カタログ
| 表面の説明 | ログイン して詳細を見る |
|---|---|
| 表面の銘文 | SZÁZ KORONA MAGYARORSZÁG AZ OSZTRAK-MAGYAR BANKE BANKJEGYÉRT KIRÁLYI KIVÁNSÁGÁRA BÁRKINAK FIZET BÉCSI ÉS BUDAPESTI FŐPÉNZTÁRAINÁL TÖRVÉNYES BANKJEGYEK OSZTRÁK A BANKJEGYEK UTÁNZÁSA A TÖRVÉNY SZERINT BÜNTETTETIK (Translation: HUNDRED KORONA / HUNGARY / The Austro-Hungarian Bank pays to anyone at its Vienna and Budapest main offices / LEGAL / BANKNOTES / AUSTRIAN / Counterfeiting banknotes is punishable by law) |
| 裏面の説明 | ログイン して詳細を見る |
| 裏面の銘文 | HUNDERT KRONEN OESTERREICHISCH-UNGARISCHE BANK WIEN, 2. JÄNNER 1912 STO KORUN · STO КОРОН · STO KRON STOWRUNA · OAP KOPOPA · СТО УРОРА CENTO CORONE · UNA SUTA COROANE DIE NACHMACHUNG DER BANKNOTEN WIRD GESETZLICH BESTRAFT |
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| 偽造防止技術 | ログイン して詳細を見る |
| 偽造防止の説明 | ログイン して詳細を見る |
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Hungary's postwar currency situation in 1920 was chaotic by any measure. The Austro-Hungarian Krone had collapsed alongside the empire, and the new Hungarian state was issuing its own korona notes under severe economic strain — this 100 Korona being one of several denominations produced during that transitional period before hyperinflation made such values essentially worthless within a few years.
Josef Pfeiffer was a Viennese designer, and his involvement here reflects how deeply intertwined Hungarian and Austrian printing infrastructure remained even after the political separation of 1918.