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10 Mark
| Uitgever | Stadt Dresden (City of Dresden) |
|---|---|
| Jaar | 1918 |
| 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 | Rectangular |
| 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) | Log in om details te zien |
| Beschrijving voorzijde | Log in om details te zien |
|---|---|
| Opschrift voorzijde | Gutschein Gültig im Bezirke der Stadt Dresden Zehn Mark zahlen die Kassen der Stadt Dresden gegen Rückgabe dieses Gutscheines Dresden, den 1. November 1918 Der Rat zu Dresden Oberbürgermeister Die Stadthauptkasse Stadthauptkassirer REIHE F |
| Beschrijving keerzijde | Warm buff paper with a fine wavy-line underprint across the entire field. The upper central vignette presents a panoramic skyline of Dresden with its characteristic church towers and rooflines rendered in a detailed letterpress print, set within a decorative framed cartouche. Below the cityscape, the arms of Dresden — an eagle-surmounted shield with heraldic lions and diagonal bars — are flanked by scrolling acanthus ornaments, with the denomination numerals '10' at lower left and right; two vertical panels of legal text in italic script flank the central composition, and the designer's signature 'H. Wieynck fecit' and printer's imprint appear at the lower corners. |
| 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 |
Dresden's municipal emergency money program was among the more aesthetically ambitious of the German Notgeld wave, and Stengel & Co. was an unusual choice of printer — the firm was better known as a publisher of art postcards and reproductions than as a banknote house. That background shows in the execution. H. Wieynck, a Leipzig-trained commercial artist active in the Jugendstil milieu, brought a graphic sensibility to the series that separates it from the utilitarian municipal issues flooding Germany in the same months.
The 1918 date places this squarely in the final year of the war, when coin hoarding had stripped small-denomination metal from daily commerce across German cities and towns, forcing municipalities to issue their own paper substitutes under Reich authorization.