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5000 Kronen
| Uitgever | Oesterreichisch-ungarische Bank |
|---|---|
| Jaar | 1922 |
| 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) | Log in om details te zien |
| In omloop tot | Log in om details te zien |
| Referentie(s) | P#79 |
| Beschrijving voorzijde | Central vignette presents a bust portrait of a woman — the mother of painter Alois Hans Schramm — rendered in a detailed intaglio style. The denomination "5000" appears in large numerals, with the full title "Fünftausend Kronen" and the issuing authority "Oesterreichisch-ungarische Bank" inscribed in period blackletter script. The date "2. Jänner 1922" and place of issue "Wien" are also present within the design. |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | The reverse carries the denomination and issuing authority in regular Roman typeface rather than the blackletter script used on the obverse, presenting a comparatively typographic composition. The numeral "5000" and the legend "Fünftausend Kronen" are set against a guilloché underprint pattern, with the inscriptions "Wien, 2. Jänner 1922" and "Oesterreichisch-ungarische Bank" completing the layout. The overall design is restrained, with decorative border elements framing the central text block. |
| 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 | Log in om details te zien |
| Varianten | Log in om details te zien |
| Opmerkingen |
This is the highest denomination issued by the Oesterreichisch-ungarische Bank in its final operational years, printed as Austrian hyperinflation was already making large-face-value notes obsolete almost immediately upon release. The bank itself was formally wound up in 1923, meaning this note was issued by an institution that knew it was in liquidation — the successor states of the former Habsburg empire had been negotiating the bank's dissolution since 1919 under the terms of the peace treaties.
Rudolf Junk was a prominent Viennese graphic artist closely associated with the Wiener Werkstätte aesthetic. The print run of over twelve million was substantial but largely irrelevant given the pace of depreciation.