100 Schilling 1969. First issue, Austria
| in Krause book | Number: 146 |
| Years of issue: | 02.01.1969 |
| Edition: | -- |
| Signatures: | Präsident: Dr. Wolfgang Schmitz, Generaldirektor: Dr. Ludwig Seiberl, Generalrat: Erich Miksch |
| Serie: | 1966 - 1970 Issue |
| Specimen of: | 02.01.1969 |
| Material: | Cotton fiber |
| Size (mm): | 150 х 75 |
| Printer: | Oesterreichische Banknoten und Sicherheitsdruck, Wien |
* All pictures marked 
are increased partially by magnifying glass, the remaining open in full size by clicking on the image.
** The word "Specimen" is present only on some of electronic pictures, in accordance with banknote images publication rules of appropriate banks.
Description
Watermark:
Along all sides are flower petals.
Avers:
The engraving on banknote was made, probably, from this self-portrait by Angelica Kauffman, made approximately in 1770s.
Maria Anna Angelika Kauffmann RA (30 October 1741 – 5 November 1807), usually known in English as Angelica Kauffman, was an Austrian Neoclassical painter who had a successful career in London and Rome. She was one of the two female founding members of the Royal Academy in London in 1768.
Kauffmann was born at Chur in Graubünden, Switzerland, where her father was working for the local bishop but grew up in Schwarzenberg in Vorarlberg/Austria where her family originated. Her father, Joseph Johann Kauffmann, was a relatively poor man but a skilled painter, who was often traveling for his work. It was he who taught his precocious daughter. Angelica, a child prodigy, rapidly acquired several languages from her mother, Cleophea Lutz, read incessantly and showed talent as a musician, but her greatest progress was in painting, and by her twelfth year she had become a notability, with bishops and nobles being her sitters.
In 1754 her father took her to Milan. Later visits to Italy of long duration followed. She became a member of the Accademia di Belle Arti di Firenze in 1762. In 1763 she visited Rome, returning again in 1764. From Rome she passed to Bologna and Venice, everywhere feted for her talents and charm. Writing from Rome in August 1764 to his friend Franke, Winckelmann refers to her popularity; she was then painting his picture, a half-length; of which she also made an etching. She spoke Italian as well as German, he says, and expressed herself with facility in French and English - one result of the last-named accomplishment being that she became a popular portraitist for British visitors to Rome. "She may be styled beautiful," he adds, "and in singing may vie with our best virtuosi."
While in Venice, Kauffmann was induced by Lady Wentworth, the wife of the British ambassador, to accompany her to London. One of the first pieces she completed in London was a portrait of David Garrick, exhibited in the year of her arrival at "Mr Moreing's great room in Maiden Lane." The rank of Lady Wentworth opened society to her, and she was everywhere well received, the royal family especially showing her great favor. Her firmest friend, however, was Sir Joshua Reynolds. In his pocket-book her name as "Miss Angelica" or "Miss Angel" appears frequently; and in 1766 he painted her, a compliment which she returned by her Portrait of Sir Joshua Reynolds. Another instance of her intimacy with Reynolds is to be found in her variation of Guercino's Et in Arcadia ego, a subject which Reynolds repeated a few years later in his portrait of Mrs. Bouverie and Mrs. Crewe.
In 1767 Kauffmann was seduced by an imposter going under the name 'Count Horn', whom she married, but they were separated the following year. It was probably owing to Reynolds's good offices that she was among the signatories to the petition to the king for the establishment of the Royal Academy. In its first catalogue of 1769 she appears with "R.A." after her name (an honor she shared with one other woman, Mary Moser); and she contributed the Interview of Hector and Andromache, and three other classical compositions. She visited Ireland briefly in 1771, and undertook a number of portrait commissions, notably of Philip Tisdall, the Attorney General for Ireland, and his wife Mary. It appears that among her circle of friends was Jean-Paul Marat, then living in London and practising medicine, with whom she may have had an affair.
Her friendship with Reynolds was criticized in 1775 by fellow Academician Nathaniel Hone in his satirical picture The Conjurer. This attacked the fashion for Italianate Renaissance art, ridiculed Reynolds and included a nude caricature of Kauffmann, later painted out by Hone. The work was rejected by the Royal Academy.
From 1769 until 1782 Kauffmann was an annual exhibitor with the Royal Academy, sending sometimes as many as seven pictures, generally on classical or allegoric subjects. One of the most notable was Leonardo expiring in the Arms of Francis the First (1778).
In 1773 she was appointed by the Academy with others to decorate St Paul's Cathedral, a scheme that was never carried out, and it was she who, with Biagio Rebecca, painted the Academy's old lecture room at Somerset House.
While Kauffmann produced many types of art, she identified herself primarily as a history painter, an unusual designation for a woman artist in the 18th century. History painting was considered the most elite and lucrative category in academic painting during this time period and, under the direction of Sir Joshua Reynolds, the Royal Academy made a strong effort to promote it to a native audience more interested in commissioning and buying portraits and landscapes. Despite the popularity that Kauffmann enjoyed in British society, and her success there as an artist, she was disappointed by the relative apathy of the British towards history painting. Ultimately she left Britain for the continent, where history painting was better established, held in higher esteem and patronized.
History painting, as defined in academic art theory, was classified as the most elevated category. Its subject matter was the representation of human actions based on themes from history, mythology, literature, and scripture. This required extensive learning in biblical and Classical literature, knowledge of art theory and a practical training that included the study of anatomy from the male nude. Most women were denied access to such training, especially the opportunity to draw from nude models; yet Kauffmann managed to cross the gender boundary to acquire the necessary skill to build a reputation as a successful history painter who was admired by colleagues and eagerly sought by patrons.
In 1781, after her first husband's death (she had been long separated from him), she married Antonio Zucchi (1728-1795), a Venetian artist then resident in Britain. Shortly thereafter she retired to Rome, where she befriended, among others, Johann Wolfgang von Goethe, who said she worked harder and accomplished more than any artist he knew; yet, always restive, she wanted to do more and lived for 25 years with much of her old prestige.
In 1782, Kauffmann's father died, as did her husband in 1795. She continued at intervals to contribute to the Royal Academy in London, her last exhibit being in 1797. After this she produced little, and in 1807 she died in Rome, being honored by a splendid funeral under the direction of Canova. The entire Academy of St Luke, with numerous ecclesiastics and virtuosi, followed her to her tomb in Sant'Andrea delle Fratte, and, as at the burial of Raphael, two of her best pictures were carried in procession.
The works of Angelica Kauffman have retained their reputation. By 1911, rooms decorated with her work were still to be seen in various quarters. At Hampton Court was a portrait of the duchess of Brunswick; in the National Portrait Gallery, a self-portrait. There were other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, in the Alte Pinakothek at Munich, in Kadriorg Palace, Tallinn (Estonia) and in the Joanneum Alte Galerie at Graz. The Munich example was another portrait of herself; and there was a third in the Uffizi at Florence. A few of her works in private collections were exhibited among the Old Masters at Burlington House.
Kauffmann is also well known by the numerous engravings from her designs by Schiavonetti, Francesco Bartolozzi and others. Those by Bartolozzi especially found considerable favour with collectors. Charles Willson Peale (1741-1827), artist, patriot, and founder of a major American art dynasty, named several of his children after notable European artists, including a daughter, Angelica Kauffmann Peale.
A biography of Kauffmann was published in 1810 by Giovanni Gherardo De Rossi (it). The book was also the basis of a romance by Léon de Wailly (fr) (1838) and it prompted the novel contributed by Anne Isabella Thackeray to the Cornhill Magazine in 1875 entitled "Miss Angel".
Kauffmann is memorialized in Judy Chicago's The Dinner Party. 
On the left side is a coat of arms.
The current coat of arms of Austria, albeit without the broken chains, has been in use by the Republic of Austria since 1919. Between 1934 and the German annexation in 1938 Austria used a different coat of arms, which consisted of a double-headed eagle. The establishment of the Second Republic in 1945 saw the return of the original (First Republic) arms, with broken chains added to symbolise Austria's liberation.
The blazon of the Federal Arms of the Republic of Austria reads:
Gules a fess Argent, escutcheon on the breast of an eagle displayed Sable, langued Gules, beaked Or, crowned with a mural crown of three visible merlons Or, armed Or, dexter talon holding sickle, sinister talon holding hammer, both talons shackled with chain broken Argent.
The symbols and emblems used in the Austrian arms are as follows:
The Eagle: Austria's sovereignty (introduced 1919)
The escutcheon Emblem of Austria (late Middle Ages, reintroduced 1915)
The mural crown: The middle class (introduced 1919)
The sickle: Agriculture (introduced 1919)
The Hammer: Industry (introduced 1919)
The broken chains: Liberation from National Socialist dictatorship (added 1945).
On right side, lower, is the coat of arms of the Austrian Federal land (state) Vorarlberg (about its relation to the banknote please read the description of the reverse).
The coat of arms of the province of Vorarlberg is the Montfort red banner on a silver shield.
On the silver shield which rests with three equally wide, black fringed Lätzen provided Montfort red banner bearing three red rings on the upper edge. The top panel of the banner is two, the bibs are crisscrossed with three black transversal lines.
The coat of arms of the country Vorarlberg goes back to the arms of the Count Palatine of Tübingen who, led a red flag, which is interpreted as a court flag in golden shield as a sign of their palatine violence before 1200th
However, this coat of arms went to the Counts of Montfort, a sideline of Tübingen, about, for distinguishing in a silver shield.
Since the Montfort offered in the Middle Ages over large parts of Vorarlberg, their coat of arms as a heart sign in the first Vorarlberg State Arms (awarded in 1863 by Emperor Franz Joseph to a design of the historian Josef Bergmann) has been integrated.
Since 1918 the State of Vorarlberg leads only the red flag of the Counts Montfort in a silver shield.
Denominations in numerals are in all corners, in words top, centered.
Revers:
On the banknote's traditional agricultural / forestry house in Bregenz Forest (Bregenzer Wälderhaus), now covers Austria (Vorarlberg) and the eastern region of Switzerland (where was born Angelica Kauffmann).
The Bregenzerwald house is the traditional peasant house form of the Bregenzerwald (Vorarlberg / Austria), which still dominates the landscape of the region. With the changing economic structure of the Bregenzerwald this type of building has lost its original meaning as a paradigm for the agricultural building in the region. The qualities of this type are nevertheless understood in the present as a model for contemporary construction in Vorarlberg, applied to new construction project and further developed. The type of building developed in the anterior (front forest) and in the rear Bregenzerwald (Hinterwald) due to different economic conditions and regional influences differently. In many cases, as Wälderhaus the Einhof the rear Bregenzerwald of the 19th century is referred to, the one whose influence comes from Allgäuerhaus from Einhof front of the Bregenz Forest, is different.
The hilly area of pastoral Bregenz Forest (Bregenzerwald) is very popular among tourists from the German-speaking countries, but little is known of the rest of Europe. These green hills and low mountains with their indispensable pastures, oil mills and colorful folk architecture known as the birthplace of "mountain cheese" bergkase and one of the most conservative areas of the country. Traditional wooden rural house with a large gable roof, carved eaves, balconies and indispensable extension-barn are still built using ancestral techniques, fireplaces in vogue than radiators, and folk costume is the same indispensable attribute of life as a shepherd horn in the morning bells and large herds, leaving the mountain pastures.
Eastern foothills provide very good conditions for winter sports and beautiful scenery - for years, it is very developed agrotourism, hiking and horseback excursions.
Located surrounded by grassy pastures and pine-covered slopes, the town of Schwarzenberg (Schwarzenberg im Bregenzerwald) is the most traditional and idyllic location in the area. Here are stored the works of Angelica Kauffmann, certainly deserves attention in the local museum "Angelika-Kauffmann-Museum".
Denominations in numerals are in all corners, in words lower, centered. On background are repeated denominations and the coat of arms of Vorarlberg.
Comments:
Issued in circulation in 1981. Second Issue!
According to tradition, here are some of our photos from our (with my wife) autotravel to Vorarlberg, Austria.
Designer: Roman Hellmann.
Born in 1921 in Schwarzach-St. Veit (Salzburg).
Graphic designer. Studied at the Academy of Applied Arts in Vienna. At the beginning of his work commissioned graphic examples for "Elin, Felten & Guilleaume", the Austrian Chamber of Commerce and the Cultural Department of the City of Vienna. From 1952 until his retirement, in 1978, banknote designer at the Austrian National Bank. Hellmann conducted in the National Bank the transition from employment freelance artist out to fix a salaried graphic designers. Designed all Austrian banknotes from 20 shillings 1956 to 50 schilling of 1970th. In addition, design of numerous test scores and advertising on behalf of "De La Rue Giori".
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