Catalogus
Volledige afbeeldingen bekijken — gratis registratie
Doorgaan met Google — het is gratis
of registreer met e-mail
Waarom registreren? Alleen om bots buiten ons catalogus te houden. Uw e-mail blijft privé — we delen het nooit en sturen u niets zonder uw toestemming. Dat garanderen wij u!
100 Piastres
| Uitgever | Banque de l'Indochine |
|---|---|
| Jaar | 1942-1945 |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Log in om details te zien |
| Samenstelling | Log in om details te zien |
| Afmetingen | 170 × 87 mm |
| 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 | Log in om details te zien |
| Beschrijving keerzijde | A Vietnamese imperial pavilion or temple set within a landscaped garden is rendered in a central vignette framed by a wreath of wheat ears, printed in orange-red intaglio. Multilingual inscriptions surround the design, with the denomination rendered in Vietnamese (MOT TRAM DONG VANG), Chinese characters (壹佰元 / 東方匯理銀行), and Khmer script at left and right margins. A penal warning clause in French appears at the foot of the central vignette, with the engraver's name PHAM-NGOC KHUE and IDEO. HANOI in the lower corners. |
| Opschrift keerzijde | MOT TRAM DONG VANG 東方匯理銀行 壹佰元 100 PHAM-NGOC KHUE IDEO. HANOI |
| 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 |
This note was produced locally in Hanoi under Japanese occupation, when regular supplies from metropolitan France and established European security printers were cut off entirely. The Imprimerie d'Extrême-Orient was a commercial press, not a dedicated currency printer, and the compromises that forced are visible in the security features — or the absence of them. Forgery was a persistent problem with wartime Indochinese issues.
Phạm Ngọc Khuê's involvement on the reverse is genuinely unusual — a Vietnamese designer credited on a colonial banknote during this period is rare, and the circumstances under which he received the commission are not well documented.