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100 Francs
| Uitgever | Banque Nationale de Belgique |
|---|---|
| Jaar | 1952-1959 |
| Type | Log in om details te zien |
| Waarde | 100 Francs (100 BEF) |
| Valuta | Log in om details te zien |
| Samenstelling | Log in om details te zien |
| Afmetingen | Log in om details te zien |
| 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 | Intaglio-engraved bust of King Leopold I in military uniform with epaulettes occupies the left third of the note. The centre carries the large denomination text 'CENT FRANCS' over a multicolour guilloche underprint of floral scrollwork in green and orange, with the issuer name at top and the payable-at-sight clause, date, and two signature lines below. The numeral '100' appears in a lathe-work cartouche at lower right, with a second '100' printed in red at upper right. |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | An intaglio vignette of a classical neoclassical building street façade — the National Bank of Belgium headquarters — stretches across the centre, rendered in fine line engraving with figures and horse-drawn carts in the foreground. To the right, an engraved portrait of Walthère Frère-Orban, Belgian statesman and founder of the National Bank, is shown in three-quarter view. The denomination 'HONDERD FRANK' is printed in bold red letterpress at the top centre, with the issuer title above in black. |
| 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 |
Three signature combinations span this issue across seven years, tracking the successive appointments of BNB governors and vice-governors through the mid-to-late postwar period. The Ansiaux pairing — appearing on the 1958-dated examples — reflects Hubert Ansiaux's tenure, during which Belgium was navigating the early institutional architecture of what would become the European Economic Community.
Minguet and Poortman dividing the engraving work between obverse and reverse was not unusual for BNB practice, but it does produce subtle tonal inconsistencies between the two faces that experienced specialists can identify by feel as much as sight.