| Popis líce |
Violet and lilac intaglio-printed note with an allegorical vignette at centre showing classical figures — a reclining male youth and a seated female figure gathering flowers — set in a lush garden scene, with a camel and a turbaned Arab merchant to the right. The heading BANQUE DE L'ALGÉRIE and denomination CENT FRANCS are printed in large letterpress at the top, with the bilingual legend PAYABLES AU PORTEUR ET A VUE in French and Arabic below, flanked by two blank watermark ovals at left and right. The date, director's signature, and two further official signatures appear in the lower central panel, with serial number and check letters at each corner and TUNISIE printed vertically along the right margin. |
| Opis líce |
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| Popis rubu |
Violet intaglio vignette occupying the full face of the note, centred on an allegorical seated female figure holding an open book and a sword, representing Justice or Learning, attended by a young male figure presenting fruit, with ceramic amphorae and a cornucopia of produce arranged at lower right against a backdrop of foliage and a blank watermark oval at upper left. A rectangular guilloche cartouche at upper right provides a second watermark space. The denomination 100 appears at lower left flanked by an Arabic inscription in a panel running the full width of the note. |
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The Banque de l'Algérie operated under a French colonial charter but functioned with considerable independence from the Banque de France — it retained its own note-issuing privilege long after comparable institutions elsewhere had been absorbed into metropolitan structures. This series bridged a period of significant demographic and economic pressure in the territory, with the 1920s boom in Algerian wine and cereal exports driving genuine demand for higher-denomination paper in commercial circulation.
Romagnoli was among the more accomplished intaglio engravers working in the French tradition during this period, and his name appearing on a colonial issue is itself a marker of the production standards Duval's designs were held to. The watermark security was modest by interwar standards, but consistent across the fifteen-year print run.