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50 Pfennig Part 8
| Emittent | Magistrat der Stadt Schöppenstedt |
|---|---|
| Jahr | 1921 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | Anmelden um Details zu sehen |
| Währung | Anmelden um Details zu sehen |
| Material | Anmelden um Details zu sehen |
| Größe | Anmelden um Details zu sehen |
| Form | Anmelden um Details zu sehen |
| Druckerei | Anmelden um Details zu sehen |
| Designer | Günther Clausen |
| Stecher | Anmelden um Details zu sehen |
| Im Umlauf bis | Anmelden um Details zu sehen |
| Referenz(en) | Anmelden um Details zu sehen |
| Vorderseitenbeschreibung | The obverse presents a stylised townscape of Schöppenstedt rendered in bold letterpress in red, black, and grey tones, with the distinctive Gothic church tower rising at centre. A large decorative arch bearing the town name 'Schöppenstedt' in bold script spans the vignette, flanked by diagonal bands in the black-red-gold colours of the German flag. The denomination '50 Pfennige 50' is inscribed in ornate calligraphic lettering across the upper margin, and the validity notice with expiry date appears along the lower border; the designers' names 'Günther' and 'Clausen' are printed at the foot. |
|---|---|
| Vorderseitenlegende | Anmelden um Details zu sehen |
| Rückseitenbeschreibung | Anmelden um Details zu sehen |
| Rückseitenlegende | Un as de Ossentreckerie mit Schimp un Schanne was vorbie, dun stund de Kerktorn ganz schein da, ok jetze noch. Halleluja! A.VIII ST |
| Unterschrift(en) | Anmelden um Details zu sehen |
| Sicherheitsmerkmal | Anmelden um Details zu sehen |
| Beschreibung der Sicherheitsmerkmale | Anmelden um Details zu sehen |
| Varianten | Anmelden um Details zu sehen |
| Anmerkungen |
Schöppenstedt is a small town in Lower Saxony — population a few thousand even today — and its decision to issue notgeld in 1921 places it among the hundreds of German municipalities that took printing into their own hands as Reichsbank small change evaporated during the inflationary spiral of the early Weimar years. The "Part 8" designation suggests a serialized notgeld campaign, likely sold to collectors as much as circulated for commerce; by 1921, many municipalities had recognized the philatelic market and were printing far more notes than local trade required.
Günther Clausen's designer credit is the one detail worth holding onto — local artists were frequently commissioned for these series, and individual attribution is uncommon enough to have documentary value.