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| 正面描述 | 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. |
|---|---|
| 正面铭文 | Hundert Gulden 100 |
| 背面描述 | 登录 以查看详情 |
| 背面铭文 | 登录 以查看详情 |
| 签名 | 登录 以查看详情 |
| 防伪类型 | 登录 以查看详情 |
| 防伪描述 | 登录 以查看详情 |
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| 备注 |
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 Austria-Hungary adopted the gold krone standard in 1892, and gulden-denominated notes were gradually withdrawn through the late 1890s.