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100.000 Kronen
| Emittent | Oesterreichisch-ungarische Bank |
|---|---|
| Jahr | 1922 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | 100 000 Kronen (100 000) |
| Währung | Anmelden um Details zu sehen |
| Material | Anmelden um Details zu sehen |
| Größe | Anmelden um Details zu sehen |
| Form | Anmelden um Details zu sehen |
| 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 | Central vignette of a woman's bust in left profile, wearing a floral diadem, set within an ornate cartouche framed by scrollwork and cornucopiae. The composition is rendered in a classical allegorical style typical of early twentieth-century Austrian banknote art. Denomination numerals and issuer inscriptions appear within the surrounding border. |
|---|---|
| Vorderseitenlegende | Anmelden um Details zu sehen |
| Rückseitenbeschreibung | Intricate symmetrical guilloche pattern in green and violet fills the entire field, with four corner panels bearing the numeral 100000 in violet. The denomination legend HUNDERTTAUSEND appears in diagonal banners across the upper and lower portions of the design, repeated on both axes. The large numeral 100.000 is printed in green at the centre within the elaborate interlaced ornamental framework. |
| Rückseitenlegende | Anmelden um Details zu sehen |
| 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 |
By the time this note was issued, the Austro-Hungarian Bank was printing for a state that no longer existed. Austria's postwar hyperinflation had driven denominations into six figures, and the 100,000 Kronen represented not prosperity but monetary collapse — the krone lost roughly 99% of its prewar value by 1922. The bank itself was formally liquidated the following year, replaced by the newly established Oesterreichische Nationalbank under the League of Nations rescue package that stabilized the currency.
Schramm and Junk were both faculty-connected to the Vienna school of graphic arts, and their collaboration on the late krone series produced some of the most accomplished engraving work to come out of the Austrian State Printing Office in this period. The irony is that the artistry peaked precisely when the denominations had become almost fictional in purchasing terms.