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100 Francs
| Uitgever | Banque de l'Algérie et de la Tunisie |
|---|---|
| Jaar | 1946-1948 |
| 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 | 140 × 72 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 | Log in om details te zien |
|---|---|
| Opschrift voorzijde | R. POUGHEON FEC. BROUTIN SC. |
| Beschrijving keerzijde | The reverse bears an intaglio vignette derived from an ancient mosaic held in the Alaoui Museum in Sousse, illustrating the unloading of a cargo vessel within a classical Mediterranean maritime composition. The designer and engraver credits — R. POUGHEON FEC. C. BELTRAND SC. — appear in the lower margin. |
| Opschrift keerzijde | Log in om details te zien |
| Handtekening(en) | Log in om details te zien |
| Beveiligingstype | Log in om details te zien |
| Beschrijving beveiliging | Log in om details te zien |
| Varianten | Log in om details te zien |
| Opmerkingen |
The Banque de l'Algérie operated as a colonial institution under French charter, and by the mid-1940s its notes were being produced by the Banque de France's printing works — a common arrangement that gave Algerian currency the same technical quality as metropolitan issues while keeping it formally distinct. Robert Poughéon was a Prix de Rome laureate whose work appeared across multiple French colonial note series of the period; Joseph Broutin and Camille Beltrand were among the more accomplished intaglio engravers working in Paris at the time.
The date window for this type — 1946 through 1948 — brackets a period of significant political turbulence in Algeria following the Sétif and Guelma massacres of May 1945, though the notes themselves give no indication of that.