During the Pan-Hellenic Philatelic Exhibition “Karditsa 2006”, the then editor of “Philotelia”, official organ of the Hellenic Philatelic Society was reequested by the organisers to write an introductory popularised philatelic text to be published in one of the local daily newspapers.

 

 

The aim of the article would be to bring philately closer to the general public, open a window to the world of stamp and, at the same time, be a challenge and an urge for visiting the exhibition.

 

The paper was indeed written and published in three parts in the daily newpaper ALITHIA” (Thruth) (8, 10 and 11 November). The paper provoked great impression to the readers and the visitors of the exhibition and the author was proclamed “man of the week”.

 

We are republishing the article of the President of the Hellenic Philatelic Federation in the belief that offers to its readers everlasting advice for the novice.

The Editorial Committee

 

How is philatelic knowledge acquired? The question is asked by everyone, young or old, who is captured by the fascination of philately and enters its wonderful world for the first time.

 

There are three ways of acquiring philatelic knowledge:

through oral tradition,

through the study of specialized monographs and the philatelic press, and

through the careful study of exhibits in philatelic shows.

 

Each path runs independently but parallel to the others. As all three are followed, philatelic knowledge develops and becomes firmly grounded.

 

Oral tradition

In philately as in every other field, contact with other people sharing the same ideas and interests is a necessity.

Quite soon after the first stamp was issued in England in 1840, collectors began to form clubs and societies whose goal was to serve their philatelic needs. Today, there are thousands of Clubs, Unions, Societies, Associations, National and Continental Federations all over the world to serve that purpose.

 

When we were young we were impressed by the beauty and the shapes of the stamps and we took the first steps in collecting them – some of us earlier, some later - and in due course some left the hobby, some remained, some returned in more mature years.

But what can anyone do alone without guidance? Early advice like “collect whatever stamp you find, wash it and classify it by country and in order of issue” is not enough to support a lifetime’s pursuit of philately. Soon the unsatisfied feeling of casual collecting without a goal will lead to boredom.

 

The natural course of things is for collectors to buy a stamp catalogue and acquire the new issues of their country. Then, according to their financial abilities, the first choice for many collectors is to collect all the stamps their own country has issued.

From the time such a goal is set, casual collecting has been laid aside. The collector has entered the first stages of specialization.

 

However, quite soon the restless collecting spirit will start to be dissatisfied. Placing each new acquisition in the stamp album will not excite us as much as it did at the beginning of our philatelic career. The reason is simple. We looked at them once, twice, thrice - and then? Stamp catalogues illustrate all the stamps. As we begin to approach completion, where is the joy of discovery and search, so important in keeping our interest fresh and undiminished?

 

The elders used to tell us, “be friends with someone who knows more than you”. They were quite right. In our town’s philatelic society we can meet experienced philatelists who have the ability to open the doors of knowledge for us. They will usually give us good guidance.

 

However every collector has his own special interests, and will choose which specialized byway to follow depending on his personal knowledge and his collecting instincts. Inevitably the time will come when the collector will decide on an in-depth study. It may be of a set or a traditional issue, or some other aspect of philately like the postal history of a city or region, or a period such as the pre-adhesive period or the time of the First or Second World Wars.

 

The collector could also be excited by thematic philately. That involves forming a collection of a certain subject such as football, bicycling, or the Boy Scouts Movement, gathering the stamps, the cancellations and all relative material that has been issued or approved by the various Postal Authorities all over world and telling a story with this material. (The examples given are merely illustrations drawn at random from a huge possible choice of topics.)

 

The moment when the collector consciously accepts the need to specialize is a catalyst for his later philatelic course and fulfillment. When “specialization” begins, he will discover the people with whom he shares common interests. At first ,he will listen and take notes. Later, when he has acquired the appropriate knowledge, he will converse in equal terms, exchanging information and ideas. The joint examination and study of material together will add something new to his philatelic education time after time.

 

Experience tells us how painful it is to be alone, to have chosen to collect and study a subject no one else follows. The loneliness is unbearable. Although an individual course has its own appeal and gives you the joy of pioneering, if you are on your own you have a difficult time because you cannot exchange ideas and sources and get help with your development. In contrast, a specialized collector is never happier than when transferring his knowledge to the next generation.

 

However we need to note a basic fact. As the need of philatelic specialization increases, the acquisition of a broader education becomes essential. For this reason it is widely accepted that serious philatelic involvement falls within the frontiers of science. It will require a special knowledge of history, printing and other fields if we are to equip ourselves to confront our collection scientifically.

 

Philatelic literature

The second way of acquiring philatelic knowledge is through the study of the written (printed) philatelic word. We can broadly separate it into four basic categories.

 

Catalogues

The first stamp catalogue was published in 1862, just 22 years after the issue of the first stamp in England. It was a time when few countries issued stamps, but many people had already caught the collecting bug. Today almost every country has at least one national stamp catalogue.

 

Likewise, multi-volume international catalogues exist which list the stamps of all countries, such as those produced by Stanley Gibbons (England), Yvert-Tellier (France), Michel (Germany) and Scott (USA). Many of these date back in their origins to the last quarter of the nineteenth century.

 

What then does a stamp catalogue contain?

Basically it provides a detailed list of the stamps a country has issued, in chronological order. The stamps are illustrated, nowadays usually in colour. Subjects depicted are explained, the colours of the stamps given, and prices are provided for mint and used stamps. The more specialized the catalogue is, the more detail it will offer about the numerous shade varieties, perforations, papers, flaws, and so on that exist. Perhaps the price of stamps on cover will be indicated.

Many specialized catalogues have excellent introductions regarding the production of stamps and the historical reason for their issue. Some also list prices for the cancellations that were used at different times in the different post offices of a particular country. It is evident that such books provide every collector with a direct overview of the whole philatelic area.

 

Not only are these catalogues useful for what they provide, they also awaken the collector’s interest in advancing towards new specializations.

 

Philatelic Press

The first magazine entirely devoted to philately was published in 1862 in England. In subsequent years the expansion of philatelic magazines all over the world was such that when the philatelic library of Lord Crawford was donated to the Royal Philatelic Society of London and the British Library, it included some four thousand titles of philatelic literature issued during the 19th century.

 

Today thousands of philatelic magazines of varying degrees of specialization circulate all over the world, offering current information.

 

Usually a philatelic magazine includes the latest philatelic news, announcements of new stamp issues, notes and reviews of new philatelic books and editorials on current philatelic matters. The main part of a specialized magazine is normally dedicated to small or lengthy philatelic articles, ranging from studies of stamps or postal history subjects to new discoveries or to the presentation of new opinions for the resolution of presently unsolved philatelic problems. The publication of new theories initiates discussions which many researchers join, presenting different opinions and so advancing philatelic knowledge.

 

The value of carefully following such philatelic magazines hardly needs to be emphasized. They are the daily tools through which philatelic knowledge is disseminated.

 

Publications

Often, long years of philatelic research by a student results in the writing and publication of a manual, monograph or systematic work, the natural result of all scientific research. Each such publication contributes greatly to the dissemination of philatelic knowledge, as the fruit of the author’s many years of study is offered to the philatelic community and becomes public property.

 

Auction catalogues

The rarer philatelic material available today comes on the market not only through stamp dealers but also through auction houses which publish catalogues of the material they offer. These catalogues are illustrated, usually in colour, with extended descriptions and in due time become a valuable archive which constitute an ark of knowledge for every collector and student.

 

Philatelic exhibitions

 

The third way of acquiring philatelic knowledge is by attending stamp shows.

These are made up of exhibits put together by different philatelists. An exhibit is only part of a collection but encapsulates its best material on display pages (usually about A4 size) in such a way as to tell a story with a beginning, middle and end.

 

Take, for example, an exhibit of traditional philately. First we will see the creation and making of a stamp – early design sketches, proofs taken from the die at different stages of its construction, colour trials prior to the actual printing of the stamps. Next comes the final product with its incidental varieties. These include the flaws of the printing plate which are either primary (due to its manufacture) or secondary (from accidents during its use), the different papers on which the stamp was printed, the different colours and perforations used, and so on. Finally, we may follow the use of the stamp as the mean of payment for forwarding a letter - the different domestic and foreign rates, different destinations, possibly mixed frankings either with other issues or with stamps of other countries.

 

Choosing material from a collection to build an exhibit is not an easy task. It requires a specialized philatelic knowledge which has been developed from extensive reading and through the personal research of the exhibitor himself. This knowledge is displayed in the exhibit either through the material presented or its discussion.

 

At a show it sometimes happens that two or more exhibitors deal with the same, or a similar topic. Then the informed viewer has the chance to see different or maybe unconventional handling of the subject - the result of personal study - and to see the differences and relative completeness of each exhibit (which has what material? which is missing something that other exhibits have?). By contrast, those who visit a philatelic show without any base of knowledge would not realize the differences because everything looks the same to them.

 

At each show, the organizers have volunteers who willingly guide visitors and provide tours. A much more interesting opportunity, though, comes when an exhibitor is available to guide the visitor through his exhibit. The exhibitor will certainly be happy to have an audience and will explain in more detail the exhibited material and the story he is trying to tell.

 

When looking at an exhibit, the visitor to a show must start by studying the first page. Here the exhibitor briefly presents the subject, takes the viewer by the hand and explains to him the structure of the display.

 

To be honest, however much the viewer may try, he will not be able to assimilate the philatelic knowledge that has been collected under one roof if he does not have the proper philatelic education. Everyone, though, should be able to appreciate other things which are part of the educational process, such as how the exhibit has been created (that is, how the story has been told) and whether the presentation is tasteful and attractive. Eventually the visitor-philatelist will reach the point of “conversing” with the exhibitor through the exhibit, and feel confident in his ability to agree or disagree with how the story before him has been told.

 

Another part of the educational process comes when awards are shown on the first frame of each exhibit after the jury’s work is finished, a few days before the close of the show. Then the viewer can try to understand why one exhibit received a particular award, while another treating a similar subject received a higher or lower one. As his philatelic knowledge increases, he will come to understand and appreciate the differences.The viewer should take notes when he encounters new information. This way, little by little, he will build up his philatelic armoury.

 

Another interesting part of his educational process will come with the meeting of the jurors and exhibitors, usually on the last day of the exhibition. There, in front of the exhibits, the jurors present advice to exhibitors, note possible mistakes or weak points that need checking or strengthening, and generally guide the exhibitor toward the improvement of his exhibit.

 

Anthony Virvilis

FRPSL, AIJP, AEP

President of the Hellenic Philatelic Federation

FEPA Director