The history of stamp collecting 23, Stamp Polka
Inspired by a series of articles by K. Kouwenberg that appeared in the monthly magazine Philatelie in the late 1970s, Rob Smit rewrites the history of stamp collecting in biweekly installments. This is part 23, Stamp Polka.
In the first issue of the magazine 'Das Magazin für Briefmarken-Sammler' from May 1863, there is an advertisement announcing the appearance of the 'Briefmarken-Polka für das pianoforte' by JV Hamm, with images of '42 colorful stamps', issued by CFW Siegel in Leipzig. Hardly worth mentioning in itself, were it not that the stamps depicted on the flyleaf of this musical piece were apparently so well executed that, when cut out, they remained in circulation as genuine for a long time. Long after no one was dancing the stamp polka anymore, the philatelic press was still warning against forgeries originating from this polka. The Amsterdam Public Library is in possession of a copy. The composer Johann Valentin Hamm lived from 1811 to 1874. Philately has frequently been a source of inspiration for music;
To be continued on March 17.
Published so far:
1. Introduction and start 2. The first collectors 3. The first catalogueOscar Berger Levrault is the first to provide an overview. 4. Alfred Potiquet, The first commercially published catalogue. 5. Booming 1862, The most turbulent year in philatelic history. 6. Edard de Laplante, the first to live exclusively from the stamp trade. 7. Natalis RondotThe first true philatelic literature appeared in a family magazine. 8. Henri Justin Lallier, Publisher of the first stamp album. 9. Frederick W. Booty, The first catalogue in English. 10. Mount Brown, A successful English catalogue. 11. Dr John Edward Gray, Inventor of the postage stamp, the very first collector, or merely a good cataloguer? 12. The first stamp magazineFirst a failed attempt, but then a sheet of stamps after all. 13. Edward Pemberton, Active philatelist with descendants in philately. 14. Dr. C.W. Viner, Father of English philately. 15. Jean Baptiste Moens, The greatest trader of all time. 16. Moens' publishing house, of great importance in the early days of philately. 17. Germany in 1862, The slow start of an important philatelic country. 18. The Netherlands in 1862, The first Dutch catalogue and album. 19. The Netherlands in 1864, PH Witkamp 20. The origins of Schaubek 21. The competition breaks out, free stamps with magazines. 22. Crafting with stamps.
Regarding Hamm's piece:
“The front page has ninety-nine lithographed reproductions of stamps in eleven horizontal rows, but these are composed of only sixteen varieties which are repeated. […] No complete copy of the composition appears to be known.”
Unfortunately, I have not yet been able to find a photo of the flyleaf.
On further early musical pieces, a text from 1880:
“In music, stamps have a good sound. Close to a dozen composers have rendered their applause and thus contributed to their popularity. Stamp polkas were composed in Germany by Doppler (1863), J.V. Hamm (1863), Hartleb (1874), and Ad. Müller (Vienna 1877); and Hamm’s is so popular that to this day it is heard on barrel organs in Hamburg. V. Hönecke dedicated the stamp waltz “The Philatelists” to the Philatelists’ Club, and a “Correspondence Cards Medley” created in 1874 by Fr. Zickoff is distinguished not merely by its melodious sound but by its successful title illustration: Amour, guiding a one-horse vehicle, leads an elegant pair of lovers across the space of a German postal card. The polkas, as well, show covers decorated with bright stamps, and Mailer’s displays the portrait of S. Friedl. In the case of the latter, it is interesting to emphasize that both the composer and the publisher are very active philatelists. France is represented twice, with the “Timbre-Poste-Polka” by Emil Périer (Paris, 1864) and the “Timbre-Poste-Polka-Mazurka” by Gautier de Valhrey (1865). From America we know of two compositions only, the “Stamp Galop” by Oliver Dithon (Boston) and “The American Stamp Polka” by Maria Sequin (New York), the latter no doubt a passionate woman philatelist. Finally, we record Arthur O’Leary’s “Stamp Galop” (London, 1863) which gives proof that in England one knew how to extract a “harmonic side” from philately in addition to the instructive, entertaining, and money-producing factors.”