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1000 Francs
| Uitgever | Banque de l'Algérie |
|---|---|
| Jaar | 1918-1924 |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Franc (1891-1957) |
| 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 | A female allegorical figure stands at left holding an oar, with a male figure holding a hammer at right; two boys and a lion head appear at the bottom centre. The note carries a black TUNISIE overprint applied to the face. Engraved signatures of the designer and engraver appear in the lower corners. |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | The reverse presents a large architectural vignette at centre, flanked by two standing allegorical figures — Mercury at left and a male figure at right — rendered in intaglio engraving on a blue-toned ground. A circular medallion at the bottom centre bears the penalty text, with decorative guilloche scrollwork filling the lower border. The engraved attributions of the designer and engraver appear at the lower left and right corners respectively. |
| 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's 1000 Francs series spans a politically charged window: the 1918 dates fall within the final weeks of the First World War, when French colonial currency demands were acute and metropolitan printing resources were stretched. The note was engraved by two distinct hands — Robert on the obverse, Wullschleger on the reverse — a division of labor more common in this period than collectors often recognize, particularly on high-denomination colonial issues.
Harang, who worked under the pseudonym Cabasson, was among the more prolific designers supplying Banque de France affiliate institutions during this era. The shift in the third signatory from Biron to Penalva between the 1918 and 1923 date ranges marks an administrative change worth noting when dating individual examples.