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50 Banica
| Issuer | City of Zagreb (Gradska Općina Zagreb) |
|---|---|
| Year | 1942 |
| Type | Log in to see details |
| Value | 50 Banica (0.50) |
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| Composition | Log in to see details |
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| Designer(s) | Log in to see details |
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| Obverse description | Printed in dark green letterpress on plain paper, the obverse is organised around two large numeral '50' cartouches in ornate diamond-shaped guilloche frames positioned at the left and right extremities, connected by an interlaced Celtic-style guilloche border running the full perimeter. The central panel carries the municipal authority text in a typographic arrangement, setting out the issuing body, place of issue, and the bearer redemption pledge, dated Zagreb, 1 September 1942, with a reserved space for the mayor's manuscript signature at lower right. The design is entirely geometric and typographic, with no pictorial vignette. |
|---|---|
| Obverse lettering | 50 BANICA OBĆINA SLOB. I KRALJ. GLAVN. GRADA ZAGREBA GRADSKA OBĆINA IZPLAĆUJE NA SVOJIM BLAGAJNAMA DONOSIOCU OVE NOVČANICE 50 BANICA U DRŽAVNOM NOVCU Zagreb, 1.rujna 1942. GRADSKI NAČELNIK: (Translation: 50 Banica Municipality of the Free and Royal Capital Zagreb City municipality pays at its cash registers the bearer of this banknote 50 Banica in state money Zagreb, 1st September 1942. MAYOR:) |
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| Comments |
Zagreb's municipal government issued these small-denomination banica notes in 1942 as emergency fractional currency — the Independent State of Croatia's own coinage supply was inadequate to handle everyday small transactions, and the city stepped in to fill the gap. Municipal emergency issues of this kind were not unusual across Axis-occupied Europe, but Zagreb's series is among the more precisely documented, with Hrvatska državna tiskara handling production domestically rather than relying on German or Italian printing facilities.
Widmayer's involvement as designer places this squarely within the small circle of Croatian graphic artists working under NDH cultural directives. The note's tiny format was a practical consequence of its low face value, not an aesthetic choice.