1000 Kroner 1982, Norway
| in Krause book | Number: 40b |
| Years of issue: | 1982 |
| Edition: | 51 930 000 (all years) |
| Signatures: | Direksjonens Formann: Knut Getz Wold (in office 1970-1985), Hovedkasserer: Kare Sagård |
| Serie: | Fifth Series |
| Specimen of: | 1975 |
| Material: | Cotton fiber |
| Size (mm): | 169 x 90 |
| Printer: | Norges Bank, Oslo (till 2008) |
* All pictures marked 
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.
Description
Watermark:
Henrik Johan Ibsen. Security thread.
Avers:
The engraving on banknote is, probably, made from this photograph of Henrik Johan Ibsen.
Henrik Johan Ibsen (20 March 1828 – 23 May 1906) was a Norwegian playwright, theatre director, and poet. As one of the founders of Modernism in theatre, Ibsen is often referred to as "the father of realism" and one of the most influential playwrights of his time. His major works include Brand, Peer Gynt, An Enemy of the People, Emperor and Galilean, A Doll's House, Hedda Gabler, Ghosts, The Wild Duck, When We Dead Awaken, Pillars of Society, The Lady from the Sea, Rosmersholm, The Master Builder, and John Gabriel Borkman. He is the most frequently performed dramatist in the world after Shakespeare, and by the early XX century A Doll's House became the world's most performed play.
Several of his later dramas were considered scandalous to many of his era, when European theatre was expected to model strict morals of family life and propriety. Ibsen's later work examined the realities that lay behind the façades, revealing much that was disquieting to a number of his contemporaries. He had a critical eye and conducted a free inquiry into the conditions of life and issues of morality. His early poetic and cinematic play Peer Gynt, however, has also strong surreal elements.
Ibsen is often ranked as one of the most distinguished playwrights in the European tradition. Richard Hornby describes him as "a profound poetic dramatist - the best since Shakespeare". He is widely regarded as the most important playwright since Shakespeare. He influenced other playwrights and novelists such as George Bernard Shaw, Oscar Wilde, Arthur Miller, James Joyce, Eugene O'Neill, and Miroslav Krleža. Ibsen was nominated for the Nobel Prize in Literature in 1902, 1903, and 1904.
Ibsen wrote his plays in Danish (the common written language of Denmark and Norway during his lifetime) and they were published by the Danish publisher Gyldendal. Although most of his plays are set in Norway - often in places reminiscent of Skien, the port town where he grew up - Ibsen lived for 27 years in Italy and Germany, and rarely visited Norway during his most productive years. Born into a merchant family connected to the patriciate of Skien, Ibsen shaped his dramas according to his family background. He was the father of Prime Minister Sigurd Ibsen. Ibsen's dramas have a strong influence upon contemporary culture. 
In center is Norwegian coat of arms.
The coat of arms of Norway. A golden lion on a red shield was adopted in or before the early part of the XIII century. In the late part of the same century, a silver axe was added. In continuous use since then, the coat of arms is one of the oldest state coats of arms in the world.
The official blazon is: Gules, a lion rampant or, crowned or and bearing an axe with blade argent.
Among the state coats of arms that are still in use today, the Coat of Arms of Norway is among the oldest in Europe and even world-wide. It is known since the early 13th century, when it served as the coat of arms of the kings of the Sverre dynasty. It is told that Sverre, who was King between 1184 and 1202, had a lion in his coat of arms. This coat of arms appears in 1225, when it was used by Earl Skule Bårdsson, who had relations to the royal family. A coat of arms with a lion was also used by Haakon the Young Haakonson, who was King between 1240 and 1257. This was in 1250. Haakon the Young's father, King Haakon the Old Haakonson, had a lion in his seal. This lion, however, does not appear in a coat of arms, but in the shape of a small lion which lies between the King's feet. This might be the same lion that Earl Skule and Haakon the Young used in their seals. On the other hand, lions were a frequently used symbol of kings and royal power.
Snorre Sturlason claims that a golden lion on a red background was used already in 1103 by King Magnus III, the son of King Olav III. In 1894, historian Gustav Storm concluded that this is ahistorical. Storm explained that the claimed lion in King Magnus's coat of arms is unknown both in the older Saga literature and in other contemporary sources. It is possible that Snorre, who wrote under the instruction of the King, attributed King Sverre's coat of arms to earlier Kings of Norway.
Approximately in 1280, either King Magnus VI (dead in 1280) or the guardianship of his son Eric Magnuson let the lion be equipped with a crown of gold and in the foremost paws an axe of silver. The axe was a symbol of Saint Olaf, i.e. King Olaf II, and by inserting it into the coat of arms it was symbolized that the King was the rightful heir and descendant of the "Eternal King of Norway" (Latin: Rex Perpetuus Norvegiae).
Denomination in big words is centered. Lower right are in words and numeral. Top left in words. In numeral - lower left.
Revers:
The painting by Peder Balke "Lighthouse on the Norwegian Coast" ("Fyr på den norske kyst"), 1860. Oil on canvas, lacquered. Today is stored in the National Gallery of Norway. Dimensions: 70.5 x 58.5 cm.
The painting is also known as the "Lighthouse near Vardø". But:
Today, in the Vardø region, on Hornøya Island, is a lighthouse, which was built only in 1896. Painting by Peder Balke depicts a lighthouse, which is not like any of lighthouses in this region.
Peder Balke (November 4, 1804 – February 5, 1887) was a Norwegian painter. He is known for portraying the landscape of Norway in a romantic and dramatic manner. He was also active in the field of social justice.
Peter Andersen was born on the island of Helgøya, in Hedmark county, Norway. He grew up in Ringsaker, but lived in the 1820s on the Balke farm in Toten in Oppland county. Farmers in Toten paid for his education, and he decorated several farms in Toten in return. They actively encouraged his painting activities and later supported him in obtaining higher education.
In the autumn of 1827, Balke served as an apprentice to Heinrich August Grosch. He was also a student at the Tegneskole under Grosch and Jacob Munch. Balke signed a two-year contract as an apprentice to the Danish decorator and artist Jens Funch. From autumn 1829 to spring 1833, he was a pupil of Carl Johan Fahlcrantz at the art academy in Stockholm. Balke was also a pupil of Johan Christian Dahl from 1843 to 1844.
During the summer of 1830 he walked through Telemark, Rjukan, Vestfjorddalen through Røldal and Kinsarvik to the city of Bergen, and then back through Vossevangen to Gudvangen, further over Filefjell to Valdres and then across the mountains to Hallingdal. Along the way, he painted and drew small sketches that were later developed into paintings. He also traveled to Germany, and Russia. He visited Paris and London.
In Stockholm, he completed several of the paintings he had outlined on his 1832 Finnmark tour. Some of these were sold to the royal family. In 1846 he sold thirty of his paintings to Louis Philippe I of France for the Palace of Versailles. Besides the 17 paintings in the National Gallery in Oslo, Peder Balke is also represented at several major art collections in Norway and Sweden.
The National Gallery in London organized the greatest display of his work in the UK, a collection of over 50 paintings, from public and private collections in November 2014 - April 2015. A book containing 62 color plates, notes and chapters; Peder Balke: Vision and Revolution (M.I. Lange), In Quest of the Sublime: Peder Balke and the Romantic Discovery of the North (K.Ljøgodt), Balke / London / Then / Now (C.Riopelle) has been published as "Paintings by Peder Balke".
Balke's work is also mentioned in a discussion of Nordic Art from 1860-1920.
He was married in 1834 to Karen Eriksdatter Strand. He was engaged in social questions and organized the construction of Balkeby, a new part of Oslo, with improved living conditions for workers. He also advocated grants for artists and pensions for men and women. He is the great-grandfather of Turid Balke and great-great-grandfather of Jon Balke.
Peder Balke purchased parcels of the historic Nedre Blindern farm between 1858 and 1876. The Balke association organized the suburb. Plot buyers could borrow money from Balke and construct the building themselves. By 1865, there were 300 people in Balkeby and the area was relatively well populated by workers. Eventually they took in lodgers, so that the population increased.
Balkeby provided an opportunity for a population to have their own home within a reasonable distance from the city, especially after the horse trams came in 1875. In 1878, when the area was incorporated into the city of Oslo, about 1100 people lived there. Balke had set up strict rules for construction, including the planning of wide streets to prevent the spreading of fire. However, on 13 June 1879, many of the houses in Balkeby burned to the ground.
The former Balkeby suburb was located northeast of what is today Oslo's main shopping street Bogstadveien in Majorstuen and Hegdehaugen neighbourhoods in the Frogner district of Oslo.
In top left corner is the lion from coat of arms.
Denominations in numerals are in 3 corners and centered. In words - doubled, at the bottom.
Comments:
Invalid from 01.08.2001.
Designers: Knut Løkke-Sørensen (obverse side) and Henry Welde (reverse side).
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