MA-号码: 9994800912
Deutschland (Germany) Notgeld Satz 7 Porzellanmünzen 20 Pf -20 Mark 1921 Notgeld Münzen Sachsen Satz mit zeitgenössischer Box new as produced
Thomas Pollandt Münzen am Zoo 
18
On MA-Shops since 18 years
54192 评分,
100 % 正面Positive (过去24个月)
Worldwide shipping
786.91 元105,00 EUR
Import tax may be added
＋ 89.93 元 运费 ( to China )
寄运时间: 7 到 10 天
＋ 89.93 元 运费 ( to China )
| +49 (0)2871 2180 383 |
| 支付方式 |
| 电汇 |
new as produced | 缩写
瓷
**Saxony 1921 – Porcelain Emergency Money in Meissen Böttger Stoneware**
The Saxon porcelain money of 1921 is among the most unusual and culturally significant issues of the German emergency-money period. It was created during the profound economic uncertainty that followed the First World War. A shortage of circulating small change, rising material costs and the accelerating depreciation of the German currency prompted states, towns, municipalities and private companies to issue their own substitute money. Alongside paper and base metals, unconventional materials such as leather, wood, coal, ceramics and porcelain were also used.
The Free State of Saxony chose a particularly prestigious solution: its emergency money was manufactured by the State Porcelain Manufactory at Meissen. Most pieces were made from brown Böttger stoneware, named after Johann Friedrich Böttger, one of the pioneers of European hard-paste porcelain. Strictly speaking, the material is a dense, high-fired and unglazed fine stoneware. Nevertheless, the traditional term “porcelain money” has become firmly established in numismatic literature.
The first trial pieces of the so-called *Sachsengeld* were produced in 1920. By a decree of the Saxon Ministry of Finance dated 31 December 1920, the State Treasury was authorised to issue substitute money made from brown Meissen Böttger stoneware up to a total face value of five million marks. Saxony thus became the first German state to introduce porcelain money as an officially authorised means of payment.
The well-known 1921 series comprises denominations of 20 and 50 Pfennig and 1, 2, 5, 10 and 20 Mark. From a numismatic perspective, however, an important distinction must be made between the pieces that were officially valid as substitute currency and the higher denominations produced primarily for collectors.
Only the 20 Pfennig, 50 Pfennig, 1 Mark and 2 Mark pieces were officially authorised for circulation. The higher denominations of 5, 10 and 20 Mark—often distinguished by a decorative gilt border—had no official monetary function under the decree. They were produced mainly for the contemporary collectors’ market, although they form an integral artistic and conceptual part of the familiar seven-piece series.
The designs combine practical monetary information with a remarkably high standard of medallic art. Most of the models are attributed to the Meissen artist Emil Paul Börner. The steel moulds or dies were produced with the involvement of Friedrich Wilhelm Hörnlein, engraver and medallist at the Saxon State Mint in Muldenhütten.
The pieces bear their denomination, the name of Saxony and the date, together with symbolic representations relating to agriculture, industry, commerce and Saxon history. The famous crossed-swords mark identifies their origin at the renowned Meissen Porcelain Manufactory.
Unlike conventional metal coins, these pieces were formed or pressed from ceramic material in steel moulds and subsequently fired. This method produced sharply defined reliefs but also resulted in natural variations in colour, dimensions and surface texture. Minor firing distortions, differences in colour and slight variations in size are therefore characteristic of the manufacturing process. On the higher denominations, the border was additionally gilded after firing, giving the pieces a particularly decorative and prestigious appearance.
The practical circulation period of Saxon porcelain money was brief. Its official acceptance was limited to 31 December 1921, after which the circulating denominations could still be redeemed for a short period. Furthermore, the porcelain money was not generally accepted by Reich government offices, branches of the Reichsbank, the Reichspost or the Reichsbahn. Consequently, many pieces quickly disappeared from everyday circulation and entered private collections.
From a numismatic point of view, the series occupies an exceptional position. It documents not only the shortage of small change and the economic difficulties of the early Weimar Republic, but also the close relationship between monetary history, ceramic craftsmanship and modern medallic art. At the same time, it illustrates the often-fluid boundary between genuine circulating emergency money and issues created specifically to satisfy contemporary collector demand.
When assessing these pieces, particular attention should be paid to original surfaces, intact edges, sharply defined relief details and—on the higher denominations—the completeness of the gilt border. Owing to the nature of the material, edge chips, hairline cracks, firing flaws and surface wear may occur. Differences in the brown colour of the Böttger stoneware are also characteristic of the firing process and do not necessarily constitute a defect.
Complete sets are occasionally encountered in fitted presentation cases. Such cases were generally assembled privately and were not official products of the Meissen Porcelain Manufactory. Although they may enhance the decorative appeal and collectability of a set, the case should be assessed separately from the numismatic originality and authenticity of the pieces themselves.
Today, the Saxon porcelain money of 1921 is regarded as an important surviving document of an extraordinary period in German monetary history. It reflects economic hardship and practical improvisation, while simultaneously demonstrating the ability of the Meissen Manufactory to transform even a temporary substitute currency into an accomplished work of decorative art.
The series therefore holds lasting significance for collectors of German emergency money, Saxon history, Meissen porcelain and twentieth-century medallic art.
The Saxon porcelain money of 1921 is among the most unusual and culturally significant issues of the German emergency-money period. It was created during the profound economic uncertainty that followed the First World War. A shortage of circulating small change, rising material costs and the accelerating depreciation of the German currency prompted states, towns, municipalities and private companies to issue their own substitute money. Alongside paper and base metals, unconventional materials such as leather, wood, coal, ceramics and porcelain were also used.
The Free State of Saxony chose a particularly prestigious solution: its emergency money was manufactured by the State Porcelain Manufactory at Meissen. Most pieces were made from brown Böttger stoneware, named after Johann Friedrich Böttger, one of the pioneers of European hard-paste porcelain. Strictly speaking, the material is a dense, high-fired and unglazed fine stoneware. Nevertheless, the traditional term “porcelain money” has become firmly established in numismatic literature.
The first trial pieces of the so-called *Sachsengeld* were produced in 1920. By a decree of the Saxon Ministry of Finance dated 31 December 1920, the State Treasury was authorised to issue substitute money made from brown Meissen Böttger stoneware up to a total face value of five million marks. Saxony thus became the first German state to introduce porcelain money as an officially authorised means of payment.
The well-known 1921 series comprises denominations of 20 and 50 Pfennig and 1, 2, 5, 10 and 20 Mark. From a numismatic perspective, however, an important distinction must be made between the pieces that were officially valid as substitute currency and the higher denominations produced primarily for collectors.
Only the 20 Pfennig, 50 Pfennig, 1 Mark and 2 Mark pieces were officially authorised for circulation. The higher denominations of 5, 10 and 20 Mark—often distinguished by a decorative gilt border—had no official monetary function under the decree. They were produced mainly for the contemporary collectors’ market, although they form an integral artistic and conceptual part of the familiar seven-piece series.
The designs combine practical monetary information with a remarkably high standard of medallic art. Most of the models are attributed to the Meissen artist Emil Paul Börner. The steel moulds or dies were produced with the involvement of Friedrich Wilhelm Hörnlein, engraver and medallist at the Saxon State Mint in Muldenhütten.
The pieces bear their denomination, the name of Saxony and the date, together with symbolic representations relating to agriculture, industry, commerce and Saxon history. The famous crossed-swords mark identifies their origin at the renowned Meissen Porcelain Manufactory.
Unlike conventional metal coins, these pieces were formed or pressed from ceramic material in steel moulds and subsequently fired. This method produced sharply defined reliefs but also resulted in natural variations in colour, dimensions and surface texture. Minor firing distortions, differences in colour and slight variations in size are therefore characteristic of the manufacturing process. On the higher denominations, the border was additionally gilded after firing, giving the pieces a particularly decorative and prestigious appearance.
The practical circulation period of Saxon porcelain money was brief. Its official acceptance was limited to 31 December 1921, after which the circulating denominations could still be redeemed for a short period. Furthermore, the porcelain money was not generally accepted by Reich government offices, branches of the Reichsbank, the Reichspost or the Reichsbahn. Consequently, many pieces quickly disappeared from everyday circulation and entered private collections.
From a numismatic point of view, the series occupies an exceptional position. It documents not only the shortage of small change and the economic difficulties of the early Weimar Republic, but also the close relationship between monetary history, ceramic craftsmanship and modern medallic art. At the same time, it illustrates the often-fluid boundary between genuine circulating emergency money and issues created specifically to satisfy contemporary collector demand.
When assessing these pieces, particular attention should be paid to original surfaces, intact edges, sharply defined relief details and—on the higher denominations—the completeness of the gilt border. Owing to the nature of the material, edge chips, hairline cracks, firing flaws and surface wear may occur. Differences in the brown colour of the Böttger stoneware are also characteristic of the firing process and do not necessarily constitute a defect.
Complete sets are occasionally encountered in fitted presentation cases. Such cases were generally assembled privately and were not official products of the Meissen Porcelain Manufactory. Although they may enhance the decorative appeal and collectability of a set, the case should be assessed separately from the numismatic originality and authenticity of the pieces themselves.
Today, the Saxon porcelain money of 1921 is regarded as an important surviving document of an extraordinary period in German monetary history. It reflects economic hardship and practical improvisation, while simultaneously demonstrating the ability of the Meissen Manufactory to transform even a temporary substitute currency into an accomplished work of decorative art.
The series therefore holds lasting significance for collectors of German emergency money, Saxon history, Meissen porcelain and twentieth-century medallic art.
Info / FAQ
Information
Online orders are welcome as always and will be shipped directly.
|
Withdraw from contract here 商店主页 | 0购物车 | 使用条件 | 联系 | MA 使用条件 | 隐私声明 | 保证期 | MA-Shops 新商品 Copyright ® 2001-2026, MA-SHOPS Coins All Rights Reserved. Designated trademarks and brands are the property of their respective owners. |