Showing posts with label Articles Related to Philately. Show all posts
Showing posts with label Articles Related to Philately. Show all posts

Tuesday, November 8, 2016

illustrator edmund dulac

      Edmund Dulac (born Edmond Dulac; October 22, 1882 – May 25, 1953) was a French-born, British naturalized magazine illustrator, book illustrator and stamp designer. Born in Toulouse he studied law but later turned to the study of art the École des Beaux-Arts. He moved to London early in the 20th century and in 1905 received his first commission to illustrate the novels of the Brontë Sisters. During World War I, Dulac produced relief books and when after the war the deluxe children's book market shrank he turned to magazine illustrations among other ventures. He designed banknotes during World War II and postage stamps, most notably those that heralded the beginning of Queen Elizabeth II's reign.
      Born in Toulouse, France, he began his career by studying law at the University of Toulouse. He also studied art, switching to it full-time after he became bored with law, and having won prizes at the Ecole des Beaux Arts. He spent a very brief period at the Académie Julian in Paris in 1904 before moving to London.
"The Chestnut Horse" painting by Dulac.
      Settling in London's Holland Park, the 22-year-old Frenchman was commissioned by the publisher J. M. Dent to illustrate Jane Eyre. and nine other volumes of works by the Brontë sisters. He then became a regular contributor to The Pall Mall Magazine, and joined the London Sketch Club, which introduced him to the foremost book and magazine illustrators of the day. Through these he began an association with the Leicester Galleries and Hodder & Stoughton; the gallery commissioned illustrations from Dulac which they sold in an annual exhibition, while publishing rights to the paintings were taken up by Hodder & Stoughton for reproduction in illustrated gift books, publishing one book a year. Books produced under this arrangement by Dulac include Stories from The Arabian Nights (1907) with 50 color images; an edition of William Shakespeare's The Tempest (1908) with 40 color illustrations; The Rubaiyat of Omar Khayyam (1909) with 20 colour images; The Sleeping Beauty and Other Fairy Tales (1910); Stories from Hans Christian Andersen (1911); The Bells and Other Poems by Edgar Allan Poe (1912) with 28 color images and many monotone illustrations; and Princess Badoura (1913).
      During World War I he contributed to relief books, including King Albert's Book (1914), Princess Mary's Gift Book, and, unusually, his own Edmund Dulac's Picture-Book for the French Red Cross (1915) including 20 color images. Hodder and Stoughton also published The Dreamer of Dreams (1915) including 6 color images - a work composed by the then Queen of Romania.
      Dulac's wife was Helen Beauclerk, author of The Green Lacqueur Pavilion, 1926, and The Love of the Foolish Angel, 1929, both of which books have his illustrations.
      After the war, the deluxe edition illustrated book became a rarity and Dulac's career in this field was over. His last such books were Edmund Dulac's Fairy Book (1916), the Tanglewood Tales (1918) (including 14 color images) and the The Kingdom of the Pearl (1920). His career continued in other areas however, including newspaper caricatures (especially at The Outlook), portraiture, theater costume and set design, bookplates, chocolate boxes, medals, and various graphics (especially for The Mercury Theater, Notting Hill Gate).
      He also produced illustrations for The American Weekly, a Sunday supplement belonging to the Hearst newspaper chain in America and Britain's Country Life. Country Life Limited (London) published Gods and Mortals in Love (1935) (including 9 color images) based on a number of the contributions made by Dulac to Country Life previously. The Daughter of the Stars (1939) was a further publication to benefit from Dulac's artwork - due to constraints related to the outbreak of World War II, that title included just 2 color images. He continued to produce books for the rest of his life, more so than any of his contemporaries, although these were less frequent and less lavish than during the Golden Age.
Dulac designed 1953 coronation
 stamp denominated 1/3
      Halfway through his final book commission (Milton's Comus), Dulac died of a heart attack on 25 May 1953 in London.
      He designed postage stamps for Great Britain, including the postage stamp issued to commemorate the Coronation of King George VI that was issued on 13 May 1937. The head of the King used on all the stamps of that reign was his design and he also designed the 2s 6d and 5s values for the 'arms series' high value difinitives and contributed designs for the sets of stamps issued to commemorate the 1948 Summer Olympics and the Festival of Britain.
      Dulac was one of the designers of the Wilding series stamps, which were the first definitive stamps of the reign of Queen Elizabeth II. He was responsible for the frame around the image of the Queen on the 1s, 1s 3d and 1s 6d values although his image of the Queen was rejected in favor of a photographic portrait by Dorothy Wilding to which he carried out some modifications by hand. He also designed the 1s 3d value stamp of the set issued to commemorate the Coronation of Queen Elizabeth II but he died just before it was issued.
      Dulac designed stamps (Marianne de Londres series) and banknotes for Free France during World War II. In the early 1940s Edmund Dulac also prepared a project for a Polish 20-zlotych note for the Bank of Poland (Bank Polski). This banknote (printed in England in 1942 but dated 1939) was ordered by the Polish Government in Exile and was never issued.

Some restored samples of Dulac's work:
Ariel from Shakespeare by Dulac.
"Cinderella" by Dulac.
"Moonlight and Sea Fairies" by Edmund Dulac.
A painting from "Arabian Nights" by Dulac.

Thursday, January 21, 2016

flirtatious language of the postage stamp

Far left, "Write Immediately" Center, "I long to see you" and Far right, "Does receiver love sender?"
   The language of postage stamps is the fad in this city at this time. The language, so called, is a sort of cryptography, or art of conveying by secret methods or signs the ideas of one person to another. The use of stamps placed in certain positions upon letters is one of the ways of conveying information that not many are versed in; still there are some who, fearing that their correspondence may be seen by persons of the writers believe have no right to see, resort to the placing of stamps on the envelope in such a manner as to convey to the mind of the receiver sentiments which the writer dares not commit to paper or has no chance to express verbally, either from lack of opportunity or lack of courage to "speak out in meeting." The placing of stamps may be according to the understanding between the parties who may desire to use such a "language," and the combinations that may be made are innumerable, but there are a number of positions which are recognized by those who have given the matter some attention. San Francisco Call, 1899

Far left, "Affection of writer for the receiver" Center, "I Hate You" and Far right, "Good-Bye Sweetheart"
Far left, "Cannot meet you" Center, "I love you" and Far right, "My heart is another's"
Original meanings of stamp placement on envelopes during the Victorian Era:
  1. The stamp placed diagonally on the upper left-hand corner of the envelope means "I desire your friendship"
  2.  Placed on the upper right-hand corner means "Want to make your acquaintance"
  3. On the line with the surname and to the right thereof signifies "Accept my love"
  4. In a similar position, but the stamp inverted, gives notice that "I am engaged"
  5. The stamp placed at right angle with the envelope on the right-hand corner asks the question, "Does the receiver love the sender?"
  6. If placed on the left-hand corner it gives the unpleasant information "I hate you"
  7. The stamp placed at the bottom of the envelope in the corner means "yes"
  8. At the bottom in the center means "no"
  9. An inverted stamp on the upper left-hand corner gives indication of "Affection of the writer for the receiver" 
  10. If the stamp is inverted on the right-hand corner it is notice to the reciener to "Write no more"
  11. The stamp placed in the middle of the envelope on the right hand side, so as to be on a line with the surname, is a request that the receiver shall "Write immediately"
  12. And if it is placed just after the surname, at right angle with the same, the writer by that tells the receiver "I long to see you"
  13. The stamp placed face up on the left-hand corner is "Good-by, sweetheart"
  14. Two stamps one above the other at right angle with the envelope tells the sad tale, "My heart is another's --that is sad to the receiver
  15. "I love you" is expressed by placing the stamp inverted on the upper left-hand corner 
  16. The stamp placed on the lower left-hand corner, face up, says to the receiver "Cannot meet you."
  17. If the stamp is face up on the lower right-hand corner it is a notice from the writer that the "Parents object to letters." 
  18. Of course, other combinations can be devised to make the correspondence more interesting.
Far left, "Write no more" Center, "Want to make your acquaintance" and Far right, "I desire your friendship"
Far left, "Parents object to letters" Center, "I am engaged" and Far right, "Accept my love"
Far left, "I long to see you" Center, "Yes" Far right, "No"

Wednesday, January 13, 2016

uncle sam's stamp factory

Left, Carl T. Arlt, veteran stamp maker, puts finishing touches on his engraving of the Fort Kearny stamp. Middle, Winding machine cuts the stamp rolls into strips to fit stamp machines. Big single coil has 3000 stamps. Right, Most stamps are printed on specially designed rotary presses like this one.
      The thin fellow you saw in the post office the other day with that worried look might well have been one of the millions of stamp collectors in this country. He has had a harrowing year a year (1948) trying to keep track of the special stamps that have rolled from the presses in the U. S. Treasury’s Bureau of Engraving and Printing, Washington, D. C.
      The last Congress may go down in history as the “Stamp Act” Congress. By congressional authorization, its members sponsored a new stamp on the average of every other week in 1948. Stamp dealers groaned. Stamp collectors groaned. Officials of the bureau groaned loudest of all, but Congress went happily on its way paying tribute to everything from the poultry industry to the Gettysburg Address.

Left, hardening plate in cyanide. Middle, reproducing stamp engraving on steel plate which will be bent to fit press. Right,
Fitting bent plate to the rotary cylinder is an exacting
job. Plate holds 200 big-size stamps.
       The bureau has the big, job of turning out some 20 billion postage stamps a year, (stamped envelopes are subcontracted) and billions of federal tax stamps such as are found on packages of cigarettes, playing cards and many other items.

Fitting bent plate to the rotary cylinder is an exacting
job. Plate holds 200 big-size stamps. Stamps about;
friendship, everglades and Gold Star Mothers.
      The special postage stamps are called “commemoratives.” In years past, the com-memoratives have been issued by the authority of the Postmaster General who also is empowered by law to revise postage-stamp designs. Much fanfare accompanies the issuing of a commemorative and the stamp goes on sale the first day at a significantly located post office. For example, the U.S.-Canada Friendship stamp had a first-day sale at Niagara Falls, N. Y.; the Will Rogers stamp at Claremore, Okla., and the William Allen White stamp at Emporia, Kans. First-day covers, coveted by stamp collectors, mailed from these post offices usually number about 450,000. This often means the organization of a special staff and weeks of preparation for the,big day. The initial printing order for com-memoratives is usually 50 or 60 million.
      Sometimes sales of a special stamp are boomed by an unpredictable idiosyncrasy. When the three-cent Pony Express commemorative came out in 1940, somebody discovered the pony on the stamp looked like Seabiscuit, the famous race horse. This caused a furor among collectors and a rush to acquire the stamp. Then there was the two-cent Grand Canyon stamp back in 1934. A newspaper carried the story that if the stamp were held sidewise one could see a perfect profile of Mussolini. The rush was on.
      If anyone thinks that getting out a commemorative, or any other kind of stamp, is a simple operation he is dead wrong. The procedure on the commemoratives ordered by Congress goes like this: The congressional authorization is sent to Jesse M. Donaldson, postmaster general; he sends it along to Alvin W. Hall, director of the Bureau of Engraving and Printing, who relays the order into the proper channels for processing in the postage-stamp division and engraving department.
      One of four designers in the bureau (who also design all remakes of paper currency such as the new $20 bill with the Truman back porch on the White House) makes the layout for the new stamp. This is simplified if the Post Office Department has sent along subject material for the design. In the case of the Volunteer Firemen’s stamp, which came out last October, a portrait of Peter Stuyvesant, founder of the organization, was submitted. All the designer had to do was secure a picture of one of the earliest fire engines in this country from the Library of Congress to use on the stamp with the portrait.
      The designers get much of their material from the Library of Congress, but even this institution occasionally fails them. When William K. Schrage was working on the Fort Kearny stamp he was surprised to discover there was apparently no photograph of the early Nebraska fort anywhere to be found. After days of searching, the Army War College Library came to the rescue with an old photograph of an original sketch. This saved the day and the stamp was drawn up with the fort and a reproduction of a covered-wagon scene from a sculptor’s group over the doorway of the capitol in Lincoln, Neb.
      After the design has been scrutinized by Donald R. McLeod, superintendent of the engraving division, or his assistant, James T. Vail, it is then reduced to stamp size by photographing. This photo is submitted to the Postmaster General for an O.K. When the design has been approved, the original drawing is sent along to Carl T. Arlt, veteran foreman of the picture-engraving department. It takes about 120 to 130 hours to make the steel engraving which, of course, is the actual size of the stamp and is known as the master die. The cutting is done in soft steel and the design appears in reverse.
       The next step is to decide on color. A call goes out to Herbert C. Tucker, superintendent of the ink-making division, for “pull out” proofs (actually dabs of color) in several dozen shades. All of the stamp inks are especially made for steel-engraving work and Tucker keeps approximately 150 colors on hand. The bureau buys pigments under very rigid specifications, operating its own testing laboratory and production lines of mixing, grinding and blending machines. All samples are matched against standard samples for color and consistency. The ink-making department, a complete factory in itself, produces 3,000,000 pounds of ink a year for both currency and stamps. All formulas are secret.
       Working with the various samples of ink, proofs of the new stamp are made from the master die. These proofs, known as die proofs, are submitted to the Postmaster General who selects the desired color. Then the master die is hardened. This is done by heating the die in a cyanide solution to a cherry red at 1400 degrees Fahrenheit and then quickly cooling it in a brine bath. The hardened master die then goes to the transfer department where it is placed in a transfer press. Under heavy pressure this press transfers the cutting on the die to the outer rim of a soft-steel roll. After hardening, this roll is used to transfer the design to the steel plates from which the stamps are printed. The plates are also hardened and if they are to be used on rotary presses they are bent to fit the cylinders.

Stamps about: Joel Chandler Harris, Palomar Mountain Observatory, Harlan Fiske Stone, U. S. Air Mail.
      Generally, only four plates are made for the special commemorative stamps. The ordinary three-cent stamp has about 60 plates while only 30 plates are required for the other ordinary stamps. The bureau has eight sets of plates available for the five-cent airmail stamp.
      The men working in the transfer department, whose business it is to reproduce engravings on steel, are known as siderog-raphers. There are only 55 siderographers in the United States and nine of them work in the bureau.
      Printing of the stamps is under the close supervision of Jack M. Smith, superintendent of the postage-stamp division. Any tour of inspection through this department is under the watchful eye of the Secret Service. Every sheet or roll of paper used in the printing or proofing must be accounted for later, either in the form of finished stamps or scrap which is sent to an agency of the Treasury Department for verification and destruction by burning. There is no wastepaper to be thrown away here where any scrap might be a priceless collector’s item.
      Most of the stamps are printed on the nineteen large and nine small rotary presses. These presses were designed by a former employee, especially for the job. Each press can turn out about 7800 sheets a day. If the sheets are for the ordinary variety of stamps they will contain 400 stamps each; if for coil stamps (used in coin machines), only 170, and if for the book stamps, 360. The majority of the commemoratives are printed 200 to a sheet. The approximate number of stamps turned out by a single press in one day is 3,120,000. The total value of stamps turned out in a day varies, but on many days the figure runs close to $4,000,000.

Stamps about: Fort Bliss Centennial, William Allen White, Will Rogers and Thomas Edison.
      Printing is also done on flat-bed presses for stamps of limited demand. Examples are the Canal Zone stamp and stamps of high denominations such as $1, $2 and $5.
As the long web of stamps rolls from the rotary presses it passes through a gumming machine and an electric drying chamber. Here the gum is hardened in 30 seconds. This vegetable gum is not to be confused with glue and a ”stamp lickers please note” is said to be as pure and edible as the best food. At the end of the drier the sheets are wound into big rolls.
      The rolls are moved along to machines which perforate the stamps in both directions and cut the rolls into sheets of 400 or 200 stamps each, depending on the size of the stamps. These perforating machines are electronically controlled. Register marks are engraved on the printing plates and appear on the sheets of stamps in the form of dashes. These dashes are scanned by an electric eye to hold the paper in proper position. Formerly, this adjustment was made manually which resulted in many mutilated stamps.
      Every sheet is examined once and counted twice. Where flaws occur it is possible to salvage as little as a quarter of a sheet, the defective portions going to the furnaces after being checked by the section of mutilated paper. The inspected stamps form units of 100 sheets each. The 100-sheet units are stapled in four places on the margins and then cut into quarter sheets, the size for delivery. These big “books” hold 10,000 stamps of the ordinary size and 20 books make a large package of 200,000 stamps. One of these packages, which is about a cubic foot in size, is worth $6000 if the stamps are of the three-cent denomination. Armored trucks carry the packaged stamps daily from the bureau to the Washington, D. C, Post Office.
      Stamps sold in post offices in book form go through a slightly different procedure. They are stitched in booklets containing 12 or 24 stamps. The stamps for dispensing machines are wound into coils of 500, 1000 and 3000 stamps.
      There are almost as many regulations in regard to the printing of any matter pertaining to stamps as there are to currency. It is illegal to reproduce a stamp (to illustrate an article such as this) unless the stamp is less than three fourths of actual size or more than l1/^ times actual size. One company recently decided to send out in an advertising brochure a full-color reproduction of all the 1948 commemorative stamps. The Secret Service, which guards the Post Office Department, went into immediate action. The brochures were confiscated and so were the plates from which they were printed and action in the federal courts was threatened. That company learned the hard way that Uncle Sam is mighty particular about anything concerning his stamp factory.

Stamps about: Moina Michael, Rough Riders, Swedish Pioneers, Indian Centennial , Fort Kearny, Progress For Women
Stamps about: Lincoln, Juliette Gordon Low, Clara Barton, American Poultry, Volunteer Firemen, Youth Month