Netherlands 10 Gulden Banknote 1968 Frans Hals

Netherlands Banknotes 10 Gulden Banknote 1968 Frans Hals
Netherlands Banknotes Dutch guilder 10 Gulden Banknote 1968
Netherlands Banknotes 10 Gulden Banknote 1968 Frans Hals
The Dutch Bank - De Nederlandsche Bank

Obverse: Stylised self-portrait of Dutch Golden Age portrait painter Frans Hals (ca.1581/85 - 1666). Lower left are three Braille dots for the visually impaired. Denominations in numerals are in top left and lower right corners. In words lower, little to the right from center.
Reverse: The composition of geometric shapes (bulls eye). Top left are two windows. The first reminds a turbine. The second looks like target.
Micro text at the left side in Dutch: "Wetboek van Strafrecht Artikel 208 Hij die muntspeciën of munt- of bankbiljetten namaakt of vervalst, met het oogmerk om die muntspeciën of munt- of bankbiljetten als echt en onvervalst uit te geven of te doen uitgeven, wordt gestraft met gevangenisstraf van ten hoogste negen jaren."
Also in English: "Penalty Code Article 208: He who imitates coins or notes of banknotes with the intention to issue for real, or have these coins or notes or banknotes issued for real, will be punished with imprisonment of up to nine years."
The penalty text is "continuous printed", repeated. The text is 2x complete and further partially. The font goes from large to small and back and is also partly printed negative.
Denominations in numerals are in top right and lower left corners.

Watermark: cornucopia.
Designer: Ootje Oxenaar.
Paper made by "nv Papierfabrieken van Houtum & Palm".
Issued into circulation at 4 January 1971.
Withdrawn from circulation at 28 January 2002.
Original Size: 142 x 76 mm.

Banknotes of the Dutch guilder
1966-1972 Issue

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Frans Hals the Elder
Frans Hals the Elder (born 1581/85, Antwerp, Spanish Netherlands [now in Belgium] — died Aug. 29, 1666, Haarlem, Neth.), great 17th-century portraitist of the Dutch bourgeoisie of Haarlem, where he spent practically all his life. Hals evolved a technique that was close to Impressionism in its looseness, and he painted with increasing freedom as he grew older. The jovial spirit of his early work is typified by The Merry Company (c. 1616 – 1617). In his middle age his portraits grew increasingly sad, revealing sometimes a sense of foreboding (e.g., Nicolaes Hasselaer, c. 1630 – 1633). The paintings of his old age best show his genius for portraying character (e.g., Man in a Slouch Hat, c. 1660 – 1666).