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Flathead War Party, P.O. Mural, Hamilton, Montana*

Private Illustrated Wrappers*

Testing a London Combined Obliterator*

An Earlier ‘Overland Mail’*

A Citizen-Soldier Cover Narrative

NUMBER 163 FEBRUARY 2016

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POSTAL HISTORY JOURNAL, NO. 163: FEBRUARY 2016 1

Postal History JournalPublished by the Postal History Society

APS Affiliate No. 44issued February, June, October.

Annual dues $35 U.S., $40 Canada & Mexico$50 rest of world (or $15 for electronic journal,

special to non U.S. members only)P.O. Box 482, East Schodack NY 12063, U.S.A.

www.postalhistorysociety.orgFor this journal, the editors have been awarded the American Philatelic Congress Diane D. Boehret Award 2004 & 2014; gold medal & Prix d’Honneur, Canada’s 7th National Philatelic Literature Exhibition 2005; Grand Award Colopex 2005; Reserve Grand Stampshow 2015; gold medals Napex 2009, Colopex 2007, Chicagopex 2014, 2015, APS Stampshow 2009, 2015.

NUMBER 163 ISSN 0032-5341 FEBRUARY 2016Editors: Diane DeBlois & Robert Dalton Harris, P.O. Box 477, West Sand Lake NY 12196, U.S.A. <[email protected]>Editorial Board: U.S. Associate Editor: Kenneth Grant, E11960 Kessler Rd., Baraboo WI 53913 <kenneth.

[email protected]> Foreign Associate Editor: Joseph J. Geraci, P.O. Box 4129, Merrifield VA 22116, U.S.A.

<[email protected]> Yamil H. Kouri; Roger P. Quinby; Harlan F. Stone; Stephen S. Washburne.Advertising Manager: Michael Mead <[email protected]

CONTENTS © Copyright Postal History Society 2016

RESEARCH FEATURESFLATHEAD WAR PARTY, The Story Behind the Hamilton, Montana Post Office Mural by Thomas Lera and Sandra Starr (cover illustration) ........................................................ 2PRIVATE ILLUSTRATED WRAPPERS by 13TESTING a LONDON COMBINED OBLITERATOR .................................................................. 24 by Paul J. PhillipsAn EARLIER ‘OVERLAND MAIL’ by Joseph J. Geraci ................................................................................................................... 38CITIZEN-SOLDIER, Brevet Brigadier General John William Hofmann by Jes

REVIEWS & COMMENTARYAFRICAN AMERICANS and the USPS by David M. Frye ..................................................... 22AMERICAN POSTAL HISTORY in OTHER JOURNALS by Ken Grant .............................. 40FOREIGN POSTAL HISTORY in OTHER JOURNALS by Joseph J. Geraci ........................ 46

SOCIETY FORUMPRESIDENT’S MESSAGE, Yamil Kouri ........................................................................ 61POSTAL HISTORY SOCIETY OFFICERS and BOARD of DIRECTORS .......................... 39THE EDITORS’ CORNER ....................................................................................................... 62

This publication is supported by a bequest of Jesse and Diane Boehret

POSTAL HISTORY JOURNAL, NO. 163: FEBRUARY 20162

Flathead War PartyThe Story Behind the Hamilton, Montana Post Office Mural

by Thomas Lera and Sandra StarrIntroduction

Between 1933 and 1943, four separate Federal art programs operated in an effort to bring struggling artists back into the economy under the Works Progress Administration (WPA); the Public Works of Art Project (PWAP), the Treasury Relief Art Project (TRAP), the Federal Art Project (FAP), and the Section on Fine Arts (SFA).1 Though contemporary scholarship on New Deal-era art programs tends to lump these programs together in a jumble of acronyms, each was a distinct entity and followed its own rules, regulations, and goals. The PWAP was funded by the Civil Works Administration, and divided the country into sixteen regions, each chaired by a Regional Committee. The program was concluded in June 1934. Over seven months, the PWAP employed 3,749 artists nationally at the cost of approximately $1,312,000. TRAP concluded in June 1938, having spent $833,784 for 10,000 easel paintings, 43 sculptures and 89 murals. The FAP became the visual arts arm of the Great Depression-era WPA. Funded under the Emergency Relief Appropriation Act of 1935, it operated from August 29, 1935, to June 30, 1943. This project employed more than 5,000 artists at its peak in 1936, and probably double that number over the eight years of its existence. It produced 2,566 murals, more than 100,000 easel paintings, approximately 17,700 sculptures, nearly 300,000 fine art prints, and about 22,000 plates for the Index of American Design, along with innumerable posters and objects of craft with a federal investment of $35,000,000.

In October 1934, Secretary of the Treasury Henry Morgenthau Jr. established the Section of Painting and Sculpture, known thereafter, not as an acronym, but as “The Section.” The Treasury oversaw the funds for building new federal buildings, and thus could allocate funding for murals and sculptures in an effort to “decorate” them. As a general rule, 1% of the budget for each new federal building was designated for murals and sculptures. In contrast to the PWAP, the goal of the Section was to commission public art on quality alone. In addition to post offices, Section projects included the murals in the Department of the Interior and other federal buildings in Washington, DC. George Biddle, an artist and former schoolmate of President Roosevelt at the Groton School and Harvard, in a concern for the dire economic circumstances faced by artists in the Great Depression, had appealed to the President to do something to provide artists with such relief. Biddle himself would later be recruited to create the murals in the Federal Justice Department. Virginia Mecklenburg, Senior Curator at the Smithsonian American Art Museum, says of his work, “The whole scheme of all the murals [done by Biddle at the DOJ] was really a grand epic view of the role of law in American society.”

In the fall of 1939, the Section announced a “48 States Competition” with the goal of placing a Section mural in every new post office in every state of the Union. The Section was to be overseen by Edward Bruce and operated at the ground level by the Assistant Chief of the Section, Edward Beatty Rowan, nationally known as a proponent of the arts. Rowan received a Master of Fine Arts degree from Harvard University (1928). “In a pilot program, he established the Community Art Center of Cedar Rapids with a $75,000 grant from the Carnegie Corporation of New York (1928).” During its nine years of operation,


the Section under Edward Rowan commissioned 1,124 federally-funded murals at a total cost of $1,472,199.

Federal Influences on Post Office Mural Art & ArtistsMeghan Navarro observed “Section administrators advocated for mural scenes that

would appeal to local audiences through regional imagery, and would uphold all that the American dream encompassed. The New Deal programs explored what it meant to be American, and how to move forward into a positive future without ignoring the scars of the Depression.” Jennifer McLerran, Assistant Professor of Art History at Northern Arizona University, assessed the Section to have “carefully controlled the artists’ production, offering advice and instructions throughout the entire production process.” WPA-era artist, George Biddle stated “for the first time in history many thousands of artists are working for the government almost without censorship.”2

This can be seen in the correspondence regarding the evolution of the Hamilton, Montana Post Office mural. It was not only the Section who exerted influence over muralists during this time. Other opinions were to step up to serve as a natural democratic clearinghouse. In some communities local voices suggested changes to the preliminary drawings before the mural had even made it onto the walls. Postmasters also had a high degree of influence over murals, and Section officials frequently advised artists to consult with them before submitting designs so they could determine what subject matter would be most positively received in the community. Despite the Section’s concerns about designs and subtle censorship, it had not seriously considered the reactions of local people. Not only did citizens have defined tastes about what they would accept, they had distinct preferences for the artists as well. The Section utilized competitions to save money and appoint favored artists to paint in another town. Sharing art, bringing it to the common people, proved a larger project than they expected. Rather than allowing the average citizens to live with their decisions, the Section was free to impose its own will and suggested changes in the design or artists.

The important point is that the competitions proved to be rarely truly democratic. It has been claimed that Edward Rowan never hesitated to unilaterally “appoint” an artist to paint. In fact, three artists won commissions from the submissions to paint a mural for the city of Glasgow, Montana, and the second artist chosen from the Glasgow entries - Montana native Henry Meloy, who taught art at Columbia University in New York City - was then appointed by Rowan to design the Hamilton post office mural; Rowan writing to Meloy to state that Section officials deeply admired his design (Figure 1) The record files show no correspondence from the town or postmaster regarding Meloy’s commission or mural theme. The federal government had entertained noble ideas in its efforts to paint America, and the bureaucracy established a process to implement their plans. However, the program neglected to take human nature into account.

American Indian Life & Culture as Subject in WPA-Era MuralsAlmost 400 of the approximately 1,600 New Deal-era commissioned murals depicted

American Indians and the variety of approaches to their representation shows the wide range of impressions about American Indian history and culture that were held by the artistic and public imagination of 1930s America. The fact that most of the selected artists knew little or nothing about these original citizens of America seemed not to be a concern as a requirement for appointments to create post office murals about their


Figure 1: Edward Rowan and Henry Meloy.

history and culture. Predictably, scenes of isolated Indian life were the most popular thematic choice, closely followed by instances of peaceful contact with pioneers, as well as confl ict with those pioneers and other tribes. Only 24 post offi ce murals are the work of American Indian artists themselves. American Indians had only recently received the privilege of U.S. citizenship in 1924 under the Indian Citizenship Act, but the power of states’ rights of denial allowed the American Indian right to vote in all states to lag until 1962. As expressed in Elizabeth Mentzer’s 1989 University of Montana thesis, they were understandably hesitant to leap into a clear risk of controversy with the government in the 30s and 40s :

“Another incident which the Glasgow [Montana] citizenry never knew about was that James L. Long, a frequent contributor to the magazine, Indians at Work, and a member of the Assiniboine tribe, desired to have the Native Americans play an active role in the Glasgow mural. His letter to Rowan failed to state if he preferred a Native American to paint the mural or if several should pose as models for the artist. Rowan responded promptly, stressing that the Section had tried without much success to have Native Americans work for them. Rowan appreciated the interest shown and implied that if the Native Americans wanted to paint a mural, the Section would willingly study the matter. Rowan wrote to Long: This offi ce in the past has made an effort to discover American Indian artists in your region and has not been successful. If you have Indian painters in mind will you kindly send me their names and addresses at your earliest convenience. A fi nal possibility Rowan considered for the Glasgow mural was a design done for the Forty-Eight States’ Mural Competition depicting a legend which explained the origins of an Indian tribe. If this design should prove acceptable to Glasgow residents, the artist would receive an invitation to paint Glasgow’s mural. When a Native American artist failed to materialize, the responsibility for the mural decoration fell on Glasgow.”


Although it does not appear that the Section ever thought of the depiction of Indians as a controversial issue, they subtly encouraged the chance of depicting violent conflict within the original competition guidebook when looking at depicting Indian interference with the mail wagons. The controversial mural series “Dangers of the Mail” by Frank Mechau which is displayed at the Ariel Rios Federal Building in Washington DC - once the original post office and now the home of the Environmental Protection Agency - is a case in point. This mural has even incited the concern of the 21st century Society of American Indian Government Employees (SAIGE) who attempted to sue the government for its removal. Since the Section took no official position on the negative, and in most cases inaccurate depiction of Indians in murals, “Indian scenes” became highly popular subject matter when expressing the popular memory of a small town about its history within the American experience of Manifest Destiny.

“As a result, complex and varied depictions of Native peoples grace the walls of post offices across the country. Some were portrayed as part of a mythical, legendary past that separated them from factual history and glossed over the present-day realities of many Indian communities. Alternatively, they became symbolic of a past that was slowly fading out of non-Native memory and recognition. Murals became vehicles for artists to explore the role of Indians within their own concepts of history, culture, and the American art narrative.”

Thus, “All of these visual stories, created as a result of this national contest, were the work of mostly non-Native artists whose chosen themes were also influenced by the desires of local post office communities. Many of the artists were unfamiliar with the region connected to the post office they were assigned, and most, unless they were Native artists themselves, were unfamiliar with American Indian culture. While some mural images succeeded in capturing the importance of Native peoples in the American historic tableau as a result of an increased national consciousness, others were based on rumor, legend, and stereotype resulting in dramatic and sometimes bizarre inaccuracy. Post office murals across the United States are telling and re-telling these American Indian stories to the general public every day.”3

Flathead War Party, The Hamilton, Montana Post Office Mural Artist Henry Meloy was appointed to create the mural at Hamilton, Montana (see image

on the cover: Hamilton, Montana Post Office Mural painted by Henry Meloy 4 Used with the permission of the United States Postal Service®). Although born in Townsend, Montana, Meloy’s career was mostly centered in New York City, influenced by the American Ashcan School under Robert Henri, followed by a period of Abstract Expressionism. Meloy chose to illustrate an historic story about the Flathead Nation of Indians [known today as the Confederated Salish and Kootenai Nations] as they prepared to battle against the Blackfeet, who had come into the valley and stolen some of their horses (a common occurrence in the 1830s to 1840s). The “Flathead” brandish spears and shields; five are mounted, although two Indians who are not on horseback appear to be an integral part of the action. To add a measure of authenticity to his mural, Meloy included the Bitterroot Mountains with an emphasis on Mt. Como, thus pinpointing the locale satisfactorily.5

While the Native Americans dominated the mural, Meloy included a White Man in period garb who stands nearby watching the activity without participating. This was a device also used in other post office murals; a method to include a cameo portrait of the


artists themselves after the style of Michelangelo. Sometimes mural models were chosen as a political favor to important persons in the town where the post office was located such as the use of the face of the postmaster of Natick, Massachusetts to represent Captain Prescott and that of a local politician as model for Puritan missionary John Eliot himself in the mural, “John Eliot Speaks to the Natick Indians.” [Elizabeth Mentzer’s 1989 research discovered the White Man was modeled after Frank Mechau, a longtime friend and fellow artist of Henry Meloy and the creator of the controversial murals at the Washington, D.C. EPA building. The raised arms, shields, spears, flying capes and general action actually duplicate in some instances those found in Mechau’s Dangers of the Mail mural. In 1938, Mechau also painted Long Horns in the Ogallala, Nebraska Post Office, commissioned by the Treasury Section of Fine Arts, and in 1940, Ranchers of the Panhandle Fighting Prairie Fire with Skinned Steer for the post office in Brownfield, Texas.6]

It is interesting to review the correspondence between the artist Meloy, and the Federal Government representative, Rowan, concerning the mural development found in the National Archives Record Group 121 – Montana, Box No. 60, Entry 133.7

September 18, 1941. Letter to Henry Meloy in Townsend, Montana, from Edward B. Rowan, Assistant Chief, Section of Fine Arts. “Dear Mr. Meloy: The Section of Fine Arts invites you to submit designs for a mural decoration for Hamilton, Montana, Post Office on the basis of competent designs submitted in the Glasgow, Montana, Post Office mural competition.”8

A late 1930s Magnolia Petroleum Company map of western Montana indicating Hamilton in the Bitterroot Valley, south of Missoula, itself south of the present Flathead Indian Reservation; Townsend, southeast of Helena; and Glasgow in the northeast.


September 21, 1941. Letter to Edward Rowan from Henry J. Meloy. “I am very sorry the local committee in Glasgow “couldn’t see” my design, but it is most pleasant and compensating to know that it was liked by the section of Fine Arts. Also your invitation to submit a design for a mural in Hamilton [Post Office] Montana arrived. I have begun research and my brother [Peter Meloy] in Montana is digging up material on Hamilton and the Bitter Root Valley.”

October 2, 1941. Letter to Meloy from Rowan. “The Postmaster has been informed of your commission so you may feel free to write to him relative to suitable subject matter, to check the mural space and to determine if there is a lighting fixture in the space. It might be possible for you to use your Indian design in Hamilton and I enclose herewith a photograph for you to send to the Postmaster to see if the subject matter would be appropriate. I should very much like to see the design carried out. I remember lunching with you very well but do not recall which of the two gentlemen you were.”

February 3, 1942. Letter to Meloy from Rowan. “Our records indicate that the last communication we have had from you was September 29, 1941, at which time you accepted the invitation. Kindly let me have a progress report on this work at your earliest convenience.”

May 23, 1942. Letter to Rowan from Meloy. “I am sending by express two sketches of the mural for the post office in Hamilton, Montana. After constructing a scale model of the post office lobby, I found that the painting should be kept as light in key as possible without losing the feeling of substance throughout the forms...I chose the subject matter

Figure 2: Photograph of Henry Meloy with Flathead War Party, collection of the Meloy family.10


after considerable research on the present aspect and historical background of Hamilton and its environs. It represents a group of Flathead Indians making up a war party to fight against an approaching band of their traditional enemies, the Blackfeet of Northern Montana. The incident, though not specific as to place or date, is one that happened many times in the Bighorn Mountains, as these two tribes were constantly at war. The subject lends itself to a fine arrangement of movement and color, expressive of the Indian and wild mountain country.”

May 28, 1942. Letter to Meloy from Rowan. “Permit me to acknowledge the receipt in this office of a small preliminary sketch and large three-inch scale color sketch, representing your proposal for a mural decoration of the Hamilton, Montana, Post Office. I must urge you not to delay in the progress of the work.”9

June 2, 1942. Letter to Meloy from Rowan. “It is my feeling that the comments [of my previous letter] still hold. The large color sketch which you submitted was too thin in painting quality to be interesting. The finished work need not be carried as low in value as the small color sketch, but some happy medium between this and the large sketch should be established.”

June 3, 1942. Letter to Rowan from Meloy. “I share somewhat your feeling that the small sketch is richer in tonal value than the larger one; but I would like to say in behalf of the large one that after a lot of eye-testing with many small sketches in a box representing the lobby (color lighting, etc.) I was convinced that the final mural – to be most effective as a decoration in the room must be kept as light in key as possible. In painting the large sketch (which I did in water color and then varnished) I kept it meager in segmentation to get as much luminosity as possible. My idea in doing this was that in working from this sketch upon the final mural in oil, I would, because of the nature of the medium and my way of working go deeper in value in bringing the forms to their final definition. As to the landscape, which you found weak, it was my desire to find some large shapes which worked well with the horses and figures and work it out in detail when I was actually in Montana in sight of such mountains as to have it organically “right.” In my letter to you sent with the sketches [May 23rd] I did not suggest this and am not surprised that you felt a lack of character in the background.”

August 11, 1942. Letter to Meloy from Rowan. “Reference is made to the photograph of the full size cartoon [sketch] of the mural decoration for Hamilton, Montana, Post Office. It is the feeling of the members of this office that the figures are not drawn with very much strength and that anything you can do to give them the vitality promised in the large color sketch which you submitted in competition will be to the good. Frankly, I was a little shocked at the weakness of the figures and want to urge you to continue strengthening them in the final painting.”11

September 18, 1942. Letter to Rowan from Meloy. “With this letter I am sending you the required photograph and negative of my painting. Your comment in your last letter [August 11] and also your suggestions have been in my mind throughout the painting and I have profited from them.” (Fig. 3 shows Meloy painting the mural.)

September 24, 1942. Letter to Meloy from Rowan. “Thank you for your letter of September 18 with your enclosure of a photograph and negative of the completed painting for Hamilton, Montana, Post Office. The photograph indicates that you have taken into account the suggestions offered in previous correspondence relative to this work and I am pleased to tell you that you may now proceed with the installation.”


October 2, 1942. Letter to Rowan from Meloy. “I installed it last Sunday [September 27]. It looked good and the people of Hamilton who came in during the process and afterward seemed to like it and feel that it finished and enhanced their Post Office Building…I hope the Section of Fine Arts somehow keeps intact thru this hectic time and continues its work in the peace time to come.” [The Second World War lasted from 1939 to 1945. The United States entered the War on December 8, 1941.]

October 14, 1942. Letter from Rowan to Meloy. “Thank you for your letter of October 2. I was particularly pleased to learn of the happy reception of your work in Hamilton. You no doubt chose wisely in selecting the subject matter which was used.”

October 27, 1942. Letter from H.G. Hunter, now Asst. Commissioner to Meloy. “Contract fulfilled and voucher for $350 is attached.”

October 27, 1942. Section of Fine Arts Form requesting cleaning instructions from the artist [Henry Meloy completed this form.].

1. To insure the proper cleaning of your mural will you kindly state in detail the recommendations for such work. Hamilton Montana is not a smoky town. The mural will stay clean for a long time. It can be wiped clean of dust with a damp cloth after a year or so.2. If you gave your mural a coat of varnish at the time it was completed, please state the mane of the manufacturer and trade name of the varnish used. The painting was varnished with Grumbacher’s retouching varnish, which is not a final varnish. But can be varnished in a year or so with a heavier varnish. I hope to do it myself on some future trip to Hamilton. [There are no notes indicating Meloy applied a final varnish.]

The Community ReactionDaily Missoulian September 28. “Action Picture of Salish Indians Ready to Head

Off Marauders” Hamilton, September 27, “A mural that tells a story of early Indians in the Bitter Root Valley, was hung Sunday in the Hamilton Federal Building’s post office lobby. The painting is the work of Montana-born artist Henry Meloy of Townsend. Hung on the lobby’s west wall, the mural is a scene of splendid action. Some twenty Indians are gathered, the young braves mounted on their ponies, ready to charge after a thieving horde of Blackfeet savages. The Blackfeet have come into the valley from the north to steal ponies and a scout having forewarned the Salish, there is a quick making-ready-for-fight. A lone white man with long golden hair, is somewhat passive figure, but he apparently counsels with the Indians. The wet Bitter Root Mountains, painted in a general rugged background feature the Como Peak.” [The Salish were the first recorded inhabitants of the Bitter Root Valley. They are related to the Coastal Salish, as a small band they traveled east from the Columbia Basin area. Originally called the Flatheads by Lewis and Clark, the tribe’s name for itself was and is Salish, which means The People. The Bitter Root Valley became the primary wintering grounds for the Salish and other smaller tribes.]

In conclusionThe federal arts programs were generally considered to have succeeded in the

governmental engagement of artistic communities across the whole of the country, and in creating greater and more widespread public interest in the arts than at any other time in history. Edward Bruce, first to oversee the Section of Fine Arts, stated that he “preferred murals that made him feel comfortable about America,” an attitude designed to prevent


social criticism.12 But to the contrary, they served as a venue to express closely-held biases and misunderstandings about all non-White Americans. Concerning American Indians, the mural images endure as indelible refl ections of the specifi c ideas held in the early 20th century about their role in our national history, their relationship to foreign White settlers, and their unique culture.

NPM, NMAI, USPS CollaborationsIn 2013, a History and Culture research team at the Smithsonian National Museum of

the American Indian (NMAI) examined the 1,630 black and white images of post offi ce murals and sculptures from archived discs on loan from the United States Postal Service (USPS). The review showed that 400 of those murals contained images of American Indians, and that only 24 were actually created by American Indian artists. This review resulted in a project titled Indians at the Post Offi ce: Native Themes in New Deal-Era Murals, addressing both the virtues and the inaccuracies in these 400 historical depictions which was then became content for a web-based virtual exhibition on the Smithsonian National Postal Museum (NPM) website.13 This virtual exhibition is an example of a new kind of “digital humanities” lesson, looking at murals depicting the political, economic and cultural lives of American Indians. Areas presented in the exhibition include the following themes: Indian Lifeways and the Native Artist, Indian Lifeways and the Non-native Artist, Encounters, Trade and Commerce, Evangelization, Confl ict, Treaties, The Myth of Extinction, Legend and Lore. Now approaching its third online iteration, it has garnered 20,000 viewers internationally.

In 2001, The Smithsonian NPM and NMAI along with the USPS also developed an online virtual stamp exhibition titled, The American Indian in Stamps: Profi les in Leadership Accomplishments and Culture Celebration.14 The stamps, supported by images of artifacts and cultural histories from NMAI, illustrated Profi les in Leadership, Restoring Economies, and American Indian Arts as Renaissance of Traditions. In 1990 the United States Postal Service issued a stamp illustrating an historic “Flathead” headdress made of felt and large golden eagle tail feathers alongside ermine skin and white cow-tail hair tied to the end of each feather. (Figure 3) The headdress in this illustration of that stamp is similar to the one in Henry Meloy’s mural.

Endnotes1 O’Connor, Francis V., 1969, Federal support for the visual arts: the New Deal and now;

a report on the New Deal art projects in New York City and State with recommendations for present day Federal support for the visual arts to the National Endowment for the Arts, Greenwich: New York Graphic Society. Kalfatovic, Martin R. 1994. The New Deal Fine Arts

Figure 3: Flathead Headdress [Courtesy of the Smithsonian National Postal Museum Image No. 1993_2015_0033_4]


Projects: A Bibliography, 1933-1992, Metuchen, NJ: Scarecrow Press. https://archive.org/details/newdealfineartsp00kalf accessed 7/30/2015. Greengard, Stephen Neil, Ellen Sragow, Gustave von Groschwitz, Jerry Roth, Riva Helfond, Harold Lehman, Minna Citron and Harry Gottlieb, 1986, “Ten Crucial Years: The Development of United States Government Sponsored Artists Programs 1933-1943 A Panel Discussion by Six WPA Artists,” The Journal of Decorative and Propaganda Arts 1:40-61. Encyclopedia Britannica Online, s. v. “Treasury Relief Art Project (TRAP)”, accessed July 30, 2015, http://www.britannica.com/topic/Treasury-Relief-Art-Project. Encyclopedia Britannica Online, s. v. “WPA Federal Art Project”, accessed July 30, 2015, http://www.britannica.com/topic/WPA-Federal-Art-Project. Watson, Forbes, 1939, “New Forces in American Art,” The Kenyon Review 1(2):119-134. Stevens, Robert L. and Jared A. Fogel, 2010. “Conflict and Consensus: New Deal Mural Post Office Art,” National Science Journal 33(2): 160-165. Mathews, Marcia M., 1974, “George Biddle’s Contribution to Federal Art,” Records of the Columbia Historical Society Washington, D.C. 49:493-520. http://www.npr.org/templates/story/story.php?storyId=98783331 accessed August 7, 2015. http://projects.mtmercy.edu/stonecity/artists/rowan.html accessed August 7, 2015. Greengard, Stephan Neil, et al, 1986. Navarro, Meghan, A. 2015. Indians at the post office: New Deal era murals and their legacy of American Indian representation. The 2015 Congress Book, The American Philatelic Congress. p. 59. McLerran, Jennifer. 2009. A New Deal for Native Art: Indian Arts and Federal Policy, 1933-1943. Tucson: University of Arizona Press. P. 176.

2 Biddle, George. 1940. Art Under Five Years of Federal Patronage. The American Scholar 9(3):327-338. Mentzer, Elizabeth. 2003. Made in Montana: Montana’s Post Office Murals. Montana: The Magazine of Western History 53(3):44-53. Metzner, 1989, pp 81. Edward Rowan as photographed in Stone City Art Colony, Summer Faculty, 1933, 11 x 14 inch silver print on paper by John W. Barry, Jr. from the Cedar Rapids Museum of Art Study Collection and Henry Meloy illustration found in “Henry Meloy: The Portraits, A Narrative of the Exhibition,’ 2008 Kathryn L. Rodriguez. Theses, Dissertation, Professional Papers (University of Montana Scholar Works), Paper 1250, p. 1. http://www.wpamurals.com/MtPOMrls.pdf accessed August 7, 2015. Elizabeth Mentzer, 1989, Made in Montana: Montana’s Post Office Murals, A thesis made in partial requirements of a Master’s Degree at Montana State University, Bozeman, Montana, p 80. Park, Marlene and Gerald E. Markowitz. 1984. Democratic Vistas: Post Offices and Public Art in the New Deal. Philadelphia: Temple University Press; ---.Nd. Marlene Park and Gerald E. Markowitz. Research material on New Deal art, circa 1974-1999. Archives of American Art, Smithsonian Institution. http://postalmuseum.si.edu/indiansatthepostoffice/index.html accessed July 29, 2015.

Metzner, 1989, pp.63-64. Navarro, Meghan A, 2015, pp 60.3 Starr, Sandra L., 2013. Preface, ‘About Indians at the Post Office and Murals as Public Art’,

“Indians at the Post Office: Native Themes in New Deal-Era Murals”, http://postalmuseum.si.edu/indiansatthepostoffice/index.html accessed July 29, 2015.

4 Mural photograph taken by Thomas Lera, July 2015.5 Metzner, 1989, pp 105-106.6 https://en.wikipedia.org/wiki/Frank_Mechau accessed July 25,2015.7 From Record Group 121 – Records of the Public Buildings Service, concerning Federal Art

Activities, Textual Records of the Section of Fine Arts, Public Buildings Administration, and its Predecessors. Case Files Concerning Embellishments of Federal Buildings, 1934-43. Montana, Box No. 60, Entry 133.

8 The letter also stated “Upon approval of your new design by the Commissioner of Public Buildings, a contract for the execution of the painting will be prepared for your signature. The proposed mural is to be designed for the space 12 feet 2 inches wide by 5 feet 4 inches high at one end of the public lobby over the Postmaster’s door, as indicated on the enclosed blueprints. The total amount to be paid for the mural is $800, which is to cover the complete

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http://postalmuseum.si.edu/indiansatthepostoffice/index.html

http://postalmuseum.si.edu/indiansatthepostoffice/index.html


cost of execution and installation. It is required that the work be completed and installed within eight months’ time from the date of this letter.” [Later changed to specific contract dates listed in the May 28, 1942 letter.]

9 The May 28, 1942 letter included two Section forms to be completed. They were: Information for the Preparation of Contract: Meloy answered the form questions. Artist: Henry Meloy; Post Office: Hamilton Montana; Title: “Flathead War Party”; Medium in which you will carry out the work: Oil Paint on Canvas; Exact dimensions of the space: 6’6” x 14’ 5” [about 94 square feet]; Date you can complete and install: September 15, 1942. Rowan penciled on form: Contract dates June 2, 1942 – September 30, 1942, $800 in three installments $175, $275 and $350.

Technical Information required of the Artist on all Jobs Using the Medium of Oil, or Tempura, or Combination. Meloy answered these questions:

1. What technique does the artist propose to use? Oil 2. Name of manufacture and trade names of paints to be used. If dry colors, name of dealer

supplying the same. State if artist or decorator’s colors. Permanent Pigments, Cincinnati, Ohio and Schmincke “Finest” from Max Grumbacher, N.Y.

3. If wall is painted, paint must be removed. Wall is painted and the paint will not have to be removed as the surface is in perfect condition.

4. Method of installation to be followed. What adhesive does the artist propose to use? Varnish and White lead.

5. Condition of the wall, is it damp? No 6. Give exact dimensions of the space to be painted. 6’6” x 14’ 5” 7. Sample of the canvas or board to be used must be submitted. Canvas sample was attached. 8. Give list of colors artist uses on his palette. Black, White (Zinc) Light Red, Indian Red,

Cadmium Red, Burnt Sienna, Raw sienna, Raw Umber, Yellow Ochre, Cadmium Yellow, Permanent Green, Vert Emeraude, Cerulean Blue, Cobalt Blue, Ultramarine Blue, Terra Verte.

9. State medium used in painting and give formula, either oil medium or tempera emulsion. Oil 10. State briefly method of working as to technique. (Does artist underpaint, how and with

what?) No planned underpainting to be followed by glazes. But a beginning with colors thinned with turpentine and general lay in for correct values then an all over development with linseed oil added to the medium slowly as needed but to avoid getting too much oil (that is more than necessary to thoroughly bind the pigments.)

10 Henry Meloy illustration found in “Henry Meloy: The Portraits, A Narrative of the Exhibition,’ 2008 Kathryn L. Rodriguez. Theses, Dissertation, Professional Papers (University of Montana Scholar Works), Paper 1250, p. 23.

11 The letter enclosed is a voucher covering the two payments [$450] due you at this stage. Kindly furnish this office with a photograph and negative, actually 8 x 10, of the completed painting before undertaking installation.” There were no photographs or sketches were in the files]

12 Dennis, James M. 1974. Government Art: Relief, Propaganda, or Public Beautification? Review of The New Deal for Artists, by Richard D. McKinzie. Reviews in American History 2(2):275-282.

13 http://postalmuseum.si.edu/indiansatthepostoffice/index.html accessed July 29, 2015.14 http://arago.si.edu/index.asp?con=4&cmd=2&eid=385 accessed July 29, 2015.

Thomas Lera is Research Chair, Emeritus, Smithsonian National Postal Museum. He is editor of the award-winning Proceedings of the First International Symposium on Analytical Methods in Philately; and two volumes of Select Papers of The Winton M. Blount Postal History Symposia, all published by the Smithsonian Institution Scholarly Press. Sandra Starr is Senior Research, Emerita, Smithsonian National Museum of the American Indian.

http://arago.si.edu/index.asp?con=4&cmd=2&eid=385


Private Illustrated Wrappersby John K. Courtis

A neglected area of philately is the non-post office wrapper: post office wrappers with denominated indicia fall under the heading of postal stationery whereas private wrappers bearing adhesives, prepaid inscriptions or meters are clearly excluded. But such wrappers can be studied as examples of this class of mail for their rates and routes. As well, especially those bearing private printing and illustrations can be explored for their social philately attributes and so contribute insights to social history.

An illustrated private wrapper is merely a piece of paper ephemera until it is transformed into a philatelic item through its use as a means of conveying printed matter with recipient’s address and prepaid postage affixed. The expression “printed matter” is a generic technical term used to encompass newspapers, magazines, catalogues, price lists, reports, books, advertising, samples, patterns, photographs, clippings and other approved printed materials that are eligible for the concessionary mailing rate. The wrapper, a sheet of paper folded around printed matter, facilitates the sending of communication via this class of mail in a cost-effective and timely manner.

The question arises as to why organizations of one kind or another would take the trouble to expend the cost of private printing including illustrations on their wrappers, especially when prepaid post office postal stationery wrappers could be purchased conveniently? The simple answer: self-promotion of name, content and business address. Also, the fancier the illustration the more eye-appealing to the recipient and the less likely to be disregarded as junk. Another reason has to do with the size and paper quality of the wrapper - some printed matter enclosures are better suited to stronger and wider paper sizes.

The author has hand-collected daily listings of worldwide private wrappers that have appeared on eBay since December 2009, compiling a database of 5,200, of which 260 are U.S. Only a few of these display attractive illustrations but almost all have private printing of one kind or another. An arbitrary selection of private wrappers bearing illustrations of interest is shown below together with snippets of their related social history. Thematic and topical collectors could, for instance, create sub-classifications such as horticulture, shipping and medicine. (A further selection is on the Postal History Society web site, www.postalhistorysociety.org.)

Details on the wrappers are obtained from images associated with listing notices on eBay. Low dpi resolutions are an annoying restriction on their use as the vibrancy and detail of their illustrations cannot be fully captured. Without recourse to the actual wrappers it is not possible to observe postmarks and other markings that might have appeared on the reverse.

The surface rate postage for commercial papers within the U.S. was 1 cent per two ounces between July 1, 1875 and April 1, 1932 when it was increased to 1.5 cents per two ounces. (Wawrukiewicz and Beecher 1996). These are the rates applicable to most of the wrappers here. There are two wrappers mailed to overseas addresses and rates appropriate for these cases are discussed separately.


Three Feeds for One CentThe wrapper shown in Figure 1 illustrates in blue ink a horse, cow and a pig holding a

spoon of feed with 3 Feeds for One Cent on the handle. The basic image is but one of the elaborate and colorful lithographed broadsides folded within a book given to purchasers of 25 pounds of International Stock Animal Feed.

Figure 1: The stamp is a U.S. precancel 1898 2c red Washington (Sc279B) overprinted in black on three lines Minneapolis//Minn//June 1902. The wrapper is addressed to George Swallow, Brownsville, Vermont, suggesting the International Stock Food Company had a national distribution network. The addressee, George Swallow (1864-1951) lived in the village of Brownsville, West Windsor, Vermont where he operated a general store, was postmaster, and pumped gas. At another period of time he conducted a watch, clock and jewelry repair business (Vermont Historical Society). It seems likely that George Swallow sold the ‘3 Feeds for One Cent’ brand in his general store.

“3 Feeds for One Cent” was the slogan adopted by the International Stock Food Company, which was founded in 1886 by Marion Willis Savage, a Minnesota-based entrepreneur for whom the town of Savage, Minnesota, was named. It appears in advertisements for stock feed and food tonic which “purport to tone horses, make cows produce more milk, speed growth, and cure or prevent diseases.” Savage manufactured and sold animal feed as well as veterinary supplies and used chronolithographic posters as a means of advertising (Minnesota Digital Library; International Stock Food Company 1910).

Charlie White Moon

Figure 2: Wrapper sent to a D. Railey, Forkton, Kentucky, just 100 miles south of Louisville franked with a one cent green Franklin. Given the limitations of Internet images this may be the 1910 issue (Sc374) canceled with a pair of Louisville oval hadstamps. The local scale of delivery suggests this publication may have had a smaller market area than that associated with Figure 1. The addressee, likely to be Donnie Railey was part of the Railey family that operated a collection agency.


Figure 2 shows a wrapper that covered a monthly magazine American Herbalist, Nature & Health, edited by Charlie White Moon of Kentucky whose half portrait in red appears as the illustration to the left of the box of text.

The self-styled ‘Cow-Boy Herbalist’ claimed to have “years of experience as a Cow-Boy and among the Plains Indians” that afforded him a special opportunity to study “the healing power of roots and herbs as medicines.” In 1883 White-Moon, then a cowboy, was shot by a cattle rustler and doctors said he would die but he was saved by a Cheyenne woman. He was later adopted by the tribe and learned their secret remedies which he then offered to white people. Newspaper records indicate his cure known as “Com-Cel-Sar” was promoted around 1912. His product combined roots and herbs to create a cleansing tonic that rid the body of “useless matter, undigested foods and the like” (Stillman 2014).

On September 7, 1912, Charles Bunce, better known as “Charlie White Moon”, the Cowboy Herbalist, fell down a flight of steep steps leading from his office to his laboratory in the rear of his home, W. Broadway, Louisville, Kentucky and died a few moments later. He was buried at Cave Hill Cemetery. Thousands of people were in attendance. Services were held under the auspices of Cherokee Tribe of Red Men, DeMolay Commandery and several other lodges of which he was a member.

Dr. Walker’s Vinegar BittersThe illustration on the wrapper in Figure 3 shows a double-bordered triangle headed

with the words Vinegar Bitters and with the wording Dr Walker’s California Vinegar Bitters within the outer frame and a mortar and pestle within the triangle showing the word Eureka. Outside the triangle and printed on flowing ribbons are the words Purely Vegetable and Free From Alcohol. Some of the advertisements of this product show different wording: Devoted To Temperance Health And Economy. The druggist’s company name and address appears beneath the temperance poem: R. H. McDonald & Co., corner Washington & Charlton Sts., N.Y. However, the product Vinegar Bitters was produced by Dr. Walker’s in California. It is not possible to establish whether this was sent from the New York druggist, acting as an agent, or from California itself.

Figure 3: A fancy handstamp cancels an 1873 1c ultramarine Franklin (Sc156) on a wrapper mailed to John Gooch, Burlington, Kansas. Kansas Collection Books refer to John Gooch as a farmer born in England in 1844 who came to the United States in 1866 and located in Coffey County, Kansas. He was engaged in the butchering business in Burlington for four years and then moved to a farm in Hampden Township where he cropped and raised stock. Whether the mail came from New York or from California it is apparent the product had a national distribution network as Burlington, Kansas is almost in the centre of the US.


There are a number of accounts of how Walker’s Vinegar Bitters got its start in California, one being that Joseph Walker started out as a charcoal peddler in the streets of New York and followed miners west as a cook around 1849, becoming a ‘doctor’ in the 1850s. His ‘bitters’ was one of the nastiest nostrums introduced, largely sold by the most extensive and brazen advertising under the false pretense of being free from alcohol. Walker settled in Calaveras County and, having no success as a miner, turned his attention to the bitter qualities of the herbs growing about him and came to San Francisco with the idea of making and vending a nostrum to be called ‘Indian Vegetable Bitters.’ He fell in with an enterprising druggist who saw money in the project and joined him. At the suggestion of the latter, the ‘Indian’ was struck out, and, as the concoction became sour by fermentation, it was decided to call it ‘Vinegar Bitters’ and to identify it with the temperance movement. The native herbs that were troublesome to collect were discarded, and aloes, being cheap to make bitter, were substituted. ‘Nine sick people out of ten’ said the druggist ‘will be cured by purging.’ Later investigation discovered that “Vinegar Bitters” was manufactured of sour beer and aloes (Kellog 1891). It was bottled in opaque containers of pastel shades to conceal the mess.

“Dr.” Walker started his bitters business at the corner of American and Channel Streets in Stockton, California. Apparently a Mrs. Brenton, who had an interesting relationship with Walker, initially peddled the bottles out of a basket on various streets. Just a dozen years into the business, Walker was worth between one and three million dollars. “Dr.” Walker was not ungrateful and Mrs. Brenton became the face of Vinegar Bitters. (www.peachridgeglass.walkers-vinegar-bitters).

Lawson or Comet PearsSeveral wrappers are known from the horticulture industry. Figure 4 is from Chas.

B. Hornor & Son, Nurseries and Greenhouses, Evergreen Avenue, Mount Holly, New Jersey. There are two pear varieties illustrated on the wrapper – Lawson at left and Comet at right. The inscription reads: Fruit, shade and evergreen trees such as Pyramidalis and other Arborvitae, Lawson’s Cypress, Junipers, Retinisporas, spruces, yews, &c for transplanting or for immediate planting. Grape Vines, small fruit plants, &c. 250,000 asparagus roots. All at Reduced Prices. Also Jersey Peat of excellent quality.

Figure 4: Two postmarks, a circular date stamp MOUNT HOLLY MAR plus an obliterator appear on the 1879 issue of the 1c dark ultra Franklin (Sc182). The wrapper is addressed to C. R. Orcutt, San Diego, California indicating that this firm used the mail service for nationwide delivery.


The Chas. Hornor nursery extended over 40 acres in New Jersey. A 16-page wholesale catalogue dated Spring 1900 invites personal inspection and gives instructions on how to find the nursery on the edge of Mount Holly by train from Market Street wharf. This firm published a series of nursery and seed trade catalogues.

The addressee Charles Russell Orcutt (born April 27, 1864 in Hartland, Vermont; died in Haiti August 25, 1929) was a noted naturalist sometimes called “cactus man” because of the new species he found on many expeditions. He moved to San Diego in 1879 and worked with his father, collecting plant specimens in the San Diego area and Baja California. At first Orcutt collected primarily plant specimens, but his interest began to shift from botany to conchology and he is credited with discovering at least three new Mollusca (Wikipedia).

Now Look PleasantFigure 5 features a smiling young woman wearing a bonnet, captured in a framed

illustration (suggesting an open photograph album or perhaps a window), her photograph having been taken on instruction to “now look pleasant.” Photographs were often sent enclosed within a wrapper which needed some stiffening to minimize the risk of damage through bending and folding. Presumably photographs came within the category of printed matter and to get the concessionary postage rate for this class of mail it had to be sent open for inspection. The writing to the right of the portrait says: If not claimed within 5 days return to H. C. Lavette, patentee and sole manufacturer of Lavette’s patent envelope for mailing photographs. Patented 1891. The address is given as 230-2 Washington Street, Chicago. There is a lower inscription Trade Mark Copyrighted 189 (the actual year has not been noted even though 1891 appears in earlier wording).

Figure 5: Wrapper mailed with an 1894 3c purple Jackson (Sc253) cancelled with a double oval CHICAGO. If the stamp is watermarked then it is an 1895 copy (or Sc268). The wrapper is addressed to E. G. E. Dorge, 1891 Riverside Avenue, Minneapolis, illustrating a regional link across two states. Elias Dorge worked as a photographer at this address between 1891 and 1914; this illustration is a more unusual business-to-business connection.

The American Annual of Photography notes that patent no. 460,264 (envelope for photographs) was granted to H. C. Lavette between September 15, 1891 and September 6, 1892 (Adams 1893, p.351). The wrapper in question does not appear to be the patented envelope per se, in which case the contents were likely a price list or catalogue.


Awnings, Tents and FlagsA circus tent with flag atop illustrates the wrapper in Figure 6, from John Alexander

McAuley & Peters, manufacturers of awnings, tents and flags, located in Columbus, Ohio.

Figure 6: The adhesive is affixed upside down but is the 1887 1c ultramarine Franklin (Sc212) and is cancelled with an obliterator. A similar wrapper is known cancelled with an oval COLUMBUS, which presumably refers to the city in Ohio. The addressee is L. M. Branson, Short-Creek P.O., also in Ohio. There are several references to the family name Branson in the Ohio census records. An insight into the importance of the mail system to distribute advertising material is captured in the printed note beneath the adhesive which requests that in the event this wrapper cannot be delivered that it be handed to someone else interested in tents or awnings - “Return to sender” was not what this firm wanted.

John McAuley was a sailmaker in Toledo, Ohio and then, at the premises at 176 N. High Street Columbus, he ran a business called the Tent Factory between 1884-1909; in 1910 it was changed to the Columbus Tent and Awning. Above the windows of the building called the Tent Factory were painted wording advertising their products: Tents Awnings Tarpaulins// Horse & Wagon Covers// J. A. McAuley & Peters// Cordage & Wire Rope Cotton Duck. On the High Street frontage there was painted Wholesale & Retail// All Weights of Wide Duck// J. A. McAuley & Peters. One of their advertisements offered a child’s play tent 7’6” square for $4.98, as well as tents for all purposes: for campers, sportsmen, show-people, picnics, etc.

L’Exportateur AméricainFigure 7, a wrapper from The American Exporter, 17 Battery Place, New York shows

stevedores carrying a sack and rolling a wooden barrel on the wharf, alongside a two-funnel steamer at left and one-masted sailing ship at right. A crane is lowering crates. The entire imagery is consistent with arrival of cargo at an overseas port, reinforcing the idea of exporting from America to an overseas destination. The wording: Le Port de Retour Sera Rembourse translates as Return freight will be reimbursed and refers to “En Cas de non-distribution, veuillez retourner a” (in the case of non-delivery please return to …). This is the French edition of the magazine published in New York.

In 1877 John Root and Franklin Tinker established The American Exporter which became a major source of information for domestic and overseas commercial entrepreneurs as they sought assistance from both private and public sectors in fostering the export of


Figure 7: Wrapper mailed with a 1917 7c black Washington (Sc507) with a circular date stamp NEW YORK. The seamail rate to Libya was 1c per 2 oz. making the weight of this packet 12-14 oz. (Wawrukiewicz & Beecher 1996). The wrapper is addressed to Messrs. Forti Fratelli & Co., Tripoli, North Africa (Libya). The boxed auxiliary black handstamped marking reads: VERIFICATO// PER CENSURA// GENOVA. This ‘passed by censor’ marking dates the wrapper circa 1919 and the wrapper’s route to Libya was via Genoa, Italy.

American industry. Advertisements and articles in The American Exporter and other trade journals reflect the massive increase in American exports of 255% between 1870 and 1900 (Cody 2005).

Prevention of Cruelty to ChildrenFigure 8 shows a woman standing with five children holding on to her skirts, and

holding what appears to be a shield from a threatening man with a stick.

Figure 8: Wrapper ca1880 mailed with an 1879 2c vermilion Jackson (Sc183) tied with an obliterator marking, addressed from San Francisco (perhaps ironically) to the Society for Prevention of Cruelty to Animals (“Thierschutz Verein”) in Austria, one of the few international connections seen in the sample used in this research.

The California Society for the Prevention of Cruelty to Children was incorporated September 2, 1876 with 295 members and headquarters in San Francisco. Their objectives were stated to be to “provide ways and means to secure the enforcement of an Act for the prevention of cruelty to children and to labor in the education of a public sentiment of humanity and gentleness toward children” (Flamant 1893). A good deal of their time was spent in retrieving children from public institutions (e.g., jails) and arranging for them to be returned to their parents, fostered, and allocated to orphanages, mission homes and other institutions. Societies that prevented cruelty to animals predated those aimed at protecting children – the American SPCA was founded in 1866, the San Francisco in


1868. So perhaps some organizational arrangements within the Austrian SPCA may have been of interest to the Californians.

Specimen for Bacteriological ExaminationFigure 9 shows an illustration in red inscribed Public Health Service within a double

circle and Connecticut vertical and horizontal within a white cross. The wrapper’s header reads: “Perishable Specimen in Glass Container. Do not delay.” This wrapper was used to send test samples for syphilis from the test site to the laboratory (the pair of SY initials at the top of the wrapper refers to syphilis). The sender was Hollinshead from West Hartford.

Figure 9: Legitimacy for this kind of enclosure is noted as order no. 7831, October 5, 1935, “Specimen for Bacteriological Examination to Be Pouched With Letter Mail” “This package meets requirements of Sections 568, 574 and 589 U.S. P. L. and R.” The rate of postage is noted also: “Under 8 oz. 3rd class rate of 1 1/2 cent for each 2 oz.; over 8 oz. 4th class rate” so that the 4 1/2c stamp rate covered 6 oz. The parcel roller cancel from West Hartford is on a 1939 4 1/2c dark grey White House (Sc809). The wrapper is addressed to Connecticut State Department of Health, Hartford, Connecticut, in effect a delivery within a city.

Architectural Book PublishersThe illustration in Figure 10 of an American Victorian building was designed to

call attention to the function of A. J. Bicknell & Co. The firm specialized in books about Victorian architectural design and detail; their head office was located at 27 Warren Street, New York. Some of the titles published by A. J. Bicknell & Co. are: Bicknell’s Victorian Buildings, 100 Victorian Architectural Designs, Victorian Wooden and Brick Houses, Victorian Architectural details, Victorian Architecture: Two Pattern Books, and Victorian Village Builder.

Social History & PhilatelyThe humble wrapper is a concessionary class of mail that arose from demand by

business to convey diverse printed matter in an efficient and cost effective manner. While post office postal stationery wrappers with printed indicium were available from 1860, a diverse group of users eschewed these in favor of their own paper, illustrations, printing and addition of adhesives, even when they could have employed a private printer to add exactly the same detail to post office stock. There are approximately 160 examples of private printing on post office postal stationery wrappers that have been listed in the forthcoming Kosniowski catalogue of worldwide post office wrappers.


Figure 10: The issue date of the 2c vermeil President Jackson stamp design is 1879 (Sc183). It is clear that this firm utilized mail delivery to advertise its wares, and was keen that anyone interested in its products have access to its mail, as can be seen in the note beneath the illustration stating “If not called for, P.M. [post master] will please deliver to a Builder or some one interested in Building.” The delivery was to the Department of State in Washington DC, perhaps suggesting some high level connection with Government architectural policy at the time.

The sample reviewed here is a kaleidoscope of economic activity, much of which has either disappeared or evolved into more sophisticated form. Specimens of potential syphilis within glass containers mailed to a testing location; purgative vinegar bitters marketed in colored containers to mask the sediment; books of Victorian architectural design; tents and awnings for sportsmen, circuses and children; photographic portraits; fruit trees; social issues such as the prevention of cruelty to children; feed stock and food tonic to tone horses, make cows produce more milk, speed growth, and cure or prevent diseases; roots and herb cleansing tonic to remove useless matter. The themes captured in the illustrations and accompanying wording on these examples of private wrappers bring to life the roots of American entrepreneurship and aspects of how society operated. At the same time they hint at the local, regional or national character of different businesses, and the fundamental role that the postal service played in connecting firms and customers across these different parts of the country.

Selected ReferencesAdams W. I. Lincoln (1893), The American Annual of Photography and Photographic Times,

Scoville & Adams Co., New York, Volume 7.Cody Jeffrey W. (2005) Exporting American Architecture 1870-2000.Flamant James (1893), Child-Saving Charities in this Big Town, www.sfgenealogy.comInternational Stock Food Company (1910), 3 FEEDS FOR ONE CENT, Lithographic Department,

Minnesota, USA.Kellog John Harvey (1891), The Household Monitor of Health; http://www.peachridgeglass.

com/2013/01/walkers-vinegar-bitters Rickard Julie Rae, Images of America: Clearfield County.

Stillman Michael (2014), Catalogue Two: Americana, Walkabout Books, California.Wawrukiewicz Anthony S. and Beecher Henry W. (1996), U.S. International Postal Rates, 1872-

1996, Cama Publishing Co., Oregon, pp. 402.www.maritimehistoryofthegreatlakes.ca/GreatLakes

Acknowledgments I extend my sincere thanks to Allan Gory and Charles Lloyd for reading and commenting on an earlier draft. Emeritus Professor Kevin O’Connor gave the paper an extensive edit with reorganization of several sections and I am indebted to his careful and thorough review.


Dr. John K. Courtis, retired professor of accounting is a Fellow of RPSL and member of RPSV, RPSHK and other philatelic societies. Since 2003 he has developed large databases of post office images (41,000), wrapper sales (16,500) as well as specimen and private wrappers. He exhibits the wrappers of GB and Argentina and OHMS lettersheets and has authored more than 200 articles on wrappers.

African Americans and the USPSa Review by David M. Frye

There’s Always Work at the Post Office: African American Postal Workers and the Fight for Jobs, Justice, and Equality by Philip F. Rubio. ISBN-13: 978-0-8078-5986-5 (paperback) LCCN: 2013907399 Size: 6.6 x 9.2 inches Length: 472 pages List Price: $31.95 Formats: hardcover, paperback, Kindle, and NOOK Publisher: The University of North Carolina Press

Supplemental Resources: National Postal Museum Blog: http://postal-museumblog.si.edu/2010/11/african-american-postal-workers-and-the-fight-for-jobs-justice-and-equality.html Philip F. Rubio on YouTube: https://www.youtube.com/watch?v=ghnVtJYtO_s

At the beginning of his book, author Philip F. Rubio explains how the title’s leading phrase entered the lexicon of American culture through its refrain-like appearances in Spike Lee’s 1987 film, Hollywood Shuffle. In this film, several characters observe that the postal service offers African Americans a fallback jobs option. From there, Rubio describes the focus of his research, showing that “… a leading role was played by black postal workers in the United States labor movement and black freedom movement, and that they were influential in shaping today’s post office and postal labor force in this country” (page 7).

Rubio sets the historical context for the book’s exploration by surveying the period between the Civil War and World War II. Then he focuses ten of the book’s eleven chapters on briefer intervals from 1940 through 1971. The first chapters chronicle the fight against Jim Crow in the Post Office Department and its unionized workforce. Later chapters examine such topics as “Black Women in the 1960s Post Office and Postal Unions” and “The Great Postal Wildcat Strike of 1970.” Ending the book’s narrative in 1971 might seem odd, at first glance, but Rubio makes the argument that the 1970

Figure 1: Personal and Postal History—Philip F. Rubio’s masterful treatment of an overlooked chap-ter in American history merits a thorough reading.


strike helped to set the stage for the creation of the modern U.S. Postal Service in 1971, making that a natural point at which to end this particular survey and analysis.

Rubio’s research and documentation in this volume, published in 2010, are deep and thorough. The back matter’s Notes, Bibliography, and Index comprise slightly more than one-third of the book, giving historians—postal and otherwise—ample leads for further study. The Notes reveal the depth and breadth of Rubio’s research, containing in them voluminous supplementary materials that extend the treatment of the historical narrative. The Bibliography orders its sources by type: manuscripts, interviews, books, periodicals, government documents, labor archives, media, and so on. This offers the reader who desires to dig more deeply into the topic the focused guidance that will direct one to the most helpful sources for further research. In particular, several categories—Oral History Interviews by Author and Convention Proceedings—reveal the extent to which the author’s research uncovers new primary sources of information on the book’s topic.

Postal historians traditionally focus their attention on the artifacts left behind by the users of postal systems—the stamps and covers that reveal the rates, routes, and destinations at play within postal systems at various points in their histories. There’s Always Work at the Post Office invites students of history in general—and postal historians in particular—to turn their attention to the women and men who move the mail and whose lives reflect the social, political, and economic trends at work in the broader life of the country. This book reminds readers that the people who face them from across the postal counters, who sort the mail, and who assure that billions of letters and parcels make their way to their intended destinations, have histories emblematic of a key chapter in American history, one that embodies the struggle of African Americans for “jobs, justice, and equality.”

Figure 2: Couriers Prepped for Their Rounds—African American postal workers shoulder their loads of Christmas packages ready for delivery.Source: http://postal-museumblog.si.edu/2010/11/african-american-postal-workers-and-the-fight-for-jobs-justice-and-equality.html


Testing a London Combined Obliteratorby Paul J. Phillips

IntroductionA duplex postmarking device first appeared in London in 1853, and held sway well

beyond the first appearance of a squared circle mark in 1879. Both types of marks were used concurrently throughout the country until the acceptance of the double ring mark with heavy arcs between the rings in 1897 which then persisted until the middle of the 20th century. But those well-known marks were not the only types of mark considered, several others being in contention. This article will concentrate on the little known lighter derivative of the squared circle mark which was tested in London alone from 1880 until about 1898, to see how plainer simpler marks would perform compared to the squared circle and other possibilities. After the trials the mark was put aside for occasional special uses. (Throughout this article illustrations will be of marks used in London, except for a few examples of related trials).

Cancellation of adhesive stampsWhen stamps were introduced to the public in 1840 it was necessary for them to be

shown to have been used in order to prevent reuse. This need generated a new type of mark, not needed previously, in addition to the datestamp which had been used in several forms since the 1660s. The need to check on time taken from posting to delivery was the major reason for the introduction of time marks (Bishop marks) in 1661, after the restoration of King Charles II.

The practice had always been to place the datestamp on the reverse of the letter, the front being reserved for the address and accounting, together with an occasional instructional message. The need to place the adhesive stamp on the front arose as it was treated as an accounting device. Red ink was used for marking the stamp as it was the normal way of indicating postage prepaid. Black accounting always indicated unpaid, before the introduction of adhesives.

Very shortly after the introduction of the penny black and twopence blue it was realized that the stamps were being cleaned and reused, reducing revenue collection. The first obliterators were the red Maltese Cross marks, but the red ink was fugitive and could be washed off easily. It was then decided to change the colors used, printing the penny stamp with red fugitive ink and cancelling it with black ink. There must have been a strong debate in the Treasury for this major reversal of accounting colors to be made. However, the change worked well.

Post office staff then started to complain that they had to look at both the front and back of the letter to ascertain that the fee had been paid and that the circular datestamp of origin was still on the back. In 1844 a new obliterator was designed which contained the code number of the office of origin within a series of cancelling bars. So the fee could be checked and the sending office identified in one move, providing the clerks could memorize all the code numbers of the offices. They still had to look at the reverse to check the date of sending. This was always a concern since the public had a long tradition of complaining about slow delivery, a habit which still continues to the present day.

In order to satisfy all of these needs it was necessary to design a mark which would combine the stamp obliterator with the datestamp, thereby putting all the important


information in one spot. Many different types were tried until the cds with an adjacent, but separate, obliterator was chosen for countrywide distribution. The shape of the obliterator section was ovoid for England & Wales, rectangular for Scotland and rhomboid for Ireland, continuing the shape of the 1844 obliterators. In time there were changes in these fi rst duplex marks, the major change being the introduction of the vertical oval in the mid 1860s. There was nothing wrong with this type of mark and it was used in all post towns around the country, including the London District offi ces and their branches (Figure 1). However, the Treasury was always interested in reducing the amount of ink being used, much being used for the obliterator sections. The duplex marks were rather cumbersome, requiring continual cleaning, maintenance as well as recutting.

Figure 1: Examples of London duplexes concurrent with timeframe of this article. From top: Typical head offi ce duplex of LONDON W[est]; LONDON Inland Offi ce; HOLLOWAY branch offi ce of LONDON N[orth]

This led to the introduction of “experimental” marks known as squared circles in 1879. To regard them as experimental has always struck me as being an exaggeration as they were used everywhere, surviving well beyond 1900 in some offi ces (Figure 2). As with the duplex marks they were issued throughout England & Wales, although many offi ces did not use them. The corner sections of the squared circle marks always gave rise to problems. They required almost continual maintenance as they tended to get damaged and required expensive repair and recutting. Also, the sharp corners tended to damage


bulky mail items and caused splits in the outer wrapping or envelope. The ink tended to clog the corner obliterating sections, generating maintenance problems, together with wastage of ink. So, all that was gained from the switch from duplex to squared circle was a reduced usage of ink.

Figure 2: Typical squared circle cancels of (from top) London head offi ce LONDON NW; Later numbered duplex of LONDON SW [clerk’s number]; Duplex of MARK LANE, sub-offi ce of LONDON EC

Cancellation of postal stationeryThe introduction of postal stationery in the form of the Mulready envelopes and

sheets in 1840, alongside the adhesives, led to the instruction that the Maltese Cross mark should be applied to the fi gure of Britannia in these ornate productions. The immediate lampooning of the design and its unpopularity with the public led to the introduction in 1841 of simple envelopes and lettersheets with an embossed head of the Queen using the Wyon head in pink ink for the 1d prepaid envelope. Again the embossed head would be cancelled with whatever obliterator was in vogue at the time.


The vast expansion of postal stationery into postal cards (1870) and registered envelopes (1878), in addition to the stamped to order embossed envelopes of 1855, led to a change in the marks being applied. Unlike the adhesive stamps, it was generally assumed that these items would not be reused, so the need for obliteration did not exist. Therefore a simple datestamp would suffi ce and offi ces could use the duplex marks or any other datestamps on postal cards and stamped envelopes. Registration marks were manufactured, being oval marks similar to circular datestamps. Because of all of this, envelopes and especially postal cards are found with an amazing variety of circular and other marks (Figure 3). I am unaware of discussions as to the experimental or other status of these marks. On postal cards the fl at surface made cancelling an easy and rapid task. On embossed envelopes there was little problem in applying marks but very often they were partial or unreadable (they have always been the bane of postal stationery collectors). Indeed the best examples of many marks are found on cut-outs of corners (Figure 4).

Newspapers had always been a large part of the postal load, embossed tax marks having been impressed on them since 1711. Prepaying postage using stamps was introduced in 1855, especially for overseas destinations, and beginning in 1859 the London Foreign Branch held a series of special cancels usually incorporating the initials NPB for newspaper branch or FB or FS. In following years other major cities had their own marks. Beginning in 1870 the post offi ce issued preprinted newspaper wrappers, making the mailing of newspapers and printed papers much easier.

Figure 3: Examples of some of the circular datestamps, found only on postal stationery.

Figure 4: Near-perfect examples of London Fancies from corner cut-outs.


The Experimental Period from 1880The London postal system is very large and, at this time period, was responsible for

about a third of the total number of items posted in the country. In addition to the London Inland Offi ce it had nine Head District Offi ces, by geographical locations. The most important of these was London E.C. located at St Martin le Grand, later King Edward Street. Originally, the Chief Offi ce, it became East Central when the Head District Offi ces were created. It was the fi rst London offi ce to use squared circle marks (the fi rst having gone to Leeds and Liverpool in 1879).

In addition to the Head District Offi ces there were Branch offi ces and Suburban District Offi ces. The Branch Offi ces were branches in the Head Offi ce districts. The Suburban Offi ces were in outlying regions of the London area and grew in numbers as the London area spread out and encompassed nearby regions. London EC had fi ve branch offi ces.

After the “experimental” period of the squared circle marks began in 1879, an experimental type of mark with a simpler design, somewhere between a cds and the squared circle began in the London Inland offi ce. These marks are known as the London Fancy Geometrics as they were only used at London Inland, London EC and EC’s branch at Lombard Street. They are based, generally, on the octagon, usually with attached corners and a few with a central circle instead of the octagon. Their limited use was specifi c as they were meant to be compared with other devices used at the same offi ce (Figure 5).

Figure 5: Cover illustration of London Fancies from Cohen’s book

As with the squared circles they contained a code directly above the date slugs. This code was initially of two letters and later of a letter and a number. This code was used to identify the stamping clerk. This code protocol allowed the assessment of different marks and the idiosyncrasies of the individual clerks could be factored out of any assessments being made.

Other experiments were carried out during the same time period. The Hoster machine cancel (Figure 6) was used alongside in the 1890s as were numerous simpler datestamps that were being used on the postal stationery. Of special note are large double ring circular datestamps of various designs, which are uncommon, however, I am unaware of any discussions on whether or not they were regarded as experimental (Figure 7). The Scottish design of double ring datestamps with split arcs was seriously considered by


sending examples out to Liverpool and Birmingham (Figure 8). So a fi nal decision was made in time for a new type of combined obliterator to be introduced countrywide in 1897, which satisfi ed the Treasury purists who wanted obliteration to be the cornerstone of revenue protection.

Figure 6: Experimental Hoster machine mark used at London Inland Offi ce in Febru-ary 1891.

Figure 7: Experimental large double-ring datestamps.

Figure 8: Experimental Scottish-style datestamps sent to Liverpool & Birmingham.


The London Fancy Geometric HandstampsThe subject of these marks was fi rst mentioned by W. G. Stitt Dibden in his short book

“Squared Circle Postmarks” published in 1964. In this book he mentioned the search for a new combined obliterator, listing other competing types, which had at that time not been studied. He gave the fi rst classifi cation of the Squared Circle marks. On his fi rst page he shows a jumble of squared circle marks with several of the London fancies among them. He referred to these marks, mistakenly, as “Masseys” after a designer who submitted new designs of spring-loaded stamping devices. Later in his book he exhorts collectors ‘to preface his collection of as many of these Massey stamps as can be obtained since they supply the key to the eventual discarding of the main squared circle types”.

Twenty years later in 1984, following major studies, Stanley F. Cohen’s book “London Fancy Geometric Postmarks” was published by Harry Hayes as Philatelic Study no 45. This publication followed closely on an in-depth study and classifi cation of the squared circle marks “Squared Circle Postmarks of the London Suburban District Offi ces” by Cohen assisted by Daniel G. Rosenblat and Maurice Barette (1983), [Harry Hayes Philatelic Study no 43]. The same authors privately published a massive tome “Collecting British Squared Circle Postmarks”, covering all types, in 1987 which was distributed by Vera Trinder Ltd (followed by several supplements for about a 10 year period). So there is a massive exhaustive literature on the squared circles themselves, but only Cohen’s 27-page book on the London fancy geometric postmarks.

Cohen was mainly concerned with generating a categorization and identifi cation scheme for the different types and of how many different specifi c handstamps of each type existed. Here I am more concerned with the postal and philatelic history, involving timescale and concurrency of the different marks in order to try to understand the redesign and decision-making that was in play during this experiment. Fortuitously, in the 30 years since Cohen’s publication, there has occurred the electronic revolution with the availability of scanners and rapid computer processing, which together with the digital microscope, makes the study of stamps and postmarks easier. It is now a relatively simple process to obtain the details of partial or imperfect postmarks, generating useful information.

I have been assembling a collection of these marks on cover for some time now, but many British collectors in the US, and most American collectors and dealers have never heard of them. They are very attractive, but simple, postmarks that are rarely encountered and they did play an important part in postmark development. They also reveal a substantial amount of information of how earnestly the Post Offi ce went about evaluating internal processes and the testing of new designs for postmarks. A summary fi gure of the marks is reproduced here (Figure 5) from the front of Cohen’s book.

These marks were used only at (1) the London inland offi ce, (2) London EC offi ce and (3) the Lombard Street sub-offi ce of London EC. The marks are usually categorized by identifying the offi ce fi rst.

(1) London Inland Offi ceThe fi rst mark introduced was a 16mm wide triple-framed octagon on May 1, 1880

at the London offi ce and is quite rare (Figure 9), being known only until July 29, 1880. It is generally faint and must not have been regarded as satisfactory for obliteration.

After a gap of a few months a second larger version appeared, fi rst recorded for December 2, 1880. It was larger being 22-23mm across and having a heavier outer


octagon (Figure 10). It was being evaluated for a considerable time, until the end of the experimental period in 1897. Later, in the King Edward VII period, it was pulled out for special use on occasional maritime mail (see postscript). These two types have been categorized as Types I-A and I-B, respectively, by Cohen. In his book he analyses the second type according the code letters. The code letters can be found immediately above the date.

Since specifi c clerks would be using a specifi c mark at any given time, which was

Figure 9: Scarce fi rst type London hexagon introduced on 1 May 1880 (Type I-A).

Figure 10: Late use of the larger second type London hexagon (Type I-B).

recorded, the post offi ce could identify the characteristics of a given clerk. This code letter practice was also used on other marks, especially squared circles, allowing specifi c comparisons. It was followed in all subsequent versions of the marks being discussed in this article, with generally the use of upper case letters throughout.. (Cohen’s “Squared Circle Postmarks of the London Suburban District Offi ces” contains a full discussion of code marks, whereas his “London Fancy Geometric Postmarks” does not.)

Between the introductions of the Types 1- A and 1-B discussed above, a different style of mark was introduced, the squared octagon. There were several modifi cations of this design over its lifetime. It was a double octagon with ornate corners added to make it a square (Figure 11) which later had a much heavier inner octagon (Figure 12). It was fi rst proofed in August 1880 with the LONDON EC offi ce name, rather than the

Figure 11: Early use of the fi rst Lon-don squared hexagon (Type II-A).

Figure 12: The second squared hexagon with thick-lined inner hexagon (Type II-B).


LONDON offi ce name. Referred to as Types II-A and II-B by Cohen, Type II-A appeared during August of 1880 and is known until late 1882, with only codes A, E and F being recorded, paired together with the expected variety of time codes, signifying only three specifi c “hammers”. It is suggested by Cohen that Type II-B was a recut of Type II-A, with a proof entry of February 1883. So, clearly Types I-B and Type II-A were being tested at the same time and being compared. Type II-B appeared fi rst in February 1883, with six codes (A through F) and lasted for two years, again concurrent with Type I-B. It appears that Type I-B was the standard for comparison with the new squared variants, but perhaps it was the reverse.

I have a strange code on an item in my collection which is not referred to in Cohen’s work It is clearly Type II-B, but has a code A plus a sideways 12 (see Figure 13). Figure 13b has been taken with a digital microscope. It is on a postcard to Berlin. This was the fi rst type of real time code used.

A third version, known as Type II-C, was proofed in July 1880, before the November

Figure 13: Unrecorded example of Type II-B with strange time code with (b) higher magnifi cation of postmark.

proofi ng of Type I-B, and was clearly under consideration at an early date, while Type I-A was being tested. It was actually released in August 1882 around the same time as Type II-B. In it the inner hexagon has had its inner edge turned into a circle (Figure 14). This mark is the most common of all the marks tested at the London Inland Offi ce, according to Cohen’s survey of items seen, and lasted until 1895.

It is rather surprising for this type of mark to have been the most common as Cohen


found a note next to a strike of February 11, 1882, following shortly after a second proof strike of the 26th of January. The note stated “The new combined stamps are to be used for “Late Fees” and “Stop Letters” except for those that are used for the Foreign “Late Fees’ which are to be retained.” It then assigns letters A through R to eighteen of these handstamps, as follows: ABCD for Window Late Fees, EFGHIJ for Branch Offi ce Late Fees, K to Lombard St Late Fees, L to Gracechurch Too Late, M to Ludgate Circus Too Late, N&O to Window Too Late and PGR for other services as required. The three branch offi ces mentioned specifi cally were all in the London EC Head District Offi ce area. However since London EC had its own fancy geometric cancels it may be assumed that that the “Window Late Fee” designations applied to London Inland alone. Cohen reports a record of 20 July 1882 stating that P and Q were “to be used for the purpose of stamping correspondence received from the EC branch and Receiving offi ces on the Midday Duty”. Items in my collection marked N, O and P seem to bear this out as they all originate in the City of London.

So why should marks intended for primarily Late Fee Uses be so plentiful? The answer must lie with the number of squared circle, duplex and hooded circle marks in use, dominating the normal cancellation services. This suggestion is borne out by their frequency of occurrence, which is much larger than that of all the London Fancies combined.

(2) London EC Offi ceThe EC offi ce, being in the same complex as the Main Inland offi ce at this time, often

was used in trials. In this case, both the EC offi ce and its branch at Lombard Street took part. The fi rst mark to be used there was a variant on the fi rst proof strike for London Type II-A which used London EC as the offi ce, not London itself. This proof is dated 5 March 1880, prior to the fi rst issue of any London fancy geometric handstamp, but actually prior to the fi rst proof of the simple small octagon (Type I-A) on 16 April 1880. So it was under consideration from the earliest date known. The fact that this mark is a squared octagon means that the Post Offi ce was looking for something similar to, but simpler than, the squared circle handstamps.

The fi rst mark issued to EC was similar to the 1880 proof, but with heavier outer corners and a heavier outermost octagon (Figure 15) and was labeled Type III by Cohen. The fi rst usage of the mark, as reported by Cohen, is 30 November 1880 with code number J followed by a number. So it is known used earlier than the larger single octagon (Type I-B). The squared octagon of London Inland is fi rst recorded 2 August 1880. So, both of these squared octagons were introduced prior to the second larger single octagon mark.

Figure 14: The third type of squared hexagon with rounded inner hexagon (Type II-C).


Whether the release dates are an indication of the preferences of the authorities, or that the manufacture of the second octagon mark took more time is a matter for conjecture. However, it is necessary to remember that the behaviors of all of these marks were being monitored daily and modifi cations being considered in a timely manner. In any case, it is clear from the data that the two squared octagons were ready to be put into service, and may have been ordered at the same time as the fi rst octagon. This mark remained in use until 1897. Cohen records code numbers J through P in use throughout the entire period beginning in 80 - 81, with codes F through I being added later. Clearly, this mark was considered very effective by the authorities. There are problems with the details of some of these “hammers” which will left for another article.

In 1882 two new styles were introduced at London EC where the corners had been

Figure 15: The fi rst squared hexagon of London EC (Type III).

incorporated into the design in a continuous manner with rays inside the triangles. One had a double octagon with three rays (fi gure 16), the other having a double circle with fi ve rays (Figure 17). Cohen refers to the double octagon as Type IV and the double circle as Type V. There were smaller versions with smaller lettering and rounded corners issued in 1891 (Figure 18), but Cohen regards them as variants of types IV and V, as they all had only “hammer” code A. The smaller versions remained in use until 1897 and 1899. The designs of these handstamps are the most refi ned and attractive of all the London fancies.

Figure 16: The second squared octagon of London EC (Type IV).

Figure 17:.The fi rst double circle fancy geometric of London EC (Type V).

Figure 18: The third smaller squared hexagon of London EC, with rounded corners.


(3) The Lombard Street Branch Offi ce of London ECProofs of “hammers’ for Lombard St have been found for April 1882, whereas

recorded usages run from 1882 until 1909, long after the marks of London Inland and London EC had been retired. However, the expected paucity of surviving marks has rendered a detailed analysis impossible. It is recognized that there are two types, with probably two “hammers” of the earlier type in concurrent use. The only recognized difference between Types 1 and 2 is in the lettering at the bottom of the stamps. The E.C. is curved in the fi rst type and is straight across in the second type. Cohen classes them all as Type VII. Both are shown in Figure 19 for comparison (both letters going to Montreal). As these are embossed envelopes it is diffi cult to see all the lettering, but through use of a digital microscope it can be stated that 1897 type 1 has a code letter I set on the right, and the type 2 has the letters BK, both consistent with Cohen’s treatise.

Figure 19: The two types of Lombard Street squared hexagon (Type VII). Below, fi rst type with curved EC from 1897. Above, the second type with straight line EC from 1899.

Understanding the Postal History of these marksIt is necessary to have a tabulation of the marks in order of their introduction into

the system to be able to appreciate the experimental methods of the Post Offi ce used in evaluation and comparison of the performance of the marks. This has been done and is presented in Table 1. I have used the earliest known dates of use, rather than the proof dates since many of the marks do not appear in the proof books. The dates have been entered using the international standard of year - month - day, rather than the American usage.

Many of the most prolifi c marks have as many as seventeen different code letters (not interchangeable), so I have used them as a single group and give the EKU and LKU of the group. In Cohen’s treatise he discusses in detail all the different codes. Cohen did not


sub-categorize his types for London EC and Lombard St BO, as he did for London Inland, so I have introduced sub-categories from his descriptions, which can be recognized using an asterix after the added letter.

It can be seen clearly that the designation of Cohen’s, using design simplicity as a starting point, with marks introduced according to increasing complexity, for each offi ce in order of size, does not in any way indicate the experimental procedure carried out by the Post Offi ce in evaluating the marks. It is clear, as he stated, that the small octagon was the fi rst mark introduced, but it was quickly replaced by two more elaborate marks in 1880, before the larger octagon was introduced in December of that year. Indeed, that mark was preceded by the fi rst mark trialed at London EC.

There was a gap of e i g h t e e n m o n t h s f o r comparison of those three marks before any additional des ign changes were introduced. Five new marks were introduced for trials in 1882. These included only one at the Inland Office, which continued using the larger triple octagon as well, whereas London EC received three and Lombard St BO received its fi rst mark. In 1883-4 the marks with the heavy inner octagon

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TABLE 1: The chronological data of the London Fancy Geometrics in order of EKU.


Figure 20: The double ring combined obliterator adopted for general use in 1896-7.

Figure 21: Late use of 2nd type octago-nal obliterator for cancelling a seamail postcard of Sydney, Australia.

were introduced at the Inland Offi ce. All three further experimental designs were tried at the London EC offi ce. At this time the octagons reverted to thin lines and additional smaller more refi ned types were tried. So it is clear that the Post Offi ce had discovered that the use of heavy killer lines was not necessary to cancel the stamps effi ciently.

It also is necessary to recognize that a variety of single and double ring marks without heavy obliterating sections were being tried on postal stationery without any serious problems (see Figure 3). As mentioned earlier they had tried out, at the busy Birmingham and Liverpool head offi ces, versions of the Scottish marks with slightly heavier double arcs (see Figure 8). They were so satisfi ed with these marks that they tried out large single circle marks on postal cards and wrappers (see Figure 7). One of these large circular marks had a slightly heavy arc inside the space between the double rings.

So, the experimental London EC Fancies of the 1890s, with their light appearance, combined with the postal stationery experimentals must have together convinced the Post Offi ce that the use of lighter cancels would not lead to extensive attempted reuse of stamps with the consequential loss of revenue. However, any decisions had to be approved by The Treasury, to whom the Post Offi ce reported. The result was clearly a compromise between the two as the design chosen to replace the duplex marks and the squared circles was indeed based on the postal stationery trials, but had heavy obliterating arcs between its two rings (Figure 20). This handstamp was easy to maintain and did not require as much cleaning as its predecessors, only the moveable information needing cleaning. It lasted, in various forms, until the 1950s when the arcs became thin and fi nally disappeared in the 1970s. So generations of skeptics at The Treasury continued to rule and had their way until quite recently

PostscriptThe large triple octagon was pulled out of the drawer during the time of Edward VII to be used as a cancel on incoming seamail, usually on postcards (Figure 21).

Paul Phillips founded the Tennessee Postal History Society and edited its journal for many years, as well as the Chronicle of the Great Britain Collectors Club. His collecting interests are generally postal history with three gold medal 10-frame exhibits, two hav-ing won Grands. In PHJ 156 he wrote of “King George V Coronation Day Mail.”


An Earlier “Overland Mail”by Joseph J. Geraci

The cover of the October issue of the Postal History Journal, with an Italian 20 cent blue of 1867, reminded me of an Italian connection with a different ‘Overland Mail.’ Most American collectors are familiar only with Overland Mail being associated with mails to the American West. However, there was an earlier version of “Overland Mail,” inaugurated before the United States version, which was the brainchild of Thomas Waghorn, a British naval officer (1800-1850). It was begun in 1837, when the General Post Office in London approved a route, which Waghorn had originally surveyed, between London and Bombay, and Waghorn received an appointment to superintend the transit of the mails across Egypt.

Waghorn showed that the acceleration of communication could be further enhanced if the mails were sent across France to Marseille on their journey to Egypt, instead of all the way through the Mediterranean by sea via the Straits of Gibraltar. A special Indian mail service under the care of a British officer was inaugurated between Calais and Marseille in 1839. In London, this officer was known as “The Indian Mail Officer,” in Calais and throughout France he was known as ”le courrier anglais,” and in Italy from the frontier town of Modane down to the southern Italian port of Brindisi, “il corriere inglese.”

In the early days when the mails reached Egypt, they were disembarked at Alexandria, conveyed through the Mahmoudieh Canal and the Nile River to Cairo, transported by camels to Suez and from there by steamships down the Red Sea to Bombay. In 1855, a railway line was opened from Alexandria to the Nile, camels still being used to transport the mails between Cairo and Suez, until 1858 when the railway was extended to operate between Cairo and Suez.

The Suez Canal was opened on November 16, 1869, but steamships were only allowed to operate in the Canal during daylight hours, so the mails continued to be sent across Egypt by railway until 1888.

In the autumn of 1870, the Franco-Prussian War broke out, causing an interruption of the mail routes across France. It was found necessary to divert the mails from the Marseille route and send them via Belgium and Germany to Brindisi in southern Italy. The October 1870 outward route was London, Dover, Ostend, Brussels, Cologne, Mainz, Aschaffenburg, Munich, Ala, Verona, Padova and Bologna to Brindisi, where the mails were met by the steamer “Principe Tomaso.” The trip took about four days.

This route was followed until January 1872, when a shorter and quicker route became available via the opening of the Mont Cenis tunnel between France and Italy. This became the “standard highway” for the “Overland Mail” service, until the Great War of 1914-1918.

The 1872 outward route was London to Calais, where “Special Indian Mail” cars were loaded with the Indian Mails and hitched to the train for Paris. At Villeneuve-Triage, on the outskirts of Paris, mails were transferred to a French traveling post office mail car, which was hitched on to the train. Continuing on the journey to Modane, additional mail bags were loaded on at stops along the way. At Modane, on the Italian frontier, the mails passed through Customs and “le courrier” became transformed into “il corriere” as the train entered the Mont Cenis tunnel. The train steamed on, now traveling in a south easterly direction across Italy, passing Torino, Asti, Piacenza, Parma, Bologna, and Forli. The first


glimpse of the Adriatic Sea was made at Rimini, then on to Ancona, Loreto, Pescara and Termoli, and then inland to Foggia, where the Australian Mails were offloaded for the trip to Naples and sent on separately to the Antipodes. Then, on to Brindisi via Barletta, Bari and Monopoli. Upon arrival at Brindisi, the mail car was unloaded by porters who carried the bags on board a waiting steamship.

ReferencesGardellin, Paolo, “Le grande vie di comunicazione, Overland Mail,” Bollettino Prefilatelico e

Storico Postale, No. 111, My 2000, pp. 66-78.Hatswell, R.W., “The Overland Route,” Postal History Society Bulletin, No. 11, June 1939, pp. 1-4.Kirk, R., “1870 “Early Eastern Mails via Brindisi,” The London Philatelist, Vol. 92, May-June

1983, pp. 67-82.Stubens, Fred R., “Effect of the Franco-Prussian War on the Hong Kong Mails,” Postal History

Journal, No. 87, February 1991, pp. 6-20.

Figure 1: Letter in a mourning envelope sent on February 10, 1867 from Livorno (Leg-horn) to Madras, India, carried on the Overland Mail route via Brindisi.

Postal History Society Officers & Board of DirectorsPres.: Yamil Kouri, 405 Waltham St., #347, Lexington MA 02421, U.S.A.Vice Pres.: Douglas N. Clark, P.O. Box 427, Marstons Mills MA 02648, U.S.A.Sec. & Awards Chair: George McGowan, P.O. Box 482, East Schodack NY 12063.Treas.: Gary Loew, P.O. Box 465, Scotch Plains NJ 07076-0465Publicity Chair: David M. Frye, [email protected] Class of 2016 Douglas N. Clark [email protected] Arthur Groten [email protected] Kalman V. Illyefalvi [email protected] George McGowan [email protected] Class of 2017 Terence Hines [email protected] Joseph J. Geraci [email protected] Gary Loew [email protected] Michael Mead [email protected] Class of 2018 Kenneth Grant [email protected] Yamil Kouri [email protected] Timothy O’Connor [email protected]


American Postal History in Other Journalsby Ken Grant

Many articles on U.S. postal history are published each month. In order to present a useful survey of recent publications, we adopt a rather narrow definition of postal history and present what is more an index than a literary endeavor. Unlike an index, however, the present listing contains very little cross-referencing; so that a reader interested in trans-Atlantic mail should check each geographical location from which such mail might have originated. Editors not finding their publication reviewed here need only make sure the publication is available to the U.S. Associate Editor, Ken Grant at E11960 Kessler Rd., Baraboo WI 53913.

General TopicsAir Mail

Steve Swain illustrates various Pennsylvania cachets and autographs in “Postmaster and Pilot Autographs - 1938 National Air Mail Week Covers.” Pa. Post. Hist. Whole No. 205 (November 2015).

John A. Trotsky details the New Jersey connections to the 1929 zeppelin flight in “Jersey City to Lakehurst and Around the World.” NJPH. 43 No. 4 (November 2015).

A cover intended to be sent from Sandusky, Ohio to Budapest, Hungary by airmail and special delivery is explicated in Matthew Liebson’s “A Little More Postage, Mon Ami.” Oh. Post. Hist. J. No. 146 (December 2015).

Auxiliary Markings“Follow-ups to Recent Columns” by John M. Hotchner updates readers with new

information on auxiliary markings such as “Postage Stamp Removed before Receipt” and “Postage Stamps Detached before Receipt” markings. La Posta 46 No. 3 (Third Quarter 2015).

“Run Over by Train at Salem, Ohio” by Matthew Liebson shows a damaged cover which has an auxiliary marking noting the cause of damage. Oh. Post. Hist. J. No. 146 (December 2015).

International mail was sometimes returned because it did not conform to postal regulations. John M. Hotchner illustrates some of these covers in “International ‘Form of Mail’ Problems Revisited.” La Posta 46 No. 4 (Winter 2015).

Civil WarDouglas N. Clark in his article, “Throw Mama from the Train…A Letter,” illustrates and

explains a Confederate cover carried by train and dropped off near the home of the addressee. Ga. Post Roads 23 No. 4 (Fall 2015).

“Dr. Nathaniel Alpheus Pratt Jr. and the CSA Nitre and Mining Bureau” is the subject of Patricia A. Kaufmann’s article outlining the role Platt played during the Civil War and afterward in the mining industry. La Posta 46 No. 4 (Winter 2015).

ForgeriesSteven M. Roth recounts the activities of Henry K. Jarrett, a part-time professional

philatelist, in his article, “Henry K. Jarrett: Forger of United States Postmasters’ Provisionals Stamps and Covers.” The article illustrates forged material confiscated at Jarrett’s arrest. Coll. Club Phil. 94 No. 6 (November-December 2015).

Steven M. Roth continues his account of the forger Henry K. Jarrett in this second installment, “Henry K. Jarrett: Forger of United States Postmasters’ Provisionals


Stamps and Covers. Coll. Club Phil. 95 No. 1 (January-February 2016).Highway Post Offices

In “HPO Postmark Anomalies,” William Keller identifies several philatelically inspired covers containing errors in date slugs. Trans. Post. Coll. 66 No. 6 (September-October 2015).

Postal FormsThe post office department’s receipt for the transmittal of registered mail is the

subject of William J. Keller’s “POD Form 3830.” Trans. Post. Coll. 67 No. 1 (November-December 2015).

Post OfficesWilliam R. Schultz locates and presents background information on the Cloud,

Pennsylvania post office in “The Cloud Post Office (East Goshen Township), Chester County 1881-1899.” Pa. Post. Hist. Whole No. 205 (November 2015).

Steve Bahnsen presents illustrations of seventeen Rhode Island Post Offices in his article “Rhode Island Post Offices.” La Posta 46 No. 3 (Third Quarter 2015).

In the first of a two part series, John Germann focuses on Texas Rural Stations, Rural Branches, and Community post offices in “Forgotten Post Offices.” Tex. Post. Hist. Soc. J. 40 No. 4 (November 2015).

Steve Bahnsen discusses the closing of the Rolling Meadows post office in “Rolling Meadows Post Office Rolls Away.” Ill. Post. Hist. 36 No. 4 (November 2015).

Kelvin Kindahl tells “The Inside Story of the Staples Post Offices.” In addition to illustrating some of the location and cancels, Kindahl provides a complete list of the Staples Contract Post Offices. La Posta 46 No. 4 (Winter 2015).

Railroad MailJames Felton explicates the markings on a Registered Package Receipt issued by the

Eureka & Palisade Railroad in Nevada in his article “Postal Remnants of Another Narrow Gauge.” Trans. Post. Coll. 66 No. 6 (September-October 2015).

“Clearmont & Buffalo RPO” by William Keller traces the route of that Wyoming railroad line which was incorporated in 1909 and abandoned in 1952. Trans. Post. Coll. 66 No. 6 (September-October 2015).

Leonard W. Piszkiewicz shows various markings and covers from a Florida RPO in “Jacksonville & Key West RPO.” The RPO handled a substantial amount of mail from Cuba and Mexico. Trans. Post. Coll. 67 No. 1 (November-December 2015).

Many railroads named trains carrying passengers on various runs. Edward Grimes provides a list of railroad lines and their named trains in “Headlights out of the Past and the Name Trains They Pulled.” Trans. Post. Coll. 67 No. 1 (November-December 2015).

Douglas N. Clark illustrates twenty-seven markings not listed in the U. S. Transit Marking Catalog or the U.S. R.P.O. Catalog in “Unlisted Railroad Postmarks.” Trans. Post. Coll. 67 No. 1 (November-December 2015).

Stamps on CoverSteve Swain’s “Scarce Combination of the Demonetized 1857 and New 1861 3-

cent Washingtons” focuses on a rare example of compliance with the postal


regulation which demonetized the 1857 issue stamps. Pa. Post. Hist. Whole No. 204 (August 2015).

Late uses of the US Presidential Series definitives is the subject of Stephen L. Suffet’s “The Twilight of the Prexies – Rate Changes of July 1, 1957.” Prexie Era. No. 71 (Autumn 2015).

“Postal Censorship during the Prexie Era Part I: Prior to Pearl Harbor” by Dann Mayo illustrates censored covers franked by Presidential Series stamps. Prexie Era. No. 71 (Autumn 2015 Supplement).

World War IJesse I. Spector, Robert L. Markovits and Georgia K. Steele discuss World War I relief

efforts by the Central Relief Committee and the American Jewish Joint Distribution Committee in their article, “Reverend Hugo Hamfeldt and the Central Relief Committee.” La Posta 46 No. 3 (Third Quarter 2015).

“A Great War Postal History Perspective” by Jesse I. Spector and Robert L. Markovits looks at War Camp Community Service covers and allied material. La Posta 46 No. 4 (Winter 2015).

World War IIKen Lawrence focuses on covers mailed at the onset of WWII in “In Transit as the War

Began, 1939-1941.” La Posta 46 No. 4 (Winter 2015).Steve Swain reviews some of the 12,000 different varieties of patriotic envelopes and

postcards produced for soldiers in his article “World War II Postcards for ‘Mother’ Back Home.” Pa. Post. Hist. Whole No. 204 (August 2015).

Georgia“An Early Postmaster’s Free Frank” by Francis J. Crown, Jr. focuses on a pre-1800

stampless cover with the free frank of postmaster W. H. Lange and a Savannah straight line postmark. Ga. Post Roads 23 No. 4 (Fall 2015).

Steve Swain’s “1891 Augusta, GA Carnival Advertising Cover” illustrates a duel advertising cover promoting Stone & Cavanaugh Cotton Factors and Machinery Agents on the front and the Augusta Carnival on the reverse. Ga. Post Roads 23 No. 4 (Fall 2015).

IllinoisPostal history documenting the Quincy, Illinois Egg-o-See cereal company is illustrated

in Jack Hilbing’s “’Dere aint go’n’er be no leavin’s’—Egg-o-See Cereal Company.” Ill. Post. Hist. 36 No. 4 (November 2015).

The Inter-State Industrial Exposition is the subject of Leonard Piszkiewicz’s “Artifacts of the Inter-State Industrial Exposition.” The Chicago exposition building was located on the east side of Michigan avenue between Jackson and Adams where the Art Institute of Chicago currently sits. Ill. Post. Hist. 36 No. 4 (November 2015).

IowaLeo V. Ryan presents a detailed postal history of “Ion, Allamakee County, Iowa.”

Included in the article is background information on Postville and Lansing, two of the other early Allamakee County post offices as well as information on Ion’s various postmasters. Ia. Post. Hist. Soc. Bull. No. 274 (July-August 2015).

MarylandIn “The Postmarks of Rockville, Maryland: Postal Cancellations from 1801 to 1975,”

Wayne Anmuth provides a history of the Rockville post office, a list of postmasters, and a copiously illustrated collection of Rockville postmarks. La Posta 46 No. 3


(Third Quarter 2015).Michigan

C. Wood illustrates two shield-shaped Michigan postmarks in “Howard City and Atwood Non-standard Postmarks.” Peninsular Phil. 57 No. 3 (Fall 2015).

Stampless covers document the discussion that preceded the move of Michigan’s state capital from Detroit in Eric A. Glohr’s “Letters Discussing the Relocation of Michigan’s Capital to Michigan, Michigan.” Peninsular Phil. 57 No. 3 (Fall 2015).

C. Wood illustrates a scroll design cancel in “The Non-standard Postmark of Alto, Mich.” Peninsular Phil. 57 No. 3 (Fall 2015).

New Jersey“The History of the Batsto Post Office” by Arne Englund traces that New Jersey post

office’s opening and closings as well as that location’s iron and glass works. NJPH. 43 No. 4 (November 2015).

A free frank from Amboy, New Jersey illustrates John Edge’s article, “Lawrence Kearny, A Forgotten New Jersey Hero.” Kearny began his naval service in 1806 and retired as a Commodore in 1867. NJPH. 43 No. 4 (November 2015).

A Newark, New Jersey local post office is the subject of Larry Lyons’ “N.J. Local Posts: City Letter Express Mail, Newark, N.J.” Along with the history of the local post, Lyons provides a stamp census. NJPH. 43 No. 4 (November 2015).

Robert C. Rose’s “NJ Straight Line Handstamp Postmarks: Haddonfield, NJ” differentiates between the two different straight line handstamps employed by the Haddonfield post office. NJPH. 43 No. 4 (November 2015).

“Edgarston: A Window to Life in New Jersey during the Revolution” by Jean R. Walton traces the Rutherfurd and Livingston family history during the eighteenth century. NJPH. 43 No. 4 (November 2015).

Jean R. Walton writes about the brief period when the Carteret post office was known by a different name in her article, “Roosevet-Carteret: A Short-Lived Post Office Name (September to December 1922).” NJPH. 43 No. 4 (November 2015).

The postmasters and postal history of the Gloucester County post office is presented by Jean Walton in “Hometown Post Offices: Iona, NJ.” NJPH. 43 No. 4 (November 2015).

North CarolinaTony L. Crumbley proposes that someone undertake the project of compiling a catalog of

all duplex cancels used in North Carolina in his article, “Metal Duplex Cancels – A North Carolina Research Project.” N. C. Post. Hist. 33 No. 4 (Fall 2015).

Richard F. Winter traces the route and markings on a 1854 cover mailed from Asheboro, Randolph County, North Carolina to Cornwall, England in his article, “Asheboro to Cornwall, England.” N. C. Post. Hist. 33 No. 4 (Fall 2015).

“Update of North Carolina Covers with the 1869-Issue Stamps” by Thomas S. Richardson is the third article in a series devoted to compiling a list of North Carolina covers franked with 1869 issue stamps including the originating post office and the destination address. N. C. Post. Hist. 33 No. 4 (Fall 2015).

OhioAlan Borer examines a postal card sent by the president of Otterbein University while

on board the steamboat Ohio in “A Business Trip on the Steamboat Ohio.” Oh. Post. Hist. J. Whole No. 145 (September 2015).

“Road Building, Stagecoaches, and Postal Covers” by Terry Thackery focuses on various


documents regarding road building in western Ohio before the Civil War. Oh. Post. Hist. J. Whole No. 145 (September 2015).

Matthew Liebson discusses stampless telegraph covers in his article “J. H. Wade and the Cleveland and Cincinnati Telegraph Company.” Oh. Post. Hist. J. Whole No. 145 (September 2015).

“First Day of the 1917 War Rate – An Ohio Postage Due Postcard” by Allison Cusick looks at a Beaver, Ohio postcard mailed on November 2, 1917 with a “Pstg Due 1” manuscript marking. Oh. Post. Hist. J. No. 146 (December 2015).

“An Otterbein University All Over Cover” by Alan Borer illustrates the only cover known to the author with an all over design of Otterbein University. Oh. Post. Hist. J. No. 146 (December 2015).

Joyce L. Alig focuses on the name change of a Marion Township post office in “Sebastian or Saint Sebastian, Mercer County.” Oh. Post. Hist. J. No. 146 (December 2015).

OklahomaJames Weigant discusses an Osage County postcard from Bartlett, Oklahoma, whose post

office was open between 1908 and 1910. Okla. Phil. (3rd Quarter 2015).Oregon

Ralph H. Nafziger writes a brief postal history of the Bridal Veil, Oregon post office in “From Lumber to Weddings: The Bridal Veil, Oregon, Post Office.” La Posta 46 No. 4 (Winter 2015).

PennsylvaniaGus Spector illustrates a number of Philadelphia covers involving the production and

sale of pianos in his article “52 White, 36 Black.” Pa. Post. Hist. Whole No. 204 (August 2015).

“A Heretofore Unreported Philadelphia Received Variant” by Norman Shachat illustrates an International Machine cancel variant not included in the Catalog of Philadelphia Postmarks. Pa. Post. Hist. Whole No. 204 (August 2015).

In a follow-up to the preceding article by Norman Shachat, Tom Clarke locates the listing of the “Variant” in “Type R132 Lives!” Pa. Post. Hist. Whole No. 205 (November 2015).

Phillip G. Russell continues with his article on New Hope, Pennsylvania postal history in “New Hope Postal History Letters: Covers with the Circular NEW HOPE/PA. CDS.” Pa. Post. Hist. Whole No. 205 (November 2015).

Tom Mazza updates manuscript markings from Philadelphia, Pike, and Potter counties in “2nd Update on Pennsylvania Manuscript Markings, Part XIX.” Pa. Post. Hist. Whole No. 205 (November 2015).

TexasThomas Lera offers some basic directions to assist new philatelic researchers in “Researching

Texas Postal History.” Tex. Post. Hist. Soc. J. 40 No. 4 (November 2015).Vermont

Glenn Estus illustrates a cover from a discontinued post office which had not yet been recorded in his article, “A New Postmark Discovery: Vermont’s East Charlotte Rural Station.” La Posta 46 No. 3 (Third Quarter 2015).

Two articles, “Surge Tank” by Michael McMorrow and “More on Surge Tank” by George C. Slawson focus on the short lived Surge Tank, Vermont post office which came into being at the time the Harriman Dam was being constructed. Vermont Phil. 60 No. 3 (August 2015).


Bill Lizotte presents the history of Tyson Furnace and Tyson named for a Quaker metallurgist in his article “Postal History of Tyson Furnace and Tyson.” Trans. Post. Coll. 66 No. 6 (September-October 2015).

Bill Lizotte looks at eight discontinued post offices of Franklin County in “Annual DPO Sampler: Franklin County.” Vermont Phil. 60 No. 4 (November 2015).

WisconsinDarren Mueller shows covers and a post card connected to the Yerkes Observatory in his

article, “Yerkes Observatory, est. 1897 – Postal History of Williams Bay, Wisconsin.” Badger Post. Hist. 55 No. 2 (November 2015).

In “Register of Officers and Agents, Civil, Military, and Naval in the Service of the United States: Wisconsin Contractors for 1857,” Darren Mueller reviews this official register which contains detailed information regarding the Post Office Department. His focus is on Wisconsin contractors listing their routes, names, and pay. Badger Post. Hist. 55 No. 2 (November 2015).

Cuba“Possession Postage Dues--Cuba, Part II” by Harry K. Charles, Jr., and Clarke Yarbrough

discuss uses of U.S. postage due stamps overprinted for use in Cuba as well as Cuba’s first three issues of postage due stamps. US Spec. 86 No. 11 (November 2015).

GuamMike Ley’s “A 50-Cent Full Pane, Then Some” presents a large cover mailed from Guam

to Hawaii franked with $51.60 including a full sheet of the 50-cent Presidential series. Prexie Era. No. 71 (Autumn 2015).

Journal AbbreviationsBadger Post. Hist. = Badger Postal History, Ken Grant, E11960 Kessler Rd. Baraboo WI 53913

and William B. Robinson, 1641 Bruce Ln., Green Bay WI 54313-5503.Collect. Club = The Collectors Club Philatelist, Gene Fricks, 22 E. 35th St, New York NY 10016-3806Ga. Post Roads = Georgia Post Roads, Douglas N. Clark, Box 427, Marstons Mills MA 02648.Ia. Post. Hist. Soc. Bull. = Iowa Postal History Society Bulletin, William Dall, Box 1375,

Dubuque IA 52004.Ill. Post. Hist. = Illinois Postal Historian, Leonard Piszkiewicz, 951 Rose Court, Santa Clara CA 95051.La Posta = La Posta: A Journal of American Postal History, Peter Martin, Box 6074,

Fredericksburg VA 22403.N.C. Post. Hist. = North Carolina Postal Historian, Tony L. Crumbley, Box 681447, Charlotte

NC 28216.NJPH = NJPH The Journal of New Jersey Postal History Society, Robert G. Rose, Box 1945,

Morristown NJ 07062.Oh. Post. Hist. J. = Ohio Postal History Journal, Alan Borer, 568 Illinois Ct., Westerville OH 43081.Okla. Phil. = The Oklahoma Philatelist, Reggie Hofmaier, 4005 Driftwood Circle, Yukon OK 73099.Pa. Post. Hist. = Pennsylvania Postal Historian, Norman Shachat, 382 Tall Meadow Ln, Yardley

PA 19067. Peninsular Phil. = The Peninsular Philatelist, Charles A. Wood, 244 Breckenridge West,

Ferndale MI 48220.Prexie Era = The Prexie Era, Louis Fiset, 7554 Brooklyn Avenue NE, Seattle WA 98115-1302.Tex. Post. Hist. Soc. J. = Texas Postal History Society Journal, Tom Koch, 1013 Springbrook

Dr., De Soto TX 75115.Trans. Post. Coll. = Transit Postmark Collector, Douglas N. Clark, Box 427, Marstons Mills MA 02648.US Spec. = The United States Specialist, Leonard Piszkiewicz, 951 Rose Court, Santa Clara CA 95051.Vermont Phil. = The Vermont Philatelist, Glenn A. Estus, Box 451 Westport NY 12993-0147.


General – Postal Equipment“Dinosauri postali,” by Leonardo Amorini, photographs two ancient marble mailboxes

(boca) built into the walls of two buildings, one in Portovenere dated 1680, in excellent condition, and another in Piazza Alberica in Carrara, date unknown. (Il Monitore della Toscana, No.20, November 2014. Rivista della Associazione per lo Studio della Storia Postale Toscana, via Cavour 47, 50053 Empoli, Italy.)

“From Duplex to Mechanical: The Evolution of Experimental & Early Machine Postmarks, Worldwide… 1857-1920’s, Part 3,” by Jerry H. Miller, continues his discussion of early machines and the cancels they produced, in Germany, Great Britain, Norway and New Zealand. (The Collectors Club Philatelist, Vol. 93, No. 5, September-October 2014. The Collectors Club, 22 East 35th Street, New York, NY 10016-3806.)

“Bickerdike Machine Cancellations,1897-1907, (Part 2),” by Pat Campbell, continues his study of this enigmatic machine cancellation, which incorporated the letters “V (crown) R” (Victoria Regina), still in use about six months after Queen Victoria passed away, during the period when her son Edward VII was reigning. Several different types of the marking are identified and described. (Postal History, No. 351, September 2014. Postal History Society, Secretary Steve Ellis, 22 Burton Crescent, Stoke-on-Trent, ST1 6BT, England, UK.)

“Italian Inventor Created First Meter Mark Machine (Part 2),” by Giorgio Migliavacca, continues his discussion of this coin operated meter mark machine invented by Detalmo di Brazza Savorgnan, and illustrates three of eleven depictions of the machine which accompany his request for patent protection. Details of how the machine functioned are explained. Incidentally, Detalmo was the brother of Pierre di Brazza Savorgnan, the first European to explore the Congo, and who lent his name to Brazzaville. (Fil-Italia, No. 162, Autumn 2014. Journal of the Italy & Colonies Study Circle, Secretary Richard Harlow, 7 Duncombe House, 8 Manor Road, Teddington, Middx., TW11 8BG, England, United Kingdom.)

General - Postal Guides“Le guide postali italiane secoli XVI – XVIII,” by [the late] Vito Salierno, discusses the

beginnings of postal services, awakened by the improving economies of merchants and bankers which in turn encouraged the establishment of courier services, leading to the publication of travelers and postal guides. The author illustrates and describes the front covers of 77 different guides, the first being Le poste necessarie a corrieri per l’Italia, Francia, Spagna e Alemagna, (Venice 1560), and the final one he notes in this study is that published in 1799, Itinéraire des routes les plus fréquentées au journal de plusieurs voyages aux villes principales de l’Europe, (Livourne).

Foreign Postal History in Other Journalsby Joseph J. Geraci

Frequently, general or specialized philatelic periodicals publish good foreign postal history articles. If one is not a member of that society or does not subscribe to that journal for one reason or another, that particularly useful article may be missed. The purpose of this compendium is to list and briefly describe as many significant foreign postal history articles as we have seen. No doubt there will be other good articles which we have missed that are equally as valuable in postal history content, and we would be obliged if our readers would call them to our attention for inclusion in the next compendium. Thank you for your assistance!


(Bollettino Prefilatelico e Storico Postale, No. 181, September 2014. (Organo ufficiale del’Associazione per lo Studio della Storia Postale, Editor Adriano Cattani, Casella Postale 325, 1-35100 Padova, Italy.)

Austria“The Austro-Egyptian Postal Treaty, 1912-1914,” by Peter A.S. Smith, translates the

highpoints in this largely unknown postal convention, only a few years in operation before the beginning of World War I. (The Collectors Club Philatelist, Vol. 93, No. 6, November-December 2014. See address of contact under second entry for General – Postal Equipment.)

Belgian Congo“Private Labels of the Upper Ubangi, 1898-1899,” by Luc Vander Marcken, presents the

story of private labels used for the carriage of mail from missionary bases, printed under the authority of Bishop Prosper Augouard. (Journal of the France & Colonies Philatelic Society, No. 272, June 2014. Secretary P.R.A. Kelly, Malmsy House, Church Road, Leigh Woods, Bristol, BS8 3PG, England, United Kingdom.)

Cameroun“Douala to Marseille – A Multifaceted 1936 Airmail Cover,” by Marty Bratzel, explores

the rather complicated postage due charge on this large, oversize mis-dated cover, which was bears an airmail surcharge, when there was no airmail service from Douala at that time. (Journal of the France & Colonies Philatelic Society, No. 272, June 2014. See address of contact under Belgian Congo.)

Canada“Admiral Era Fraud Orders,” by R. Parama, examines the 1912 regulations forbidding

the transmission of pamphlets or printed matter of an indecent, immoral, seditious or scurrilous character, including lotteries, and illustrates and explains two covers removed from the mails by post office officials as fraudulent mail. (BNA Topics, No. 544, Third Quarter 2015. Journal of the British North American Philatelic Society, Circulation Manager Wayne Smith, 20 St. Andrews Road, Scarborough , ON M1P 4C4, Canada.)

“Update on the ’D.w.’ covers – Part 3,” by Chris Hargreaves, continues the search for the meaning of this handstamp on pre-World War II airmail covers, and increases the list of known covers with this marking with an additional 19 covers, 1931-1932. (BNA Topics, No. 544, Third Quarter 2015. See address of contact under first entry for Canada.)

Colombia“Peru + SCADTA, 1931,” by Thomas P. Myers, discusses a cover originating in Lima,

Peru, bearing a Colombian SCADTA postage stamp to pay the airmail fee in Colombia, 1930. (Copacarta, Vol. 31, No. 4, June 2014. Journal of the Colombia/Panama Study Group, Secretary Scott Scaffer, 15 Natureview Trail, Bethel, CT 06081.)

“Air Mail for Towns without Air Mail Service in 1932,” by Thomas P. Myers, examines two covers mailed from, or mailed to, towns which did not have air mail service, and seeks to determine why they were processed differently. (Copacarta, Vol. 31, No. 4 (5), June (September) 2014. See address of contact under first entry for Colombia.)

“A Microcosm of Colombian Airmail to Europe in 1940,” by Thomas P. Myers, analyses a February 2, 1940 registered cover addressed to London, as to its route and postal rate, as a typical cover to Europe, at that time. (Copacarta, Vol. 31, No. 4, June 2014. See address of contact under first entry for Colombia.)


Cuba“Notes About the Maritime Mails Between Spain and Cuba (1851-1861),” by José Maria

Raya Sànchez, provides background about the shipping companies involved, the names of the vessels involved with many of their respective histories, and quotations from postal circulars concerning the service and the role of the ports of Cadiz and Santander in carrying the mails between Spain and Cuba. (Journal of Cuban Philately, No. 21, July–September, 2015, International Cuban Philatelic Society, Secretary Laura Maria Herrera, P.O. Box 34434, Bethesda, MD 20827.)

“Royal Decree Ordering the End of the Y1/4 Surcharges,” by Ernesto Cuesta, illustrates and translates a royal decree of April 1860 ordering the Treasury Superintendent for Cuba to discontinue surcharging postage stamps. (Journal of Cuban Philately, No. 21, July-September 2015. See address of contact under first entry for Cuba.)

“The First Cuban Airmail Covers Transported on a Military Jet Plane,” by Juan Hernàndez Machado, relates the story of the carriage of mail on a special military jet flight on November 14, 1955 between Havana and Miami, taking only 18 minutes to complete the journey. Upon arrival at Miami, two mail bags, containing 690 covers, were turned over to a representative of the U.S. post office for further transmission. (Journal of Cuban Philately, No. 20, April–June 2015. See address of contact under first entry for Cuba.)

Denmark“1897 Stationery Card from the Faroe Islands to Germany,” by Geoffrey Noer, describes

life in the Faroe Islands at that time, some 13,000 inhabitants, with no industry except the fishing industry, living off the bounty of the seas. (The Posthorn, No. 280, August 2014. Journal of the Scandinavian Collectors Club, Secretary Alan Warren, P.O. Box 39, Exton, PA 19341-0039.)

“Divided Postcards: The Introduction and Early Postal History in Scandinavia.” (See under Scandinavia.)

Egypt“The Austro-Egyptian Postal Treaty, 1912-1914.” (See under Austria.)

Ethiopia“Correspondence of Italian Prisoners of War in Ethiopia during WWII, (Part 1),” by

Luciano Maria and Maria Marchetti, discusses the capture of Italian troops during the Ethiopian campaign, lists the known prisoner of war camps they were sent to (as well as the camps civilians were housed in), provides a table of temporary camps in Ethiopia for military prisoners waiting to be sent to permanent camps in other British-Allied countries and lists the camps civilians were sent to. Many interesting POW covers are illustrated and discussed, 1940-1941. (Fil-Italia, No. 162, Autumn 2014. See address of contact under fourth entry for General - Postal Equipment.)

France“Mrs. Simpson Letter,” transcribed by Ashley Lawrence, calls our attention to this

facsimile of a Paris balloon letter that was published by Letts and Son and Co., Limited, London, a printing firm as a souvenir of the Siege of Paris in 1870. The transcribed letter is dated Sept. 28, 1870, and describes the author’s experiences during the Siege. (Journal of the France & Colonies Philatelic Society, No. 268, June 2013. See address of contact under Belgian Congo.)

“The Postal Treatment of Journals and Periodicals in France: The Type Sage issue of


France, 1876-1900,” by Peter Kelly, sets forth the rates for posting journals and periodicals, and explains the complicated rate system, which dates back to 1856. (Journal of the France & Colonies Philatelic Society, No. 272, June 2014. See address of contact under Belgian Congo.)

“Il crollo della Francia- Le invasioni,” by Riccardo Bertolotto, relates the fall of France in June 1940, the invasion by Germany and Italy, the confusion caused by the rapid advance of the Germans, the panic of the population trying to exit the war zones, roads blocked by the sheer number of automobiles, carts and people on foot trying to get away, civil servants abandoning their posts, the post offices only partially functioning, radios not broadcasting, newspapers and magazines not publishing, so the population had no idea of the scope of the invasion or what was happening. Many interesting covers are shown, posted in June, July and August 1940, show auxiliary markings applied by postal authorities. (Il Foglio, No. 181, September 2014. Rivista dell’Unione Filatelica Subalpina, Via Petrarca 12, 10126 Torino, Italy.)

“The Postal History of P.A. Arromanches, 1945-1974,” by David Trapnell, weaves the story of this aircraft carrier (Porte-Avions) from its launch in Glasgow, through the Indochina and Bizerte campaigns, to her decommissioning in 1974. (Journal of the France & Colonies Philatelic Society, No. 272, June 2014. See address of contact under Belgian Congo.)

Germany“ZR-3 – USS Los Angeles,” by Norm Gruenzner, tells the story of a zeppelin constructed

after World War I as part of the war reparation to the United States, and illustrates a German cover carried aboard the airship on its initial trip to Lakehurst Air Naval Station. (Military Postal History Society Bulletin, Vol. 53, No. 3, Summer 2014. Secretary Louis Fiset, P.O. Box 15927, Seattle, WA 98115-0927.)

“La Feldpost tedesca usata dagli italiani durante la R.S.I.,” by Sergio Colombini, discusses the German feldpost numbers Italian troops associated with the Italian Socialist Republic (R.S.I.) used after September 1943 and provides a table of the feldpost and “Ken” numbers they utilized, 1944-1945. (Posta Militare e Storia Postale, No. 131, June 2014. Rivista dell’Associazione Italiana Collezionisti Posta Militare, President Piero Macrelli, CP 180, 47900 Rimini, Italy.)

“The Importance of the A.M. Post Series for Germany,” by A. Fritz, outlines the postal situation in Germany, especially around Kiel where the author lived, both before and after the German surrender on May 8, 1945, discusses the prohibition of all Nazi stamps and the issuance of new stamps with a large “M” in the center, signifying “Militär” (Military). (Possessions, No. 130, Third Quarter 2014. Journal of the United States Possessions Philatelic Society, Secretary Dan Ring, P.O. Box 113, Woodstock, IL 60098.)

“German Locals, 1945-1946,” by Peter Chadwick, looks at the reasons for the authorization of overprints on Hitler-head and other Nazi stamps in German post offices by the Russians for use in the East Zone, together with the postage rates for letters and cards. (Postal History, No. 351, September 2014. See address of contact under third entry for General - Postal Equipment.)

Great Britain“Bickerdike Machine Cancellations, 1897-1907, (Part 2).” (See under General – Postal

Equipment.)


“WWI – British Censorship at Syra/Syros,” by Graham Mark, reviews the situation in Greece at the beginning of the war and records the beginnings of postal censorship at Syros on Greek mail, illustrating the various handstamps used, with examples on cover. (Postal History, No. 351, September 2014. See address of contact under third entry for General - Postal Equipment.)

Greece“1941-1944: La tragédie grecque (seconda parte),” by Ivan Cacitti, continues his discussion

of the German occupation, Greek collaboration in establishing a formation which became the Battalion of Security (formed to counter communist and Bolshevik inroads), the new stamp issues produced at Salonika in 1944 as well as German censorship of the mails. (Posta Militare e Storia Postale, No. 131, June 2014. See address of contact under second entry for Germany.)

Hawaii“Honolulu Cholera Epidemic Mail: 9 August -23 October 1895,” by Jeffrey Erichson,

looks at the cholera epidemic brought to Hawaii by the steamer Belgic from China/ Hong Kong/ Japan when she docked on August 9, 1895, illustrates many fumigated covers, and provides a table of 46 covers known to have been mailed from Hawaii up to October 23, 1895. Some were deliberately overpaid and were philatelicly inspired. (Possessions, No. 131, Fourth Quarter 2014. See address of contact under third entry for Germany.)

Hungary“The Postage Due Stamps of Hungary,” by Lyman R. Caswell, gathers together twenty years

of research on Hungarian postage due stamps and their uses. He begins with historical background, describing how to read a Hungarian cover, how postage due was assessed before postage due stamps were issued, the printing and creation of varieties on postage due stamps, trial color proofs produced, watermark types, overprints, inflation and currency changes, 1903-2000. (American Philatelic Congress Book, 2015. Secretary Ross A. Towle, 400 Clayton Street, San Francisco, CA 94117.)

Indonesia“Soekarno and Suharto: The First and Second Presidents of Indonesia, A Philatelic

Collage,” by Mardjohan (John) Hardjasudarma, relates the postal history of the country just after the Second World War, and the reasons behind the issuance of various commemoratives and overprinted stamps, 1945-1999. (Netherlands Philately, Vol. 38, No. 4, July 2014. Magazine of the American Society for Netherlands Philately, Secretary Ben H. Jansen, 1308 Pin Oak Drive, Dickinson, TX 77539-3400.)

Ireland“An Irishman Always Writes Home: Two Centuries of Letters to Hibernia during Times

of Turmoil, Part I,” by John Pedneault and Kees Adema, illustrates and describes a number of stampless and stamped covers, especially the postal rates, written by Irishmen in foreign armies to friends and family back home. 1757-1865. “Part 2” continues the story up to 1944. (The Collectors Club Philatelist, Vol. 93, Nos. 5 and 6, September-December 2014. See address of contact under second entry for General – Postal Equipment.)

Italy“Servizi postali ferroviari in Toscana: 1861-1905 (3a parte),” by Alessandro Papanti,

illustrates the rectangular types of markings used aboard the trains by the Corriere


(Postal Couriers), and the change in terminology from Corriere to Messaggeri (Postal Messengers) as reflected by the new rectangular postmarks. (Il Foglio, No. 181, September 2014. See address of contact under third entry for France.)

“Cassette Postali sulle Ferrovie,” by Carlo Vicario, discusses these rounded corner, rectangular postmarks bearing this inscription which were used in Sicily indicating mail was posted in a box on board the train, and provides a table recording those covers and cards the author has recorded, 1876-1903. (Sicil-Post Magazine, No. 30, December 2014-January 2015. (Rivista della Associazione Nazionale di Storia Postale Siciliana, Prof. Dr. Umberto Balistreri, Via Salvatore Aldisio 3, 90146, Palermo, Sicily, Italy.)

“Studio quantitativo sul numero di lettere spedite ‘per consegna’ dai regi uffici toscani, Parte III,” by Fabrizio Finetti, continues with his study of the quantity of registered letters passing through the mails, this time concentrating on the post office at Colle Val d’Elsa (1889-1890), and also showing a report from the collecting office at Gavorrano (1887). (Il Monitore della Toscana, No. 20, November 2014. See address of contact under General – Postal Equipment.)

“La ‘R.N. Fieramosca’ alla guerra dei Boxers (1900-1901),” by Valter Astolfi, provides the history of the Italian Royal Navy armored battleship Fieramosca, from her launching in 1888 to her involvement in the Boxer Rebellion, recording when and which Chinese ports she called at and the engagements her sailors participated in together with other Allied troops at Tientsin and Peking. (Posta Militare e Storia Postale, No. 131, June 2014. See address of contact under second entry for Germany.)

“Siena e dintorni fra ottocento e novecento 1890-1920, Parte IV, Siena – San Martino (oggi Siena Succ. 2.),” by Giuseppe Pullini, tells the story of the Siena office from its opening in 1908, until the postmasters’ retirement in 1987. Apparently there were only two types of datestamps known for this town, both gullers with open lunettes, one enclosing ”Terzo S. Martino” with parentheses and one without parenthesis. (Il Monitore della Toscana, No. 20, November 2014. See address of contact under General – Postal Equipment.)

“I bolli Guller delle province di Siena e Grosseto,” by Massimo Monaci and Paolo Saletti, provides a table of 104 towns in the province of Siena, and 124 towns in the province of Grossetto, using guller type town date stamps up to 1946. (Il Monitore della Toscana, No. 20, November 2014. See address of contact under General – Postal Equipment.)

“L’ultimo viaggio con la Sicilia negli occhi, nella mente e nel cuore, R. Nave Militari Italiane perdute durante la seconda guerra mondiale, Parte seconda,” by Franco Napoli, continues his summary naming those Italian naval vessels sunk or destroyed, whose home base was Syracuse, Augusta, Trapani, Catania, Pantelleria, Lampedusa, Favignana, Termini Imerese, Milazzo or Mazzara del Vallo, 1940-1945. (Sicil-Post Magazine, No. 30, December 2014-January 2015. See address of contact under second entry for Italy.)

“Greek-Italian War 1940: Italian Prisoners of War Mail,” by Marc Parren, outlines the history of this conflict and discusses both the Red Cross Scheme and the Vatican Message Scheme, which regulated correspondence with the prisoners, and illustrates a number of covers to and from the prisoners. (Fil-Italia, No. 162, Autumn 2014. See address of contact under fourth entry for General - Postal Equipment.)

“Sulla incursione di un francobollo della Repubblica Sociale Italiana nella affrancatura di


una corrispondenza del 1945 in Sicilia. Usi tardivi (borderline e off-limits) di valori della RSI nel territorio nazionale,” by Giulio Santoro, discusses mail originating in Sicily, illegally franked with at least one stamp of the Italian Socialist Republic, which apparently were tolerated with no penalty, 1944-1957. (Sicil-Post Magazine, No. 31, June 2015. See address of contact under second entry for Italy.)

Jamaica“Jamaica, 1858 to 1860,” by Steve Jarvis, states that while postage stamps were introduced

in May 1858, they were only permitted for use on packet mail. They were not to be obliterated at any office other than Kingston, which was issued the killer “AO1.” However, some offices felt uncomfortable leaving the adhesives un-cancelled and tied them to the cover with their town datestamp, or as in the case of Spanish Town, an old “1/2” rate hand stamp was resurrected and and used there. (Postal History, No. 351, September 2014. See address of contact under third entry for General - Postal Equipment.)

Japan[A Largely Unknown Airport Figures in the First Flight from Osaka to Dairen], by Ron

Casey, answers a member’s question concerning the stopover point on the map provided of the flight route and identifies the name of the airport as Tachiarai and not Fukuoka, as erroneously stated in airmail philatelic literature, 1926. (Japanese Philately, Vol. 69, No. 5, October 2014. International Society for Japanese Philately, Assistant Publisher, Lee R. Wilson, 4216 Jenifer Street N.W., Washington, DC 20015.)

“Karl Lewis Covers, Part 3: Japanese Occupation Origins,” by Todd Lewis, examines those handpainted, illustrated covers which Karl Lewis produced, and which he had arranged to be mailed to his subscribers from Japanese occupied territories, including China, Manchukuo, Taiwan, Korea, the Japanese Mandated Islands of the South Seas and Southern Sakhalin Island, 1930’s. (Japanese Philately, Vol. 69, No. 4, August 2014. See address of contact under first entry for Japan.)

“A New Variation of Roman-Letter Swordguard Postmarks with Medium-Thick Chords,” by Anker Nielsen, illustrates and describes a newly discovered variation of a guller type circular datestamp (known to Japanese postmark collectors as a “swordguard”), where the horizontal lines above and below the date are thicker than normal, and provides a table of towns known to have used this type of postmark, with earliest and latest date. (Japanese Philately, Vol. 69, No. 5, October 2014. See address of contact under first entry for Japan.)

Lombardy-Venetia“Da una Postalità Urbana a una Postalità Bucolica, Contadinelle Incivilite Mantovane,” by

Clemente Fedele, explores a little known aspect of a line of organized communication serviced by messengers on foot or transported by private courier, under the aegis of the community, and lists the localities served by this system, who the corrispondence was delivered to, and the day of delivery in Mantova. Two broadsides showing the Arrival and Departure of the posts to and from Mantova are shown, 1745-1768. (Storie di Posta, New Series, No. 11, May 2015. Rivista del’Associazione Italiana di Filatelia e Storia Postale, President Franco Filanci, Viale Partigiani d’Italia 16, 43100 Parma, (PR), Italy.)

Modena“Scambio di corrispondeze fra il Regno di Sardegna ed il Ducato di Modena,” by Emilio

Simonazzi, examines mail exchange between the Duchy of Modena and the Kingdom


of Sardinia during the period 1852 and 1859, and discusses the postal rates shown on the covers illustrated. (Posta Militare e Storia Postale, No. 131, June 2014. See address of contact under second entry for Germany.)

Netherlands Indies“The Netherlands East Indies, the First Issue 1864,” by Tay Peng Hian, illustrates some

fabulous large blocks of the 10 cent denomination, mint and used, used strips, postal markings and covers from this award-winning collection sold by David Feldman. While there is no explanation of the postal history connected with the covers, the illustrations are a delight to the eye. (Netherlands Philately, Vol. 38, No. 4, July 2014. See address of contact under Indonesia.)

“The Netherlands East Indies, 1939-1942, Part II, Censor mark: GECENSUREERD 1 thru 19,” by Saburo Masuyama, illustrates these, unframed, three lined censor handstamps applied to mail exiting the Dutch East Indies, as well as some internal mail checked to see if currency was enclosed. The censor mark numbers known by the author are 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 13, 18 and 19. These numbers may represent individual censor personnel, but more research needs to be done. (Netherlands Philately, Vol. 38, No. 4, July 2014. See address of contact under Indonesia.)

Newfoundland“The St. John’s Central Post Office,” by David Piercey, reviews the history of the central

post office in St. John’s, known as a receiving office, which was established in 1886. The old G.P.O. had just been closed having serviced the public since 1857, but a newly constructed post office building was located far from the business district and was inconvenient to the business community. For this reason, the receiving office was established in a well known bookstore, and given its own datestamp. (BNA Topics, No. 544, Third Quarter 2015. See address of contact under first entry for Canada.)

New Zealand“New Zealand: The Short Life of the 1935 1 1/2d Definitive Stamp,” by Robert P.

Odenweller, discusses the design, plates, “Official” overprints for government use, rates and usages for the 1 1/2d stamp, and illustrates some interesting uses on cover. (American Philatelic Congress Book, 2015. See address of contact under Hungary.)

Norway“Divided Postcards: The Introduction and Early Postal History in Scandinavia.” (See

under Scandinavia.)Panama

“2014 Update on the 20-27 March 1900 Registered Covers to Luria in Hamburg with Panama F3 Stamps,” by David Zemer, provides an updated table of all registered covers known to date, addressed to Mr. H. Luria in Hamburg, bearing a Panama F3 registration label, by date of use. (Copacarta, Vol. 31, No. 4, June 2014. See address of contact under first entry for Colombia.)

Peru“Peru + SCADTA, 1931.” (See under Colombia.)

Russia“Provisional Postal Regulations of the Russian Empire, (Issued by the Minister of the

Interior, 12 June 1871),” translated by Howard Weinert, records all 100 Articles of these Regulations, as well as an Addenda listing cities with first class district post offices and some Special Regulations. (Rossica, No. 163, Fall 2014. Journal of the


Rossica Society, Secretary Dr. Alexander Kolchinsky, 1506 Country Lake Drive, Champaign, IL 61821-6428.)

“The Early Years of the Russian Post in Bukhara,” by Howard Weinert, describes the expansion of Russian military moves in Central Asia, in particular to counter British influence in India and Afghanistan. The development of a postal service in Bukhara, the establishment of a telegraph service and the extension of the Transcaspian Military Railroad across Bukhara to Samarkand, all served to strengthen Russia’s hold on that province. Supporting the postal history of the area are several scarce covers illustrating the postmarks applied, 1881-1902. (Rossica, No. 163, Fall 2014. See address of contact under first entry for Russia.)

“Priamurye Government Postcard Rate in December 1921,” by Dick Scheper, attempts to determine what the internal postcard rate was during this unsettled time, 3 kopeks or 5 kopeks, as both seem to have been applied indiscriminately. (Rossica, No. 163, Fall 2014. See address of contact under first entry for Russia.)

“Changes in Russian Navy Mail after the February Revolution of 1917,” by Vladimir Berdichevskiy, describes the events leading to a rebellion of the sailors on naval vessels which killed many officers, and changes that occurred when vessels were renamed, changes in handstamp cachets associated with these vessels, and new basic rules for servicing naval personnel correspondence. (Rossica, No. 163, Fall 2014. See address of contact under first entry for Russia.)

St. Kitts“St. Kitts World War II Transit Censorship,” by Hap Pattiz, illustrates a 1945 cover which

originated at Saba, in the Netherlands Antilles, which bears an interesting censor strip indicating it was censored at St. Kitts. (Journal of the British Caribbean Philatelic Study Group, No. 257, October-December 2015. British Caribbean Philatelic Study Group, Secretary Mary Gleadall, 394 Kanasgowa Dr., Connestee, Brevard, NC 28712.)

Sardinia“The Three-Line VIA DI/ MARE Entry Marks of the Ligurian Ports,” by Alan Becker,

presents a study of this maritime arrival marking, applied at Genova, Nizza (Nice), La Spezia and Porto Maurizio, and breaks down the three different types “A” (possibly America), “E” (Estero, Foreign, Mediterranean area), and ”I” (Interno, Internal, originating in the Sardinian States), through use of their measurements and by lining up the individual letters in the text, one above the other. Tables of the author’s findings are presented. (Fil-Italia, No. 162, Autumn 2014. See address of contact under fourth entry for General - Postal Equipment.)

“Con la storia postale nella prima guerra d‘indipendenza,” by Alessandro Bertucci, reviews the beginnings of the revolutions of 1848 in Paris, Vienna, Budapest, Palermo, Naples, Torino and Milano, where the Austrian army withdrew from the city after five days of fighting in the streets. The story continues with the invasion of Austrian Lombardy by Sardinian forces and their subsequent defeat by Austrian forces. Several nice Sardinian military covers are illustrated, together with transcriptions of their texts. (Il Foglio, No. 181, September 2014. See address of contact under third entry for France.)

“Scambio di corrispondeze fra il Regno di Sardegna ed il Ducato di Modena.” (See under Modena.)


Scandinavia“Divided Postcards: The Introduction and Early Postal History in Scandinavia,” by Per

Gustafson, provides tables of where divided postcards could be sent, from Norway, Sweden and Denmark, based upon bilateral agreements, and also describes the development of national regulations and international agreements which permitted the exchange of divided back postcards. (The Posthorn, No. 280, August 2014. See address of contact under first entry for Denmark.)

Sweden“Divided Postcards: The Introduction and Early Postal History in Scandinavia.” (See

under Scandinavia.)Togo

“The Gold Coast - Type Cancels of Togo, 1916 - to 1950?” by Bill Mitchell, discusses similarities and differences between these datestamps manufactured for Togo, Agome Palime, Tsewii, Kwahu Prasu, Nkawkaw and Kpandu. (Journal of the France & Colonies Philatelic Society, No. 268, June 2013. See address of contact under Belgian Congo.)

Turkey“Ottoman Censor Markings during World War I: Lebanon and Palestine,” by John Garton,

illustrates a number of covers showing typical Ottoman censor markings for Beirut, Baabda, Acre, Nablus, Haifa, Nazareth and Beni Saab, and translates the Arabic script found in the markings. (The Levant. Vol. 7, No.6, September 2014. Journal of the Ottoman & Near East Philatelic Society, Secretary Rolfe Smith,705 SE Sandia Drive, Port St. Lucie, FL 34983.)

Tuscany“Bolli e documenti di Sanità in Toscana,” by Giovanni Guerri, reviews methods of

disinfecting mail, whether by using vinegar, sulphur, or sulphuric acid, and illustrates a number of disinfection cachets that were applied to mail in Tuscany, 1804-1868. (Il Monitore della Toscana, No. 20, November 2014. See address of contact under General – Postal Equipment.)

“Tariffe inconsuete durante la trasformazione del Granducato di Toscana in provincia del Regno d’Italia,” by Vittorio Morani and Antonio Ferrario, examines the postal tariffs applicable to correspondence whether internal within Tuscany or exchanged between Tuscany and the Kingdom of Two Sicilies, beginning January 1, 1860, when the currency was changed from the Tuscan Lira to the Sardinian Lira. Several interesting covers are illustrated. (Sicil-Post Magazine, No. 30, December 2014-January 2015. See address of contact under second entry for Italy.)

Two Sicilies – Naples“Intorno al servizio postale Napoli – Costantinopoli,” by Vito Mancini, sets out quite

a few different postal tariffs between the Neapolitan post office in Rome and Constantinople, between various localities in the Levant, and to/ from Durazzo, Salonicca, Ragusa, Corfu’ and the Ionion Islands, together with the script-type town markings applied by the Neapolitan authorities, illustrated on cover, 1734-1858. (Bollettino Prefilatelico e Storico Postale, No. 181, September 2014. See address of contact under General – Postal Guides.)

Two Sicilies – Sicily“Storia postale di Nicosia dal 1786 al 1946, Parte seconda,” by Franco Projetto, continues

his study of the various types of datestamps and postal marking applied to mail


originating from this town and its environs in the province of Catania/ Enna, up to 1946. (Sicil-Post Magazine, No. 30, December 2014-January 2015. See address of contact under second entry for Italy.)

“I servizi postali durante la Rivoluzione Siciliana del 1848-1849,” by Vincenzo Fardella de Quernfort discusses the early acts of the provisional government, the adoption of the “Trinacria” (ancient three legged symbol of Medusa symbolizing Sicily), the withdrawal of old handstamps, such as ”Real Servizio” (Royal Service) and substitution of “Servizio Pubblico,” a 50% reduction for internal postal rates, and negotiated a postal convention with France where the French line for the Levant would touch at Messina. (Sicil-Post Magazine, No. 30, December 2014-January 2015. See address of contact under second entry for Italy.)

“Posta e Sanità marittima nei collegamenti fra Sicilia e Malta da Ferdinando II di Borbone alla Dittatura garibaldina (1859-1860),” by Alfred Bonnici, provides two rate tables, one of mail directed to Naples or Sicily, and one consisting of the rates to Malta from Sicily. The author also illustrates and discusses Health and Sanitary Papers each vessel must have, before they are cleared to sail from a Sicilian or Neapolitan port. (Sicil-Post Magazine, No. 31, June 2015. See address of contact under second entry for Italy.)

“Il sistema di comunicazione tra I Comitati insurrezionali siciliani nel maggio del 1860,” by Alberto Barcella, begins with a brief history of Garibaldi’s landing at Marsala in May 1860, with 1000 red shirts, and the subsequent rising of the Sicilians against the Neapolitan Bourbon troops, and describes postal communications between the Commune Committees using foot and express messengers together with their costs. (Sicil-Post Magazine, No. 31, June 2015. See address of contact under second entry for Italy.)

“Inediti aspetti del periodo di emergenza postale in Sicilia da Maggio 1860,” by Giuseppe Natoli Rivas, records the prepayment in cash for postage on letters during the period June 1860 and April 1862, an aspect of Sicilian postal history not previously recorded. (Sicil-Post Magazine, No. 31, June 2015. See address of contact under second entry for Italy.)

Ukraine“Ukraine: The Twenty-Hryven Issue of 1919,” by Ingert Kuzych, starts off with printing

details, the number of stamps in a sheet and how the panes were formatted, earliest and latest dates known of this stamp, discusses their use on letters, and the extent of such use, provides tables of usage by month, and locale, and illustrates some noteworthy examples of usages, together with a map of Ukrainian territories, 1917-1920. (American Philatelic Congress Book, 2015. See address of contact under Hungary.)

Vatican City“Vatican City Transatlantic Mail,” by Greg Pirozzi, illustrates almost 50 covers mailed to

the United States, and identifies the nationality of each of the vessels which carried them, as well as some history of the each particular liner, 1916-1955. (Vatican Notes, No. 361, Third Quarter 2014. Vatican Philatelic Society, Secretary, Joseph G. Scholten, 1436 Johnston St. SE, Grand Rapids, MI 49507-2829.)

“Vatican City Portorose Treaty Mail,” by Antonio Maria Rabasca, provides table, illustrates a number of covers mailed under the treaty and discusses the establishment of special


postal rates for mail between the Vatican State and Austria, Hungary and Yugoslavia, as defined in the Portorose postal treaty of November 1921, which lasted until the beginning of World War II. (Vatican Notes, No. 361, Third Quarter 2014. See address of contact under first entry for Vatican City.)

Victoria“Overseas Mail Routes from Victoria to the 1870’s,” by John H. Barwis, summarizes the

development of principal routes used for Victoria’s foreign mail and the rates paid to use those routes. Several rate tables show both the intercolonial and foreign postal rates beginning in 1835. Appendix A shows internal and foreign rates by destination, through 1857. (American Philatelic Congress Book, 2015. See address of contact under Hungary.)

Yemen“Yemen Postal Arrangements, 1919-1926,” by Carl Catherman, provides recapitulation

of how mail was handled in independent Yemen between the end of World War I and the first issue of postage stamps in 1926. (The Levant. Vol. 7, No. 6, September 2014. See address of contact under Turkey.)

Citizen-Soldier, Brevet Brigadier General John William Hofmann

by Jesse I. Spector Through a piece of postal history, we introduce to you Brevet Brigadier General John

William Hofmann, an American citizen-soldier.Citizen-soldier is a concept based on the idea that the community constituting a

Republic has an obligation to defend itself from invasion or tyranny and stands in contrast to a professional standing army that can potentially challenge legitimate rule. In American history citizen-soldiery became a reality with the creation of volunteer militias during the War for Independence. On achieving independence from Britain, the United States Constitution allowed Congress to form and support a standing army, while the Second Amendment permitted individual states to create militias. By the time of the Civil War, militias had evolved into a United States Volunteer Army and survives today as the National Guard.

John William Hofmann was born in Philadelphia on February 18, 1824 to John and Anna Hofmann, émigrés from Prussia in 1819. The elder Hofmann was in business manufacturing socks, stockings and undergarments. The younger Hofmann, our future general, had a traditional schooling background and clearly excelled intellectually, as is evident in reading his battle-field reports and dedicatory oration at the Gettysburg battlefield.

At age 21, in 1845, John entered his father’s business selling clothing at his Philadelphia store, but it seems evident that his heart was not fully into haberdashery. Five years earlier when John was sixteen he had enlisted in Philadelphia’s Junior Artillerists, and several years later he became a member of the respected Washington Grays militia artillery unit. Within a week of the Confederate bombardment of Fort Sumter on April 12, 1861, John Hofmann enlisted in the 23rd Pennsylvania Volunteer Regiment, a unit with

Cover Narratives:


a three-month service commitment. He was commissioned Captain and commander of Company E. The regiment spent its service time without enemy contact in the Shenandoah Valley and was mustered out on July 31, 1861. John immediately assisted in the raising and organizing of the 56th Pennsylvania Volunteer Infantry, a unit committed to three years of service. On October 1, 1861 he was mustered into service with the rank of Lieutenant Colonel, in command of a thousand man regiment, and would serve with this regiment for the duration of the conflict. John Hofmann survived the subsequent three and one half years of repeated and ferocious confrontations with the enemy on the Eastern Front of conflict, such that at the cessation of hostilities in 1865 he was one of only a small number of original members of the 56th Pennsylvanians still alive and fighting.

The 56th Pennsylvania baptism by fire came in August, 1862 during the second battle of Bull Run in Virginia. The heavy losses incurred by the Pennsylvanians included the grave wounding of commanding officer, Colonel Meredith, resulted in Hofmann’s assuming command of the regiment. He continued at the helm of the regiment at the battle of South Mountain the subsequent month, and with further battle loss of senior officers, command of the brigade devolved temporarily on Hofmann’s shoulders several days prior to the battle at Antietam Creek in mid-September 1862.

Battles of varying intensity would continue unabated into 1863, with Hofmann being promoted to the rank of full colonel in January of that year. With the return to battle of the brigade’s commanding colonel, who had recovered from wounds sustained at South Mountain, Hofmann resumed his former position as regimental commander.

Colonel Hofmann’s shining moment in the Civil War came on July 1, 1863 while commanding the 56th regiment as they opposed the Confederates’ initial advance in the Battle of Gettysburg. Brigadier General Cutler later described the moment in a letter to Pennsylvania’s Governor Curtin: The atmosphere being a little thick (smoke from a cavalry skirmish) I took out my glasses to examine the enemy. Being a few paces in the rear of Colonel Hofmann, he turned to me and inquired: “Is that the enemy?” My reply was “Yes”. Turning to his men he commanded “Ready, right oblique, aim, fire!” and the Battle of Gettysburg was opened.

The 56th Pennsylvania Volunteer Regiment had fired the first shots in the Battle of Gettysburg. The brutal ensuing fight resulted in a 52% casualty rate suffered by the two hundred and fifty-two men of the regiment. At the conclusion of the battle, Colonel Hofmann received a brief respite by being ordered to Philadelphia to oversee implementation of the military draft in that city. By the fall, he was back with his regiment and partook in the Mine Run campaign, and in the spring of 1864 saw action at the Battle of the Wilderness and at Spotsylvania. He was again elevated to brigade command, leading them in major confrontations through 1864 including the assault at Petersburg.

It was the responsibility of the commanding officer to tender official reports on each battle action in which the unit was engaged. The author, in reviewing these archival reports, was most impressed with the General’s writing skill and style. In conceptualizing the citizen-soldier, our clothing merchant who became a general impresses as being both profoundly professional and honorable. From his familiar opening statement of “I have the honor to report the operations of this brigade”, through the decisive battle report and sensitively stated casualty listings, he concludes with phrases such as, “The conduct of the officers and men in this expedition is deserving of praise”, or, “meet with my hearty approval”, or, “fully met my approbation.” One senses a dignity affixed to his military


persona that echoes in the sentiments offered by his superiors.On August 1, 1864, Hofmann was brevetted to the rank of brigadier general of

volunteers for “brave, constant and efficient services in the battles and marches of the campaign.” To be brevetted indicated that the officer was commissioned to hold a higher rank on a temporary basis. The rank and pay increase would persist only for the duration of service in that assignment, rather than being a permanent rank in the army. During the Civil War these were honorary awards made for gallantry or meritorious service and were available to officers in both the Regular Army and the United States Volunteers.

Brevet Brigadier General Hofmann saw further battlefield action into 1865, finally tendering his resignation from the army on March 7, 1865 and mustering out of service with his regiment on July 1, 1865 in Philadelphia and returning home to his wife Margaretta.

John Hofmann returned to civilian life and remained active in military affairs, serving as a brigadier general in the Pennsylvania National Guard for four years. And it is in this period that he received a letter in the envelope of Figure 1. The design is a beautiful, all-over, engraved printing, with the state seal to the left, from the Adjutant General’s Department of the Commonwealth of Pennsylvania. Brigadier General J.W. Hofmann is addressed at “No. 9 North 8th St.” in Philadelphia, Pennsylvania.

Figure 1: Letter mailed with a Washington three-cent, Scott 65, letter-rate stamp, from Harrisburg, Pennsylvania, on August 1st, year of 1866 supplied by a notation to the docket: “Genl Russell A.G.P.M. Aug 1 Has requested Mr. Burrows supt School for Soldiers Orphans to furnish information.”

The sender was, apparently, Adjutant General A. L. Russell who wished Hofmann to ask Mr. Burrows of the School for Soldiers Orphans to provide information. Dr. Thomas Burrows was a highly-regarded educator for schools in Pennsylvania who served as State Superintendent of Common Schools from 1860 to 1863 and then helped establish a system of schools for the education and maintenance of destitute children of soldiers and sailors orphaned by the War of the Rebellion. Dr. Burrows supervised these schools for a three year period.

In civilian life Hofmann was a prominent Mason and a member of the Loyal Legion of Civil War Veterans. Biographical material has alluded to his wife maintaining their business in his absence, however, neither extant Philadelphia directories, Federal census records, nor numerous search-engine enquires elucidate his personal life with the same detail as his military career.

The cap to that career was his being asked to give the dedicatory speech at Gettysburg in 1889 when the 56th Pennsylvania Regimental monument was unveiled (Figure 2).


As with his battle reports, Hofmann’s speech was, particularly for an era of oratorical hyperbole and extended length of remarks, both free of bluster and terse in explication (Figures 3, 4). Upon reviewing the battles, travails, and triumphs, he concludes with a plea to recall the comrades now interred on the field of former conflict and to recall how few who entered the fray had survived to see it concluded. He closes his remarks by giving thanks that the deadly adversaries of a quarter century earlier had united to heal their wounds as one. Simply stated, poignant and eloquent.

John William Hofmann died on March 5, 1902 at age seventy-nine in his native Philadelphia and is interred at Laurel Hill Cemetery in Philadelphia. Rest in peace, citizen-soldier Hofmann.

Figures 3, 4: Account of the ceremonies to dedicate the 56th Regimental monument in 1889, published in 1890, printed by A.W. Auner of Philadelphia.

Figure 2.


Society ForumThis space is set aside for commentary, announcements, questions and other informa-tion by, for and about members of the Postal History Society. The editors welcome correspondence: Box 477, West Sand Lake NY 12196, <[email protected]>

President’s Message - Yamil KouriWe welcome 2016 with excitement and anticipation for the once-in-a-decade world

stamp show in New York City to be held from May 28 to June 4. The Postal History Society will have an important presence at the show. We are sharing a large booth with the Spellman Museum of Stamps & Postal History and the American Philatelic Congress. Volunteers are needed to sit at the booth, distribute information, recruit new members and answer questions about our Society. If you plan to attend the show, please consider helping at the booth. You are guaranteed to make new friends and meet other collectors with common interests. For your day and time availability please contact me at [email protected], and for more information about the show visit www.ny2016.org. Our annual meeting, followed by a presentation, will be at the show’s room 1E06 on Wednesday, June 1, 2016, at 10:00 AM.

There is important information to share with everyone. Complete PDF files of our journal’s previous issues from two years ago and older are available in our new website www.postalhistorysociety.org. Another issue will be added every quarter.

Lastly, I would like to thank the journal editors, board members and officers of our Society for their service and dedication, and in particular to our immediate past president (and continuing Foreign Associate Editor), Joe Geraci, for the many years he has given to our organization. Best wishes to all in 2016.

The editors of the Postal History Journal were awarded a Gold Medal for Literature at Chicagopex in November. From the judges: “Excellent diversity of in-depth artricles. Good geographic and chonological coverage.”

Please Consider Supporting the Societywith a donation when, after the age of 70,

you are required in the United States to withdraw funds from an IRA.

Robert Markovits, long-time member and contributor, died in December. His collections won gold medals nationally and internationally; he was a contributing editor of Linn’s Stamp Weekly; and his encyclopedic knowledge and sense of humor made him a popular presenter at philatelic events. His voluminous philatelic research archive has been lodged at the American Philatelic Research Library in Bellefonte, Pennsylvania.

BACK ISSUES: The editors can offer the following numbers of the Postal History Journal @$15 (PO Box 477, West Sand Lake NY 12196; checks made out to the Soci-ety, or PayPal at www.postalhistorysociety.org): 58, 61, 62, 64, 68, 70-81, 83, 84, 85, 87, 88, 89, 118, 119, 121, 122, 123, 129, 132, 137, 141, 142, 144, 145, 146, 149, 150, 152, 153, 155, 156, 157, 159, 160, 161. The Royal Postal Museum in London especially needs 158 to complete a run - is there a spare out there? [email protected]


The Editors’ CornerDiane DeBlois & Robert Dalton Harris <[email protected]>

We were very pleased that our associate editors chose Marshall Becker’s article, “Native Mail Carriers in Early America” PHJ 160, as the best for 2015 – especially given the new book on the communications frontier in early New England (reviewed by Director Tim O’Connor in the October issue). In this issue, the theme continues with a contribution from the joint project of the Smithsonian National Postal Museum and Museum of the American Indian to honor post office murals with native images (an excellent in-depth article by Meghan Navarro, “Indians at the post office: New Deal era murals and their legacy of American Indian representation,” appeared in the 2015 Congress Book, Ms. Navarro having been an intern at the Museum of the American Indian and having won a scholarship from the Postal Museum, under the direction of Thomas Lera). The article belongs to that area of postal history that explores the role of the postal system in a culture. Other articles in this issue probe postal history boundaries in different ways.

John Courtis has exhibited postal wrappers in a traditional way but here opens up their appreciation to exploration of the content they might have wrapped. He makes the point that such research would have been nigh impossible before the advent of internet search engines. Paul Phillips made the same observation in explaining how he amassed enough of a database to analyze experimental London postmarks. His article, although based on marcophily, takes a postal historical slant to recreate postal marking policy.

The cover image to our October issue inspired Joe Geraci to review the Waghorn ‘overland mail’ to India that predated the American trans-continental version. And a post-Civil War cover inspired Jesse Spector to research the officer addressee.

The blend of philately, history, and cultural studies reminds us of the excellent and varied program offered by the Second International Symposium on Analytical Philately held in Chicago before Chicagopex in November. We gave a presentation on Modeling Postal History with Postal Numbers – the only overtly postal historical contribution. But many of the other speakers have been conducting in depth research into more than just ‘fly speck’ postage stamp analysis. Bob Odenweller gave the keynote address that presented an overview of the history of technical research in the hobby. Other papers approached the ethics of restoring covers, and of the history behind the design of stamps, the difficulties of communicating descriptions of color – and much more that will intrigue the historians among us philatelists (we shall alert readers to the availability of the published proceedings, a volume in the Smithsonian Contributions to History and Technology).

A reader who is a descendant of Greeks resident in Egypt found among family correspondence a curious reference in an 1878 letter from Alexandria Egypt addressed, in Greek, to someone living in Mansoura (or Mansurah/Mansura) Egypt: “You always send your letters with the American post, that’s why they never seem to arrive in Alexardria.” And, again, with reference to another person “I suppose she also sends her mail with the American post, because neither I nor anyone else receive news from her...” There don’t appear to be American post offices in Egypt at that time - was the remark made in jest? Could the remarks have anything to do with the visit of Ulysses S. Grant to Egypt in the same year? Grant in his memoirs goes into detail about the corrupt management of the American Consul General to Egypt, George Butler, who had left the post in 1872 - could there be lingering lack of confidence in Americans from that? Comment anyone?


Mark your Show Program: Annual Meeting, Wednesday at 10:00.

Plan to help at our Society booth.

Dealers in Postal & General Ephemera

Diane DeBlois & Robert Dalton HarrisPO Box 477, West Sand Lake

NY 12196, [email protected]

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postal history society - home · 2019-11-09 · title: phj 163.indd created date: 20150718143709z

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