details te zien |
| Referentie(s) | Log in om details te zien |
| Beschrijving voorzijde | Two allegorical female figures flank the central blank medallion: at left, a seated woman in traditional Romanian dress holds a distaff, while at right, a seated woman nurses an infant; the large intaglio denomination «DOUA MII LEI» spans the centre in bold serif lettering. The guilloche border frames the entire composition, with serial number, series, and date inscribed at lower centre, and signature lines for the Governor and Central Cashier positioned beneath the respective figures. |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | At left, two standing figures in traditional Romanian folk costumes — a man resting an axe on his shoulder and a woman beside him — are rendered in fine intaglio against a mountainous landscape background with a village and oil derricks visible at right. The Romanian royal coat of arms, supported by two lions rampant, is positioned at upper centre above the blank medallion. A dense guilloche border encloses the entire design, with the anti-counterfeiting warning text set in a text block at lower centre. |
| Opschrift keerzijde | Log in om details te zien |
| Handtekening(en) | Log in om details te zien |
| Beveiligingstype | Log in om details te zien |
| Beschrijving beveiliging | Log in om details te zien |
| Varianten | Log in om details te zien |
| Opmerkingen |
Romania's wartime partnership with the Banque de France for high-value notes was a practical arrangement rooted in pre-war relationships, but printing large denominations in occupied Paris during 1943–44 carried obvious political complications. The French state printing apparatus was operating under German oversight at the time, which makes the provenance of these notes quietly uncomfortable.
Marguerite Dreyfus — who signed her work "Rita" — was among the more accomplished intaglio engravers at the Banque de France during this period. Her involvement, alongside Gaspérini on the reverse, reflects the bureau's standard two-engraver division of labour on prestige commissions.