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10 Pounds Sterling 2017, Kingdom of Great Britain

no number in katalog -
Years of issue: 18.07.2016
Edition: 250 000 000
Signatures: Chief Cashier: Victoria Mary Florence Cleland (March 2014 - present)
Serie: England
Specimen of: 2016
Material: Cotton fiber
Size (mm): 130 х 72
Printer: Bank of England print works, Loughton (Debden), Essex, UK

* All pictures marked magnify are increased partially by magnifying glass, the remaining open in full size by clicking on the image.

** The word "Specimen" is present only on some of electronic pictures, in accordance with banknote images publication rules of appropriate banks.

10 Pounds Sterling 2017

Description

Watermark:

watermark

HM The Queen Elizabeth II, the photo of 1980s.

Winchester Cathedral

On the front side of the banknote, in gold color (on the reverse in a silver color), next to a portrait of the Queen is Winchester Cathedral west façade, were Jane Austen was buried.

Winchester Cathedral is a Church of England cathedral in Winchester, Hampshire, England. It is one of the largest cathedrals in Europe, with the longest nave and greatest overall length of any Gothic cathedral in Europe.

Dedicated to the Holy Trinity, Saint Peter, Saint Paul, and before the Reformation, Saint Swithun, it is the seat of the Bishop of Winchester and center of the Diocese of Winchester. The cathedral is a Grade I listed building.

crown

On the front of the note, above the see-through window, is a silver foil patch containing an image of the coronation crown which appears 3D. When the note is tilted a multi-coloured rainbow effect can be seen.

On the front of the note, below the see-through window, is a silver foil patch. When the note is tilted the word "Five" changes to "Pounds" and a multi-coloured rainbow effect can be seen.

Using a magnifying glass, look closely at the lettering beneath the Queen’s portrait - you will see the value of the note written in small letters and numbers.

Below - the inscription "Ten Pounds" on a metal background. Above is an open book, higher - an ink pen and a pound sign.

Avers:

10 Pounds Sterling 2017

HM The Queen Elizabeth II.

In preparation for the "E Series" of notes, issued by the Bank of England, photographs of The Queen were especially commissioned by the Bank. The photographs were taken by Don Ford in 1985-1986, one of the Bank’s technical photographers, under the direction of Roger Withington. Mr. Withington designed the notes of the "E Series" and prepared the engraving of the Queen, which appeared on this series of notes, from one of the photographs taken by Mr. Ford. The portrait shows Queen Elizabeth wearing Queen Mary’s "Girls of Great Britain and Ireland" Tiara, Queen Alexandra’s cluster earrings and, although difficult to identify, Queen Victoria’s Golden Jubilee necklace.

Elizabeth IIThe engraving on banknote is, probably, made after this photo by Don Ford, 1985-1986.

Tiara Girls of Great Britain and Ireland

Queen Mary received this tiara as a wedding gift in 1893, from a committee representing "the girls of Great Britain and Ireland". The funds for the purchase of the tiara were raised by a committee, formed by Lady Eve Greville. The tiara was purchased from Garrard, the London jeweler.

It featured pearls on top and a detachable base; Mary removed the pearls. She gave it to her granddaughter, Princess Elizabeth, as a wedding present in 1947. The Queen originally wore it without the base before reuniting the pieces in 1969.

Said to be light and easy to wear, the Girls of Great Britain and Ireland Tiara seems to be the Queen's favorite - she's said to call it "Granny's tiara", and it is her most frequently worn diadem.

The "Girls of Great Britain and Ireland" Tiara can be worn with or without a bandeau base and, in this portrait, the tiara is set into its base. (Portrait of Dorothy Wilding, 1952, shows the Tiara being worn without the base). (From her Majesty's jewel vault)

Queen Victoria’s Golden Jubilee necklace

To mark Queen Victoria’s Golden Jubilee in 1887, a committee of ladies was formed to raise money for a commemorative statue of Victoria’s late husband Prince Albert. The committee’s fundraising was quite successful, and they ended up raising far more than was required for the statue. An agreement was formed with the Queen that the excess should go to the St. Katherine’s Fund for Nurses. At the same time, some members of the committee decided that a portion of the funds should be used to purchase a necklace for the Queen - and this was also approved by Her Majesty.

The trouble was, the committee did not agree on the necklace. Some felt it would be wrong to spend the funds which had been previously devoted to charity on something else. Much discussion and debate ensued, as is described in depth in Hugh Roberts’ book The Queen’s Diamonds. (My favorite tidbit: Queen Victoria, angry that she wouldn’t get her promised necklace, shot down the prospect of a diamond badge commemorating the nursing fund by declaring she would “at once exchange it for another jewel”.

In the end, a compromise was reached and this necklace, made for £5000 (far less than the necklace originally proposed) from gold, diamonds, and pearls by Carrington & Co. was presented to Queen Victoria in 1888. It features a central quatrefoil diamond motif with a large pearl in the middle, topped by a crown and underlined with a drop pearl. The next four links in either direction are graduated trefoil motifs; the central piece and the six largest trefoils can also be worn as brooches.

Queen Alexandra’s Cluster Earrings

She is also wearing Queen Alexandra’s Cluster Earrings. The wedding gift from the future King Edward VII to his bride, Alexandra of Denmark. Also known as Queen Alexandra's Cluster Earrings, these two button earrings have large pearls surrounded by diamonds - 10 larger stones each plus smaller filler stones to create a full diamond ring. Like the brooch, these passed to the Queen via Queen Mary. They're now worn primarily at evening functions.

On patterned background is a building of Bank of England. Above the building are 4 coat of arms - left to right - England, Wales, Scotland and Ireland (North).

building

The history of the Bank is naturally one of interest, but also of continuing relevance to the Bank today. Events and circumstances over the past three hundred or so years have shaped and influenced the role and responsibilities of the Bank. They have moulded the culture and traditions, as well as the expertise, of the Bank which are relevant to its reputation and effectiveness as a central bank in the early years of the XXI century. At the same time, much of the history of the Bank runs parallel to the economic and financial history, and often the political history, of the United Kingdom more generally.

For the first forty years of its life the Bank rented premises to carry on its business, firstly, in the hall of the Mercers' Company in Cheapside and moving in January 1695 to the larger premises of the Grocers' Company in Princes Street. In 1734 it moved to purpose-built premises in Threadneedle Street which were approximately 80 feet wide (25m.) and 300 feet (90m.) long. Over the next one hundred years the site was gradually extended until by 1828 the current outline was achieved.

The Bank has been served by a distinguished line of architects:

​1732-1734 George Sampson's Bank of England ​

Scant details of George Sampson have survived. Even his dates are not known for certain. He appears to have held the post of Clerk of Works at the Tower of London and Somerset House before becoming Surveyor to the Bank. His only major work is the 1734 Bank, arguably the first purpose-built bank in the British Isles. He is thought to have died in 1764.

1765-1788 Sir Robert Taylor's Bank of England.

A sculptor who turned to architecture later in life, he extended the Threadneedle street façade of the Bank firstly eastwards and, after the demolition of the church of St Christopher-le-Stocks in 1781, westwards. In order to avoid piercing the outer walls with openings for light he introduced top-lighting to his new banking halls which were dominated by his centrally-placed Rotunda.

1788-1833 Sir John Soane's Bank of England.

Sir John Soane was one of England's greatest architects. His appointment in October 1788 as "Architect and Surveyor" to the Bank was the most important of his distinguished career. The Bank was his main pre-occupation for the ensuing 45 years until his retirement in 1833 when he described it as "...a situation which has long been the pride and boast of my life". He extended the Bank's site and eventually enclosed it in 1828 with a windowless wall.'

The structure of "Soane's Bank of England" remained more or less untouched until it was demolished and a new building erected by the architect Herbert Baker between 1925-1939.

1833-1855 Professor C R Cockerell.

​1855-1883 P C Hardwick.

​1883-1899 Sir Arthur Blomfield.

​1899-1919 A C Blomfield.

1925-1939 Sir Herbert Baker's Bank of EnglandBetween 1925 and 1939 he demolished what had become known as 'The Old Bank' or "Soane's Bank" (then regarded as one of London's architectural gems) and built a new headquarters for the Bank on the same 3 ½ acre Theadneedle Street site. The "Old Bank" had been in the main no more than three storeys high; Baker's new building rose seven storeys above ground and dropped three below to accommodate the extra staff required to tackle the Bank's rapidly increasing volume of work and responsibilities. (Bank of England)

The Bank Nun.

On November 2nd 1811, Philip Whitehead, "a man of genteel appearance" who had been employed in the Cashier’s Office at the Bank of England, was brought to the dock of the Old Bailey, charged with forgery. Found guilty, he was sentenced to death and was duly hanged in early 1812.

News of his crime and execution was, however, kept from his devoted sister, Sarah Whitehead, who was removed by Philip’s friends to a house in Wine Office Court, off Fleet Street. But one day, Sarah turned up at the Bank of England to enquire of her brother’s whereabouts, and an unthinking clerk promptly blurted out the story of Philip’s crime and ignominious death.

The shock of the discovery turned the poor woman’s mind and thereafter she took to turning up at the Bank everyday asking after her brother in the belief that he still worked there. She became known as the “Bank Nun” on account of her peculiar attire that consisted of a long black dress and a black crepe veil worn over her face and head. The city merchants took pity on her and never let her pass “without extending their assistance,” whilst the Directors and clerks of the Bank of England saw to it that she was frequently provided with “sums of money in compliment of her misfortune.”

But she became convinced that the Bank governors were keeping an immense fortune from her and this led to her frequently hurling insults at them during business hours. On one occasion Baron Rothschild was going about his business at the Stock Exchange when she suddenly appeared and called him a “villain and a robber” telling him that he had defrauded her of her fortune and demanding the £2,000 he owed her. He responded by taking half a crown from his waistcoat pocket, handing it to her and telling her as he did so “There, then, take that and don’t bother me now; I’ll give you the other half tomorrow.” Accepting the money, she thanked him and went away.

By 1818 the Bank governors had grown tired of her daily disturbances and so gave her a sum of money on condition she agreed never to return to the bank again. In life she kept that contract, but in death her wraith has broken it many times. More than one late night wanderer, wending their weary way home along Threadneedle Street has been surprised by her ghostly figure appearing before them and, with downcast eyes enquiring sadly, though politely, “have you seen my brother?” (Haunted historic buildings)

InIn lower left corner is a Bank seal with sitting Britannia (as logo of Bank of England).

Denominations in numerals are in top corners and lower right. In center in words. Many dedenominations in numerals are in lower right corner.

Revers:

10 Pounds Sterling 2017

Lower, under the Jane Austen's portrait is a quote: "I declare after all there is no enjoyment like reading!", from the "Pride and Prejudice", written by Jane Austen. However, that the quote wasn’t said by Austen herself, but instead by the “detested” character Caroline Bingley in Pride and Prejudice, who in fact hated reading (chapter XI).

Jane Austen Jane Austen

Centered, on background, is a portrait of Jane Austen commissioned by James Edward Austen Leigh - Jane Austen’s nephew - in 1870 (finished in 1873), adapted from an original sketch of Jane Austen drawn by her sister, Cassandra Austen (1773-1845), in 1810.

Jane Austen (16 December 1775 – 18 July 1817) was an English novelist, known primarily for her six major novels, which interpret, critique and comment upon the British landed gentry at the end of the 18th century. Austen's plots often explore the dependence of women on marriage in the pursuit of favourable social standing and economic security. Her works critique the novels of sensibility of the second half of the 18th century and are part of the transition to 19th-century literary realism.

With the publications of Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1815), she achieved success as a published writer. She wrote two additional novels, Northanger Abbey and Persuasion, both published posthumously in 1818, and began another, eventually titled Sanditon, but died before its completion. Her novels have rarely been out of print, although they were published anonymously and brought her little fame during her lifetime.

A significant transition in her posthumous reputation occurred in 1833, when her novels were republished in Richard Bentley's Standard Novels series, illustrated by Ferdinand Pickering, and sold as a set. They gradually gained wider acclaim and popular readership. In 1869, fifty-two years after her death, her nephew's publication of A Memoir of Jane Austen introduced a compelling version of her writing career and supposedly uneventful life to an eager audience.

Austen has inspired a large number of critical essays and literary anthologies. Her novels have inspired many films, from 1940's Pride and Prejudice to more recent productions like "Sense and Sensibility" (1995) and "Love & Friendship" (2016).

Jane Austen's use of biting irony, along with her realism and social commentary have earned her great and historical importance to critics and scholars.

Elizabeth Bennet

On background, also centered is an illustration of Miss Elizabeth Bennet undertaking "The examination of all the letters", which Jane Bennet had written to her.

Elizabeth Bennet is the protagonist in the 1813 novel Pride and Prejudice by Jane Austen. She is often referred to as Eliza or Lizzy by her friends and family. Elizabeth is the second child in a family of five daughters. Though the circumstances of the time and environment push her to seek a marriage of convenience for economic security, Elizabeth wishes to marry for love.

Elizabeth is regarded as the most admirable and endearing of Austen's heroines. She is considered one of the most beloved characters in British literature because of her complexity. Austen herself described Elizabeth as "as delightful a creature as ever appeared in print."

table

The central design in the background is inspired by the 12 sided writing table, and writing quills, used by Jane Austen at Chawton Cottage. Todaz this table is in Jane Austen's House Museum.

It is a small independent museum in the village of Chawton near Alton in Hampshire. It is a writer's house museum occupying the XVII-century house (informally known as Chawton Cottage) in which novelist Jane Austen spent the last eight years of her life. The museum has been a Grade I listed building since 1963.

The number of visitors who arrive in the dining parlour at Jane Austen’s House Museum and simply stop when they see Jane’s table cannot be counted.

For so many the small occasional table is the highlight of their visit to Jane’s home and the moment of spotting this unassuming piece of furniture is the moment when they feel as if they really are in the place where Jane wrote and conjured up her much-loved novels and memorable characters. Standing by the table, fingers itching to touch it, as if the wood itself contains something of Jane, some visitors hold their breath. Others cry.

Austen family tradition indicates that Jane wrote daily and that she wrote at this small table placed by a window for light. Jane wore spectacles and was known to have some trouble with her eyes so light would have been important. Writing with a quill and using ink which she may have made for herself using the recipe that survives in Martha Lloyd’s recipe book, Jane’s writing flourished in her Chawton home where she was given time and space to write, albeit on a small 12-sided walnut table.

The table was returned to the museum in 1957.

table

Only the table top is original as noted on the handwritten note attached to its underside when it was given to the Jane Austen Society by Brigadier B C Bradford. The note was written by Bradford’s great uncle, Montague G. Knight, and reads: “This table was bought by Montague G. Knight of Chawton House, from a grandson of James Goodchild, who lived in Chawton village in Jane Austen’s time.” Goodchild’s brother-in-law, William Littleworth, had been a servant for Mrs Austen, Jane’s mother, and when he was too old for work she furnished a cottage for him. Amongst the furniture was the little table at which Littleworth claimed he “often saw Jane Austen writing”. (Jane Austen's House Museum)

Godmersham Park

In lower part in the lithography by English lithographer William Watts, (1752-1851) - "Godmersham Park, Kent, the Seat of Thomas Knight Esq." (Jane Austen's uncle and father of her brother - Edward Austen Knight). Published in 1785.

In the summer of 1798, Jane and her mother, father and Cassandra come to Kent to visit their rich brother Edward. The Edward family recently purchased the Manmarsh-Park estate, which became one of the prototypes of the ideal estate of Pemberley from Pride and Prejudice. It was an era when a landscape garden style, called all over the world by English and chanting, in harmony with Rousseau's philosophy, everything natural, came to replace the regular. Former parks, created in French or regular style, affecting primarily luxury and pretentiousness - for example, Versailles - began to be considered an example of bad taste, contributed to the anti-French sentiment in the country that is at war with Napoleon. In the description of Pemberley, Jane pays tribute to the ideals of landscape style: "It was a majestic stone building, well located on the slope of a ridge of wooded hills." The flowing stream in the valley, without noticeable artificial structures, turned before the house into a wider stream, the banks of which did not seem excessively strict or excessive Well-groomed. "Elizabeth was delighted."

Like Mr. Darcy, Edward watched the condition of the lands that were part of his manor-the plot surrounding the estate-for the life and work of the tenants. In one letter, Jane mentions that "yesterday we had a day for Godmarsh: the gentlemen on horseback inspected Edward's farm and returned just in time to take a stroll along Benting with us." The Edward family grew every year: sons and daughters were born. Jane has become friends with the governess of the girls Anne Sharp, from whom she will look forward to the reviews on her novels. And Anne will not disappoint her: all her reviews will be thought out, written in the most benevolent tone, but extremely sincere and, probably, will bring Jane a lot of benefit. Later, Edward's wife will die during her last-eleventh birth.

Godmersham Park was located in the valley of the wide river Stour, was surrounded by a vast garden with numerous paths for walks and hunting grounds - the root "park" in the name of the estate just pointed out that there was a deer game reserve for hunting. On the south side of the house there was an artificially planted forest called Bunting, and a grove with a gazebo in the form of a Greek temple on a hill. Jane described him as "Temple forest, worthy, I'm not afraid to say, Knight Bayard," and told them that they often walked here after dinner.

Fashion for walks in the bosom of nature came along with romanticism. Young people embarked on foot or on horseback to admire some picturesque landscape, and at the same time, having a moment, to be alone, away from the noisy company. Many engagements in both novels and life were made during such walks.

The girls could go for a walk and together: to paint, read a good book and, of course, discreetly.

The exercise was considered useful not only for arrangement of personal life, but also for health. Doctors recommended that everyone, and especially women, walk and ride as much as possible to be always in good shape. Mary Wollstonecraft in the famous book "In defense of women's rights" complains that girls are not allowed to play outdoor games with boys, girls are not allowed to dance until they fall and thereby turn women into frail and anemic creatures flaunting their weakness. Another English feminist, the heroine of the novel Mary Ann Henweigh, Lady John Darel, the Duchess of Dreadnaught - her husband's name before her surname indicates that she is wearing the title thanks to him, - was indignant that the girls "are imprisoned in a nursery ... they rarely get the chance to use their even if they walk around their prison cell, if the wind blows from the south, it is too strong, if it's too cold from the north ... Their mother lets them out on the street only for a very short time and only in the warmest weather - a few days for the whole year ". Priscilla Wakefield, the author of "Reflections on the Present Situation of Women," believed that physical exercises could help women more successfully fulfill their maternal functions, that women's inactivity "leads to the fact that our offspring grows devoid of the courage and noble energy of patriotism."

And yet not all walks looked decent. When in Pride and Prejudice two younger sisters Elizabeth go for a mile and a half (about three kilometers) to a small town, it does not bother anyone. But when Elizabeth herself walks three miles (about five kilometers) alone in the fields, hurrying to the aid of a sick sister, it breeds gossip at Netherfield Park. Only Bingley is genuinely happy to see Elizabeth, because he is also concerned about Jane's health, but his sisters behind the guest's gaze are angry about the spots on the hem of her skirt, provincial manners and "the ability to walk unusually long distances on foot in the morning, like some savage." As for Mr. Darcy, "the latter experienced mixed feelings: he admired the lovely blush that blossomed on her face after a long walk, but doubted, whether it was reasonable to make such a long journey alone. "

Perhaps describing Elizabeth's "Great Walking Walk Through the Fields of Hertfordshire," Jane was inspired by her own "mud campaign" - one day on a rainy night with a lantern in her hands, she was also hurrying to help James's wife, who gave birth to her first daughter Anna in the estate next to Steventon.

Denominations in numerals are on top, repeated 3 times. In lower left corner in words.

Comments:

The polymer for the New Fiver is made by "Innovia Securities", who have a plant in Wigton, Cumbria.

Polymer notes are also better for the environment. This is because they last longer and so we have to print fewer notes, which means less energy is used in manufacturing and cash transportation. When a polymer note has reached the end of its life it will be recycled into new plastic products.

Each new polymer note is expected to last at least 2.5 times longer than the current paper notes. This is because polymer is stronger than paper so the notes can better withstand being repeatedly folded into wallets or scrunched up into pockets.