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100 Schilling
| Emittent | Oesterreichische Nationalbank |
|---|---|
| Jahr | 1947 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | Anmelden um Details zu sehen |
| Währung | Anmelden um Details zu sehen |
| Material | Anmelden um Details zu sehen |
| Größe | 165 × 83 mm |
| Form | Anmelden um Details zu sehen |
| Druckerei | Anmelden um Details zu sehen |
| Designer | Anmelden um Details zu sehen |
| Stecher | Anmelden um Details zu sehen |
| Im Umlauf bis | Anmelden um Details zu sehen |
| Referenz(en) | Anmelden um Details zu sehen |
| Vorderseitenbeschreibung | A female portrait bust in left profile is set within a rectangular intaglio vignette to the right of centre, rendered in fine line engraving. The Austrian eagle coat of arms appears in a circular medallion at the top of the note. The overall layout incorporates guilloche underprint work across the field. |
|---|---|
| Vorderseitenlegende | Anmelden um Details zu sehen |
| Rückseitenbeschreibung | A large central intaglio vignette presents a scenic view of the Gosausee (Gosau Lake) with the snow-capped Dachstein massif rising in the background, framed by rocky outcrops and bare trees in the foreground. The composition is surrounded by elaborate multicolour guilloche borders in olive-green, purple, and salmon tones, with a broad black letterpress band along the lower edge carrying the denomination. The numeral "100" appears in the upper-right corner against a plain salmon-coloured panel. |
| Rückseitenlegende | Anmelden um Details zu sehen |
| Unterschrift(en) | Anmelden um Details zu sehen |
| Sicherheitsmerkmal | Anmelden um Details zu sehen |
| Beschreibung der Sicherheitsmerkmale | Anmelden um Details zu sehen |
| Varianten | Anmelden um Details zu sehen |
| Anmerkungen |
Austria's postwar currency situation in 1947 was complicated by Allied occupation and the need to establish a functioning monetary system under four-power oversight. The Oesterreichische Nationalbank had been dissolved under the Anschluss and only reconstituted in 1945, meaning this series was produced relatively early in the bank's second existence — and offshore, since domestic printing infrastructure was in no condition to handle quality intaglio work.
Bradbury, Wilkinson's New Malden facility was a logical choice: the firm had longstanding relationships with continental central banks and the technical capacity for the work. Josef Seger's involvement as designer gives the note a distinctly Austrian aesthetic sensibility applied to British production methods — an unusual pairing that shows clearly in the finished product if you compare it against contemporaneous BW work for other clients.