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| 表面の説明 | Printed in black over a polychrome underprint using intaglio and lithographic techniques, the obverse is centred on a vignette of a female bust personifying the Republic and Liberty — an allegorical figure in the manner of Marianne — flanked on either side by the denomination numeral 50. Ornamental guilloche work frames the central vignette, while the full text of the note's legal obligation, citing Law No. 5108 of 18 December 1926, runs across the face in formal letterpress. The printer's imprint of the American Bank Note Company appears at the lower margin. |
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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 | Printed in orange using intaglio, the reverse is dominated by a central vignette reproducing the celebrated historical painting Independência ou Morte by Pedro Américo de Figueiredo e Melo (1843–1905), rendered in the 1888 version. The denomination numerals 50 appear at left and right flanking the central scene, with the issuer's title inscription distributed across the upper register. |
| 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 Caixa de Estabilização was a currency board established in 1926 under President Washington Luís, designed to peg the milréis to the pound sterling at a fixed rate and restore confidence after years of inflationary financing. These notes were convertible — formally backed by gold reserves — which made the series genuinely unusual in Brazilian monetary history. The arrangement collapsed in 1930, when the revolution that ousted Washington Luís ended convertibility almost immediately.
The engraver Sukeichi Oyama was one of the very few Japanese-born craftsmen working at ABNC during this period, a notable presence in a shop otherwise dominated by European-trained hands.