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| 表面の説明 | Printed in blue-green intaglio on a fine guilloche underprint with geometric latticework borders, the obverse carries the Austrian imperial eagle coat of arms within an ornate hexagonal vignette at left, balanced by a front-facing classical female portrait head in a matching hexagonal frame at right. The central panel, set in Fraktur script, bears the denomination and issue date above three facsimile signatures for the Präsident, Generalrat, and Generaldirektor of the Oesterreichische Nationalbank. The numeral "100" is repeated in decorative cartouches at all four corners. |
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| 表面の銘文 | ログイン して詳細を見る |
| 裏面の説明 | ログイン して詳細を見る |
| 裏面の銘文 | 100 HUNDERT SCHILLINGE 100 100 DIE NACHMACHUNG DER BANKNO · TEN WIRD GESETZLICH BESTRAFT |
| 署名 | ログイン して詳細を見る |
| 偽造防止技術 | ログイン して詳細を見る |
| 偽造防止の説明 | ログイン して詳細を見る |
| バリエーション | ログイン して詳細を見る |
| コメント |
Austria's early republican banknote program was complicated by the sheer institutional chaos following the collapse of the Austro-Hungarian Krone. The Oesterreichische Nationalbank was only re-established in 1923 under League of Nations supervision, and the Schilling series it issued from 1925 represented a deliberate break from that inflationary wreckage — the Schilling itself had been pegged at 10,000 Krone to 1 Schilling.
Rudolf Junk was a Vienna Secession-adjacent graphic artist; Karl Sterrer a figurative painter with academic credentials. Their collaboration on this series produced work noticeably more painterly than the engraving-dominated notes typical of contemporary European central banks.