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50 Pfennig
| Issuer | Stadt Bad Reichenhall (City of Bad Reichenhall) |
|---|---|
| Year | 1919 |
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| Designer(s) | J. Hengge |
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| Obverse description | The central vignette presents a tall decorative fountain set against an Alpine mountain panorama with a clouded sky, flanked by tall cypress-like trees rendered in olive green. To the left, a circular medallion contains a helmeted female bust, while to the right a corresponding medallion bears the Bavarian lozenge arms. The upper border is formed by two bound sheaves of foliage tied with ribbons and joined at centre, with denomination value numerals '50' in turquoise set within dark corner squares. Below the central scene, the town name BAD REICHENHALL appears in large gold letters along the lower panel, with the printer's imprint 'Zugschwerdt's Nachf., Bad Reichenhall' in small text beneath; two manuscript facsimile signatures appear flanking the fountain, preceded by the labels 'MAGIST:' and 'KOLLEG:'. |
|---|---|
| Obverse lettering | Log in to see details |
| Reverse description | The reverse is framed by a broad dark border carrying the inscription KRIEGSGELD DER STADT along the right and upper edges, with ANNO 1919 running vertically along the left edge, and denomination numerals '50 PF.' in turquoise at all four corners. The central panel contains a landscape vignette in sepia and ochre tones, illustrating a rural road approaching a Bavarian village with a church steeple, framed by tall poplars in the foreground and the Untersberg massif rising in the background. The lower panel repeats the town name BAD · REICHENHALL in large gold lettering, and the artist's signature 'J. HENGGE' appears in the right margin. |
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| Comments |
Bad Reichenhall issued this note as Notgeld — emergency municipal currency — during the severe coin shortage that followed Germany's defeat in the First World War. Towns across Bavaria printed their own small-denomination scrip in 1919 rather than wait for central government supply to normalize. The city's decision to use a local printer, Zugschwerdt's Nachf., and a local designer, J. Hengge, was entirely typical of the Notgeld phenomenon: production was fast, cheap, and proudly parochial.
Hengge's involvement suggests the city wanted something presentable rather than purely functional — Bad Reichenhall was already an established spa resort and civic pride ran high even in the worst postwar months.