10 Mark 1960, Germany
| in Krause book | Number: 19a |
| Years of issue: | 21.10.1963 |
| Edition: | -- |
| Signatures: | Bundesbank Präsident: Dr. rer. pol. h.c. Karl Blessing (01.01.1958 - 31.12.1969), Vizepräsident: Dr. Heinrich Troeger |
| Serie: | Serie 1960 |
| Specimen of: | 02.01.1960 |
| Material: | Cotton fiber |
| Size (mm): | 130 х 65 |
| Printer: | Bundesdruckerei GmbH, Berlin |
* All pictures marked 
are increased partially by magnifying glass, the remaining open in full size by clicking on the image.
** The word "Specimen" is present only on some of electronic pictures, in accordance with banknote images publication rules of appropriate banks.
Description
Watermark:
The Portrait of a Beardless Man, Oil on wood, circa 1500 year. Young man - Anton Neupauer or Albrecht Dürer.
Avers:
The engraving on banknote is made after the portrait of a beardless Man (Oil on wood, circa 1500 year). Today is in Hessische Hausstiftung, Kronberg, Germany.
The exhibition explores the artist's view of man during the transition of the Late Middle Ages to the Early Modern Era in the German-speaking world. To date, early German portraiture has never been the exclusive subject of a large survey as the shadows of both Netherlandish and Italian counterparts have obscured the view of German contributions in this genre. Indeed, the Netherlandish artists may be credited for their naturalism that enabled the distinctive character of man's depiction, whereas the tension between idealisation and likeness in Italian portraits defined the concept of beauty of an entire epoch, namely the Renaissance. Yet, German portraiture too, led by its greatest exponents Dürer, Cranach the Elder and Holbein the Younger, attained highly significant and fully fledged artistic achievements. Its particular strength lies in the authentic depiction of an individual, paired with the subtle psychological penetration of the sitter.
To this day still do not known exactly who is the author of the portrait. It could be either Albrecht Durer or Lucas Cranach the Elder. Probably, the name of younge man is written on rear side of the portrait - Anton Neupauer. But mostly, the opinion is that Lucas Cranach the Elder is an author.
Lucas Cranach the Elder (Lucas Cranach der Ältere, c. 1472 - 16 October 1553), was a German Renaissance painter and printmaker in woodcut and engraving. He was court painter to the Electors of Saxony for most of his career, and is known for his portraits, both of German princes and those of the leaders of the Protestant Reformation, whose cause he embraced with enthusiasm, becoming a close friend of Martin Luther. He also painted religious subjects, first in the Catholic tradition, and later trying to find new ways of conveying Lutheran religious concerns in art. He continued throughout his career to paint nude subjects drawn from mythology and religion. He had a large workshop and many works exist in different versions; his son Lucas Cranach the Younger, and others, continued to create versions of his father's works for decades after his death.
Revers:
The sail training ship Gorch Fock, type Bark, symbolizes the German cosmopolitanism.
The Gorch Fock II is a tall ship of the German Navy (Deutsche Marine), named after the pseudonym of the German author Johann Wilhelm Kinau (1880-1916).
The new ship was built by "Blohm & Voss", in Hamburg, launched on 23 August 1958, and commissioned on 17 December of that year. Her home port is Kiel. The Gorch Fock is a three-masted barque with a steel hull 81.2 m. (266 ft) long (without the bowsprit) and 12 m (40 ft) wide. She has a drought of some 5.2 m. (17 ft) and a displacement at full load of 1760 tons. Originally, she carried 1952 m² of canvas sails; later, she received slightly larger sails made of synthetic materials. The tops of her fore and main masts can be lowered so that she can navigate the Kiel Canal, otherwise she would be too tall for some of the bridges spanning the canal.
The seal of German Bundesbank is nearby.
The inscription on the right top: "Wer Banknoten nachmacht oder verfälscht oder nachgemachte oder verfälschte sich verschafft und in Verkehr bringt, wird mit Zuchthaus nicht unter zwei Jahren bestraft".
Translation reads: "Those who forge bank notes or runs the counterfeit into circulation will be subject to imprisonment for at least two years."
DM printed until 1963 (then have been changed the interpretation of this article in the German law) instead of the word "Freiheitsstrafe" (deprivation of freedom) have the word "Zuchthaus" (penitentiary). At that time, the notion of a house of correction has become obsolete, so it was replaced.
Among the collectors the third series of banknotes (Series 1960) with the word "Zuchthaus" valued much higher then releases of the same series in 1970, 1977 and 1980. Although, in general, all notes in this series are valued higher then exchange rate, according to which, by the way, the Bundesbank still takes them for exchange to Euro.
Comments:
I am standing near sail ship Gorch Fock II in Kiel in April 2014.
The signatures on banknote belongs to:
Karl Blessing (05.02.1900 - 25.04.1971).
Heinrich Troeger (4 March 1901 - 28 August 1975).
Graphic artist: Hermann Eidenbenz.
Hermann Eidenbenz (September 4, 1902 - 25 February 1993) was a Swiss graphic artist and stamp artist.
The time of his birth his father managed several companies in India, his mother came from Germany (Schwaben). But he received his education in Switzerland.
His training as a graphic artist took place in Switzerland, first at "Orell Füssli" in Zurich and then in the School of Applied Arts in Zurich. 1923 was followed by a stay abroad at "Deffke and Hadank" in Berlin. As early as 1926 he became a teacher of writing and graphics at the arts and crafts school in Magdeburg. He practiced six years of this profession before he opened his own graphic studio in Basel with his brothers - Reinhold and Willi. In 1937 he was involved in the Pavilion of Switzerland for the World Exhibition in Paris from 1940 to 1943 he taught at the general trade school in Basel.
For Haas'sche type foundry he designed in 1945 the Graphique Font, in 1950 was followed by the Clarendon Font. Today these fonts are available from Linotype Library.
In 1953 he returned to Germany and became head of the department of commercial art at Werkkunstschule, in Braunschweig. In 1955 he joined the company "Fa.Reemtsma", in Hamburg, there to act as artistic collaborator.
He created numerous logos and posters. This also includes the logo of "Basler Verkehrsbetriebe" (BVB). The supported by two arms of Basilisk in Basel graced so many BVB vehicles than any other Signet before or since. In 1947 thus drove the first motor car. In addition Eidenbenz took over even the graphic design of the car numbers used from 1947 until today.
He created for Switzerland and for Germany In addition, banknotes and stamps. So he designed the first series of the D-Mark banknotes, issued by the Deutsche Bundesbank and the fifth series of banknotes of the Swiss franc, which came into circulation from 1956. The stamp of the German Post Office for the 100th anniversary of Carl Friedrich Gauss from 1955 was designed by him.
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