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| 表面の説明 | Two portrait vignettes are placed at opposing ends of the note: a bust of Marcelo del Pilar facing right at left, and a bust of Graciano Lopez Jaena facing left at right, both rendered in intaglio. The central field carries the denomination and issuing authority inscriptions against a fine guilloche underprint. |
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| 表面の銘文 | ログイン して詳細を見る |
| 裏面の説明 | The central vignette presents an open copy of La Solidaridad newspaper set at a slight angle, with its masthead and columns of text legible, rendered against a rich golden-orange guilloche underprint. The numeral 5 and the inscription PESOS appear in each corner within ornate lathe-work panels, while FIVE PESOS is lettered in bold serif type to the left and right of the central vignette. |
| 裏面の銘文 | ログイン して詳細を見る |
| 署名 | ログイン して詳細を見る |
| 偽造防止技術 | ログイン して詳細を見る |
| 偽造防止の説明 | ログイン して詳細を見る |
| バリエーション | ログイン して詳細を見る |
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The Central Bank of the Philippines was established only in 1949, replacing the pre-war Commonwealth currency system and severing the peso's direct link to the US dollar under the old Monetary Law. This series, P#135, spans the years when that newly independent monetary authority was still asserting itself — a period of strict foreign exchange controls that the Central Bank administered with considerable force, making the physical notes both instruments of policy and objects of genuine public anxiety about convertibility.
Thomas De La Rue's involvement here is unremarkable for the region; they printed for dozens of newly independent central banks during this period. What distinguishes the run is its unusually long issuance window — nearly two decades on a single pick number suggests only incremental signature changes, not redesigns.