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100 Korona

Uitgever Hungarian State (Magyar Állam)
Jaar 1920
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) Log in om details te zien
Graveur(s) Ferdinand Schirnböck
In omloop tot Log in om details te zien
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 The reverse retains the original Austro-Hungarian Bank design without overprint, with the large Gothic-style denomination "HUNDERT KRONEN" printed in blue-grey letterpress on the left panel, accompanied by the issuing authority "OESTERREICHISCH-UNGARISCHE BANK" and the date "WIEN 2 JÄNNER 1910". The serial series number appears below. The right side mirrors the obverse with the same intaglio portrait vignette of the young woman within the Koloman Moser Art Nouveau decorative frame, and the multilingual denomination inscription appears along the lower margin in Czech, Polish, Ukrainian, Croatian, Romanian, and Italian.
Opschrift keerzijde DIE OESTERREICHISCH-UNGARISCHE BANK ZAHLT GEGEN DIESE BANKNOTE BEI IHREN HAUPTANSTALTEN IN WIEN UND BUDAPEST SOFORT AUF VERLANGEN
HUNDERT KRONEN
IN GESETZLICHEM METALLGELDE
WIEN 2 JÄNNER 1910.
OESTERREICHISCH-UNGARISCHE BANK
SERIE 1015
DIE NACHMACHUNG DER BANKNOTEN WIRD GERICHTLICH BESTRAFT
STO KORUN · STO KORON · STO KRON · STO KRUNA · СТО КРОНА · CENTO CORONE · UNA SUTA COROANE
KOLOMAN MOSER F. SCHIRNBÖCK
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 Magyar Állam's 100 Korona of 1920 was printed in Vienna despite Hungary having formally separated from Austria in the post-war settlement — a practical concession to the fact that the Österreichische Staatsdruckerei remained the only nearby facility capable of producing currency at the required quality and scale. The political awkwardness of this arrangement was considerable, given that the 1920 Treaty of Trianon had stripped Hungary of two-thirds of its territory and left its new government scrambling to establish independent institutions.

Koloman Moser, one of the founding figures of the Vienna Secession, had designed the underlying plate work before the war, which is why the aesthetic owes more to prewar Vienna than to Budapest. Schirnböck's engraving retains that Secessionist clarity in the line work.