Description and research notes
Issued one hundred francs note of Banque Internationale à Luxembourg S.A., dated 1956 and cataloged as Pick 13a. This note represents the final realized form of the series, following a clearly traceable development sequence documented by the 1951 multi-stage design proofs and the later 1956 photographic proof material.
The obverse presents a fully resolved engraved composition centered on a classical female allegorical portrait enclosed within a laurel-framed oval. The surrounding field is constructed from dense, multi-layered guilloche patterns, creating both security complexity and visual depth. Flanking the central portrait are symbolic figures representing labor, production, and national economic strength, integrated into the composition with balanced symmetry and controlled line weight.
Three engraved signatures appear along the lower register of the obverse, each aligned with its respective institutional designation. Their placement forms part of the final administrative structure of the note and reflects the fully authorized issuing format adopted for circulation. The engraved typography, ornamental borders, and denomination indicators are all fully stabilized, with no remaining elements of experimental or transitional design visible.
In contrast to the obverse, the reverse carries the complete serial numbering system of the note. Two distinct serial numbers are present in separate positions: "E46 0362" located at the upper right, and "1129362" positioned at the lower left. This dual-number arrangement represents the finalized circulation configuration and differs fundamentally from earlier developmental stages, where numbering was either absent or represented by placeholder formats.
The reverse composition is dominated by an industrial tableau depicting workers, machinery, and structural forms arranged within a coherent engraved framework. The scene expresses themes of labor, reconstruction, and industrial capacity, characteristic of mid-twentieth-century European banknote design. The integration of the vignette with denomination panels and ornamental borders demonstrates a complete and unified engraving program, consistent with production-ready execution.
When viewed within the full design sequence of the issue, this note stands as the terminal stage of development. The earlier 1951 proof assembly documents the progressive refinement of the face design, including variations in portrait rendering, signature placement, and the presence of serial numbering on the obverse. The 1956 photographic proofs confirm the finalization of both face and back layouts, including the relocation of serial numbering exclusively to the reverse and the establishment of fixed serial positions. This issued note preserves that finalized system in its complete operational form.
The separation of functions between obverse and reverse—administrative authority on the face through signatures, and circulation control on the back through dual serial numbers—defines the structural logic of the note. This distinction is not incidental but represents a deliberate design decision carried through from late-stage proofing into full production.
As the issued counterpart to both the developmental and photographic proof material, this note completes the documented lifecycle of the 1956 Banque Internationale à Luxembourg one hundred francs series, representing its fully executed and circulated form.