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Posted Dec 7, 22 20:30 by Leonard Piszkiewicz (lenp99)

registered covers crayon numbers

Something to keep in mind about those forms is that after they've served their purpose, they become waste paper, which was sold for recycling, according to postal regulations. I expect nearly none were saved like old postcards were retrieved from sold DLO waste paper and saved. That's why we have a lot of undeliverable/DLO postcards in the philatelic world.

Posted Dec 7, 22 18:49 by Russ Ryle (hoosierboy)

1869 crayon marking on registered covers

Leonard,

Yes, that is my assumption also. I am looking for someone who has an example of a foreign bound registry bill without luck so far. Someplace one would think there are USPO forms or records ending the "chain of custody" on outbound registered covers containing these numbers.

Posted Dec 7, 22 18:35 by Leonard Piszkiewicz (lenp99)

registered covers crayon numbers

Registered covers from Great Britain to the U.S. from at least the 1870s to about 1905 almost always show crayon numbers mostly in blue but also in red, sometimes on the front, sometimes on the back, with numbers up to a few hundred. I've always thought these numbers matched entries on registered letter bills that accompanied the registers.

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Posted Dec 7, 22 17:56 by Russ Ryle (hoosierboy)

1869 registered cover to Prussia

Thanks, Ken. Being mailed from NYC is my thoughts as well. Registry fee of fifteen cents and the other thirteen cents for postage. Is that the correct postal rate?

To my knowledge this is the earliest seen use of a blue crayon number on the back side of registered cover leaving NYC for overseas.

Posted Dec 7, 22 17:02 by Ken Lawrence (kenlawrence)

1869 registered cover to Prussia

In 1869 Frederick Kapp was a Commissioner of Emigration in New York City, possibly serving California in some official capacity. I found correspondence from Kapp to the California secretary of state published in a California newspaper.

I infer from this that Russ's cover was mailed at New York, and that it did not cross the North American continent.

Posted Dec 7, 22 16:23 by John Barwis (jbarwis)

California to Germany

Russ,

Hard to say about the trip east from California. The Transcontinental RR had not yet been completed. So... Butterfield Stage?

Maybe some of our California friends on this board can help...

Posted Dec 7, 22 15:45 by Russ Ryle (hoosierboy)

Where was this cover mailed from? How did it get there?

Thanks, John. Now, if I can figure out if it originated in NYC or, if not, how it got there to make the ship.

Posted Dec 7, 22 10:56 by John Barwis (jbarwis)

Russ

The letter left New York on North German Lloyd's steamship "New York," which arrived at Bremen on 2 April.

Posted Dec 7, 22 9:59 by Russ Ryle (hoosierboy)

Where was this cover mailed from? How did it get there?

back side of cover.

Image

Posted Dec 7, 22 9:58 by Russ Ryle (hoosierboy)

Where was this cover mailed from? How did it get there?

Morning all,

Registered cover marked at NYC on its way to Switzerland. Has a California wax seal on the back side [see next post with image]. March 18, (1869) NYC and April 2, 1869 Bremen transit mark. April 3, 1869 "AUSG" on back side.

Help appreciated on its routing and the franking charged.

Image

Posted Dec 7, 22 9:02 by Kimberlee Fuller (kimberlee)

Collectors Club - Federación InterAmericana de Filatelia - Yamil Kouri, Henry Marquez & Guillermo Gallegos - 12/7 -

The Collectors Club would like to remind you to attend our live, virtual program, scheduled for Wednesday, December 7th, 2022, at 5:30 pm EST. We will be featuring a a program presented by Yamil Kouri, Henry Marquez and Guillermo Gallegos.

Yamil Kouri will discuss "The Cuban Stamps Surcharged Y 1/4 in 1855".

415ae7e5-318b-4f10-8286-c4cbc4c64ee4.jpg

The only known pair of two-reales orange red stamps with both types of Y 1/4 surcharge on a cover fragment sent by railroad from Havana to Cardenas. For more than a century it has been referred to as "The Jewel of Cuban Philately."

Henry Marquez will discuss the first coil stamps of the world.

eb9014ae-407e-44c0-b16b-ce68a47f1400.png

The iconic and only recorded "Error on Error" of classic Peru (and probably Latin America or even the world), the One Dinero Lecoq issue of 1862 (The first coil stamp of the world), the unique double-printed of the frame sideways error.

Guillermo Gallegos will address the 1879 issue and how it was locally printed and put into circulation when El Salvador joined the U.P.U. Among the 5 values issued, the 1 centavo is printed in green and the 2 centavos in red, in accordance with U.P.U. guidelines.

4346d702-a87b-4af5-9e81-2a7e6dabadfd.jpg

This 1c in red is the only known color essay of the first stamp printed in El Salvador, which was also the first printed locally in Central America.

If you haven't registered already, please click on THIS LINK or this link:

https://us02web.zoom.us/webinar/register/6116627440679/WN_ASeWmjRgTamJ1JwgtsJfHw

You do not need to be a member of the Collectors Club to view the presentation. Anyone may join!

Posted Dec 7, 22 8:43 by Ken Lawrence (kenlawrence)

Remember Pearl Harbor 7 December 1941

For contrast with the Pacific Clipper last-flight round-the-world cover shown below, compare it to this Anzac Clipper last-flight cover, the flight that was diverted to Hilo during the attack on Pearl Harbor.

Both covers are addressed to Manila, Philippine Islands, an impossible destination after the Japanese invasion and the suspension of FAM 14 and FAM 19 flights west and south of Hawaii.

After being offloaded at Hilo, this cover was sent to Honolulu for censorship by the Information Control Branch of U.S. Army Intelligence. After release by the I.C.B., it was sent back to San Francisco, where the RETURN TO SENDER marking was struck.

Note the differences between the San Francisco and New York RTS markings.

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Posted Dec 7, 22 6:57 by Ken Lawrence (kenlawrence)

Remember Pearl Harbor 7 December 1941

back side

This cover was the star of my program at Aerophilately 2022 in Bellefonte, which was not recorded.

I published a version of my script as my 19 December 2022 Linn's Stamp News  Spotlight on Philately column, "Trans-Pacific Clippers on the Eve of Pearl Harbor," which is on-line for subscribers this week.

I can send a PDF proof of my column to readers of this board who request it.

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Posted Dec 7, 22 6:57 by Ken Lawrence (kenlawrence)

Remember Pearl Harbor 7 December 1941

In 25 years of searching I have recorded only ten covers flown on Pacific Clipper’s famous westbound 8 December to 6 January flight around the world from the war zone to safety.

My census last January counted only six; that publication elicited three additional reports. Two of the three are missing part of their original postage; even so, they are rare relics of an illustrious odyssey.

In October of this year I bought the cover pictured here. It is the most unusual Clipper cover I have seen; its trip onward from New Zealand paralleled Pacific Clipper’s round-the-globe return flight.

The clues to recognizing this cover’s significance are the blood-red censorship sealing tape at the left and the RETURN TO SENDER marking struck at New York, not San Francisco.

Postmarked 17 November at Van Nuys, California, to Manila, Philippine Islands, the letter should not have been sent by the South Pacific route. If it had gone north to San Francisco, China Clipper’s 19 November departure would have delivered it at Manila routinely on 28 November.

After missing the FAM 19 California Clipper flight that departed from San Pedro about an hour after it was mailed, this letter awaited the 2 December Pacific Clipper flight, in air during the attack on Pearl Harbor. Pacific Clipper’s mail was offloaded at Auckland on 8 December.

From New Zealand the air route to the Philippines went via Australia and the Netherlands East Indies. A TEAL flight departed Auckland on 9 December and arrived at Sydney the same day. If the letter missed that flight, another one flew the same route on 10 December.

The next KNILM flight to Java departed Sydney on 12 December and made its Java calls on 13 December. From Batavia or Surabaya, a KNILM so-called “extra flight” — technically a charter flight to circumvent the U.S. State Department’s refusal to grant landing rights in the Philippines to foreign airlines — would have taken it the rest of the way to Manila.

The last KNILM “extra flight” had departed Batavia on 20 November and returned on 22 November. By the time this letter reached Java, Japanese forces had invaded the Philippines, which caused further KNILM charter flights to be canceled.

To return the letter to the sender while avoiding the Japanese advance, a Dutch colonial post office clerk dispatched it on a KLM flight from Bandung to Lydda, Palestine. After arriving at Palestine, the letter was opened and examined by a British censor at Haifa (the code 71 location printed on the tape seal).

From Palestine or Egypt, a Pan Am trans-Africa flight conveyed it to Accra, Gold Coast, or to Fisherman’s Lake, Liberia. A FAM 22 flight, probably a special mission, carried the letter from West Africa to New York City, where it was backstamped 21 March. A transcontinental domestic flight took it to Los Angeles, and surface transport returned it to Van Nuys, completing its trip around the world.

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Posted Dec 5, 22 17:19 by John Barwis (jbarwis)

Early US Postage Dues

Ray,

For a discussion of the colors and inks used for these issues, see Harry Charles' work in the 4th IAP Symposium proceedings:

https://drive.google.com/file/d/1UakT_bvlEBXk3Qke1bj_e3aGSiC84vyB/view

Posted Dec 5, 22 11:14 by Ken Lawrence (kenlawrence)

WW2 South Atlantic Air Mail - Pan Am's "Y" Route

Boeing and Martin flying boats and U.S. War Department landplanes were not the only aircraft Pan American Airways crews operated on trans-Atlantic flights during World War II. From July 1943 to November 1944, Pan Am conducted a trans-Atlantic air transport operation, flying Consolidated PB2Y-3R Coronado flying boats, under contract for the U.S. Naval Air Transport Service. 

Those aircraft flew from New York City to Port Lyautey, Morocco, and back over a South Atlantic route, with fueling stops in West Africa, South America, the Caribbean, and Bermuda, taking about seven days in each direction, weather permitting. 

Navy records at the U.S. National Archives and Records Administration designated flights over that route as “Y” trips, taking that prefix from the Y in the Coronado model number. Surviving files are incomplete, so it is not possible to construct a comprehensive table of flights. 

Pan Am’s Atlantic Division received its first allotment of PB2Y-3R flying boats at the end of May 1943. Flight and maintenance crews were trained in June, and contract flights began in July, but I have found no record of the inaugural flight date. 

The Navy began to phase out the “Y” service at the beginning of October 1944. The latest flights for which I have specific data are trip Y-162 that arrived at Port Lyautey on 15 October and trip Y-163 that departed Port Lyautey on 17 October. Pan Am returned the last Atlantic Division PB2Y-3R seaplane to the Navy on 5 November. 

The Navy had built its Port Lyautey base as soon as Allied armies had cleared Axis forces from French colonies in North Africa after the November 1942 invasion. Establishing a dedicated air transport service between Port Lyautey and New York was among the logistical preparations for the Allied invasion of Sicily, which began 9 and 10 July 1943. 

Pan Am’s “Y” route thus became the principal carrier of air mail to and from American forces in Sicily. Mail volume flown on “Y” flights significantly increased after the Allied invasions of Italy and France, but diminished after secure landplane air bases on the European continent provided faster and more direct North Atlantic air mail conveyance. 

Although “Y” flights carried mail to and from American military personnel stationed throughout North Africa, the Mediterranean, and southern Europe, other routes flown by Pan Am, American Export Airlines, and the Army’s Air Transport Command also served them. I doubt that mail to and from those troops can be attributed to specific routes.  However, U.S. air mail to and from Port Lyautey probably did travel on “Y” flights during its period of service.

These are the military addresses that fit the pertinent time frame: APO 776 New York was located at Port Lyautey from 6 March to 22 August 1943; APO 782 New York, from 4 April to sometime in August 1943; and Navy 214 for the duration.

This 16 August 1943 air mail cover from APO 776 to Brooklyn is an example of mail carried by Pan American Airlines crews on U.S. Navy PB2Y-3R Coronado flying boats over the Naval Air Transport Command’s trans-Atlantic “Y” route from Port Lyautey to New York City.

The sender, John J. Iaconis, who also signed as the censor, was a lieutenant in the 21st Engineer Aviation Regiment, U.S. Army Corps of Engineers, which was in charge of construction and improvement of facilities at Port Lyautey after the November 1942 Allied invasion of North Africa until the Navy’s 120th Seabees assumed control in February 1943.

After the Navy took charge, Iaconis was assigned to the Army’s 2nd Replacement Depot, a rear area unit that provided replacements for battle casualties during the Allied conquest of Sicily and Italy. He subsequently served as an engineer in the European theater. After the war he served as an Army Reserves instructor for 20 years, retiring with the rank of major. He died at age 84 in 2003.

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Posted Dec 5, 22 8:45 by Ray Porter (rporter314)

Dies and Catalogs

Most interesting discussion.

For me, the banknote postage dues are one issue. The POD describes it as such and maintained the color was reddish brown in both announcements. Thus I think of them as simply color variations which change approximately along contractual lines. Thus 1879-1884 issued stamps were mostly a brown, 1884-1889 issued stamps were mostly a brown with various amounts of red, and 1889-1894 issued stamps were mostly a claret. I suspect ABNC experimented with colors as contracts approached looking for cost reduction methods for winning bids.


Posted Dec 5, 22 7:37 by John Walsh (john walsh)

Dies Ken Lawrence

Ken thank you for your understanding of what I wrote. As you stated a design was made and a die was created from it and so thus a whole number is assigned. Then, as you stated, other actors got into the image making, you list them, with each in their turn manipulating the previous image made by the originator. Thus it is not the same original die. It has been altered by each of those manipulators. As the design item is not as originally made it has to be given a new cataloguing; thus a new whole number. Change the original by any amount and you get a different item. Boy of boy, how hard is this to not understand. John Walsh.

Posted Dec 5, 22 7:19 by Ken Lawrence (kenlawrence)

Dies

The classification system John Barwis described seems sensible for that stamp issue. The system John Walsh described might work for the stamps he catalogued; without seeing it, I cannot say. But his claim of universal applicability is absurd.

Besides examples previously noted are instances of intaglio dies altered and re-used.

Dies used to produce the US National Bank Note Company stamps of 1870 were altered by the addition of so-called secret marks to produce the subsequent Continental Bank Note Company and American Bank Note Company issues. Same dies, but visibly different designs from different printers.

So also for dies that produced the ABNC Small Bank Note stamps of 1890, significantly altered by Bureau of Engraving and Printing engravers with the addition of corner triangles to produce the First Bureau Issue stamps of 1894-1898. Same dies, but visibly different designs from different printers.

Posted Dec 5, 22 7:04 by John Barwis (jbarwis)

Dies

When the Victoria Half Lengths were produced in 1850 a die was engraved with each of the three denominations. Die prints were then transferred to a lithographic stone. Because The transfers were not done perfectly, every image on every stone is slightly different, some glaringly so.

Nevertheless, Gibbons chose to use a single catalog number for stamps from the same stone and printing. The more glaring variations within each printing were allocated sub-numbers under a given printing's header. It's a look-up system that is easy to use.

Posted Dec 5, 22 6:29 by Ken Lawrence (kenlawrence)

Dies

John W,

The process you described applies only to intaglio printing from steel engraved plates. All other printing processes for stamps use other printing bases, not dies, transfer reliefs, and multiple-entry recessed plates.

That includes the stamps Richard Frajola described, which are printed by relief. There were no dies, no transfer reliefs, and no multiple-entry recessed plates used to print them.

Posted Dec 4, 22 20:48 by John Walsh (john walsh)

Dies for you

A printed sheet of paper has images on it. The images are all the same. The paper had ink pressed into it from the printing plate so that it can be seen. On that printing plate are the same images. That printing plate had the same single image pressed into it a multiple of times. The origin of that image was an approved to be for use image by the ordering entity, the Post Office in this case. That approved image is called a die. Even the ordering entity gives it a whole number. But I now see red herrings being thrown into the midst. The entity that ordered the printed design is the Post Office. They deal with an image printed onto paper. Not all those other distracting techniques that are being thrown into this 'discussion'. None are so blind that they will not see. Happy dreams. John Walsh.

Posted Dec 4, 22 20:08 by Ken Lawrence (kenlawrence)

John W,

You are misusing the term die to mean design or composition.

A die is only one kind of original printing medium. Although prints can be pulled from dies, usually the only die prints are proofs and presentation prints.

Other original printing media include stencils, stones, set type, woodcuts, etched plates, drypoint plates, stereotypes, electrotypes, galvanic altos and bassos, spirit masters, hectographs, monotypes, and more modern inventions such as xerography, jet-spray, and laser printing.

Posted Dec 4, 22 18:50 by Richard Frajola (frajola)

A chase is a not a die

Typesetting does not use dies ….. Shanghai stamps are typeset one at a time, no cliches, no plates and no dies. I can not make it any clearer and will have to agree to disagree on terminology.

This is exactly my problem! So many words have been used without the author making any attempt to define the terms. With Shanghai, many other use words like official reprint for items not made from the original devices. If official, I would term them official re-issues. I only use the word reprint when made from original die, plate or forme.

Posted Dec 4, 22 18:05 by John Walsh (john walsh)

Dies

Then you have 65 dies made from the images made from the type.. Or you could try and call them plates BUT the image changed. The image is the die. I can not make it any clearer. Sorry. John Walsh.

Posted Dec 4, 22 17:40 by Richard Frajola (frajola)

Dies

John - there was no “die” for The 1865 Shanghai Local post. Each stamp was printed from a forme composed of type, a central woodblock, dividing lines and furniture. As near as I can tell, the forme was broken down and re-composited at least 65 times.

Posted Dec 4, 22 16:59 by John Walsh (john walsh)

Not to die for

To catalogue you need only the die which has the image. That is the item that was released by the releasing authority. The different plates; booklet format; if flat; rotary etc ALL are subunits of the original die. Use subnumbers to demark them. I even see silly catalogues listing forgeries under whole numbers as sub numbers. Madness. The issuing entity did not release forgeries. Make only the die released by the issuing authority the Whole Number. Those variations as per short list above of it are subnumbers. I realize dyed in the wool collectors will have great difficulty stepping into this thought process but to me it is better than what is there now. We certainly seem to hear many complaints. See Canada 15cent Large Queen for instant madness. But provide an alternative and instantly manure falls upon the thinker. John Walsh.

Posted Dec 4, 22 14:44 by Richard Frajola (frajola)

Catalog Logic

John,

Actually, I was thinking about the Large Dragon issue: a page is shown below. Website page is here.

Have had the overprint settings problem with Siam though. See page 6 in the PDF file of my book here for my choices regarding "Method of Cataloging"

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Posted Dec 4, 22 13:59 by Ken Lawrence (kenlawrence)

Not to die for

John W,

Cataloging US stamps by die would impoverish US collecting. A single die often was used to prepare plates for printing sheet, booklet and coil stamps on both flat-bed and rotary presses, and from intaglio and offset presses, which were printed on different papers, and finished on perforations with different spacings, all of which specialists desire to collect. Also, plates entered from single reliefs, from multiple reliefs, from galvanic transfers, and photographically. Furthermore, the chronology of dies bears no relation to the chronology of stamp issues, nor to Post Office Department announcements of them.

It is true that neither the POD nor the BEP regarded perforation or paper changes as distinct issues, but they did take note of differences among stamps issued in sheet, booklet, and coil formats; and of some special papers but not others.

Posted Dec 4, 22 13:55 by John Walsh (john walsh)

Catalog logic

To me, Richard, you seem to have caught the correctness bug much like myself. Your example are surcharges i.e. Provisionals; torn down and then reassembled. When reassembled their setup would be different from the original doing. Thus it is a new die; thus a new whole number. Shade is just that, color variations; perforations are just different means of separation process. But same die with another color i.e. blue instead of green requires a new whole number. Blue versus bright blue, dull blue white blue is still variations of same original blue. Anyway I rest my position of opinion. I created whole numbers when the die changed or its color was not the same as originally released. John Walsh.

Posted Dec 4, 22 13:30 by Richard Frajola (frajola)

Catalog Logic

John,

I have struggled many times with what should constitute a separate catalog number. The catalogs and albums got overly polluted at an early date. Whatever logic is to be chosen needs to be clearly stated for each catalog (or for each country).

Right now I am working on an online catalog of the Shanghai Local Post 1865 Provisional issue of Large Dragons. The stamps were printed one at a time in strips of 5 or 6 on strips of paper as a particular denomination was needed. The paper was of no consequence and whatever was at had was used. Makes no sense to me that stamps on laid paper, which are mostly very rare, should be given catalog status. Shades, no way most weer intended to be distinct shades. So-called printings are an utter fiction as the individual formes used to print were disassembled frequently, the type moved dimensionally often and each impression is a separate printing.

Logic in philatelic cataloging would go a long way towards make collecting more accessible to people who can't separate stamps based on textual descriptions of color, perforations or paper.

Posted Dec 4, 22 12:43 by John Walsh (john walsh)

US stamp production

That 3cent stamp Len Lawrence writes about is only different by the manner of separation. To the Post Office Department and the printer the item is the same BECAUSE the die proof is the same. Separation has nothing to to do with total quantities printed by that die. So the die proof is the indicator of quantity. This is and continues to be a problem with those long running cataloguers. Reason the Walsh Nfld. and BNA specialized catalogues were made. Create catalogue whole numbers only by the die used. John Walsh.

Posted Dec 4, 22 12:31 by John Barwis (jbarwis)

Misinformation (?)

I hear you, Ken!

My pet peeve is unreferenced information about rarity: e.g., "Finest of eleven known"

Really? Known to whom, and where is the published reference? Has an "exhaustive" census been done?

"This is a rare stamp" would work just as well.

Posted Dec 4, 22 8:32 by Ken Lawrence (kenlawrence)

US Stamp Production

Our literature is littered with misinformation. My peeve, for example, concerns the 3¢ perforated horizontal coil stamp of 1911.

One customer ordered those stamps — Bell & Company of Orangeburg, New York. When the order came in, the coil perforators were backlogged with production of 1¢ and 2¢ denominations. To meet Bell & Co.'s urgent needs, the women at the Bureau of Engraving and Printing who converted printed gummed sheets of stamps into perforated panes and rolls reverted to their old manual method of making coils. They perforated a small quantity on a machine normally used to finish sheet and booklet stamps, which applied gauge 12 perforations vertically and stripped the rows horizontally. They pasted the strips side to side, making the stamps listed as No. 389 in the Scott catalog.

But as soon as a coil perforator was free, they finished the balance of the order on it, which applied gauge 8½ perforations vertically, slit the rows horizontally, and wound them up on spools, making the stamps listed as No. 394 in the Scott catalog.

BEP records do not differentiate between the two; they list only the total number of 3¢ sidewise perforated coils. All the evidence indicates that a small number of rolls were finished with gauge 12 perforations, but several authors have reported the aggregate number as Scott 389 production.

Posted Dec 4, 22 8:09 by Rob Faux (robfaux)

Postal History Sunday

A new week begins (or ends depending on how you see it) and another Postal History Sunday is available to all who might like to read it.
Rob

Posted Dec 3, 22 21:17 by Mike Ludeman (mml1942)

US Stamp production

David:

Most of the 1847USA.com website is now hosted on Stamp Smarter.

If tihis link does not get you to the page you remember, look around. I am not all that familiar with all of the features there.

Mike

Posted Dec 3, 22 20:53 by David Gass (davidgass1)

US Stamp production

Thanks Ken this helps. I thought I use to look at 1847usa.com a decade or so ago for approximate volumes printed or issued, but this site no longer exists. In my collection notes I have approximates for sheets, coils, booklets printed or issued by design for each denomination, re - Wash/Frank series. I was hoping there was a site for similar data for definitive/regular issues. I use Swedish Tiger, but volumes are not listed for Scott 400+.

Posted Dec 3, 22 19:45 by Ken Lawrence (kenlawrence)

US Stamp production

See pages 604-610 of the 2023 Scott Specialized Catalogue of Stamps and Covers for quantities issued (not quantities printed) of commemorative and air post stamps.

See the Bureau Issues Association publications of plate numbers to see the number of impressions printed (not quantities issued) from each plate. These cannot be translated into quantities by Scott number, because they include spoilage, prints from plates that were finished as more than one different Scott-numbered stamps, and quantities withdrawn and destroyed.

Posted Dec 3, 22 19:21 by David Gass (davidgass1)

Stamp production volume data

Is there a good website or book that provides accurate information regarding the number of stamps printed for each issue by Scott #?

Posted Dec 3, 22 18:41 by Mark Butterline (mbutterli)

Frames Boston 2026

We are still working on the frame design and costs. We don’t know yet if they will be new frames, or a retrofitting and renovation of existing frames, or a combination of the two. A prototype was displayed at NOJEX (not GASS) and received positive feedback from several prominent folks.

The retrofitting would involve cutting off the top hinge. This would separate the front of the frames (with the plexiglass) from the base of the frames (with the masonite). We’d also add hardware pieces that would enable the sliding of the fronts of the frame onto the frame backs. Frames will also allow for the use of wire seals. Much like those used to seal electrical boxes. This would make tampering and security status more obvious.

The renovation would involve the replacing of the plexiglass, backing paper, page trenches, and cake strips. The legs would be unchanged. The dimensions of the frames would be unchanged (still 4x4).

The benefits of this approach would include:

1. Easier and faster frame setup/breakdown, as the frames would not have their fronts when they are being setup or taken down. In other words, the show decorators would have lighter weight frames to wrestle with during the frame setup and breakdown phases.

2. No special screws. No special screwdrivers. No screw receptors (with stripped threads).

3. No poles to hold open the plexiglass part of the frame during the exhibit loading and unloading phases. The top part of the frame will be slid onto the frame base after the exhibit pages are loaded. It might also be possible to have narrower aisles and thus more frames in a smaller space. Of course, other folks may have something to say about this (e.g., the local Fire Department).

4. A retrofit/renovation approach would mean that the existing frames would not be thrown away (i.e., sent to the dump).

FYI – The most current source of Boston 2026 news is our Twitter feed (@Boston2026Expo).

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Posted Dec 3, 22 18:36 by Daniel M. Knowles (eastendfan)

Exhibit Frames

Replacing the fronts and backs of the A frames, thereby eliminating the need for screws and screw drivers would seem be a marked improvement. The Boston 2026 folks must know the cost of doing that for that show. I assume those frames would then be made available to WSP shows. What would be the cost of redoing all the A frames used across all the WPS shows in that manner? Is the APS discussing that possibility? Could aggressive fund raising among current exhibitors combined with a financial contribution from the APS cover the cost? Or is the effort and the money required to carry out such a project across all the shows strictly prohibitive?

Posted Dec 3, 22 14:44 by Mark Schwartz (schwamoo)

Frames Boston 2026

Dave is right in that new frames are being developed for Boston 2026. They were shown for comment at GASS in Sacramento. Currently, the idea is to use the current A Frame legs with new fronts and backs. The fronts and backs would slide easily onto the the legs. No screws or screwdrivers would be needed. Not sure if I can get a design drawing to post.

Posted Dec 3, 22 13:30 by Leonard Piszkiewicz (lenp99)

Frames

How about a format of 5 wide by 3 high? That would increase floor space needed by 25% but reduce number of pages per frame by 7%. The 4 wide by 3 high format would reduce pages by 25% but retain the same floor space needed.

Posted Dec 3, 22 12:46 by David Kent (davekent)

Frames

It is my understanding that the good folks who are running Boston 2026 are planning on developing new frames for that show. Following the custom established with the Chicago 1986 show, those frames would become available after the show.

Posted Dec 3, 22 12:45 by Richard Drews (bear427)

Frames

Several years ago when Chicago was considering a bid to host 2026, I worked out a method to get frames repaired for the show. I contacted several WSP shows and asked for frame counts and also got a count of APS owned frames. An offer was floated to borrow frames in exchange for repairing them at the end of each show held closest to the opening of the 2026 show. The frames would then be shipped to the storage facility for the International, used for the show and returned to the WSP shows.

All it would require was a assessment of what was needed to be done for each frame. A bulk order can then be made for all replacement parts including backing sheets and plexiglass. Badly damaged frames can be canibalized for parts. Still could be done for the Boston show. Mark's suggestion that frequent exhibitors could help pay for frame fix up is an excellent idea.

Rich

Posted Dec 3, 22 12:29 by Mark Schwartz (schwamoo)

Frames

One key problem is expense. The frames we use seem to be made only for international shows in the U.S. where the cost can be absorbed. Few US shows are likely to be able to afford to pay for brand new frames, only for those used and no longer needed. The APS could make a special effort to create new frames. Perhaps with the help of donations from frequent exhibitors.

The type of frame is another issue. While several designs shown on the Board seem attractive, getting consensus on a design, especially one different from the 4x4 page layout, could be difficult.

Posted Dec 3, 22 11:04 by John Barwis (jbarwis)

Frames

Not only are the APS frames inferior in design to those shown in the last few posts, but a large proportion of "our" frames are in poor condition: stripped threads in the aluminum sockets that accept the securing screws; plexiglass scratched and/or dirty; bent legs.

Posted Dec 3, 22 1:06 by Roger Heath (decoppet)

Exhibit frame layout

Layout showing three philatelists discussing items on page without blocking aisle and able to view frames closely in detail. Notice there are 12 pages oer frame (three rows).

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Posted Dec 3, 22 1:04 by Roger Heath (decoppet)

Exhibit frame layout

Show in Sindelfingen showing square layout of frames where one walks in and out of "spaces".

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Posted Dec 3, 22 1:02 by Roger Heath (decoppet)

Exhibit frames

Best frames I ever used were those at NABA 2018 in Lugano. They were vertical and set in zig-zag pattern. There was a long piano hinge on the right and two locks on the left. The "window" was tempered glass that swung open then was locked by an exhibit helper with a key.

12 pages per frame in Europe which gets rid of the lowest row, and which causes 10 frame exhibits to be 120 pages instead of 160 pages. Editing an exhibit shown in the USA down from 10 frames to 10 frames in Europe can be a challenge.

Also the frames can be arranged into square units which allow for small cozy units where one or two people can discuss items comfortably.

The frames illustrated had magnetic horizontal strip to hold the pages and since they were moveable could adjust for either A-4 or 8.5x11, or any other height for a row. I have used double pages (8.5x17) for the last few years and find one can add up to 20% more items for the given number of frames, if necessary. This also means one can reduce the number of frames required to show the exhibit and include the same number of items.

Illustrated below are two exhibitors mounting their exhibits in the frames prior to NABA. No screws to fit into holes, no scuttling on the floor to get those pesky bottom screws, and no trying to hold pages in a frame which wants to dump the pages on the floor while lowering the frame front!

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