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20 Schilling
| Uitgever | Oesterreichische Nationalbank |
|---|---|
| Jaar | 1970 |
| 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 | Oesterreichische Nationalbank (OeNB) |
| 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 | Intaglio portrait vignette of playwright and actor Ferdinand Raimund (1790–1836) occupies the right portion of the note, rendered in fine line engraving against an elaborate multicolour guilloche underprint of interlocking rosettes and wave patterns in violet, blue, and ochre. To the left, the Austrian coat of arms — a single-headed eagle with breast shield — is set within a circular guilloche medallion. The denomination numeral '50' appears in bold at each corner, with the issuer's name and date of issue printed in letterpress across the upper centre. |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| 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 | Ferdinand Raimund's portrait, visible when held to light |
| Varianten | Log in om details te zien |
| Opmerkingen |
The P#142a belongs to the third postwar schilling series, introduced as Austria rebuilt its central banking infrastructure following Allied occupation. The OeNB printed this series in-house — one of the few European central banks of the period operating its own full intaglio production facility rather than contracting to specialist security printers like De La Rue or Giesecke & Devrient.
Roman Hellmann designed several notes in this series. The watermark remains the primary security feature, reflecting the relatively conservative anti-counterfeiting standards of Austrian issues from this decade before metallic threads became widespread.