France 1944 - Travelling Post Office Van

I once heard that a city without a rail network is like a body with no arteries. Perhaps a slight exaggeration there, but nevertheless since the early to mid nineteenth century, trains have played an integral role in the industrial development of many, many countries.

The first railway lines appeared in France in 1823. These lines were generally quite short and used for mining. After seeing the success of larger rail networks in Britain, France decided it was time to develop their own railway system. This decision was, in part, to link with the existing system in Britain to boost trade.

One of the most important early French rail lines was the Paris-Le Havre line. The first section of this line to be built was the Paris-Rouen. In order to facilitate the construction of the line, the Paris and Rouen Railway Company was established. They appointed a man by the name of Joseph Locke as the head engineer. It is worth pointing out that this scheme had its fair share of opposition. Many believed it was detrimental to the landscape, primarily agriculture. France already had an established system of water-borne transport, which utilised the country's numerous natural waterways. It was argued that a rail system would create dangerous opposition to this established economy. But, in the end, industrial progress - good or bad - won the day. And on 9 May 1843 the Paris-Rouen line (the first section of the Paris-Le Havre line) was opened. The remainder of the line was opened om 22 March 1847. In total, this rail line stretched for 228 km.

Opening of the Paris-Rouen Rail line, 1843.

***

On 10 June 1944 France issued a stamp commemorating the 100th anniversary of the creation of mobile postal services. The first use of the rail mail coach - from the tiny bit I've been able to discover - began with the Paris-Rouen line in 1844. The stamp was designed by M. Pelletan.

And the engraver... Well, that's where things seem to get interesting! There is no engraver name on the stamp. According to Stanley Gibbons, the engraver was Pellean. But... but everywhere I have looked on the internet, the engraving has been attributed to Pierre Gandon. Is this another case of Gandon's name not being allowed to appear on the stamp? Or is this simply a case of the name of the engraver being omitted for no good reason, other than that it just is? I don't know! If anyone can shed some light on this issue I'd be very grateful.

Until next time...

I Muse... On a Cormorant Issue

That deflated feeling that comes from discovering a stamp you need to complete a collection is way beyond your price range. It is an awful feeling, trying to come to terms with the very real possibility that you may never be able to acquire a particular stamp, and therefore, always have a blank space in your album. This situation, in my view, can be even more heartbreaking when you have chosen a collection that you have - albeit wrongly - assumed could be completed over time while working within tight budgetary constraints.

So how do you deal with such a conundrum? This is a question I am now wrestling with, so I thought musing about it may help bring some clarity. My current dilemma arose a few days ago while I was looking through my new Stanley Gibbons France Catalogue. I had turned to the Monaco section of the catalogue to have a look at the newest issues. As I was flicking through my eye caught a particularly nice diamond style set of airmail stamps issued in 1955, SG 508-11a. When I stopped to have a look I discovered that the set of four was designed by Pierre Gandon, and Gandon engraved three of the four. My excitement over finding this gorgeous set was, however, short-lived! The instant I spotted the catalogue value of the highest value in the set, my heart sank. £500. Yes, you read right. £500!

Here is the offending stamp - SG 511. 1000f Cormorants. 

It is a truly beautiful stamp, but alas, at £500 this stamp is totally out of reach. Now I know what you're thinking. Catalogue value doesn't truly reflect current market value. So with that in mind, I went online and had a look. Before I go any further I have to say that I have never spent more than $50 AUS on a stamp. Not because I didn't want to, but simply haven't had the means to do so. This is not a woe-is-me speech. Just a statement of fact. With this known, you will understand then why the online prices of this stamp are still beyond reach...for the time-being anyway! The average online price for this issue is $95-105 AUS.

But it is not all doom and gloom. There is a small ray of light at the end of the very narrow tunnel. There is the possibility of a used example appearing on the market. So far I haven't found one markedly cheaper than a mint example. But who knows what the future will hold?

There is one other option. This stamp when issued in 1955 was perforated 11. In 1957 the stamp was reprinted with perforation 13. The latter example has a lower catalogue value of £150, which means a distinctly lower market price. Indeed, I have found an example that, with a little saving, is right at the top end of my budget. This will allow me to have an example of Gandon's engraving, but it will not fill the 1955 space in my album. But I have been asking myself, does this really matter, given the 1955 issue is so darn expensive?  Probably not. But I'm sure I'm not alone when I say, "I don't like blank spaces!"  Anyway, enough rambling.

Until next time...

Monaco 1961 - Vintage Cars

Men in their driving coats, stout gloves, caps with goggles, and crisp, white scarves. Women in their fur-lined coats and jaunty hats. Shiny automobiles, their brass fittings gleaming in the sun, their gas lamps primed, the spoked wheels and leather seats polished. This was the dawn of the age of the automobile. A golden age of beautifully constructed machines. Rolling works of art.

***

On 13 June 1961 Monaco issued a charming set of 14 stamps celebrating the beauty of the antique automobile. Two of the stamps in this set were engraved by Pierre Gandon. The 10c and 30c values. These two stamps will be the focus of this blog.

The 10c value depicts an 1899 Panard-Levassor. The AL model.

The company known as Panhard et Levassor, was a French car manufacturer, established by René Panhard and Émile Levassor in 1887. They sold their first automobile in 1890, a vehicle based on a Daimler design. For more on the evolution of the Panard Motor Company, click HERE.

By 1891 they began incorporating their own features to the vehicles. In fact, their designs set the groundwork for many modern standards. They were the first to incorporate a clutch pedal to operate a chain-driven gearbox. Their deign was also the first to feature a front-mounted radiator. It is also believed that the 1895 Panhard et Levassor included the first modern transmission. And if this ere not enough technical innovation. The automobile Panhard et Levassor entered into the 1894 Paris–Rouen Rally came equipped with a steering wheel, This is believed to be one of the earliest uses of this apparatus. 

A French Magazine, dated 6 Aug 1894, advertising the Paris-Rouen race...

***

The 30c value depicts a 1901 FN Herstal.

The Fabrique Nationale d'Herstal (National Factory of Herstal), is a firearms manufacturer, located in Herstal, Belgium. The company is usually identified by the name: FN Herstal, or simply FN. The company was originally established in 1889 to manufacture 150,000 Mauser Model 89 rifles ordered by the Belgian Government. In 1899 FN Herstal also began manufacturing automobiles.

The very first FN automobile was in the style of the horse-drawn dog cart, which was commonly used by sport shooters. It had a twin-cylinder engine with a chain-drive, and a two-speed gearbox. The company continued to sell this style of automobile through to 1906. By 1939 the company stopped making automobiles.

Until next time...

France 1945 - Marianne de Gandon

Dubious past associations can sometimes come back to haunt a person and affect the rest of their life whether they be innocent or guilty. But sometimes unforeseen circumstances can extinguish one's past, giving them a chance to start over.

In late 1944, after Paris had been liberated from the Nazis, the leader of Free France, Charles de Gaulle, returned to France from his exile in England. He quickly set up a provisional Government. One of the things he wanted to do as soon as possible was to have a new France definitive stamp issued, a stamp that would reflect the country's fierce patriotism and pride. He wanted a new Marianne design. Consequently, a contest for the design of the new definitive was launched.

Meanwhile, the stamp engraver, Pierre Gandon, had been considered by Charles de Gaulle's new Government as a Nazi collaborator by continuing to work for the Vichy Regime. They offered as proof his role in the creation of Vichy "propaganda" stamps, namely the Tricolour Legion stamps, issued 12 October 1942. Click HERE to view my blog on this stamp set. Whatever the case, as a result of this alleged collaboration, Gandon was blacklisted and his name was removed from the French Post Office's engraver list.

However, and this is where the story gets interesting, Gandon had actually already submitted a potential design for the new France definitive. And when Charles de Gaulle reviewed all the potential designs, one design in particular stood out. Without knowing who the designer was, Charles de Gaulle chose Pierre Gandon's design! One can only imagine the conundrum de Gaulle faced when he discovered who the winning designer was. It seems that his love for the design outweighed all else, and Gandon was allowed to work on the engraving. This proved to be a superb choice! What resulted was one of the finest definitives ever produced. The Marianne de Gandon.

***

It was decided early on in the production of the Pierre Gandon's Marianne design that the stamps would be issued in three versions. A version printed in typography, which was a relatively cheap method of stamp production, was for internal use. This design was engraved by Henri Cortot. And two versions, for overseas mail, printed in intaglio: a small format and a large format. Both iintaglio versions were engraved by Gandon.

On 15 February 1945 France issued two Marianne de Gandon stamps. The first of these was the 4f blue, printed in intaglio. It was designed and engraved by Gandon. It is a truly stunning stamp.

The other stamp issued on 15 February was the 1.50f pink, printed in typography. This printing method produced far less attractive results.

***

Four further values were printed in the small format intaglio type. The 20f green on 4 March.

***

On 15 March two values were issued. 10f blue and 25f orange.

***

On 15 May the last of the small format intaglio stamps was issued. 15f  lilac-pink.

***

On 12 March 1945 the first large format Marianne de Gandon was issued. The 50f brown-red. In my opinion this format is also the best! 

***

Three further values were issued in this large format. The 100f carmine on 12 March.

***

The 20f green on 14 March.

***

The 25f violet on 16 May.

***

This gorgeous design portrays Marianne wearing a Phrygian cap and staring off to the right (perhaps to the future) with her head slightly raised. This elegant design encapsulates freedom, pride, and strength. To create this beautiful design, Gandon used his own wife, Raymonde, as the model. What a charming way to immortalise your life partner.

***

So which format is your favourite? And for that matter, do you have a colour preference?

Until next time...

France 1941

Year Set

Society of the Works of the Sea (Engraving)

23 October

***

The Coat of Arms of Reims

15 December