| Mô tả mặt trước |
Black intaglio print on white paper, with allegorical figure groups flanking the central text panel: Industry and Trade at left, Liberty and Justice at right, each rendered as classical female figures with symbolic attributes. The Royal Arms of Belgium appear at upper center above an ornate guilloche cartouche bearing the denomination and issuing authority legends, with a circular red stamp at left. Two lion vignettes occupy the lower corners, and four heraldic shields are distributed along the upper border. |
| Chữ khắc mặt trước |
Đăng nhập để xem chi tiết |
| Mô tả mặt sau |
A mirror-image transfer of the obverse design printed in blue, with angelic figures replacing the allegorical groups of the face; the central panel retains the guilloche underprint pattern rendered entirely in blue ink, giving the reverse a distinctly lighter and more ethereal appearance than the black intaglio obverse. |
| Chữ khắc mặt sau |
Đăng nhập để xem chi tiết |
| Chữ ký |
Đăng nhập để xem chi tiết |
| Loại bảo an |
Đăng nhập để xem chi tiết |
| Mô tả bảo an |
Đăng nhập để xem chi tiết |
| Biến thể |
Đăng nhập để xem chi tiết |
The Banque Nationale de Belgique was established by royal decree in 1850, making this 1852 note among the earliest issues from an institution barely two years old. The 500 franc denomination placed it firmly in the realm of commercial and wholesale transactions — a sum well beyond the reach of ordinary wages — so genuine wear from hand-to-hand retail circulation is essentially nonexistent on surviving examples.
Léopold Wiener was primarily a medallist and engraver of considerable reputation, not a banknote designer by trade. His involvement signals the bank's early ambition to produce notes of genuine artistic standing rather than purely functional currency instruments.