In this episode Tammy has an interview with Rich West of Periodyssey, who talks about collecting American Periodicals. Tammy goes over Occupied Japan, Provenance, Antique Quilts and a section on eBay that few people know about.
CollectiblesCornerTV.com
In this episode Tammy has an interview with Rich West of Periodyssey, who talks about collecting American Periodicals. Tammy goes over Occupied Japan, Provenance, Antique Quilts and a section on eBay that few people know about.
CollectiblesCornerTV.com
28TH ANNUAL BALTIMORE SUMMER ANTIQUES SHOW PRESENTS OVER 550 INTERNATIONAL DEALERS, 60 ANTIQUARIAN BOOK DEALERS
The largest summer antiques show in the nation returns to the Baltimore Convention Center August 28-31
Art and antique aficionados from across the country and around the world will celebrate the final days of summer at the 28th annual Baltimore Summer Antiques Show, August 28-31 at the Baltimore Convention Center. Guests will have the unique opportunity to view and purchase from the collections of over 550 international dealers drawn from the United States, Canada, France, Italy, and England all in one place, all at one time. Showcased collections of fine art, jewelry, silver, porcelain, American folk art, decorative accessories, furniture, glass, textiles and more ranging from the antiquities to the 20th century will line aisle after aisle at the largest summer antiques show in the nation. The show also includes a 60-dealer Antiquarian Book Fair offering rare books, first editions, fine manuscripts, autographs, and unusual bibliographical material.
Adding to the event’s cultural experience, the Baltimore Summer Antiques Show will once again present an educational lecture series that is free to the public as well as show attendees. The lecture series, which debuted in 2007, includes presentations on a wide variety of topics by respected dealers and industry experts.
The incredible diversity of dealers combined with the solid quality of items as well as educational programming makes the Baltimore show a significant event for guests and exhibitors alike.
WHAT: 28th annual Baltimore Summer Antiques Show
WHEN: Thursday, August 28 – Sunday, August 31
HOURS: Thursday, August 28 12 pm – 8 pm
Friday, August 29 11 am – 7 pm
Saturday, August 30 11am – 7 pm
Sunday, August 31 11am – 6 pm
WHERE: Baltimore Convention Center
Downtown at the Baltimore Inner Harbor
One West Pratt Street
Two Main Entrances:
West Pratt Street Lobby
Charles Street Lobby
ADMISSION: Tickets: $12.00 Good for all show days
FOR MORE Call the Palm Beach Show Group at 561-822-5440 or visit
INFORMATION: www.baltimoresummerantiques.com.
The Royal Canadian Mint launches latest Olympic 25-cent circulation coin
The Royal Canadian Mint today officially released the second Olympic 25-cent circulation coin of 2008. The sport of
freestyle skiing is depicted on the coin, which is the seventh of 17 circulation coins to celebrate the Vancouver 2010 Olympic and Paralympic Winter Games.
“With less than two years before Vancouver hosts the world for the
Olympic and Paralympic Winter Games, the excitement and anticipation is
building from coast to coast to coast,” said Ian E. Bennett, President and CEO
of the Royal Canadian Mint. “This newest commemorative circulation coin,
featuring the dynamic sport of freestyle skiing, is yet another way for
Canadians to collect a piece of the Games.”
“We are proud and excited to have our sport as part of the Mint’s Olympic
commemorative coin program,” said Peter Judge, CEO of the Canadian Freestyle
Ski Association. “The Royal Canadian Mint is doing a great job keeping sport
front and centre in the eyes of Canadians.”
Up to 22 million 25-cent freestyle skiing coins will enter into
circulation today and will be available exclusively at RBC Royal Bank and
participating Petro-Canada gas stations. RBC is a Premier National Partner and
Petro-Canada is a National Partner of the Vancouver 2010 Olympic and
Paralympic Winter Games. Canadians can also look for these special coins in
their change. Participating Petro-Canada gas stations will also sell freestyle
sport cards, containing a uniquely painted version of the coin. The sport
cards, which are now available, sell for $7.95.
Started by skiers who were looking for a more creative way to express
themselves and compete at the highest levels, the first Freestyle skiing
competition was held in New Hampshire in 1966. The sport made its Olympic
debut as a demonstration sport two decades later at the Calgary 1988 Winter
Games. The Freestyle discipline of Moguls was accepted as an official medal
sport at the Albertville 1992 Winter Games, followed by Aerials at the 1994
Winter Olympic Games in Lillehammer – where, in the moguls competition,
Jean-Luc Brassard won the first Olympic gold medal ever by a Canadian male in
a skiing event.
The newest Olympic Winter Games event, Freestyle Ski Cross, will make its
debut in Vancouver in 2010, where both men and women will compete in all three
freestyle disciplines. Canada has a proud Olympic history in freestyle skiing,
having won ten Olympic medals in the sport, including four gold medals.
Designed by Canadian artist Glenn Green of Vancouver, BC, the freestyle
skiing circulation coin features a freestyle skier in the centre, a stylized
maple leaf and the words ‘Vancouver 2010′. The obverse features the portrait
of Her Majesty Queen Elizabeth II, rendered by Susanna Blunt.
Canadians can look forward to three more Olympic Winter Games themed
circulation coins in 2008: two 25-cent coins will feature the sports of figure
skating (September 10th) and bobsleigh (October 29th), while the 2008 Lucky
Loonie will be launched on July 23rd.
Additionally, the Mint is offering a sterling silver collector version of
the freestyle skiing coin, featuring a stunning hologram. The sterling silver
coin was designed by artist John Mardon of Thornhill, Ontario, and retails for
$71.95. The Mint is also offering the first day 25-cent freestyle skiing coin
($15.95) and the 25-cent freestyle skiing circulation coin roll ($16.95).
These items and other coins can be purchased through the Mint’s website at
www.mint.ca by calling 1-800-267-1871 or through authorized dealers.
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Exhibition Surveys the Achievements of Antonio Mancini, Italian Master of Verismo
One of the most prominent Italian painters of the late 19th century, Antonio Mancini (1852-1930) was at the forefront of Verismo, the Italian response to realism. A brilliant colorist and technician, Mancini is known for his daring and innovative painting methods characterized by unusually thick impasto and the inclusion of glass, metal foil and other materials onto the surfaces of his paintings. Antonio Mancini: Nineteenth-Century Italian Master, on view at the Philadelphia Museum of Art (October 20, 2007 – January 20, 2008) includes more than 40 works by Mancini, celebrating a group of paintings and pastels that recently entered the Museum’s collection as a gift from the estate of the American collector and dealer Vance N. Jordan (1943-2003). The exhibition surveys the major themes of Mancini’s career, which brought him from the legendary slums of Naples to Paris, Rome and English country houses. It includes not only his haunting portrayals of circus performers, street musicians, and impoverished children from the streets of Naples, painted in the years following his studies at the Istituto di Belle Arti, but also the portraits Mancini produced for society patrons and several of his reflective self-portraits which chronicle periods of both inner turmoil and the serenity brought by old age and fame.
The international loan exhibition, the first solo exhibition devoted to Mancini in the United States in more than 100 years, it highlights the paintings from the Vance N. Jordan Collection together with important works from museums in Boston, Chicago, New York, Paris, London, Dublin, Turin, Florence, Naples, and Rome, as well as private collections in the U.S. and Europe. The exhibition was organized by guest curator Dr. Ulrich Hiesinger, an independent scholar who has written widely on nineteenth century art.
The Philadelphia Museum of Art is among the largest art museums in the United States, showcasing more than 2,000 years of exceptional human creativity in masterpieces of painting, sculpture, works on paper, decorative arts and architectural settings from Europe, Asia and the Americas. The striking neoclassical building stands on a nine-acre site above the Benjamin Franklin Parkway and houses more than 200 galleries. The Museum offers a wide variety of enriching activities, including programs for children and families, lectures, concerts and films.
For additional information, contact the Marketing and Public Relations Department of the Philadelphia Museum of Art at (215) 684-7860. The Philadelphia Museum of Art is located on the Benjamin Franklin Parkway at 26th Street. For general information, call (215) 763-8100.
| Penny Black | |
|---|---|
 |
|
| Country of production | United Kingdom of Great Britain and Ireland |
| Location of production | London |
| Date of production | 1840 |
| Nature of rarity | World’s first adhesive postage stamp |
| Estimated existence | Unknown |
| Face value | 1-Penny |
| Estimated value | £3- 4,000 (mint) |
The Penny Black was the world’s first adhesive postage stamp used in a public postal system. It was issued by the United Kingdom of Great Britain and Ireland on 1 May 1840, for official use from 6 May of that year.
All London post offices received official issues of the new stamps but other offices throughout the United Kingdom did not, continuing to accept postage payments in cash only for a period. Post offices such as those in Bath, began offering the stamp unofficially after 2 May.
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The idea of an adhesive stamp to indicate pre-payment of postage was part of Sir Rowland Hill’s 1837 proposals to reform the British postal system; it was normal then for the recipient to pay postage on delivery. A companion idea, which Hill disclosed on 13 February 1837 at a government enquiry, was that of a separate sheet that folded to form an enclosure or envelope for carrying letters. At that time postage was charged by the sheet and on the distance travelled.
Postal delivery systems using what may have been adhesive stamps existed before the Penny Black. Apparently the idea had at least been suggested earlier in Austria, Sweden, and possibly Greece.[1]
Hill was given a two-year contract to run the new system, and together with Henry Cole he ran a competition to identify the best way to pre-pay letters. None of the 2600 entries were good enough, so Hill launched the service in 1840 with an envelope bearing a reproduction of a design created by the artist William Mulready and a stamp bearing a representation of the profile of the reigning British monarch, Queen Victoria. There are also references on the record to covers bearing the Mulready design. All British stamps still bear a picture or silhouette of the monarch somewhere on the design, and are the only postage stamps in the world that do not name their country of origin, leaving the monarch’s image to symbolise the United Kingdom.
A Penny Black, with a red cancellation that was hard to see and easily removed
In 1839 the British Treasury announced a competition to design the new stamps, but none of the submissions were considered suitable. The Treasury chose a rough design endorsed by Rowland Hill, featuring an easily recognisable profile of 15-year-old former Princess Victoria. Hill believed this would be difficult to forge. The head was engraved by Charles and Fredrick Heath based on a sketch provided by Henry Corbould. Corbould’s sketch was based on the cameo-like head by William Wyon, which had been designed for a medal used to commemorate the visit of Queen Victoria to the City of London in 1837.[2][3] The word “POSTAGE” appeared at the top of the stamp (revenue stamps had long been used in the UK) and “ONE PENNY.” at the bottom, indicating the amount that had been pre-paid for the transmission of the letter to which it was affixed. The background consisted of finely engraved engine turnings. The two upper corners contained star-like designs and the lower corners contained letters designating the position of the stamp in the printed sheet; “A A” for the stamp at the top left, and “T L” for the bottom right. The sheets, printed by Perkins Bacon, consisted of 240 stamps in 20 rows and 12 columns. As the name suggests, the stamp was printed in black ink.
Although 6 May was the official date that the labels became available, there are covers postmarked 2 May, due to postmasters selling the stamps from 1 May. A single example is known on cover dated 1 May 1840.
The Penny Black was in use for only a little over a year. It was found that a red cancellation was hard to see on a black background and the red ink was easy to remove, making it possible to re-use stamps after they had been cancelled. In 1841 the Treasury switched to the Penny Red and issued cancellation devices with black ink, much more effective as a cancellation and harder to remove. However, the re-use of stamps with the un-cancelled portions of two stamps to form an unused whole impression continued, and in 1864 the stars in the top corners were replaced by the check letters as they appeared in the lower corners, but in reverse order.
Jacob Perkins’ press, that printed the Penny Black and the 2d Blue
The Penny Black was printed from 11 plates, but as plate 1 was completely overhauled due to excessive wear, it is generally considered to be two separate plates, 1a and 1b. Plate 11 was originally intended solely for the printing of new red stamps, but a small number were printed in black. These are scarce.
The stamps were printed in unperforated sheets, to be cut with scissors for sale and use.
An original printing press for the Penny Black, the D cylinder press invented by Jacob Perkins and patented in 1819, is on display at the British Library in London.[4]
The Penny Black is not a rare stamp. The total print run was 286,700 sheets with 68,808,000 stamps[5] and a substantial number of these have survived, largely because envelopes were not normally used: letters in the form of letter sheets were folded and sealed, with the stamp and the address on the obverse. If the letter was kept, the stamp survived.
The Penny Black is readily available on the collectors’ market; a used stamp in poor condition can cost as little as £10 ($20); in 2000, a used stamp in fine condition cost about £110, an unused example about £1,600, with prices steadily rising. By contrast, a used Penny Red was £1.50.
In addition to the general issue of the Penny Black, a similar stamp was produced with the letters V and R in the top corners replacing the stars, intended for official mail. Following the general public’s acceptance of the postage stamps and the ridicule of the Mulready stationery produced at the same time, vast supplies of the letter sheets were given to government departments, such as the tax office, for official use and the idea of introducing an official stamp was abandoned. Only a few postally used examples exist, which probably originated from the Post Office circulars sent out as advance notice that the new stamps would be brought into use. Four are known on covers; all were cut from their envelopes and then replaced. Most of the cancelled examples are from trials which were made of cancellation types, inks, and experiments with their removal. These trials led to the change from black to red stamps, and vice versa for the cancellations.
The VR official is stated[attribution needed] to have been made from the original master die. However, this cannot be the case as this die still exists with the original stars intact, in The British Postal Museum & Archive in London. It is believed that the master for this stamp was produced from the transfer roller used for the production of plate 1 with the stars removed from the top corners, as some impressions show traces of these original stars.
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