100 Piastres

Banque de l'Indo-Chine's Paris-printed issues of this period occupy an interesting position in colonial monetary history: the bank held a renewable concession from the French government granting it sole right of issue across French Indochina, a privilege it defended aggressively against competition from local Chinese banks and metropolitan rivals alike. The 100 Piastres was the highest denomination in regular circulation and consequently saw heavy use among merchant houses in Saigon and Cholon.

Bellery-Desfontaines was primarily an illustrator and poster artist — an unusual choice alongside the precise intaglio work of Ruffe and Gaspérini, both accomplished Banque de France engravers. The collaboration between a commercial artist and career security printers gives this series a visual character distinct from the more strictly academic engraving typical of French colonial paper of the same decade.