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50 Bolivianos 2015, Bolivia

in Krause book Number: 235
Years of issue: 07.2015
Signatures: Presidente a.i. B.C.B: Marcelo Zabalaga Estrada, Gerente General a.i. B.C.B: Wilma Irene Perez Peputsachis
Serie: 1986 Issue
Specimen of: 28.11.1986
Material: Cotton fiber
Size (mm): 140 x 69
Printer: Francois-Charles Oberthur Fiduciaire SA, Colombes

* All pictures marked magnify are increased partially by magnifying glass, the remaining open in full size by clicking on the image.

** The word "Specimen" is present only on some of electronic pictures, in accordance with banknote images publication rules of appropriate banks.

50 Bolivianos 2015



map watermark

Denomination 50, portrait of Melchor Pérez Holguin, Bolivian map with marked space for capital of the country - La-Paz.


50 Bolivianos 2015

Perez Holguin

The engraving on banknote is made after the Self-portrait of Melchor Pérez Holguin. Completed in the process of work on the painting The entry of the Vice-King of Peru Diego Morcillo Rubio de Aunion in Potosi (Entrada del Virrey Morcillo), 1718.

Melchor Pérez de Holguín (Cochabamba, Viceroyalty of Peru, 1660-1732) was a Baroque painter. He is considered one of the best painters in the history of Bolivia and of Spanish Baroque painting.

Melchor Pérez de Holguín was born in the city of Cochabamba, spent most of his life and developed his art in the Imperial Village of Potosí (Alto Peru, now Bolivia). The legitimate son of Diego Pérez Holguín and of Doña Esperanza Flores, he married the potosina Micaela del Castillo on March 25, 1695, in the Imperial Villa of Potosí, and it is unknown who his master could be. made for Catholic religious orders, such as the Franciscan and the Dominican.

Between his main works they emphasize: The Last Judgment (1706), Triumph of the Church (1708, parish of San Lorenzo, in Potosí), Entrance of the Virrey Morcillo in Potosí (1718) San Mateo (1724), pertaining to the series of the Evangelists of the coin, Virgen de la Merced, The pilgrim, San Francisco de Asis (1693, Museo de la Moneda, Potosí) and San Pedro de Alcántara in ecstasy (1701, National Museum of Art).

His work is inscribed in a credulous and miraculous Potosí, where Baroque art merged with the Spanish religious character. Pérez de Holguín's faith and his knowledge of religion, combined with certain supernatural beliefs (paganisms), kept him on the edge of heresy on numerous occasions.

All the work of Holguín was made in the Imperial Villa. To date, a single signed picture has not been found elsewhere. Later, his works were taken from Potosí to other cities in Bolivia, and also abroad.

Holguín's main repository of paintings is the National Currency House, which has authentic paintings, among which stand out the busts of San Mateo Evangelista and San Pedro de Alcántara, the portraits of San Bernardo de Claraval and San Juan de Dios, a Pentecost, the excellent Sagrada Familia with San Luis Rey de Francia and San Luis de Gonzaga, the Birth (dated 1701), a San Francisco de Asís (signed in 1694, and which matches another San Pedro de Alcántara), and the series of the four full-body evangelists, signed in 1724. Also many of his works are in the National Museum of Art of Bolivia located in the city of La Paz, Bolivia, in front of the Plaza de Armas of said city, the Plaza Murillo

The number of cadres who left Bolivia can not be calculated, since their export was clandestine. Only what is exhibited in public museums is known, for example, a San Francisco de Paula that today is conserved in the Museum of Hispano-American Art Isaac Fernández Blanco of Buenos Aires, a Flight to Egypt, identified by Cecilio Guzmán de Rojas in the Museum of Santiago de Chile, and the Entrance of the Virrey Morcillo in Potosí, which is exhibited at the Museum of America in Madrid.

How much did Holguin produce? This is a question that may never be answered, but the large number of paintings in Bolivia, after a secular looting that suffers Potosi, gives us the guideline. It gained fame from the viceregal period, nothing else means that its name is the only one that appears in the inventory of the Potosí art gallery of Potosí, built in 1769, that other documents of that period that refer us to his works, and that, finally, a late virreinato informant, says that Holguín was an "eminent painter", whom they called "Brush of Gold".


The coat of arms of Bolivia is at the bottom.

The coat of arms of Bolivia has a central cartouche surrounded by Bolivian flags, muskets, laurel branches, and has an Andean condor on top.

The central cartouche has a border with ten stars in the bottom, which symbolize the nine Departamentos and the former province Litoral that was taken over by Chile in 1879, and the name of Bolivia in the top section. Within the border the silver mountain Potosí - recognized by a mine entrance — is depicted, with Inti in form of a sun rising above it, and with an alpaca standing next to a palm tree and some wheat. The alpaca stands on a plain that contrasts with the mountain. The mountain and its contrast with the plains are indicative of the geography of Bolivia. The llama is the national animal, related to the alpaca and the items next to it are symbolic of the resources of the nation.

Around the shield there are three Bolivian flags on each side. Behind these are two pairs of crossed rifles that symbolize the struggle for independence. Next to the muskets there are an axe and a red Phrygian hood, which is the symbol of liberty and freedom. The laurel branches are symbolic of peace, and the condor perched upon the shield is symbolic of a willingness to defend the nation and its liberty.

In some depictions of these coat of arms, the two pairs of muskets are replaced by two cannons. Other depictions also have more realistic symbols in the shield.

Denominations in numerals are in three corners. In words centered.


50 Bolivianos 2015

Torre de la Compañía

Torre de la Compañía - the most important religious center of the XVIII century.

It is the bell tower of the monastery, located in the city of Potosi, next to the hill Cerro Rico and the mint.

Its design was conceived as a triumphal arch with 5 holes, 32 columns and 3 domes, in the form of halves of orange, this supposedly was an expression of that time, as far as the Catholic religion is concerned.

Denominations in numerals are repeated 3 times, in words - at the bottom.