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| 表面の説明 | The central vignette, drawn by Bellery-Desfontaines and engraved by the Florian brothers, presents a large baobab tree at right and an elephant at left in an Art Nouveau illustrative style over a pale guilloche underprint. The denomination "CENT FRANCS" is printed in large red letterpress text at centre, with the issuing place "PORTO-NOVO" and a manuscript date below, flanked by two handwritten signatures under the titles "Le Président" and "L'Administrateur-Directeur". Serial numbers with letter prefix appear in the upper and lower margins, and the numeral "100" is repeated in each corner. |
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| 表面の銘文 | ログイン して詳細を見る |
| 裏面の説明 | The reverse is entirely typeset in Arabic script, with the bank name and denomination rendered in decorative calligraphic letterpress arranged in two text columns flanking a central blank panel. An elaborate geometric border of interlocking guilloche patterns frames the entire composition, with ornate corner medallions, and the designer's credit "Georges DUVAL . fecit." is printed in the lower left margin. |
| 裏面の銘文 | ログイン して詳細を見る |
| 署名 | ログイン して詳細を見る |
| 偽造防止技術 | ログイン して詳細を見る |
| 偽造防止の説明 | ログイン して詳細を見る |
| バリエーション | ログイン して詳細を見る |
| コメント |
The Banque de l'Afrique Occidentale operated as a private commercial bank holding the note-issuing privilege across French West Africa, a colonial arrangement that persisted until well after independence. Porto-Novo, as the capital of Dahomey, required its own place-of-payment designation — the BAO issued regionally customized versions of the same underlying plate, and P#11E is the Dahomey variant of a note whose basic architecture served multiple territories simultaneously.
Bellery-Desfontaines was primarily known as a poster artist and illustrator of the Belle Époque; his involvement in banknote design was unusual for someone of that background. Engraving credit shared between Frédéric and Ernest-Théophile Florian reflects a father-son workshop practice common to Banque de France commissions of the period.