1973 Austria 25 Schilling for Max Reinhardt – 25 Shilling Osterreich

This coin is in great shape – it is somewhere between EF45 and BU.

On the obverse, it shows Max Reinhardt; a famous Austrian/German director whose career was cut short by the rise of the Nazi party and his Jewish ancestry. His bust is shown facing to the left, and he has a rather spectacular nose. The legend reads “Max Reinhardt” and the lower register reads “1873 – 1943 – 1973” (his year of birth, death, and the centennial of his birth when the coin was minted).

Austria 25 Shilling Silver Coin Obverse

1973 Austria 25 Shilling Silver Coin Obverse

The reverse shows the same pattern as many other Austrian coins, including other 25 schillings minted from 1955 to 1973. It was designed by Adolf Hofmann and shows 10 shields – one for each of the Coat of Arms of the 9 Austrian Länder (similar to a state or province), with the crest of the Austrian Republic shown slightly larger at the crowning position of 12:00. Clockwise from the Coat of Arms of the Osterreich Republik are crests for Burgenland,  Kaernten (aka Carinthia), Niederösterreich (aka Lower Austria), Oberösterreich (aka Upper Austria), Salzburg, Steiermark (aka Styria), Tirol (aka Tyrol), Vorarlberg, and the cruciform shield of Wien (Vienna). The denomination “25 Schilling” is inside of the ring formed by these Coats of Arm.

Austria 25 Shilling Silver Coin Reverse

Austria 25 Shilling Silver Coin Reverse

Identification code: Austria KM-2915

Date: 1973

Mint Mark: n/a

Mintage: 2,323,000 in uncirculated + 177,000 in proof. IMO, this doesn’t appear to be a proof strike.

Country of origin: Austria

Composition: 80% Silver

Size: 30.5 mm

Weight: 13 grams (0.3344 oz ASW)

Other details: Max Reinhardt may be thought of as the founding father of Austria’s National theater, but he died in 1943 in New York after fleeing Hitler’s Germany and the anschluss with Austria.

His peers (and history) held Max Reinhart in high esteem:

Whatever we may think of the art value of the
work of Max Reinhardt, one of the greatest masters
of modern stagecraft, the comprehensiveness and
optimistic tone of the whole are inspiriting. Its
summary and revelation of the ideas which are now
transforming the theatre in Europe, and its sugges-
tion that the shoulders of the theatre will eventually
be relieved of its present burden of ugliness, open up
endless vistas on expansion which contrast curiously
with the avenues of contraction now confronting
the English theatre. Max Reinhardt has a genuine
love for the theatre, and his attitude towards it is
one of aspiration, whatever may be the peculiarity
of his style.

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