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50 Pfennig
| Issuer | Stadt Quedlinburg (City of Quedlinburg) |
|---|---|
| Year | 1922 |
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| Composition | Log in to see details |
| Size | 88 × 78 mm |
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| Obverse description | The obverse centres on a bold black silhouette vignette of the Quedlinburg skyline — the twin-towered collegiate church crowning the castle hill — set against a circular guilloche medallion with radiating sunbeams. Two narrow vertical cartouches flank the central image: the left bearing the German Imperial eagle above the partial year '922', the right displaying the crossed-keys civic arms of Quedlinburg above '1922', both printed in orange. The denomination '50 PFENNIG', the validity inscription 'GÜLTIG 22.-23. APRIL 1922', two manuscript signatures per side, and the lower border legend 'JUBILÄUMSGUTSCHEIN DER STADT QUEDLINBURG ZUR TAUSENDJAHRFEIER' complete the design in bold letterpress. |
|---|---|
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| Reverse description | The reverse centres on a finely cross-hatched intaglio-style vignette of the Quedlinburg Abbey crypt interior, rendering King Henry I's tomb beneath a series of Romanesque arches supported by slender columns with strong architectural depth and chiaroscuro. Two flanking vertical panels, printed in green with a circular underprint pattern, each carry the denomination '50 PF' in a white header cartouche and a bold black silhouette figure — a male figure with a staff at left, a robed female figure at right — evoking medieval courtly imagery. The upper border carries the inscription 'König Heinrichs Grab' at left and the designer credit 'Gez. von Fenzlau' at right. |
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| Comments |
Quedlinburg's 1922 Notgeld issue belongs to the second wave of German municipal emergency currency — printed not from genuine financial necessity by that point, but largely to satisfy collector demand that had transformed Notgeld into a commercial venture for cash-strapped local governments. H. Meyerding was a local Quedlinburg printer, which was unusual; most towns of comparable size contracted the work to larger Leipzig or Berlin firms.
Fenzlau's involvement as designer is documented but little else about him is recoverable from standard references.