Everything recorded about the first-series 100 euro banknote: 88 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.
88 of 88 rows shown
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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 88 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.
Above 50 euro the character of the catalogue changes. The green 100 was printed by fewer works, in shorter runs, and circulated less through everyday retail. Fewer rows, but each one carries more weight.
Fewer works, shorter runs
Eleven printing works appear for this denomination against fourteen for the 20 euro, and the number of documented combinations falls by three quarters. High-denomination production was concentrated, both because demand was lower and because handling and storage requirements were heavier.
The narrower field makes the printing works column unusually informative here. Several works appear only a few times, and those entries are the ones worth checking carefully against the physical note.
A note that was stored, not spent
The 100 euro spent much of its life in safes, tills and reserves rather than in wallets, so uncirculated examples survive in better proportion than for the smaller denominations. The catalogue reference prices reflect that: the spread between an ordinary run and an unusual one is narrower here than at 5 or 10 euro.
The Europa-series 100 euro arrived only in 2019, which gave the original design a seventeen-year run. Late printing years therefore appear in this table without being unusual.
Where the identification code sits on the 100 euro
At this level the question is rarely which design you are holding, but which of the eleven works printed it and when.
