Saturday, March 23, 2013

In praise of the recent (2): Dutch definitive disarray


Almost unnoticed by most Dutch collectors, the standard Dutch definitive stamps with an abstract portrait of Queen Beatrix spawned a large number of collectable varieties, booklets and less easily categorized items.
The first of the stamps designed by Peter Struycken appeared in 1981, but three major changes over the next 20 years or so changed the face of Dutch definitive stamps forever. The first of these changes was a simple change in design, from the original 1981 design (black design on a colored background) to the so-called "inverted design" (colored design on a white background), which first appeared in 1991. The second change was the change in currency, from the Dutch Guilder to the Euro. The final and most far-reaching change was a major change in the way stamps are produced and sold.

First issue: uncomplicated stamps
Stamps in the original Struycken design showing an abstract portrait of Queen Beatrix background were first issued in 1981, and over a period of 10 years 16 different values appeared. The design was not universally popular and was mocked as "the Queen Bee". The colors chosen were a drab assembly of pastels, including no fewer than 6 shades of green and 4 shades of violet. The stamps were issued in sheets of 100, while 8 values appeared as coil stamps (imperforate on two sides) and 2 values were issued in stamp booklets (imperforate on one or two sides). A simple enough issue for the collector. Perhaps it lulled collectors to sleep, leaving them unprepared for what was to follow.

Second issue: the "inverted" design
From 1991 to 2000, a total of 14 values in the "inverted" design were issued. Again, 5 stamps were also issued as coil stamps. But during the second half of the 1990s, the Dutch postal authorities started issuing more and more self-adhesive stamps, and 5 values in this set were also issued as self-adhesives, printed and sold in mini-sheetlets of 5 stamps. The mini-sheetlets were a new phenomenon: a hybrid between a sheetlet and a booklet. At the time these went more or less unnoticed as most of the attention had gone to commemorative stamps which were being issued in sheetlets of 10, to the horror of collectors. But during the 1990s, the way in which stamps were sold changed. Counter sheets from which the required number of stamps would be torn were vanishing. Stamps were sold to customers in pre-packaged blocks (initially cut from regular sheets, later specially printed), and the small mini-sheetlets of 5 filled the gap for those customers for whom these pre-packaged blocks of 50 or 100 were far too large a purchase. By the beginning of the new century, the old counter sheets of 100 had practically disappeared.
The initial and somewhat experimental pre-packaged blocks did spawn some interesting varieties. The stamp of 1 guilder was printed in sheetlets of 25 for a planned "mailer" (as the pre-packaged products were known), but the mailer never appeared and the small number of printed sheets was quietly sold off. Two other values in the set (0.80 and 1.60) were printed and sold in these sheets of 25, in mailers of 25 and 50 stamps.
The mini-sheetlets of self-adhesive stamps were printed by Walsall Security Printers, and it was soon discovered that the WSP-printed stamps differed from the original design as printed by Johan Enschedé: 3 of the dots making up the portrait were missing. As a final complication, the self-adhesive stamps were not popular with collectors who complained that the adhesive was leaking out around the edges. The 5 self-adhesive stamps were also made available to collectors in a special printing for which the backing paper was die-cut all the way through.

Third issue: the Euro-denominated stamps
After one stamp appeared in 2001 with the denomination both in guilders and in Euro as a transitional measure (only as self-adhesive in sheetlet of 5), the "inverted" design started appearing in Euro denominations from 2002 onwards. No more counter sheets for the Euro stamps - these were only issued as self-adhesive stamps in sheetlets of 5 (and, starting in 2007, of 10).
The first 8 stamps to appear in 2002 still had the three missing dots that the self-adhesive guilder-denominated stamps had also had. 3 values were issued in 2003 with a corrected portrait that restored the three missing dots, but these inexplicably also had the text rearranged slightly so they were easily identifiable. Later issues of new values had the restored portrait and the old arrangement of text on the stamps. Again, many of these stamps were also made available with the backing paper die-cut all the way through.

By now, what should have been a modest definitive issue had become a ripe field for specialization. The "official" NVPH catalog was slow to realize all this but the 2008 edition included a full listing of the various mailers, mini-sheetlets and other new phenomena for the first time. Already, the earlier mailers are fetching high prices, as they were not recognized as collectable varieties when they appeared, and a lot of Dutch collectors are playing catch-up in a field of dizzying complexity. A first handbook of these issues also appeared during 2007, while the (bilingual) website of a philatelic journalist who was one of the first to understand the complexity of these issues is an invaluable guide.

A tale of two small cities in Poland

Take a look at this cover. It was sent in February 1824 From Warsaw to France. It has 5 postal markings, in order:
  • A Warsaw postmark
  • A Strzalkowo postmark
  • T.P. which stands for "Transit Prusse" or Prussian transit
  • R.No.5. This is worth a blog all by itself but briefly, it means the French regarded it as an unpaid letter from Prussia's 5th Raion - that part of Prussia the furthest removed from the French border
  • Prusse Par Givet: a French marking (actually applied in Paris)  simply denoting that this Prussian letter had entered France at Givet, and that French internal postage was to be calculated from Givet to its destination, Rheims.
Since the Strzalkowo postmark is similar to the Memel postmarks you see on many Russian letters from this period you might conclude that this is a Prussian postmark, and that it denoted where the letter entered Prussia. You would be right. Since Strzalkowo is in Prussia's 5th Raion, that also fits with the R.No.5 marking. Apparently Polish domestic postage had been prepaid but after it left Poland it was all unpaid. The "17" is the final charge to the addressee of 17 decimes. 
Strzalkowo is still around: you'll find it due West of Warsaw and yes, the Prussian border really used to be there. It wasn't until 1945 that Poland was forcibly relocated a few hundred kilometers to the West.

Now take a look at this letter:
This letter, from February 1818, went from Warsaw to Leipzig in Saxony. It has a similarly Prussian-looking postmark of Slupce. Slupce is now called Slupca and it is right next door to Strzalkowo, about 4 kilometers closer to Warsaw. What's going on?

The postal history of Poland in the 19th century is as complicated as its history. Recall that Napoleon had re-created a "Grand Duchy of Warsaw" as a rump Polish state. After Napoleon's defeat, the Vienna Congress decided to once again slide and dice Polish lands between Russian, Prussia and Austria, but the Russian share was made into a Kingdom of Poland, which just happened to have the Russian Tsar as its king. Poland  had an independent postal system from the moment of its rebirth, and it slowly got going in 1817. At the time, Slupce was in Prussia and it was the Prussian entry point for westbound mail from Poland. However, in 1817, Prussia and Poland (re)defined the border between the two states more exactly, and by that treaty (signed in late 1817 and ratified in February 1818) Slupca became Polish and Strzalkowo became the new Prussian entry point for Polish mail. So for a very brief period (about February 1817-March 1818) you will see a Prussian Slupce as entry marking for Polish mail, and after that, Strzalkowo takes over.

The best literature on this stuff is probably the series of articles written by Ilse Popp for the Deutsche Altbrief Sammler-Verein. They're impossible to find, but priceless.