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The Paraphilately
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By Arthur H. Groten, M.D.
Glorious Lithographed Labels!
s I’ve noted in previous articles, one of the vexing problems in the collecting of Cinderella (paraphilatelic)
material is classification. In the October 2006 issue of
this magazine, poster stamps were defined as “miniature posters
formatted as postage stamps for use as advertising on letters, envelopes and invoices—poster stamps are used to promote products, publicize events, spread propaganda and voice world politics—they echo our history. They are more readily defined by their
function than their appearance.” This raises interesting questions,
some of which I addressed in the July/August 2007 issue wherein
I looked at unusual non-postal usages.
If, as shown in that issue, we modify the definition to include
placement on non-postal objects why, then, can’t other types
of commemorative or promotional labels be considered poster
stamps? Our pursuit has a long and, to me, counter-productive history of exclusionary definitions rather than inclusive ones. This,
as we are well aware, is changing, to the ultimate benefit of the
hobby.
The more we open our minds to all the possibilities, the more we
can find, learn and collect. The APS Manual of Philatelic Judging
is undergoing major revision of all sections, with new Cinderella
and postcard categories, to reflect some of these new realities. It
is a necessary step but, like all publications, it will be outdated the
day it is published. Yes, those are the “rules” by which exhibitors
must play but there will always be those who seek to push the envelope further. Without those pioneers, where would the revenue
collectors or the topical/thematic collectors be?
And now it is Cinderella’s turn. This article can be taken as a
plea, to collectors and dealers alike, not to try to define her beauty
too closely. No round pegs in square holes. Permit each item to
shine, to offer us her bounty and give us eyes to see what we are
looking at.
Case in point: the glorious lithographed labels produced in Italy
in the 1870s and 1880s.
Prague-born Aloys Senefelder invented lithography in 1796, initially in black and white for rapid publication of text and music.
Quickly, various attempts were made to add color, finally perfected in 1837 by Godefroy Engelmann in France. This development
led to an explosion of increasingly inexpensive color printing and
advertising over the next decades.
Years ago, I found a set of seven stamps in honor of the receipt
of a Medal for [Industrial] Advancement by Ambrogio Dallacha
of Moncalieri, Italy (Figure 1). They were [and remain] by far the
best produced such items I had seen for so early a date, 1873.
Indeed, the earliest multicolor poster stamp recorded is Italian,
from 1860, in support of Garibaldi’s Sicilian Expedition (Figure
Figure 2: The
Garibaldi stamp
given for a contribution to his
Sicilian Expedition.
Figure 5: The 1884 General
Italian Exposition in Turin
marked the 25th anniversary
of the move to unite Italy
and was the first “national”
exhibition held in Italy.
Figure 1:
Two labels
lithographed by
Fratelli Doyen
of Turin for
Ambrogio Dallacha
50 • The American Stamp Dealer & Collector • July-August 2008
Special Note:
Figure 3: The crude appearance of the great
majority of matchbox labels precludes
their inclusion with poster stamps, even if
commemorating an event, such as Queen
Victoria’s Diamond Jubilee in 1897, unlike
the selection shown in Figure 4.
See page 9 for a special
announcement about Dr.
Groten’s appearance on a
nationally televised show
about historic collectibles.
We’re proud of his participation!
2). It is a far cry from the elegance of the Dellachas of only 13
years later.
Since then, I have added another 150 or so to my collection, all
Italian. (I have seen similarly produced labels from Austria and
Spain, but not for exhibitions). Further research suggests that these
stamps were meant to grace matchboxes. Dellacha’s company was
the largest producer of matches in Italy with branches all over the
world and an innovator in the development of safety matches.
Phillumeny (the collecting of material related to matches) is its
own field. Most matchbox labels are crudely printed on poor paper, even those rare ones commemorating an event or royal jubilee
(Figure 3). Not so the Italian ones (see Figures 4 through 9 for a
selection).
Of interest is that there are very few “true” poster stamps from
Italy until the 1890s, unlike the rest of Europe. One might ask why.
Perhaps these labels took their place. The multicolor poster stamps
produced in Italy in the 1890s have a distinct appearance, unlike
any other country’s, and very similar to the Dellacha type (Figure
10).
I contend that in all points except their [apparent] non-postal
use, these early lithographic labels qualify for inclusion in the
poster stamp category of Cinderella philately—they’re certainly
beautiful enough to be included there. I think I should be clear that
I am not implying that all labels of that genre [in this case, match
box] become poster stamps. I would reserve that designation for
those with a certain elegance and integrity of design. But therein
lays the danger of too narrow a definition: it becomes quite subjective and arbitrary. Better to just admire them for what they are and,
when appropriate, display them in concert with their sisters, no
matter how we might want to “define” them. 
Figure 10: A poster stamp for the 1895
Eucharistic Convention in Milan retains
the high quality lithography seen in the
earlier labels, as does the star-shaped one
for the 1898 Turin Exposition.
Figure 4: The earliest Exposition matchbox
label I have seen is from Milan, 1872.
Figure 7: Venice hosted a National Artistic
Exposition in 1887. The term “artistic”
includes not only music and the fine arts
but also sports and health.
Figure 9: Compare the
quality of this label for
the 1898 Turin Exposition
with that in Figure 10. One
senses a trend away from
high production values for
matchbox labels and toward
better quality poster stamps.
Figure 6: Italy, like much of the rest of the world, celebrates Mardi Gras. They call it Carnevale and every
town has its own, some more elaborate than others.
This label promoted the 1886 Carnevale in Turin.
Figure 8: A set of labels was produced in Italy to promote
the 1889 Paris World’s Fair.
The American Stamp Dealer & Collector • July-August 2008 • 51