Everything recorded about the first-series 10 euro banknote: 204 documented runs, each with its printing works, signature, plate, sheet position, rarity grade and GEM-UNC quotation. Search or filter the table, then read the notes below it.
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Rarity on the Cartamoneta catalogue scale: C3 extremely common, C2 very common, C common, NC not common, then R to R5. Italic grades come from the catalogue itself and mark the runs it does not price. Quotations are for gem uncirculated banknotes (GEM-UNC).
How to read the table
It holds the 204 records the cleaned extract keeps for this denomination. Twenty rows load at a time; the search box and the filters always run over the whole list, so a match is found first and the rows around it are loaded afterwards.
Rarity uses the scale printed in the Cartamoneta catalogue, from C3 (extremely common) up to R5 (of the highest rarity). It is derived from how far a run sits above the ordinary level for this denomination, because the ratio between face value and catalogue reference is not comparable across denominations. Where the catalogue supplies its own grade instead of a price, that grade is shown in italics and no quotation appears.
Every quotation is for a gem uncirculated banknote — GEM-UNC, the top of the grading scale — and for no other condition. It is the Cartamoneta.com reference: the catalogue figure with the published mark-up for this denomination, rounded up to the next step. From a threshold upwards — €500 on the 5 euro, €750 on the 10, €1,000 on the 20, €1,500 on the 50, €1,750 on the 100 — the mark-up gives way to a 10% reduction, because high-value examples are placed by negotiation rather than at a premium; the 200 and 500 euro are never reduced. A circulated example is worth less, often much less. The figure is an indicative reference and not an offer, an appraisal or a statement about the condition of any particular banknote.
Red, Romanesque, and printed in enormous quantities: the 10 euro was built to circulate. Its catalogue is long for the same reason its notes are scarce in perfect condition — this denomination did the daily work of the euro area for two decades.
All three presidents
Unlike the 5 euro, the first-series 10 euro carries all three signatures — Duisenberg, Trichet and Draghi. The Draghi rows are the last chapter of the design: they belong to production that continued while the Europa-series 10 euro was being prepared for its 2014 launch.
Reading the signature first, then the printing works, then the plate run is usually enough to place a note. The signature sets the period, the works narrows the origin, and the plate number separates otherwise identical batches.
Eleven countries, thirteen works
The extract covers eleven country associations and thirteen printing works. That spread is typical of a denomination that every national central bank needed in volume: production was allocated across the Eurosystem and the finished notes were exchanged before issue.
The 10 euro shares its 54-note sheet with the 20 euro, so the two denominations use the same range of position codes. A position beyond that grid does not belong to a Banca d’Italia sheet of either denomination.
Where the identification code sits on the 10 euro
Most 10 euro rows describe ordinary, plentiful production. The value of the table is in the handful that do not.
