Price | Bid Increment |
---|---|
$0 | $10 |
$100 | $25 |
$250 | $50 |
$1,000 | $100 |
$2,500 | $250 |
$7,500 | $500 |
$20,000 | $1,000 |
$50,000 | $2,500 |
$100,000 | $5,000 |
$250,000 | $10,000 |
Group of German Banknotes, Dated 1922. 10,000 Marks (Reichsbanknote).
Size: (each) 8 1/4 X 5 in.
#4000 .
The Papiermark (officially just Mark) was the German currency from 1914 onward when the link between the Goldmark and gold was abandoned, due to the outbreak of World War I. In particular, the Papiermark was the currency issued during the hyperinflation in Germany of 1922 and 1923. From the moment it was created in 1914, the value of the mark fell. The rate of inflation was relatively steady until the end of World War I and their defeat, as the Treaty of Versailles obligated Germany to pay reparations, which increased the nation’s financial struggles. The German government attempted to solve this problem by printing more money, which led to severe inflation, reaching its highest point in October of 1923. The currency stabilized in November of 1923 after the announcement of the creation of the Rentenmark, although the Rentenmark did not come into circulation until 1924. When it did, it replaced the Papiermark at the rate of 1 trillion Marks to 1 Rentenmark. On August 30th, 1924 the Rentenmark was replaced by the Reichsmark, as part of the Nazi efforts to revitalize the economy. In addition to the issues of the government, emergency issues of both tokens and paper money, known as Kriegsgeld (war money) and Notgeld (emergency money), were produced by local authorities, which contributed to the country’s overall monetary difficulties. The 10,000 German Mark bill was the largest denomination issued to that date, distributed in Germany from January of 1922 until the announcement of the Rentenmark. The front of the note features a 1499 painting by Albrecht Dürer titled “Portrait of a Young Man,” and contains subtle references to the anti-French sentiment held by most Germans at the time. The painting was slightly altered by the engraver at the Reichsdruckeri to make the subject look like a gothic vampire, suggesting that France was sucking the life blood out of Germany through reparations.
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