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3 Pesos metálicos
| Emittent | Provincia de Buenos Aires |
|---|---|
| Jahr | 1823 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | 3 Pesos metálicos |
| 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 | The face of this early Argentine provincial note is dominated by a large central triangular vignette, its three sides bordered by letterpress text establishing the terms of redemption, with the denomination inscription 'TRES pesos metálicos' rendered in bold type within the triangle. A notation at the base of the triangular frame reads 'CON UNA ONZA DE ORO SELLADO,' anchoring the note's metallic equivalence. A manuscript serial number appears at the upper right beside 'Num.', a handwritten signature occupies the lower left, and the numeral '3' is positioned at the lower right. |
|---|---|
| Vorderseitenlegende | Anmelden um Details zu sehen |
| Rückseitenbeschreibung | Anmelden um Details zu sehen |
| Rückseitenlegende | Anmelden um Details zu sehen |
| Unterschrift(en) | Juan Manuel de Luca |
| Sicherheitsmerkmal | Anmelden um Details zu sehen |
| Beschreibung der Sicherheitsmerkmale | Anmelden um Details zu sehen |
| Varianten | Anmelden um Details zu sehen |
| Anmerkungen |
The Provincia de Buenos Aires began issuing paper currency in 1822 through the newly created Banco de la Provincia de Buenos Aires — one of the earliest provincial banking experiments in post-independence South America. These early peso metálico notes were nominally convertible to silver, a promise that collapsed well before mid-century as the province's finances deteriorated under successive military and political crises.
Printed locally rather than contracted to a European house, the production quality reflects the limited infrastructure available in Buenos Aires at the time. Juan Manuel de Luca's single signature is consistent with the authorization structure of the early series.