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50 Francs / 10 Belgas
| Emittent | Banque Nationale de Belgique |
|---|---|
| Jahr | 1928-1935 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | Anmelden um Details zu sehen |
| Währung | Anmelden um Details zu sehen |
| Material | Paper |
| Größe | Anmelden um Details zu sehen |
| Form | Anmelden um Details zu sehen |
| Druckerei | Anmelden um Details zu sehen |
| Designer | Anmelden um Details zu sehen |
| Stecher | Anmelden um Details zu sehen |
| Im Umlauf bis | Anmelden um Details zu sehen |
| Referenz(en) | Anmelden um Details zu sehen |
| Vorderseitenbeschreibung | Intaglio-printed note in green tones, with a central vignette after Anto Carte showing a female harvester seated on a horse-drawn plough with two draft horses. The inscription 'BANQUE NATIONALE DE BELGIQUE' appears at the top in letterpress, with the denomination '50 FRANCS OU 10 BELGAS' at lower right. A circular blank watermark area occupies the right centre, flanked by an ornate guilloche border; the date appears at upper left, and serial number is printed at upper right and lower left. |
|---|---|
| Vorderseitenlegende | Anmelden um Details zu sehen |
| Rückseitenbeschreibung | Anmelden um Details zu sehen |
| Rückseitenlegende | Anmelden um Details zu sehen |
| Unterschrift(en) | Anmelden um Details zu sehen |
| Sicherheitsmerkmal | Anmelden um Details zu sehen |
| Beschreibung der Sicherheitsmerkmale | Circular watermark area visible as a blank medallion on both obverse and reverse |
| Varianten | Anmelden um Details zu sehen |
| Anmerkungen |
The Belga was introduced in 1926 as a trade unit equal to five francs, an accounting convenience designed to simplify exchange calculations with Belgium's major commercial partners. Printing this denomination with both valuations was a practical necessity during the transitional years before the franc's role was quietly sidelined.
Anto Carte was a Symbolist painter, an unusual choice for a banknote commission — his involvement likely accounts for the note's reputation as one of the more artistically ambitious Belgian issues of the interwar period. Minguet and Poortman were both experienced intaglio engravers at the Institut de Gravure, and the combination kept production within Belgium rather than routing it through foreign security printers.