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100 Francs

Uitgever Appenzell-Ausserrhodische Kantonalbank
Jaar 1883-1906
Type Log in om details te zien
Waarde Log in om details te zien
Valuta Log in om details te zien
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) Obverse: Designers: Albert Walch, Josef von Storck
Reverse: Josef von Storck
Graveur(s) Log in om details te zien
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Referentie(s) Log in om details te zien
Beschrijving voorzijde Log in om details te zien
Opschrift voorzijde Log in om details te zien
Beschrijving keerzijde Printed in dark blue on a tan guilloche ground, the reverse is arranged symmetrically about a central text panel bearing the trilingual denomination inscriptions CENT FRANCS, HUNDERT FRANKEN, and CENTO FRANCHI in bold letterpress. Two identical oval portrait medallions, each with a classical female head in profile facing left and surrounded by intricate lathe-work rosettes, flank the central panel. The numeral 100 appears in four corner cartouches and recurs throughout the enclosing guilloche border.
Opschrift keerzijde 100 100 CENT FRANCS HUNDERT FRANKEN CENTO FRANCHI 100 100
Handtekening(en) Log in om details te zien
Beveiligingstype Log in om details te zien
Beschrijving beveiliging Log in om details te zien
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Opmerkingen

The Appenzell-Ausserrhodische Kantonalbank was one of Switzerland's smaller cantonal issuers, and its notes from this period were produced under the decentralized regime that persisted until the Swiss National Bank absorbed cantonal note-issuing rights in 1910. Bradbury Wilkinson's involvement here is characteristic — the London firm handled a substantial portion of Swiss cantonal printing in the late nineteenth century, competing with continental houses for contracts that demanded high security engraving at competitive cost.

Albert Walch was a Swiss artist; Josef von Storck an Austrian designer and director of the Vienna School of Arts and Crafts. An unusual pairing for a small Appenzell institution, and one that suggests the design commission passed through Bradbury Wilkinson's own network rather than originating locally.