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75 Pfennig
| Uitgever | Stadtspar-Kasse Aschersleben |
|---|---|
| Jaar | 1921 |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Mark (1914-1924) |
| Samenstelling | Log in om details te zien |
| Afmetingen | Log in om details te zien |
| Vorm | Log in om details te zien |
| Drukker | Log in om details te zien |
| Ontwerper(s) | Log in om details te zien |
| Graveur(s) | Log in om details te zien |
| In omloop tot | Log in om details te zien |
| Referentie(s) | Log in om details te zien |
| Beschrijving voorzijde | Log in om details te zien |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Printed in blue and grey, the reverse carries a vignette of two figures in traditional rural dress working at a large wooden brewing or mashing tub, with a second vessel and implements to the right, rendered in an expressive woodcut-like style. A vertical text panel on the left bears a four-line verse in Fraktur script referencing grain crops and fire. The large Gothic denomination '75 Pf' is set in the upper right corner within the decorative border. |
| Opschrift keerzijde | Viel Korn verdirbt im deutschen Land Allwährlich durch Getreidebrand Schützt Roggen, Gerste, Hafer, Weizen Drum vor der Aussaat stets durch Beizen 75 Pf |
| Handtekening(en) | Log in om details te zien |
| Beveiligingstype | Log in om details te zien |
| Beschrijving beveiliging | Log in om details te zien |
| Varianten | Log in om details te zien |
| Opmerkingen |
Aschersleben's municipal savings bank — the Stadtspar-Kasse, not the city government directly — issued this 75 Pfennig note during the acute small-change shortage that plagued Germany in 1921, when coin metal was hoarded and official Reichsmünzen were effectively absent from daily commerce. Hundreds of German municipalities and savings institutions resorted to their own Kleingeldersatz that year, and Aschersleben was among the more prolific issuers in Saxony-Anhalt.
The designer credit to Krelle appears on notes across the 50.6–50.7 sequence. Whether this was a local commercial artist or a regional printing house's in-house designer is not firmly established in the literature.