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| 表面の説明 | Printed in blue-grey on cream paper with a decorative foliate border frame. The central vignette shows a Gothic stone sculpture of a robed imperial figure, identified by an inscription as 'Das Haus z. Hohen Hafen, Wohnung des Kaisers während des Konzils' (the Emperor's residence during the Council of Constance). The denomination 'Zehn Mark' is set in large Fraktur blackletter flanking the vignette, with the issuing authority 'Konstanz am Bodensee', date 'Konstanz, 23. Okt. 1922', the Oberbürgermeister's signature, and a serial number at lower right; a bold red diagonal overstamp reading 'Hundert Milliarden Mark' revalues the note to 100,000,000,000 Mark. |
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| 表面の銘文 | ログイン して詳細を見る |
| 裏面の説明 | Printed in deep blue-violet on buff paper with a bold woodcut-style composition. The central vignette depicts a phoenix or eagle rising from flames, rendered in an Expressionist graphic manner. Flanking the central image, the denomination '10 Mark' appears twice in Fraktur script within decorative panels, while a circular inscription along the inner border reads 'Mein Vaterland geläutert aus der Zeiten Brand / Steig empor'; geometric lattice ornaments fill the corner cartouches. A bold red diagonal overstamp reading 'Hundert Milliarden Mark' is applied across the face, and the designer credit 'Entwurf: Benno Eggert' appears in small type at the lower margin. |
| 裏面の銘文 | ログイン して詳細を見る |
| 署名 | ログイン して詳細を見る |
| 偽造防止技術 | ログイン して詳細を見る |
| 偽造防止の説明 | ログイン して詳細を見る |
| バリエーション | ログイン して詳細を見る |
| コメント |
Konstanz was one of hundreds of German municipal authorities forced to produce their own emergency currency during the hyperinflationary collapse of 1923, when the Reichsmark lost value faster than the Reichsdruckerei could supply denominations adequate for daily transactions. This note is a blunt solution to an absurd arithmetic problem: a pre-existing 10 Mark note rendered worthless by inflation, then overstamped with a new face value of 100,000,000,000 Mark — a denomination that itself became inadequate within weeks of issue.
The overstamp method was cheaper and faster than commissioning entirely new artwork. Benno Eggert's underlying design was simply appropriated as a carrier for the new figure, not celebrated for it.