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10.000 Kronen
| Uitgever | Oesterreichische Nationalbank |
|---|---|
| Jaar | 1924 |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Krone (1919-1925) |
| Samenstelling | Log in om details te zien |
| Afmetingen | Log in om details te zien |
| Vorm | Log in om details te zien |
| Drukker | Log in om details te zien |
| Ontwerper(s) | Log in om details te zien |
| Graveur(s) | Log in om details te zien |
| In omloop tot | Log in om details te zien |
| Referentie(s) | Log in om details te zien |
| Beschrijving voorzijde | Printed in violet and pink tones, the obverse presents a circular vignette at right enclosing a young woman's portrait in three-quarter view, her hair crowned with a floral wreath, rendered in a Jugendstil artistic manner. A dense guilloche underprint fills the background, with the denomination numeral 10.000 in the upper portion and the warning legend against counterfeiting at upper left. The issuer name and date Wien, am 2. Jänner 1924 are inscribed in the lower register, with three facsimile signatures below. |
|---|---|
| Opschrift voorzijde | 10.000 DIE NACHMACHUNG DER BANKNOTEN WIRD GESETZLICH BESTRAFT. Zehntauſend Kronen Wien, am 2. Jänner 1924 Oeſterreichiſche Nationalbank |
| Beschrijving keerzijde | Log in om details te zien |
| Opschrift keerzijde | Log in om details te zien |
| Handtekening(en) | Log in om details te zien |
| Beveiligingstype | Log in om details te zien |
| Beschrijving beveiliging | Log in om details te zien |
| Varianten | Log in om details te zien |
| Opmerkingen |
Austria's postwar hyperinflation peaked in 1922, and the 10,000 Kronen denomination — unthinkable a decade earlier — was by 1924 a routine transaction note, barely covering a tram fare. The Oesterreichische Nationalbank had been reconstituted under the League of Nations Geneva Protocols of October 1922, which imposed external financial controls and an international loan to stabilize the collapsing currency. This note was issued under those conditions, during the managed transition that would eventually lead to the Schilling reform of 1925.
Rudolf Junk, a Viennese graphic artist associated with the Wiener Werkstätte milieu, brought a distinctly Jugendstil sensibility to the series — unusual for what were effectively high-denomination inflationary scrip notes on borrowed time.