The Summer Stamp Poster Game: View literally – understand figuratively

This article discusses the summer stamp posters that appeared between 1935 and 1947 (with the exception of the war years 1942–1946). These posters were intended to stimulate the sale of summer stamps, the proceeds of which benefited social and cultural causes. We view the posters not merely as advertising material, but primarily as symbolic images that convey more than meets the eye. Behind the literal representation always lies a figurative meaning that underscores the social and cultural value of the summer stamps. During the sales period, the posters were widely distributed in post offices, waiting rooms, and magazines. Special flag cancellations also contributed to their visibility. In this way, the message was reinforced and sales were significantly boosted. Summer stamp posters 1935 to 1947 (minus 1942–1946) The series of posters and accompanying stamps from this period clearly shows how image and message come together. Stamp images and targets In the early years, portraits of great national personalities—inventors, philanthropists, physicians, and artists—were placed on the stamps. They served as representatives of both social and cultural causes. Posters as imagination The promotional posters that accompanied them must each be read in a figurative sense: literally, they depict a scene, but figuratively, they convey a deeper message. Outstanding questions A poster from 1942 is still missing: which of the readers can track it down, including the name of the designer? The designer of the 1947 poster is also still unknown. Suggestions or discoveries are welcome. With this context in mind, a series of posters and stamps from the years 1935–1947 follows, each accompanied by a brief description and interpretation. 1) BLACK AND WHITE WITH NEON-LETTERS 1935 Summer stamp poster, designer Hein Molenaar The dark hand holds up the four 1935 summer stamps, with which the summer stamps are displayed and promoted. Hopefully, money will subsequently flow from the white hand in a generous manner if the first sales campaign of the new summer stamp issue, with the plea for help “Buy the stamps for cultural and social care,” resonates with the general public. What is in hand? * In the hand lie a square silver-colored five-cent coin and a copper-colored 2-cent coin (called a half-stuiver). The falling copper-colored 1-cent coin thus symbolizes the flow of money. * The black-and-white contrast between both hands symbolizes the transition from the dark to the lighter period in cultural and social terms. * The black, slender hand in silhouette is impersonal, in contrast to the white one with a personal appearance of grooves and folds, which symbolically helps fellow man. 2) BRIGHTLY SHINED CRUSADER 1936 Summer stamp poster, designer Hendricus Wijdeveld Graphic designer Wijdeveld depicts two hands seeking help, support, and care bathing in the beneficial warmth of the sun above the Lorraine Cross (logo of the fight against tuberculosis). Both hands have freed themselves from the constrictions of the barbed wire (bottom right). In this visualized allegorical comparison, barbed wire stands opposite the warmth of the sun. This encourages the prospective stamp buyer to purchase summer stamps because of the warmth of the sun. Through 2) physical, mental, and/or social needs / pains, two help-seeking, convulsing hands 1) attempt to escape the pain stimuli 2) of human existence. The hands with a stepped cross 3) in a diagonal direction suggest (actively) the search for necessary help, support, and warmth in higher heavenly / ecclesiastical spheres 4). This literal image and description must be explained, understood, and interpreted in a figurative sense. Surcharge money from the 1936 summer stamp campaign could then bring considerable relief to needs, even those of the tuberculosis fight. The Patriarchal Cross or Lorraine Cross, the logo of the tuberculosis fight. 1) of a person seeking help, support, and love 2) literally caused by the barbed wire in the lower right 3) the stepped cross is equivalent to the Patriarchal Cross or the Lorraine Cross, which corresponds to the Holy Cross 4) in 1936, ecclesiastical affiliation actually still applied to all Dutch people. At that time, the reference to the cross was still understood uncritically by everyone. The radiant yellow color refers either to the warmth of the sun or to divine warmth. 3) ROMANTIC LANDSCAPE 1937 Summer stamp poster, designer André van der Vossen In a centralizing manner, Van der Vossen promotes the 1937 summer stamp issue with a sun-drenched landscape featuring a dominant tree, bushes, and flowers. With these appealing posters, prospective stamp buyers are enticed to purchase the 1937 summer stamps. With the supplementary funds, it is financially possible for the Summer Stamps Committee to provide cultural and social care and to alleviate the burden. 4a) HORN OF ABUNDANCE 1938 Summer stamp poster, designer Joop Sjollema The sales dates May 1 – July 15 are incorrect. The correct start date is May 16. Or the poster by Sjollema, despite the error, symbolizes abundance (derived from the goat horn in Greek and Roman mythology), abundance, wealth, and fertility. * The post horn surrounding the horn refers to the PTT, which once again made the annual summer stamp campaign of the Summer Stamp Committee possible in 1938. * The horn, richly overflowing with roses, apples, peaches, and coins, figuratively pours out its contents onto social and cultural causes. * The S-curve of the horn (consisting of two diagonals), in combination with the slanted text, refers not only to a lively summer stamp sales period from May 1 to July 15, 1938, but also to the active implementation of the financial resources. * Through this visualized allegorical comparison (flowers and fruits being poured out of the horn), the harvesting of summer stamp money is depicted in a figurative sense. 4b) PURELY FEMALE 1938 Summer stamp poster, designer Willem Arondéus On the 1938 summer stamp poster, alongside the promotional text 'Buy 1938 summer stamps, the proceeds of which are intended for cultural and social purposes', are three branches of a pear tree with pink pear blossoms and green flower buds. A few ripe pears are already falling, symbolizing the harvest for cultural and social causes. The harvest is encompassed by a lady's mass of blue wavy hair, thereby connecting it into a harmonious whole and summarizing it in the slogan “Growth and bloom is harvesting for a Good Cause.” In terms of time, blossom and pear cannot be depicted together, but in the visual arts, this is entirely possible with a luxuriant head of hair that 'embraces' the whole into a playful, imaginative poster. In 1938, two posters were designed for the Summer Stamp Committee. Sjollema's poster design was chosen despite the incorrect listing of the start date as May 1st instead of June 1st, as was the rejected design by Willem Arondéus. Whether the rejection of this poster has anything to do with the late delivery of the 1938 summer stamp issue by the Joh. Enschedé printing house due to a large printing order from Switzerland is unknown. 5) POSTILLON-COACHMAN LINK BETWEEN SENDER AND ADDRESSEE 1939 Summer stamp poster, designer Herman Nijgh The red stagecoach (with luggage on top), bearing an image of a yellow post horn, is drawn by a team of horses galloping in black (a Friesian) and white. The cheerful, colorful scene unfolds in front of a 'postage stamp' with a single cloud against a clear blue sky. 6) HITTING EASTERFUL HORSES TO THE WAGON 1940 Summer stamp poster, designer Dick Elffers Broadly speaking, this poster corresponds to the one from 1939, only the cheerful, colorful scene is more lively in design and execution. The postilion blowing a post horn has replaced one of the team of horses pulling the carriage with a red horse. This idealized, reality-denying image almost coincides with the invasion of German troops into our country. 7) QUICK ON HITS, I RUSH THERE PURPOSEFULLY 1941 Summer stamp poster, designer Jos Rovers The PTT's connecting 'pass-through function' for a postal item between sender and addressee is central to this poster. Graphic designer Jos Rovers depicts a rushing boy as a stand-in postman with a mailbag over his shoulder. As he strides across the grass, he holds up a letter with an address and a red postage stamp. With the slogan “Stick to the summer rule: a summer stamp on summer mail,” the public is actively encouraged to use a summer stamp when franking letters or cards. With this encouraging text, the Summer Stamp Committee hopes to significantly boost stamp sales. 8) 1942 STILL UNKNOWN POSTER 1946 Summer stamp poster, designer unknown Reader, your help is appreciated! 9) LOOKING MEANS UNDERSTANDING IN A FIGURATIVE SENSE 1947 Summer stamp poster, designer unknown (designer's initials OT bottom right) The ideal and harmonious contrast between the light reflecting on the endless rippling water (with four sailing ships on it) and the vast summer blue sky corresponds to the ideals and objectives of the Summer Stamp Committee. This fairytale-like vista over the water is seen and experienced from under a parasol. The Summer Stamp Committee strives for a similar idea and harmony in a figurative sense with the issuance of the 1947 summer stamp series by franking summer mail with the summer stamps (the handwritten text refers to letter and postcard writing), which are available at the post office during the period August 1 – September 30, 1947. With the surcharge funds, purposes of cultural and social care can be optimally fulfilled. Literal image – figurative representation The play with the summer stamp posters (1935–1947, with the exception of 1942–1946) calls for a figurative rather than a purely literal reading. While the posters display concrete images, these must be understood as symbolic illustrations that convey a deeper message. Through the detour of the image, imagination emerges: that is where the true meaning lies. We find a striking parallel in the biblical parables. Jesus used short stories to explain his vision and bring his followers to insight. The same applies to the posters: behind the visible representation lies a figurative layer that aims to teach us something or make something clear. In other words: there is nothing new under the sun. The summer stamp posters, too, invite us to discover the message behind the image and thus understand their deeper meaning.