Catalog
See full images - free registration
Continue with Google - no registration!
or register with email
Why register? Just to keep bots out of our catalog. Your email stays private - we will never share it or send you anything uninvited. We guarantee you that!
100 Francs Nouméa
| Issuer | Banque de l'Indochine |
|---|---|
| Year | 1937-1963 |
| Type | Log in to see details |
| Value | Log in to see details |
| Currency | Log in to see details |
| Composition | Log in to see details |
| Size | Log in to see details |
| Shape | Rectangular |
| Printer | Log in to see details |
| Designer(s) | Log in to see details |
| Engraver(s) | Log in to see details |
| In circulation to | Log in to see details |
| Reference(s) | Log in to see details |
| Obverse description | Log in to see details |
|---|---|
| Obverse lettering | Log in to see details |
| Reverse description | Multicolor vignette of the four-faced Bodhisattva Avalokitesvara tower at the Bayon Temple, Angkor, Cambodia, rendered in detailed intaglio engraving at center. The denomination 100 FRANCS and place name NOUMÉA appear within the composition, framed by ornamental borders. The artists' credits SÉB. LAURENT DEL and RITA SC. are inscribed in the lower margin. |
| Reverse lettering | Log in to see details |
| Signature(s) | Log in to see details |
| Protection type | Log in to see details |
| Protection description | Profile portrait watermark visible when held to light |
| Variants | Log in to see details |
| Comments |
Banque de l'Indochine's New Caledonian issues occupy an odd administrative corner: the bank held its concession to issue currency in French Pacific territories well into the postwar period, long after comparable colonial institutions had been wound up or nationalized. This note was printed by the Banque de France — a working arrangement that gave the series its unusually clean intaglio quality, the same production standard applied to metropolitan French issues of the period.
Marguerite Dreyfus, who signed her work as "Rita," was one of the few female engravers to hold a senior position at the Banque de France's atelier during the mid-twentieth century. The print run spanned over two decades without a redesign.