I Muse...On Different Styles

Due to personal issues I haven't looked very much at my stamp collection for several months now. But I have still been purchasing bits and pieces, which has led to a growing stockpile of unsorted material. A few days ago I decided to tackle the task of reorganising my Albert Decaris collection to incorporate all the new acquisitions. While poring over some of my lovely new Decaris stamps I came across a stunning airmail stamp he designed and engraved for Cameroun in 1964, depicting a black rhinoceros. This got me to thinking about the black rhinoceros Pierre Gandon engraved for the 1946 definitive series of French Equatorial Africa. Two of my favourite engravers working on the same subject. What a fantastic opportunity to make a stylistic comparison.

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There are two species of rhinoceros that roam the plains of Africa, the black rhinoceros and the white rhinoceros. The black rhino is the smaller of the two species, but can still weigh in at an impressive 3,000 pounds. So how does one tell between a black rhino and a white rhino? If you ever dare get close enough to a black rhino, or like me, you are studying one from the comfort of your lounge room, you will notice that the black rhino has a distinguishable hooked upper lip. Sadly, according to worldwildlife.org: 

"Populations of black rhino declined dramatically in the 20th century at the hands of European hunters and settlers. Between 1960 and 1995, black rhino numbers dropped by a sobering 98%, to less than 2,500. Since then, the species has made a tremendous comeback from the brink of extinction. Thanks to persistent conservation efforts across Africa, black rhino numbers have doubled from their historic low 20 years ago to between 5,042 and 5,455 today. However, the black rhino is still considered critically endangered..."

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 Okay, before we get down to studying the two aforementioned rhino stamps, let me pose a few questions. Are you an admirer of the use of multiple colours on engraved stamps? Or do you rock it old school and adhere to a strictly monochrome palette? Or do you, like me, admire the virtues of both methods? I ask these questions because your answer may very well influence your preference regarding the two stamps you are about to see.

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First up, let's take a look at Pierre Gandon's black rhino, issued by French Equatorial Africa in 1946 as part of a definitive series. It must be noted that this engraving was issued in three values, each with its own colour. For the purposes of this blog I have chosen to illustrate the 30c violet black stamp. I think this particular colour really enhances Gandon's artwork.

In this design, Gandon has chosen to frame his majestic black rhino in the flora and fauna of its native habitat. A particularly nice touch is the python slithering its way up the right side of the frame.  

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Now we come to Albert Decaris' black rhino, issued by Cameroun 15 December 1964. This stamp was printed in three colours (really only two colours considering the third colour was used solely for the ttitles), which some engraving enthusiasts may frown upon. But I believe in this instance the extra colour serves to enhance rather than hinder this lovely work of art.

In this design Decaris has beautifully illustrated the lumbering majesty of the black rhino, printed in dark brown. The background, printed in green, depict trees and grassy plains, providing us a glimpse into the world in which this giant chooses to live.

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So now that you've studied both stamps, which is your favourite? Do you prefer the classic monochrome artwork of Gandon? Or does the multi-coloured creation of Albert Decaris appeal to you more? I've personally given this a lot of thought and sat staring at each stamp alone, then together, for a long while. And to be totally honest, I can't decide. I happen to like both interpretations equally. Both artists were immensely talented, and both artists brought something unique for us to admire into their pieces of art. I have to say I really enjoyed spending time with each artist and his work.

Until next time...

French Equatorial Africa 1939 - New York World's Fair

Experience "the world of tomorrow" and witness the "dawn of a new day". These were the slogans of the 1939 New York World's Far (NYWF). The event was held at Flushing Meadows-Corona Park, which up until then was an ash dump (the largest ash pile was so big, some 90 feet tall, that it was actually given a name - Mount Corona). 

The event was conceived in 1935 by a group of New York businessmen in order to help lift the city and the country from the doldrums of the Great Depression. From offices high up in the Empire State Building, the committee imagined the biggest international event the world had seen since the horrors of the Great War. The theme of looking towards a bright and peaceful future full of scientific wonders was more relevant than ever in the current climate. In all, it took four years for the NYWF committee to bring their colossal vision into the realm of reality. 

The date chosen for the grand opening of the fair was Sunday, April 30, 1939, the 150th anniversary of the inauguration of the first President of the United States, George Washington. The opening speech was to be given by the current President, Franklin D. Roosevelt, in front of a crowd of 206,000 people. But this was to be no ordinary speech. Since new technologies and future innovations was the central theme of the fair, this was the perfect opportunity for RCA to introduce a new thing called 'television' to the public. Roosevelt's speech was not only broadcast by radio, but it was actually televised.  It is said that some 1,000 people watched the speech on 200 television sets scattered around the New York metropolitan area. In fact, many events throughout the course of the fair were broadcast on television. The speech coverage was used by the New York station W2XBS (now WNBC) to inaugurate their new system of regularly scheduled broadcasts in the New York area.

Anticipating skepticism among the public, RCA set up a television in their pavilion with a transparent case so the internal components could be easily seen. Also, in this pavilion (one I would have made a beeline for if I were there) a mini-studio was set up allowing people to see themselves on television. People could also see television demonstrations at the General Electric and Westinghouse pavilions.

Innovative architecture was for the various displays and pavilions was highly encouraged. Architects had nearly free-rein to be as "creative and energetic" as possible with their designs. Perhaps none typified the stunning vision for the future more so than the Theme Center, designed by Wallace Harrison and Max Abramovitz. This center "consisted of two all-white, landmark monumental buildings named the Trylon (over 700 feet (210 m) tall) and the Perisphere which one entered by a moving stairway and exited via a grand curved walkway named the "Helicline". Inside the Perisphere was a "model city of tomorrow that visitors" viewed from a moving walkway high above the floor level." (Wikipedia).

Some of the highlights of the fair included exhibits featuring nylon fabric, Secentovision (a forerunner to Smell-O-Vision), and an exhibit featuring what was perhaps one of my favourite toys as a kid, the View-Master (remember those?). People could also see a new futuristic car design in the General Motors pavilion. There was even a talking robot that - you wouldn't believe it - actually smoked! As the song goes: "it's all happening at the fair!"

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On 10 May 1939 an omnibus set of two stamps of a single design was issued in twenty-four French colonies to celebrate the New York World's Fair. The stamps were designed and engraved by Albert Decaris. This was Decaris' second foray into omnibus stamp design, the first being the 1937 Paris Exposition set. Below is a list of all the colonies in which this set was issued (it should be noted that these stamps are available with several different overprints, but I'll leave that for another time).

• Cameroun
• Dahomey
• Fr. Equatorial Africa
• Fr. Guiana
• Fr. Guinea
• Fr. India
• Fr. Polynesia
• Fr. Sudan
• Guadaloupe
• Indo-China
• Inini
• Ivory Coast
• Kwangchowan
• Madagascar
• Martinque
• Mauritania
• New Caledonia
• Niger
• Reunion
• St Pierre & Miquelon
• Senegal 
• Somali Coast
• Togo
• Wallis & Futuna Islands.

Of course, it would be difficult to display images of all the stamps of all the colonies, so considering I am in the process of studying Albert Decaris' work for French Equatorial Africa, I will showcase those ones here (in the future, I will be doing separate blog posts for each of these omnibus issues).

Until next time...

French Equatorial Africa - 1937 International Exposition in Paris

Let the festivities commence! From motorboat races on the Seine to the Grape Harvest Festival, and from World Championship Boxing Matches to Shakespeare in the park. The 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) had it all. The Expo was held from 25 May to 25 November 1937 in Paris, France. Countries from around the globe converged on the "city of lights" to flex their muscles of national pride. Participating countries were invited to build their own pavilions. Some pavilions were rather modest. While others such as the Soviet and Nazi pavilions opted more for the ostentatious and colossal. For more on the Expo, click HERE.

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This World Expo was also a big deal in the world of philately. A group of France's best artistic minds were assembled to create a six stamp set that would be issued in twenty-one French colonies. This was the second omnibus series printed in France, the first being in 1931 for the International Colonial Exposition. Engravers such as Rene Cottet, Emile Feltesse, Pierre Munier, Antonin Delzers, and of course Albert Decaris contributed to the set. In fact, Albert Decaris both designed and engraved two stamps in this set. Below is a list of all colonies in which this set was issued.

• Cameroun
• Dahomey
• French Equatorial Africa
• French Guiana
• French Guinea
• French India
• French Polynesia
• French Sudan
• Guadeloupe
• Indo-China
• Ivory Coast
• Madagascar
• Martinque
• Mauritania
• New Caledonia
• Niger
• Oceania
• Reunion
• St. Pierre & Miquelon
• Senegal
• Togo

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To celebrate the beginning of my studies into Albert Decaris' philatelic work for French Equatorial Africa, which in 1958 became the Central African Republic, I thought I would showcase his first stamps issued for this country. The 1937 International Exposition in Paris. Indeed, these were the first stamps issued with his name attached for many French colonies.

Before seeing the stamps, let's have a little look at the country in question. French Equatorial Africa (French: Afrique équatoriale française), or the AEF, was the federation of French colonial possessions in Equatorial Africa, extending northwards from the Congo River into the Sahel, and comprising what are today the countries of Chad, the Central African Republic, Cameroon, the Republic of the Congo, and Gabon. After a referendum in 1958, in which the citizens voted for independence, AEF became the temporary association called The Union of Central African Republics. Then in 1960 the fully independent Central African Republic was formed. But we'll look at that change when I start studying the stamps Decaris produced for CAR.

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Now to the stamps. As I mentioned above, Decaris both designed and engraved his two stamp contribution to the Paris Exposition omnibus series. To look at the full set, click HERE. The issue dates of this series vary by colony. The FAE set was issued on 15 April 1937.

The first stamp is the 50c value, labelled in French: Groupe de trois femme. (Group of three women)

The 1f 50 stamp, my favourite of the two designs, is called:  Tête de femme et masque. (Head of woman and mask)

Until next time...