Dutch designers of the 1989 stamp issues

Possessing an archive is a valuable asset if you make regular use of it, but unfortunately, I did so very little for years on end. However, it was regularly supplemented with a great many current details that I saw, heard, and/or handled at various stamp presentations. Even correspondence with stamp designers following an insightful conversation about their creations eventually found its way into it. Recently, I decided to finally clean it up, as a result of which I came across interesting information whose existence I was completely unaware of, including that of the emissions from 1989. Exhibition of Dutch stamp designs 1989 In a sense, with the help of the archive and the 1989 stamp yearbook, it is possible to provide a lively and varied picture of the exhibition in the former PTT Museum in The Hague. In 1989, an exhibition was organized at the Dutch PTT Museum in The Hague, in which all stamps of 1989 were displayed during the period from September 16, 1989, to February 27, 1990. This exhibition was publicized with a special poster (a perforated stamp sheet of 4 x 7 stamps). Childhood photos of the 17 designers involved in the issues were placed on the 28 stamps (with age indication), except for the 18th designer, who is listed by name (Karel Martens). Apart from the colorful illustration of the 28 'stamps', the poster (46 x 64 cm) with some handwritten informative text is not very attractive; it was produced by lithographic printing company De Jong & Co based on a design by Jan-Kees Schelvis and Marcel den Bak. The original and striking features of this poster, in addition to the perforation in blue, red, and grey, are above all the illustrations featuring 17 childhood photos of the 18 designers who were involved in the 10 stamp issues of 1989. It is most likely the first time that a designer themselves has appeared on a 'stamp' as a person (even a youthful one). From whole to partial images / communicate & connect In addition to the 18 different stamps, numerous preliminary designs of the 1989 stamp issue are also featured in the exhibition. On the summer stamps, the small-format black-and-white photos of the preliminary designs ultimately ended up on the final stamps in a stylized execution. Both children on the Europa stamps not only communicate with each other in sketched and photographic form, but also textually connect all participating European countries. Diagonal design evolution of the postage stamp For many, train travel means saying goodbye or welcoming, incidentally, which is usually rounded off with a kiss. * In the first design sketch, alongside two kissing silhouettes, a diagonally placed photograph depicts a speeding intercity train beneath a partly cloudy, sunny summer landscape, combined with the NS emblem and the number 150 in the upper left (referring to the NS anniversary and/or train speed). Behind this photograph, a station clock without hands has been placed, referring to the aspect of 'time,' inextricably linked to train arrival and departure times. * In the second preliminary design sketch, both kissing figures have been replaced by a detailed sketch of the marble sculpture 'The Kiss' by the French artist Auguste Rodin (1840 – 1917). A detail of the roof of Amsterdam Central Station has been placed in the upper right. In the center bottom, a bouquet of flowers wrapped in paper with the number 150 has been placed as an NS anniversary gift. A detail of the nude sculpture group 'The Kiss' by Rodin (representing the train traveler at a farewell or greeting) symbolizes the final stamp (nvph 1432) next to it. The large blue section on the left represents the space the train offers you in a figurative sense. Train Set Overview 1839 – 1989 The different train types are placed side by side in a shortened arrangement: [1] SM 90 (in 1989 the front of this type of train was still unknown), [2] ICM 3, [3] 1600, [4] Materiaal 54 (Hondenkop), [5] 1100, [6] DE 1/11, [7] Steam locomotive 3737, [8] Blokkendoos, [9] Arend (first NS locomotive). The Railway Museum logo is partially depicted in the lower right corner of the stamp. In addition to the train sets, attention has also been paid to the NS personnel: the driver is partially visible in the window of the 600. Until 1992, postal transport took place by train (red-grey checkered PTTPost wagons). Above the train sets, a colorful image of a viaduct is placed, combined with a schematic representation of a level crossing. Budding Southern European footballer! It is abundantly clear that the little boy playing football is engaged in his action with the ball with ease, pleasure, and fun, in his trot, stance, and posture. Given the white house with two doors and a small window (to block out solar heat indoors) and a 'fenced-in' fountain, it is quite possible that the little footballer was photographed on a sunny square in Spain or Italy. The design duo Van Deursen & Mevis specifically focused on this photo because the little boy is, as it were, playing with his own shadow. Thus, the emphasis falls on youth football as a counterpoint to the professional nature of the sport. The stamp background schematically and abstractly depicts the professional aspect of football using lines, letters, numbers, and arrows—the goal-play situation involving Van Basten during the 1988 European Championships (the arrows pointing to the top right on the stamp are directed to the left in the schematic drawing).