50 Pfennigs Gemeinde-Sparkasse

Gemeinde in Hannover

The designer of the 1922 Bergen an der Dumme 25 and 50 Pfennig notgeld is identified directly on the notes as:

A. Bätge

You can see the signature:

• lower left on the illustrated reverse scenes,
• especially clearly on your 25 Pfennig “Das Gericht zu Bergen – 14. Jahrh.” note.

What can be stated with reasonable confidence about A. Bätge:

• Bätge was the artist/illustrator of this Bergen an der Dumme series.
• The artwork is executed in a distinctly:
  • historicist,
  • medieval-romantic,
  • woodcut-inspired graphic style.
• The imagery emphasizes:
  • local medieval history,
  • legends,
  • heraldry,
  • and civic identity.
• The compositions resemble early-20th-century German:
  • book illustration,
  • ex-libris art,
  • and Heimatkunst (“homeland art”) traditions.

Stylistically, Bätge’s work differs strongly from many more modernist notgeld artists:

• less Expressionist,
• more medieval revival / Gothic revival.

The heavy black outlines and dense linework imitate:

• old wood engravings,
• late medieval prints,
• and historical chronicles.

The notes themselves were printed by:

Gebrüder Jänecke, Druck- u. Verlagshaus, Hannover

which was a significant Hanover printing house active in high-quality notgeld production.

Unfortunately, like many local notgeld artists, A. Bätge is poorly documented in mainstream art references today. I could not find:

• full first name,
• birth/death dates,
• academy affiliation,
• or a broader catalog of works

from reliable modern sources.

So currently, A. Bätge is known primarily through surviving Weimar-era notgeld artwork rather than through wider German art history.

(Source ChatGPT)