Category: Europeans

Albert Desire Barre


En février 1855, il succède au poste de Graveur général des monnaies à son père,Jean Jacques Barre. Il écritGraveurs Généraux et particuliers des Monnaies de France, Contrôleurs Généraux des Effigies, Noms de quelques graveurs en Médailles de la Renaissance Française, publié en 1867.

En 1855, il doit reprendre les travaux de son père, notamment les gravures des timbres-poste de France bien qu’il n’apprécie pas Anatole Hulot, l’entrepreneur chargé de leur impression et spécialiste de la galvanoplastie. Pour concurrencer cette technique de reproduction des clichés nécessaires à la création des planches d’impression des timbres, Désiré-Albert Barre se lance dans des essais de frappe au balancier monetaire entre 1858 et 1859. Il produit ainsi sur la commande de la commission des Monnaies des essais au type Ceres, même si finalement, Hulot conserve son contrat en abaissant ses prix. En 1861, grâce au retard de Hulot, la technique de frappe au balancier permet néanmoins à Barre d’emporter le contrat de production des planches d’impression des premiers timbres de Grece au type Hermes, dont il a réalisé quelques mois auparavant le dessin et le poinçon. En 1876, il fournit les mêmes travaux pour la création de deux timbres complémentaires.

Se rejetant la responsabilité des retards, les relations entre Hulot et Barre entraînent des retards dans la production de nouveaux timbres au début des années 1860. En désaccord avec le cadre de Hulot autour des nouvelles effigies laurees de Napoleon IIIdécidées début 1861, Barre retarde la fourniture du poinçon, puis, à deux reprises pour de nouvelles valeurs, Hulot renvoie le poinçon jugé abîmé pour que Barre effectue des retouches. Les émissions s’étalent ainsi de 1862 à 1870En août 1866, bien qu’il en ait rendu la maquette en juillet, Désiré-Albert Barre refuse désormais de graver le poinçon du nouveau timbre-poste de cinq francs. Hulot doit se débrouiller avec des copies d’anciens poinçons5.

Après sa mort, son frère ainé Jean Auguste Barre le remplace pendant l’année 1879 comme Graveur général des monnaies.


Vasos Falireas

Contemporary Greek sculptor. Born In Athens (1905-1979). In 1929 he graduated with a Distinction Grade from the Fine Arts School of Athens and the next yeatr he left for Paris.

He stayed there for six years and presented his works at several exhibitions, earning a silver and a gold medal. He was widely recognized and he made sculptures for several important personalities of  French public life. Many of his works were ruined during the Second World War. Apart of  his works as a sculptor he was also responsible for the design of many modern Greek coins.

Returning to Greece, he was honoured with the Golden Cross of George A in 1965 while in 1955 he created/designed the monument of Leonidas the Spartan found in Thermopylae. In January 1967 he became a member of the French Academy of Fine Arts.

Euro Designer Luc Luycx

Luc Luycx

Luc Luycx (pronounced Lowx) was a 43-year-old computer engineer and coin designer who lived in Dendermonde, Belgium. Luycx had been working at the Koninklijke Belgische Munt (Royal Belgium Mint) for 15 years, designing coins on computer. In 1996, Luyncx created a series of coins in CorelDRAW and sumbitted them to the design competition held by every EU member state, with the exception of Denmark. He was not alone of course. Professional coin designers, artists and sculptors from all over the European Union submitted their own designs for the contest which was limited to three themes: architectural, abstract and European personalities.

A European jury of independent experts chose the nine best series out of a total of 36 in March 1997. The winning design was the clear favourite of an opinion poll organised by the European Commission among both the general public and a wide range of currency users’ organisations, including consumers and representatives of the blind and the visually impaired, and also with the European Parliament. In the final stages 63.8% of a sample of 1900 europeans selected Luycx’s series of coins, featuring the map of Europe with all the countries’ borders and a background symbolizing Europe with 12 stars. The final decision on the design was taken by the European Council meeting in Amsterdam in June 1997. Luycx won the competition for the common face of the coins and today his designs appear on the back of 50 billion euro coins circulating throughout Europe. He also received 24,000 ECU for his prize-winning series of design.

Who is who

Luycx’s career started out quite differently, as he first worked as a computer engineer. He had no experience with creating designs on the computer, but loved to paint and draw with a pen. When his supervisor asked him to take a coin engraving course 10 years ago, he was introduced to CorelDRAW and his new passion for designing coins began. “When I was designing the coins, I made rough sketches on paper and scanned them into the computer,” said Luycx. “I did the rest of the work, including the design and the editing, with CorelDRAW”.

Designing the euro

Luycx’s main concern was making the value of the coin clear at first glance and even from a distance. So, with clear-cut numbers in his head, he set to work on the design which also emphasises European integration. Next to the number inscriptions of the one, two and five cent coins, Luycx placed a tiny globe with the outlines of the European continent. On some Euro coins, the 15 EU countries are clearly separated, while on others, the individual countries depicted, merge into one continent. “A Europe-wide currency has to be neutral, the graphics can’t be too specific. If I had opted for portraits of famous people or architectural monuments then one country was bound to be more strongly represented”, he says.

Luycx also consciously included England, Denmark and Sweden in his design, though the three are holding on to their national currencies to start with. And with foresight, he even left some scope within his design to include prospective EU member states at a later stage. In this way if the need arises, a new series of euro coins could be rustled up within a few years. Based on plaster models, a precise matrix was drawn up for each of the new coins to be minted from. This pattern ensures that every single coin across the continent has an identical front. The coins also have milled edges to make it easier – especially for those with impaired sight – to recognise different values. Sophisticated bi-metal technology has been incorporated into the Euro 1 and Euro 2 coins which, together with lettering around the edge of the Euro 2 coin will prevent counterfeiting.

Luc Luycx was pleased. “I think they’ve really turned out well, great! I wasn’t expecting that. I’m very pleased with them.” Naturally, Luycx was looking forward to January 1, 2002, when people Europe wide would be exchanging the coins – and his designs – as legal tender for the first time.

Article Taken from Fleur De Coin Website