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10 Francs - Colbert
| Uitgever | Caisse Centrale de la France d'Outre-Mer |
|---|---|
| Jaar | 1947 |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Log in om details te zien |
| Samenstelling | Paper |
| Afmetingen | Log in om details te zien |
| Vorm | Log in om details te zien |
| Drukker | Log in om details te zien |
| Ontwerper(s) | Log in om details te zien |
| Graveur(s) | Log in om details te zien |
| In omloop tot | Log in om details te zien |
| Referentie(s) | Log in om details te zien |
| Beschrijving voorzijde | Log in om details te zien |
|---|---|
| Opschrift voorzijde | DIX FRANCS CAISSE CENTRALE DE LA FRANCE D'OUTRE-MER P. MUNIER FEC. HOURRIEZ SC. (Translation: Ten Francs Central Fund of Overseas France) |
| Beschrijving keerzijde | Log in om details te zien |
| Opschrift keerzijde | CAISSE CENTRALE DE LA FRANCE D'OUTRE-MER L'ARTICLE 139 DU CODE PENAL PUNIT DES TRAVAUX FORCES CEUX QUI AURONT CONTREFAIT OU FALSIFIE LES BILLETS DE BANQUE AUTORISES PAR LA LOI P. MUNIER FEC. A. CHAPON SC. (Translation: Central Fund of Overseas France. Article 139 of the Penal Code punishes with forced labour those who have counterfeited or falsified bank notes authorized by law.) |
| Handtekening(en) | Log in om details te zien |
| Beveiligingstype | Log in om details te zien |
| Beschrijving beveiliging | Log in om details te zien |
| Varianten | Log in om details te zien |
| Opmerkingen |
The Caisse Centrale de la France d'Outre-Mer was established by de Gaulle's provisional government in 1944 specifically to restore monetary order in liberated French territories — a direct response to the proliferation of Allied Military Currency and improvised local issues during the occupation years. This 10 Francs note, part of the postwar reconstruction series, circulated across a remarkably dispersed currency zone that included French Guiana, Guadeloupe, Martinique, and Réunion simultaneously.
Hourriez and Chapon were both career engravers at the Banque de France's atelier, and the split attribution — one engraver per face — was routine workshop practice there, not a sign of any unusual production arrangement.