| Ön yüz açıklaması |
The obverse is printed in purple and ochre tones on plain paper, with an ornate Art Nouveau border of stylised floral and scroll motifs surrounding the central field. The bank title BANQUE DE L'INDO-CHINE is set at the top, with the denomination 20 CENTS in large bold lettering at centre above the payability clause PAYABLES AU PORTEUR EN INDO-CHINE EN ESPÈCES. Two manuscript signature lines for Un Administrateur and L'Administrateur Directeur appear in the lower half, beneath which the serial number is printed, with the numeral 20 repeated in the side panels; the designer's signature G. FRAIPONT is inscribed in the lower-left corner. |
| Ön yüz lejandı |
Giriş yapın ayrıntıları görmek için |
| Arka yüz açıklaması |
The reverse is printed in a single purple tone and carries an elaborate letterpress border composed of paired pilasters with foliate capitals flanking a broad horizontal floral guilloche frieze at the top. The central text field presents the authorising decree reference DÉCRET DU 3 AVRIL 1901 and the emission authorisation date ÉMISSION AUTORISÉE LE 6 OCTOBRE 1919, followed by the full anti-counterfeiting legal warning in French. The numeral 20 appears in plain panels on each side, and the imprint G. FRAIPONT and CHAIX. PARIS are present in the lower corners. |
| Arka yüz lejandı |
Giriş yapın ayrıntıları görmek için |
| İmza(lar) |
Giriş yapın ayrıntıları görmek için |
| Koruma türü |
Giriş yapın ayrıntıları görmek için |
| Koruma açıklaması |
Giriş yapın ayrıntıları görmek için |
| Varyantlar |
Giriş yapın ayrıntıları görmek için |
Banque de l'Indo-Chine issued fractional paper currency during this period largely because the region's silver coinage — particularly the Piastre — was being hoarded or exported as bullion, leaving everyday small transactions without a practical medium of exchange. The 20 Cents note was an emergency response to that gap, not a planned denomination.
Imprimerie Chaix was primarily a commercial and poster printer; its association with Gustave Fraipont, a prolific Belle Époque illustrator, reflects the firm's artistic rather than strictly security-printing background. That provenance makes the series somewhat unusual among colonial currency of the period.