Catalog
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| Issuer | Banque de l'Indo-Chine |
|---|---|
| Year | 1898 |
| Type | Log in to see details |
| Value | Log in to see details |
| Currency | Baht / Tical (1869-1897) |
| Composition | Log in to see details |
| Size | Log in to see details |
| Shape | Log in to see details |
| Printer | Log in to see details |
| Designer(s) | Log in to see details |
| Engraver(s) | Log in to see details |
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| Obverse description | Log in to see details |
|---|---|
| Obverse lettering | Log in to see details |
| Reverse description | The reverse is printed in the same reddish-brown intaglio palette and is dominated by a central rectangular text panel carrying the anti-counterfeiting warning in French under Article 139 of the Penal Code, flanked by two large circular guilloche medallions intended for serial numbers. The denomination and issuer name are rendered in Chinese (行銀國法 / 暹銀貮拾銖), Thai script (บางก์ เดอ ลินโดชิน์ / ยี่สิบ บาท), and Thai numerals (๒๐), with a full Thai-language promise-to-pay text occupying the lower centre. Decorative dragon vignettes frame the left and right borders, and the designer and engraver credits appear in the lower margins. |
| Reverse lettering | 行 銀 國 法 ๒๐ บางก์ เดอ ลินโดชิน์ 二十 L'ARTICLE 139 DU CODE PÉNAL PUNIT DES TRAVAUX FORCÉS A PERPÉTUITÉ CEUX QUI AURONT CONTREFAIT OU FALSIFIÉ LES BILLETS DE BANQUES AUTORISÉES PAR LA LOI, AINSI QUE CEUX QUI AURONT FAIT USAGE DE CES BILLETS CONTRE-FAITS OU FALSIFIÉS ; CEUX QUI LES AURONT INTRODUITS SUR LE TERRITOIRE FRANÇAISE SERONT PUNIS DE LA MÊME PEINE. ยี่สิบ บาท สัญญา ว่า เมื่อ ท่าน ผู้ หนึ่ง ใด ได้ นำ หนังสือ ฉบับ นี้ มา ยื่น ต่อ ห้าง เรา ที่ อยู่ ใน เมือง นี้ แล้ว เรา ก็ จะ ใช้ เงิน ให้ แก่ ผู้ นั้น ใน ทัน ใด เปน เงิน สยาม ยี่สิบ บาท ถ้วน 暹銀貮拾銖 กรุง เทพ ฯ A. BRAMTOT ET G. DUVAL. FEC CH. WULLSCHLEGER. SC |
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| Comments |
The Banque de l'Indo-Chine's dual-denomination series — quoting both Baht and Ticals on the same face — was a deliberate concession to the currency realities of Siam, where the bank operated branches but had no formal monopoly. The Paris printing by Chaix (the house responsible for this series) under Wullschleger's engraving gave the notes a visual weight more aligned with metropolitan French securities than with circulating colonial paper.
Bramtot was a Salon-exhibited painter, an unusual credit for a banknote commission. His involvement suggests the Banque was conscious of prestige at a moment when it was competing for commercial legitimacy across multiple Southeast Asian territories simultaneously.