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100 Piastres Green frame
| Uitgever | Banque de l'Indochine |
|---|---|
| Jaar | 1942-1945 |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Piastre (1880-1952) |
| Samenstelling | Log in om details te zien |
| Afmetingen | Log in om details te zien |
| 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 | Animated market scene vignettes in intaglio occupy the left and right panels, with figures in traditional Indochinese dress engaged in trade and daily activities set against a warm reddish-orange underprint. The central field carries the bold letterpress denomination 'CENT PIASTRES' beneath the bank title 'BANQUE DE L'INDOCHINE' running across the top, with three signature lines for bank officials positioned along the lower margin. A green guilloche border frames the entire composition, and the engraver's credit 'G. BARRIÈRE DEL & SC.' appears in the lower portion. |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Log in om details te zien |
| Opschrift keerzijde | L'ARTICLE 139 DU CODE PÉNAL PUNIT DES TRAVAUX FORCÉS CEUX QUI AURONT CONTREFAIT OU FALSIFIÉ LES BILLETS DE BANQUE AUTORISÉS PAR LA LOI PHAM-NGOC KHUE IDEO. HANOI MỘT TRĂM ĐỒNG VÀNG 東方匯理銀行 壹佰元 |
| 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 |
Produced entirely within occupied Indochina after the fall of France severed normal supply lines to metropolitan printers, this note is one of the few Banque de l'Indochine issues designed, engraved, and printed locally from start to finish. The Imprimerie d'Extrême-Orient in Hanoi had the technical capacity but not the security infrastructure of Parisian ateliers, and the quality differential shows in the engraving — Georges Barrière's work is competent but uneven compared to his contemporaries working under better conditions.
Phạm Ngọc Khuê's involvement on the reverse is notable: a Vietnamese artist contributing to an official colonial currency issue was genuinely unusual for the period.