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500 Rupiah
| Emittent | Bank Indonesia |
|---|---|
| Jahr | 1952 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | Anmelden um Details zu sehen |
| Währung | Anmelden um Details zu sehen |
| Material | Anmelden um Details zu sehen |
| Größe | Anmelden um Details zu sehen |
| Form | Rectangular |
| Druckerei | Anmelden um Details zu sehen |
| Designer | Anmelden um Details zu sehen |
| Stecher | Anmelden um Details zu sehen |
| Im Umlauf bis | Anmelden um Details zu sehen |
| Referenz(en) | Anmelden um Details zu sehen |
| Vorderseitenbeschreibung | Anmelden um Details zu sehen |
|---|---|
| Vorderseitenlegende | Anmelden um Details zu sehen |
| Rückseitenbeschreibung | The reverse is rendered in teal-green and ochre tones, with the denomination numeral 500 displayed twice within large lozenge-shaped guilloche cartouches at left and right. The central field carries an intricate geometric and scrollwork underprint of traditional Indonesian textile-inspired design, with a block of anti-counterfeiting legal warning text in Indonesian set within a decorative panel at centre. The denomination LIMARATUS RUPIAH is printed in bold letterpress across the lower central area, and serial numbers appear twice at the upper field. |
| Rückseitenlegende | LIMARATUS RUPIAH 500 ABDULSALAM DEL. JOH. ENSCHEDÉ EN ZONEN IMP. |
| Unterschrift(en) | Anmelden um Details zu sehen |
| Sicherheitsmerkmal | Anmelden um Details zu sehen |
| Beschreibung der Sicherheitsmerkmale | Anmelden um Details zu sehen |
| Varianten | Anmelden um Details zu sehen |
| Anmerkungen |
Enschedé printed this note at a moment when the Indonesian Republic was still assembling the institutional architecture of an independent state — the 1952 series was among the earliest high-denomination issues produced under Bank Indonesia's own name following the dissolution of the Dutch-sponsored Javasche Bank in 1953. That the design work was divided between two Indonesian artists, Oesman Effendi on the obverse and Abdulsalam on the reverse, was a deliberate assertion of national cultural ownership over instruments that had historically been designed entirely in the Netherlands.
Enschedé had printed currency for the colonial Javasche Bank for decades, so the relationship was continuous even as the political reality was not.