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25 Pfennig Sights Series - Schillerhaus
| Issuer | Stadt Weimar (City of Weimar, Thuringia) |
|---|---|
| Year | 1921 |
| Type | Log in to see details |
| Value | 25 Pfennigs (25 Pfennige) (0.25) |
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| Obverse description | Printed in olive-brown and red over a fine guilloche underprint, the obverse carries four circular corner vignettes each bearing a silhouette portrait of a Weimar classical literary figure — Goethe (upper left), Schiller (upper right), Herder (lower left), and Wieland (lower right) — with the Weimar civic arms, a rampant lion within an ornate wreath, centred between them. The heading 'Notgeld der Stadt Weimar' appears above, with the denomination 'Fünfundzwanzig Pfennig' rendered in red script below the central arms, followed by the validity clause, the issue date 'Weimar 1. März 1921', two facsimile signature blocks, and the printer's imprint at foot. A verse quotation from Goethe referencing Weimar and Bethlehem is set across the upper register. |
|---|---|
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| Reverse description | The reverse, printed in olive-brown and red within a red ruled border on an otherwise plain ground, is centred on an octagonal vignette containing a finely engraved view of the Schillerhaus in Weimar — a two-storey neoclassical facade set among trees with a decorative fountain to the right. The denomination numeral '25' is placed in red at each of the four corners. Below the vignette, a two-line verse quotation attributed to Schiller is set in italic script, closing with the author's name at lower right. |
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| Comments |
Weimar's 1921 Notgeld series was printed by Reineck & Klein, a local firm — unusual in that most German municipal emergency currency of this period was farmed out to Leipzig or Berlin trade printers who could handle volume. Keeping production local meant the city retained tighter control over the artistic program, which is probably why the Sights series achieved more typographic consistency than comparable municipal issues from Thuringia.
The Schillerhaus — where Friedrich Schiller lived from 1799 until his death in 1805 — was a predictable choice for a city that had already commodified its classical associations into a minor tourism industry well before the Weimar Republic existed.