Malmö 2 nd International Philatelic Summit

Transcription

1 Malmö 2 nd International Philatelic Summit Traditional Class Treatment presentation by Chris Harman, RDP, FRPSL 1

2 Contents History Definition of Traditional What is the importance of Treatment? Constructing an exhibit Example 2

3 Treatment in the early days was not the high priority in exhibiting 3

4 History London, 1906 International Philatelic Exhibition, London, 1906 Earl of Crawford Championship Cup 100 Frames Great Britain in the reign of Victoria (inc. Telegraphs, College Stamps etc) Classes are mostly familiar but also included such as: Collection of 12,500 stamps of Great Britain and Colonies Plain album containing from 5,000 to 10,000 stamps PS Rev. Hayman Cummings received a silver medal for his collection of College Stamps of Oxford & Cambridge (more on this subject later) 4

5 History London, 1906 Three most important requirements to achieve a good award in 1906? 1. Material 2. Material 3. and finally.. Material Treatment was simple then. 5

6 History London, 1906 Changes to this approach have been quite recent: From my early judging career (1980s) I still remember the common comment: There is no such thing as a gold medal exhibit of... 6

7 History London, 1906 However, not everyone agreed.. even back then: An ordinary specialised collection,... however complete and wonderful it may be in the ranges of shades and varieties, is simply an accumulation, and nothing else. No information is to be obtained from it on any subject connected with the stamps except the fact of their having existed. C.F. Dendy Marshall, a pioneer of Treatment, in The London Philatelist, August 1906, page 200 7

8 The Traditional Exhibit FIP Definition 8

9 SREV Article 3.1 (Paraphrased) Traditional FIP Definition Material appropriate to traditional philately includes: 1. Essays, proofs, trials, flaws and errors in production; 2. Postage stamps, unused, used, covers, postal forms; 3. Usages including cancellations, rates, routes; 4. Local, private, parcel and shipping company stamps; 5. Varieties: watermark, gum, perforation, paper, printing; 6. Plate reconstructions and studies of printing plates; 7. Perfins, postal overprints, surcharges, postal and registration and parcel labels if supporting the story; 8. Postal stationery printed with the same cliché as stamps; 9. Postally used fiscals and unused fiscals valid for postage; 10. Postal forgeries. Other forgeries and reprints only in comparison with the genuine stamp. 9

10 SREV Article 3.2 (Paraphrased) Traditional FIP Definition Exhibits will also be considered as traditional philately, if they are made up as following: 1. Collections showing the development of postage stamps; 2. Special studies of papers, gums, perforations, colour variations, errors of graphic design, perfins; 3. Collections of borderline postage items such as letterculture, letter closing, newspaper labels etc; 4. Collections of fakes and forgeries, reprints etc; 5. Research collections of plate reconstructions, plate flaws; 6. Comparative collections e.g. issues of several countries, including omnibus issues or issues of a certain region; 7. Other collections with special aspects such as day of the stamp, Christmas mail, fairs and other events. 10

11 Traditional FIP Definition SREV Article 2 (Paraphrased) Exhibits that do not meet the criteria of other specialised classes shall be considered and judged as Traditional. It includes all kinds of appropriate material, even material which might be used to form an exhibit of one of the special classes. Traditional is the dumping ground for anything that does not fit elsewhere 11

12 Traditional in Transition For over a century we collected numbers and so we presented our exhibits in that way: Mint and used singles Mint and used blocks Used on cover a highly stratified exhibit where completeness and chronological organisation (using pre determined lists from catalogues) are really the driving force behind its rationale. This may still be an appropriate description for more than a few exhibits today 12

13 Traditional in Transition Much more than just a catalogue listing: Thoughts behind the issue and the design process: production dies / plates / proofs / colour trials Life of the stamp not just the facts but Why? printers / papers / watermarks / perforations / varieties Usage of the stamp different rates / destinations / revenue or telegraphic Social or geographical changes and their impact wars / natural disasters / postal conventions 13

14 Traditional in Transition To my way of thinking.. Many of the greatest exhibits today are as much Traditional as they are.. Why? Because.. Postal History, General Studies, etc. The Traditional exhibit embraces the stamps as well as their usage. Thus.. Where stamps are part of the story, the exhibit is arguably Traditional 14

15 Traditional in Transition I would even go so far as to ask.. When exhibiting material with stamps... Do the current classes really have hard boundaries? Change the Treatment and a number of Postal History exhibits become Traditional 15

16 This word Treatment What does it mean Really? FIP Definition 16

17 Treatment FIP Criteria: SREV Guidelines Article 2: (Paraphrased) Principles of Exhibit Composition In a traditional exhibit the exhibitor tells a story or stories with his or her exhibit; Normally it is a story of the stamps or issues themselves; It can begin with the reason why the stamp was issued following with the possible essays and/or proofs; It can then describe the development of the stamp, different printings, colours, perforations, papers, errors etc; The usage of the stamp, the rates, routes, postal forms, cancellations and other items are an essential part of the story. 17

18 Treatment FIP Criteria: SREV Guidelines Article 3.3 (paraphrased) Treatment of the exhibit reflects the degree to which the exhibitor is able to create a balanced exhibit characteristic of the chosen subject. A logical progression that is easy to follow and a clear concise write up will help the jurors to appreciate the exhibit. In assessing Treatment, Jurors will check that the statements made in the introduction and plan are adequately represented in the display. 18

19 Treatment I have a different definition 19

20 What does Treatment really mean? Treatment is the Glue 20

21 Treatment The Glue Treatment creates the relationship between the items Treatment turns 128 sheets into a unified exhibit It gives context to the subject (theme) It links the material It allows for sharing of knowledge ** It is the storyline the thread that holds everything together 21

22 Treatment The so often forgotten element Careful thought needs to be put into the organisation of your exhibit The exhibitor needs to be willing to put time and effort into re thinking the exhibit over time, particularly the integration of new material and new ideas Preparing your exhibit is not something that can be started the week before the exhibition 22

23 Rarity 20 Condition 10 Importance 10 Treatment ) ) ) Variance based on Treatment +/ 5% Knowledge 20 Personal Study /Research 15 ) ) ) +/ 5% Treatment 20 Presentation 5 ) ) 23

24 Treatment How to set about putting a Traditional exhibit together My recommendation? Think of your exhibit as a book 24

25 Writing your book I have the material. How do I bring order out of chaos? Chapters: self contained logical sequence Introduction sets the scene: Title Page is the introduction References: information adds gravitas but should not be overdone 25

26 Needs to sell itself: Marketing your book first impressions are important it needs to look attractive the type size, type face, use of italics, bold, capitals all need careful thought and an element of consistency You want the reader to want to read it: attract the eye stimulate the intellect balance for eye and mind texture that feel of richness 26

27 A challenging subject The College Posts of Oxford and Cambridge using Treatment to enhance appreciation 27

28 College Posts of Oxford & Cambridge Does not sound very impressive as a subject Add to that Significant? The difficulties with the topic are obvious Two small towns (actually cities) Local posts within those cities Local post only operated for a brief period (1871 to 1886) Lack of general awareness of the subject Certainty of low knowledge level of the judges 28

29 College Posts of Oxford & Cambridge Where would you think such a subject would fit within the firmament of philatelic endeavour? At best Might score to a reasonable level in a UK National (local knowledge) Not an appropriate subject for International exhibition Is this a correct assessment? Can I find a way to enhance the importance and appreciation of the subject? 29

30 College Posts of Oxford & Cambridge High historical importance The historical context of the College Posts: Two great University Cities and their Colleges were among the great centres of learning and the development of ideas and thought Several Colleges were actually founded by various monarchs Accepted by the Crown or State as being of exceptional importance as places of learning Thus scholars were permitted to communicate freely with one another to encourage their scholastic endeavours 30

31 College Posts of Oxford & Cambridge Oldest and most Significant non State post in the UK High importance against all other private posts: Oldest Private Post the internal posts within the two great University Cities have existed since the foundation of the first Colleges (circa 1249) Exception to State Monopoly the College postal system is one of the few authorised systems outside the monopoly held by the King or State Guaranteed by Act of Parliament the existence of the College Posts was guaranteed by Act of Parliament from mediaeval times until 19 th century 31

32 College Posts of Oxford & Cambridge More Philatelically Important than might be realised Widely collected since the 19 th century Intensively studied by early collectors Printers archives produced much contemporary information Lawyers archives produced much correspondence and assisted in understanding the usage of the stamps Volume III (1894) of The London Philatelist contained a major article First major book on the subject was published in

33 College Posts of Oxford & Cambridge Collected by many of the major collectors A few of those who have formed significant collections of College Stamps: King George V The Earl of Crawford T. K. Tapling F.A. Bellamy H.C.V. Adams R.A.G. Lee etc. etc. J.B. Seymour A.J.A. Deal 33

34 College Posts of Oxford & Cambridge Thought to be Common (low demand and infrequent appearances in auctions and exhibitions) The challenges of collecting the College Posts: every College stamp exists on cover numbers vary from one only to approximately twenty proofs and essays showing the design process very few exist in private hands die proofs most are reprints certain key items Keble 1 st & 2 nd issues tête bêche pair, Merton 3 rd issue, Hertford used stamp, all used stationery 34

35 College Posts of Oxford & Cambridge The significance of this collection of College Posts Most important collection in private hands today contains most of the major rarities particularly strong in used on cover only hand drawn essays outside institutional collections only set of original proofs of the engraved dies used by the printers to store the small copper dies recently discovered unique items of postal stationery consistent high quality of the material 35

36 College Posts of Oxford & Cambridge Through Treatment the exhibitor informs the jury Title Page sets the context emphasises the wider importance of the subject identifies this as a serious area of collecting confirms the importance of this collection within the subject Synopsis opportunity to teach the subject to the judges enhances the appreciation of the judges 36

37 College Posts of Oxford & Cambridge Important aspects given weight throughout the exhibit Difficulty of acquisition, especially of covers and proofs reference to number known or ownership of other examples survival of covers is based on a census Provenance of items ownership history emphasises the rarity and importance of particular items most covers do not have the stamps tied and so provenance becomes important 37

38 Title Page Brief coverage emphasising historical importance, rarity, provenance, importance of this exhibit 38

39 Synopsis An opportunity to educate the jury and enhance their understanding of the subject and the exhibit 39

40 Pre Stamp Material Before the issue of stamps, fees were collected on the end of term invoice 40

41 Rarities Unique tête bêche pair of the Keble College first issue It has a distinguished provenance 41

42 Important College cover Contains the original letter illustrating the reasons for the use of many stamps 42

43 The letter from R.G. Broughton (a student) to Mr. Payne, Bootmaker 43

44 Original Die Proofs Struck on the wrapper in which the dies were stored by the printer 44

45 Essays Hand painted essays for the Hertford College stamp Unique 45

46 Few Hertford College stamps were used Provenance anchors this cover to the beginning of the 20 th century 46

47 Only three examples of used Hertford stationery are known This is addressed to the College bursar 47

48 College Posts of Oxford & Cambridge Particular Problem This subject does not stretch to 8 frames what do I do? request fewer frames? pad the exhibit by duplicating material include a related subject even if not exactly the same subject see next slide 48

49 Oxford Union Society was permitted to overprint normal postage stamps Whilst quite scarce, the OUS overprints and underprints look rather ordinary 49