Catalog
Why register? Just to keep bots out of our catalog. Your email stays private - we will never share it or send you anything uninvited. We guarantee you that!
| Issuer | Stadt Uslar (City of Uslar) |
|---|---|
| Year | |
| Type | Log in to see details |
| Value | 50 Pfennigs (50 Pfennige) (0.50) |
| Currency | Log in to see details |
| Composition | Log in to see details |
| Size | Log in to see details |
| Shape | Log in to see details |
| Printer | Log in to see details |
| Designer(s) | Log in to see details |
| Engraver(s) | Log in to see details |
| In circulation to | Log in to see details |
| Reference(s) | Log in to see details |
| Obverse description | Log in to see details |
|---|---|
| Obverse lettering | Log in to see details |
| Reverse description | The left portion of the reverse is divided into two panels: the upper panel carries a four-line verse in Gothic blackletter set against horizontal green rules, and the lower panel bears the large green denomination '50 Pfg' with 'DER STADT USLAR' in bold sans-serif below. To the right, a full-height pen-and-ink caricature vignette portrays the orator Bode — an elderly bearded figure in a long coat and cap, holding a goblet — initialled 'KK' at lower left. The printer's imprint appears at the foot of the note. |
| Reverse lettering | Noch hundert Jahr Nach meinem Tode Sprechen die Leute Vom Redner Bode! 50 Pfg DER STADT USLAR EDLER & KRISCHE, HANNOVER |
| Signature(s) | Log in to see details |
| Protection type | Log in to see details |
| Protection description | Log in to see details |
| Variants | Log in to see details |
| Comments |
Uslar is a small town in Lower Saxony, and this note is a piece of German Notgeld — the emergency municipal scrip that proliferated across thousands of German towns between 1914 and the early 1920s as coin shortages made small-denomination transactions nearly impossible. Cities, towns, and even individual businesses were authorized to fill the gap themselves.
Edler & Krische was one of Hanover's more active Notgeld printers, handling commissions from numerous municipalities across the region. Karl Klanke's involvement as designer suggests a locally commissioned artwork rather than a stock layout pulled from a printer's catalogue — a distinction that mattered to the collectors who drove a secondary market for these issues even while they were still theoretically in circulation.