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100 Gulden
| Uitgever | Oesterreichisch-ungarische Bank |
|---|---|
| Jaar | 1880 |
| 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 | 153 × 107 mm |
| 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 | The central vignette is flanked by two allegorical putti: at left, a boy bearing attributes of agriculture and mining, and at right, a boy with attributes of art and science. The denomination "Hundert Gulden 100" appears in German-language text, surrounded by elaborate engraved borders typical of the period. |
|---|---|
| Opschrift voorzijde | Hundert Gulden 100 |
| 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 |
The Oesterreichisch-ungarische Bank was itself a product of the 1867 Ausgleich, the constitutional compromise that split the Habsburg state into its Austrian and Hungarian halves. Every element of the bank's operation — including note design — required agreement between Vienna and Budapest, which is why the series carries parallel German and Hungarian text throughout. Josef von Storck was a prominent Viennese applied arts figure, and Laufberger taught at the Kunstgewerbeschule; their involvement reflects the deliberate elevation of Austrian banknote design to the level of decorative art in this period.
The gulden itself was already living on borrowed time. Austria-Hungary adopted the gold krone standard in 1892, and gulden-denominated notes were gradually withdrawn through the late 1890s.