Catalogus
Volledige afbeeldingen bekijken — gratis registratie
Doorgaan met Google — het is gratis
of registreer met e-mail
500 Francs
| Uitgever | Banque de l'Afrique Occidentale |
|---|---|
| Jaar | 1946-1953 |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Log in om details te zien |
| Samenstelling | Log in om details te zien |
| Afmetingen | 175 x 110 mm |
| Vorm | Log in om details te zien |
| Drukker | Log in om details te zien |
| Ontwerper(s) | Log in om details te zien |
| Graveur(s) | Log in om details te zien |
| In omloop tot | Log in om details te zien |
| Referentie(s) | Log in om details te zien |
| Beschrijving voorzijde | Central vignette of an African woman in profile holding the staff of a large French tricolour flag, rendered in intaglio against a light guilloche underprint. Floral vine borders frame the left and right margins, and the denomination "CINQ CENTS FRANCS" appears in large letterpress type at lower left. Two signature lines for Le Président and Le Directeur Général are placed at right, alongside a printed date. |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Log in om details te zien |
| Opschrift keerzijde | Log in om details te zien |
| Handtekening(en) | Log in om details te zien |
| Beveiligingstype | Watermark |
| Beschrijving beveiliging | Log in om details te zien |
| Varianten | Log in om details te zien |
| Opmerkingen |
The Banque de l'Afrique Occidentale served as the currency authority across French West Africa until the CFA franc zone reorganized colonial banking in the 1950s — this 500 Franc denomination sat at the upper end of what most ordinary commerce ever touched. Régnier on the obverse and Beltrand on the reverse was a division of labor common to Banque de France production, each engraver working his plate independently before the sheets were brought together.
Sébastien Laurent's design credit is relatively uncommon to see formally attributed in BAO issues of this period, which suggests the commission was handled differently from the usual anonymous house work at the Paris workshops.