100 Schilling 1945, Austria
| in Krause book | Number: 118 |
| Years of issue: | 29.05.1945 |
| Edition: | |
| Signatures: | Dr. Viktor Kienböck, Eugen Kaniak, Dr. Franz Bartsch |
| Serie: | 1945 Issue |
| Specimen of: | 29.05.1945 |
| Material: | Cotton fiber |
| Size (mm): | 164 х 85 |
| Printer: | Oesterreichische Banknoten und Sicherheitsdruck, Wien |
* All pictures marked 
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** The word "Specimen" is present only on some of electronic pictures, in accordance with banknote images publication rules of appropriate banks.
Description
Watermark:
Avers:
All over the field of banknote is the pattern.
On right side is allegorical woman ("Science").
In top left corner is the coat of arms of Austria.
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).
Denominations in numerals are on left side and in lower right corner. In words centered.
Revers:
In all corners are the symbols of Sciences (Philosophy - top left, Theology - top right, Medicine/Pharmaceutics - bottom left, Law - bottom right).
Centered is the Academy of Sciences, in Vienna (Österreichische Akademie der Wissenschaften).
In 1713, Gottfried Leibniz, inspired by the London Royal Society and the French Academy, proposed the creation of a similar organization. But only on May 14, 1847, the Imperial Academy of Sciences was opened in Vienna. In 1918, it was renamed the Academy of Sciences, and in 1947 the Austrian Academy of Sciences.
Since the mid-1960s, she became the leading Austrian institution in the field of non-university basic research. Consists of 2 sections: mathematical and natural sciences; philosophical and historical sciences. In addition, it consists of the Institute of Comparative Behavior Research. C. Lorenz and the International Institute for Applied Systems Analysis. The library of the Academy contains more than 100 thousand volumes.
The building destined for the accommodation of the University of Vienna was built in 1753/1755 according to the design of the Lorraine-born architect Jean Nicolas Jadot. The solemn opening by Emperor Franz I. Stephan and Maria Theresia took place in April 1756. In 1857, the building of the 1847 by Kaiser Ferdinand I founded Imperial Academy of Sciences - since 1945 Austrian Academy of Sciences - handed over. The construction site for the new university hall was not chosen by accident, as it is located in the quarter where the university buildings were located since the late XIV century. The urbanistic specifications and the narrow construction area demanded an unusual disposition of this "new auditorium". The narrow side facing the square had to be highlighted through the main façade. With her, a new display wall had competed with the hitherto dominant front of the Jesuit University Church, resulting in a reorganization of the visual reference system of the space. The weakening of the sacred context of the square achieved in this way corresponds symbolically to the reorganization of the university teaching manifested by the construction of the "New Auditorium", which was withdrawn in successive steps until 1759 from the "Society of Jesus".
While at the beginning the leading idea was to construct apartments for all professors of the law and medical faculty in the new building, this can be seen from the point of view of favoring the practice-oriented faculties (medicine and jurisprudence) particularly affected by the university reform. The driving force behind the swift realization of the building was the protector of the University of Vienna, Archbishop Johann Joseph Count Trautson, to whom Maria Theresa had transferred all building dates in March 1753. By February 1754 at the latest, the summary of the four faculties in the new building was raised to the program, emphasizing the coherence of the academic disciplines - a point that also convincingly reflects the concept of the picturesque decor of the banqueting hall (Gregorio Guglielmi, 1755). As far as today can be deduced from the written and pictorial sources, the construction of the new university building is by no means to be regarded as an isolated act. In the end, it was part of a comprehensive concept that gave the university district, which had been located here since the Middle Ages, clearer structures and also redefined them in terms of urban planning. The present publication details the history and equipment of the former University Hall, today the main building of the Austrian Academy of Sciences, and describes the genesis and function of this building on the basis of numerous textual and pictorial sources. (www.oeaw.ac.at .ger)
Denominations in numerals are in top corners and centered, on left and right sides. In words - centered.
Comments:
Designer: Wilhelm Dachauer.
Wilhelm Dachauer in 1935
Wilhelm Dachauer (April 5, 1881 - February 26, 1951) was an Austrian painter. He studied at the Akademie der bildenden Künste in Vienna from 1899 to 1907 and was professor from 1928 to 1944 at the same academy.
Wilhelm Dachauer was born on April 5, 1881 into a family of clockmakers. He was intended to continue his fathers business but after some struggle he was allowed to move to Vienna, where he had a time full of privations. He started an apprenticeship as decoration painter and in the nighttime he prepared for the Academy of Applied Arts. In 1899 the seventeen-year-old Wilhelm began his studies under the supervision of professor Griepenkerl.
In 1913 he had his first arguably successful exhibition at the Secession. He was appointed to an honored professorship of the Akademie der bildenden Künste (Academy of Applied Arts) in Vienna in 1928, a position that he occupied until 1944. Temporarily he was even rector of the institution. Among his students were Hildegard Joos, Maria Lassnig, Adalbert Pilch, and Peppino Wieternik (1919-1979).
Wilhelm Dachauer was initially influenced by the art of the Secession and later developed a form of realism that was strongly dedicated to rural and regional arts. This style fitted well to the "official" taste of the Ständestaat and the NS regime, so his opus became somewhat disreputable after 1945.
He was rather unconsciously known to the public by the design of some stamp series than for his other paintings. Among his stamp designs are the well-known set of the Nibelungen motifs and the inventor set; other motifs are: Stille Nacht and Johann Strauß.
In 1926 he was awarded the Thomson medal for the most beautiful stamp in the world for the second stamp of the before mentioned Nibelungen set. The design of this stamp has the title "Gunters Drachenschiff auf dem Weg nach Island" (Gunter's Dragon Boat on the Way to Island). This stamp has a nominal value of 8+2 g (Groschen).
After the annexation of Austria to the German Reich and the occupation of Poland he designed several other stamps of the so-called Generalgouvernement and a few of the German Reich.
He also made the designs for several Austrian stamps after World War II, among them the so-called Homecomer series.
Ten glass windows and one altarpiece of the Franziskaner hospital chapel in Ried 1928 are designs of Dachauer. More conserved works are the portraits of Julius Wagner-Jauregg and Viktor Kaplan.
Nowadays a street - the Wilhelm-Dachauer Straße in Essling, the 22nd borough of Vienna - is named after this more or less famous painter. 
Obverse engraver: Roman Zenzinger.
Roman Zenzinger(16 July 1903 - 5 November 1990) was an Austrian artist and commercial designer best known for his intense portraits and sketches of soldiers during world war II.
Reverse engraver: Ferdinand Lorber.
Ferdinand Lorber (November 16, 1883 - 14 May 1957). Lived at Kundratstraße 3 (Kaiser-Franz-Josef-Spital), painter, copper and steel engraver. 1901-1907 studied at the Academy of Fine Arts Painting (by J. Berger) and history painting (by Delug) and attended the High School of Graphic Arts (by Unger). In 1909 Lorber became self-employed, from 1933 to 1949 he taught as a teacher at the Graphic Arts Education and Research Institute. He created portraits, etchings, ex libris, graphics and watercolors; Stecher numerous stamps for Austria and Liechtenstein. Member of the Artists House (from 1921).
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