AUSTRIA, Franz Joseph I, 5 Corona 1909, Schwartz, aXF

Corona, Krone System (1892-1918), Franz Joseph I (1848-1916)

AUSTRIA, Franz Joseph I, 5 Corona 1909, Schwartz, aXF

Availability:

In stock

Obverse: The bust of Franz Joseph I facing right surrounded by the legend

Lettering (Latin): FRANC ∙ IOS ∙ I ∙ D ∙ G ∙ IMP ∙ AVSTR ∙ REX BOH ∙ GAL ∙ ILL ∙ ETC ∙ ET AP ∙ REX HVNG ∙; St∙ Schwartz

Translation: Franz Joseph I, by the grace of God, emperor of Austria, king of Bohemia, Galicia, Illyria and so forth and apostolic king of Hungary

Engraver: Stefan Schwartz

Reverse: Imperial eagle in a circle, value above in Latin, all surrounded by a wreath of crowns and leaves. Value divided by the date below.

Lettering (Latin): QUINQUE CORONÆ; 5 COR.; 1909

Engraver: Anton Scharff, Andreas Neudeck

Edge (text in Latin): VIRIBVS VNITIS

Translation: With United Forces (the Motto of the house of Habsburg)

The pictures provided are of the actual coin for sale.

Guaranteed genuine.

€ 79

In stock

Country	Austria
Ruler	Franz Joseph I (1848-1916)
Face Value	5 Corona
Year of issue	1909
Metal	Silver
Fineness	900
Catalogue #	KM# 2813; Herinek 773
Weight, g.	23,85
Diameter, mm.	35,94
Our code	C954
Die Axis	↑↑
Additional info	Only one year type

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INSURANCE:

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• Please check with your country’s customs office to determine what these additional costs will be prior to buying.

22 August 2025:

Important Notice for USA Customers
Please note that, due to the new U.S. customs tariffs, Post of Slovenia has temporarily suspended shipments to the United States. Unfortunately, this means we are unable to send orders to the USA at this time.

We will resume shipping to the USA as soon as the service becomes available again. Thank you for your understanding and patience.

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The coins remain with the seller until goods have been paid for in full.

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History

There is a particular kind of mastery that announces itself quietly. No flourish, no self-advertisement – just the work itself, asking to be looked at closely.

Stefan Schwartz was born in Pest in 1851, the son of a carpenter, and arrived in Vienna at sixteen with an apprentice’s hands and an artist’s ambitions. He studied at the Vienna School of Applied Arts under Professor Otto König, whose sculptures adorned the great buildings of the Ringstrasse – the Opera, the Burgtheater, the Kunsthistorisches Museum. By the time Schwartz was appointed professor and established the department of engraving at that same institution, he had become one of the most respected medalists in the Habsburg Empire. His peers were Anton Scharff and Josef Tautenhyn; his work could be found in the Hofburg, in Parliament, in the private collections of the imperial family. When the Emperor’s 50th and 60th jubilees were commemorated in silver and gold, it was Schwartz who was asked to render the old man’s face.

The portrait on this coin is the product of that trust. Where other engravers of the era tended toward the ceremonial – an emperor as institution, as symbol, as abstraction – Schwartz approached his subjects as a sculptor approaches a living face: with patience, with precision, and with a sculptor’s unsparing eye for the truth beneath the surface. The result is a Franz Joseph that feels inhabited. Seventy-nine years old in 1909, the Emperor carries in Schwartz’s rendering something that official portraiture rarely permitted – the quiet weight of a man who has simply seen too much.

The reverse carries the double-headed imperial eagle and the inscription on the edge VIRIBVS VNITIS – With United Forces – the Habsburg motto that had held together a dozen languages and a hundred grievances for centuries. In 1909, it was beginning to sound more like aspiration than fact. The annexation of Bosnia the previous year had pushed the empire and Serbia to the brink. The nationalities within were restless. The great centrifugal forces of nationalism were pulling at every seam.

But the coin itself is a small monument to a dying art form. Hand-engraving of this quality – portrait work cut directly into steel dies, reversed, without the aid of machinery or computers – was already giving way to mechanical reduction and photographic processes. Schwartz and his generation were among the last practitioners of an unbroken craft tradition stretching back to the Renaissance.

This is a coin that rewards a second look. And a third.