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5 Rigsdaler Nationalbanken, handwritten serial number, 2 impressed stamps
| Uitgever | Nationalbanken i Kjøbenhavn |
|---|---|
| Jaar | 1863 |
| 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 | Log in om details te zien |
| Vorm | Rectangular |
| 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 | Vertical decorative columns with foliate guilloche patterns flank the note on both sides, incorporating the denomination into the ornamental border; circular vignettes at the lateral margins present classical mythological figures, Neptune to the left and Ceres to the right. The denomination is stated at the top centre, below which the promissory text occupies the central field in letterpress. Manuscript signatures and a handwritten serial number appear toward the foot of the note. |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Log in om details te zien |
| Opschrift keerzijde | Log in om details te zien |
| Handtekening(en) | Log in om details te zien |
| Beveiligingstype | Impressed stamp |
| Beschrijving beveiliging | Log in om details te zien |
| Varianten | Log in om details te zien |
| Opmerkingen |
Nationalbanken i Kjøbenhavn had operated under a royal charter since 1818, and by the 1860s its note designs reflected a deliberate institutional conservatism — handwritten serials and impressed dry stamps were already anachronistic by European standards when this note was issued. The two impressed stamps served both as authentication and as a rudimentary cancellation mechanism, a practice the bank retained long after lithographic and typographic security printing had become common elsewhere.
Henrik Olrik was primarily a sculptor and medallist, and his involvement in banknote design was unusual — his background in relief work almost certainly informed the emphasis on stamp authentication over intaglio line-work.