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25 Gulden 'Little Princess I'
| Uitgever | De Nederlandsche Bank |
|---|---|
| Jaar | 1940 |
| Type | Standard circulation banknote |
| Waarde | Log in om details te zien |
| Valuta | Log in om details te zien |
| Samenstelling | Log in om details te zien |
| Afmetingen | Log in om details te zien |
| 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 | Olive-brown intaglio print with a vignette at right reproducing the painting 'The Little Princess' by Paulus J. Moreelse. The design is framed by fine guilloche underprint patterns, with the denomination and bank title inscriptions arranged across the face. |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Multicolour letterpress and intaglio print composed of an intricate grid of geometric guilloche panels, including two large rosette medallions bearing the numeral '25' at upper left and upper right, flanking a central panel with elaborate lace-like filigree medallions below. A block of anti-counterfeiting legal text from the Dutch Penal Code occupies a central cartouche, and the date and printer's imprint appear at lower right. |
| 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 |
Issued just weeks before the German invasion of May 1940, this note never had a normal circulation life. De Nederlandsche Bank evacuated a substantial portion of its reserves and stocks to Britain aboard the SS Bodegraven, and significant quantities of unissued notes from this period went with them or were destroyed to prevent seizure. The "Little Princess" nickname derives from the diminutive Juliana vignette — though the public had already been using the name informally for earlier Enschedé-printed Gulden designs featuring the same subject.
Enschedé's watermarking on this series is among the more technically refined Dutch commercial paperwork of the period, produced entirely in-house at Haarlem under conditions of increasing political anxiety.