Myanmar Post on Facebook

Thanks to Toe Kyaw Kyar for pointing out that Myanmar Post now runs that indispensable window for all businesses – a Facebook page.

It’s here – https://www.facebook.com/MyanmarPostService

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Posts are largely in Myanma font, so won’t be visible, let alone readable, to many outside Myanmar and the disapora, but it’s still worth checking, and there are some good shots of post offices.

A mystery peacock

What the heck is this? It won’t be unfamiliar to collectors of Burma Japanese Occupation, but I’ve yet to see a satisfactory account of its origins. A distinctively frontal peacock, with rather splayed legs, and only found in black on the one anna envelope. Some describe it as “experimental”, but that simply means that they don’t know either.

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It is listed in Higgins & Gage’s postal stationery pages, but it wasn’t picked up in Roberts & Smythies, nor in Dalal, which rather implies that it wasn’t in evidence in the immediate post war period. Nor does it show up “used”, with a spurious address and a retrospective but genuine cancellation “borrowed” post war from U Tun Tin at Rangoon GPO, as do other peacocked envelopes and cards. Which is a blessing. But which also implies that the appearance of this item may have come suspiciously late in the day.

mystery peacock env

I dare say we’ll never know, but I live in hope. Does anyone have any light to shed on this strange little creature? I have to say, I’m quite fond of it.

 

 

Another reason I like collecting Burma

My first post here showed a large and highly coloured first day cover for the 1964 definitives, very Burmese in its graphic style, by a maker unknown to me. Here’s another by the same hand that’s just reached me, this time for the 1963 issue for the first anniversary of the “Revolution”, or military assumption of power. The front parades Burma’s natural resources, while the whole of the reverse is illustrated with a panorama of landmarks. Interesting that the flag is not the national flag but the white star of the Tatmadaw, the armed forces. Condition isn’t perfect here, but what the heck.

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Most images of the famed Inle Lake leg rowers show single rowers, but here we have a boat full, all lined up. The overarching female figure on the front at first suggested a Nat (spirit) to me, but the peacock head dress must indicate a national personification – a Mother Burma?

Postmark meltdown!

A small batch of recent covers and clippings arrived today, and reminded me that this is a particularly interesting time to be collecting current Myanmar postal history. Not that many do; collectors in Myanmar tend to be rather new issue-focused these days, while very few inland commercial covers find their way out of the country in the natural course of things.

But as Toe Kyaw Kyar has recently shown at his excellent blog, Myanmar’s postmarks are at present in a splendid state of disarray. The generation of cancellers introduced in the year 2000 is long past its shelf life, and a new type has seen limited distribution so far. Offices are obliged to fall back on all sorts of locally generated types, or to retrieve older, sometimes barely legible, cancellers from the bottom drawer. Dates are almost invariably inserted separately with rubber stamp daters, and violet ink pads are now the norm. Even a major city such as Mawlyamine is obliged to make do with a cancellation that is, for all practical purposes, illegible.

In extreme cases, stamps are cancelled by dater only, or by dumb cancels, such as the blank date bar in a blank circle shown here (second image) among a variety of other examples. I haven’t identified the offices on these, but you’ll get the idea. Click on the images for enlargements and slide show.

Registration marks, replacing the registration labels of a few years ago, are in a similar state of decentralisation, no two apparently being the same. A few of these include the office post code, and it’s interesting to see that on a few covers a postal clerk has written in the post code of the destination post office. It seems that Myanmar’s post code system, such as it is, is enjoying a limited official resurgence; more on the strange history of Burmese post codes in a future post.

New peacock forgeries – made in Myanmar?

The 1942 peacock overprints of Burma have been notoriously forged, and at this stage it would be impossible to catalogue all known forgery types. A better strategy is to study the originals, or images of them if you can’t afford originals – assuming of course that the creator of the image you study has been able to tell the difference.

Even so, it’s maybe worth posting a heads-up on a series of forged overprints (on genuine stamps) currently on offer on eBay and on Delcampe, and of a type I’ve not seen before. This may just be me, or it could be that these are newly made. Their well known seller resides on the West Coast of the USA, and his offerings (even if randomly priced) are all good – except for Japanese Occupation material, where he is best avoided. His usual source of supply is Myanmar, which may mean that these originate there. He has already retailed Occupation forgeries made by the late U Mya Win, but these peacocks are not from Mya Win’s known stock. Anyway, whoever made them, they show some interesting features.

The types (as per SG) seen so far include type 2 Myaungmya, type 4 Pyapon, type 5 Henzada, type 6 (long since delisted, but once attributed to Henzada) and type 6a, the Myaungmya “official”. All these show three rather interesting and striking characteristics.

First, their graphic style is distinctively odd, and in places it looks almost as if the negative shapes – the white “holes” – have been drawn into a black silhouette. These negative shapes make little sense compared to the details of the real overprints; it’s as if someone has taken a blurred and partial strike of the real thing and has made an incredibly neat tracing from it. (Or has passed it through a digital filter that massively enhances the edges.) There are no greys or fading areas, just hard edged black and white.

Secondly, each type seems to have been produced in blocks of four sub-types, all of which show the same general idiosyncrasies but each of which is recognisably different in small ways. Two overprints – Myaungmya and Henzada – have been seen so far in blocks of four, so presumably all exist thus. (In what follows, we can designate the sub-types “a” to “d”, going top to bottom and left to right.)

Thirdly, every strike of a sub-type is absolutely identical; there are none of the accidental variations that we would expect to see from the differing pressures of a hand stamp or press. On the Myaungmya and Henzada types various little dots and dashes are visible at the edges of the overprint in all sub-types, reminiscent of the accidental ink spatters sometimes seen on the real overprints, but on every stamp of a sub-type these are reproduced absolutely consistently, so such spots are not in any way accidental but incorporated in the sub-type.

All these circumstances suggest to me that these overprints may have been produced with a digital printer, but without inspecting the actual stamps (and I’ve no intention of paying the prices asked for the privilege of doing so), I can’t be sure of that. Here’s each type, considered separately. I’ve heightened the contrast to clarify the details. Click the images for enlargements.

Type 2 Myaungmya is seen so far only on the “Service” stamps: 3p, 6p, 1½a, 2a and 4a. As no “Service” types were actually used for this overprint, this is a bit of a give away. Shown here is a block of the four sub-types on the 3p value and singles for each value showing sub-type b. The feel of the image is remarkably rough compared with the real thing.

Type 4 Pyapon: 6p, 2a and 4a seen so far. The examples here are not identical, and may be from different sub-types. The design is curiously reduced, almost abstract, compared to the original.

Type 5 Henzada: GV 3p, 9p,  2a, 2a 6p, and GVI 1p and 2a seen so far, the latter inverted – an unknown variety. A block of four sub-types for the GVI 2a invert is shown here, with singles of the GV 3p sub-type d, 9p sub-types b and d, 2a, sub-type c and 2a 6p sub-type b. The 2a 6p was not part of the genuine issue. The GVI singles here are a 1p single of sub-type b and a 2a (inverted) of sub-type c.

The “die” has the look of the genuine position 8, but as imitated in the better known Gee Ma and “Japanese Special Service Post” forgeries, with the straight left arc, the white nick in the peacock’s neck and the projecting “feather” on the right wing. In other words, it’s a rough imitation of existing forgeries.

Type 6 (bogus, so not listed in most catalogues) has been seen in the 3p, 1½a and 2a. The three singles shown here, while superficially similar, probably represent three different sub-types. Interestingly, the forger has chosen to imitate the “original” version of this overprint, in which the arc often appears thinner at one side, rather than its imitations. The original may be bogus, delisted and unpriced, but these days copies are often offered at adventurously high prices, so it’s worth the forger’s while to include this type.

Type 6a, the Yonthon or official overprint produced at Myaungmya, has been seen overprinted on the correct 8a “Service” value. The appearance of the bird here is especially weird and “hollowed”. The four sub-types are very similar to each other.

I doubt that these are the only values produced, but hopefully this is enough documentation to help anyone who comes across these and is unsure. They are not dangerous forgeries, but people buy all sorts on eBay, and sometimes pay handsomely for their mistakes, which is a bit depressing. If anyone has seen these distinctive forgeries elsewhere, or knows more about their origin, do get in touch.

Up date, mid May. After an absence following the appearance of this post (or rather a spell away on Delcampe) these forgeries are back on eBay. A new addition is the Myaungmya high value peacock, seen so far on the 1 rupee stamp. As well as the break in the outline of the left wing at the shoulder (a feature of other forgeries of this type) this version is easily recognisable by its spotty appearance.

Mapping the Civil War

Recycling used paper stocks is a sure sign of austerity in the wake of war; the early stamps of Latvia printed on the backs of unwanted maps, for example, are well known. Burma did not produce its own stamps until the ‘seventies, but here’s an example of a very similar piece of thrift.

We often forget just how desperate things were in the years of civil war immediately after Burma’s independence (a civil war that continues even today in the shape of sporadic separatist fighting). In 1949 the countryside was largely  controlled by the ‘multicoloured’ insurgencies of the ‘White Flag’ and ‘Red Flag’ communists, the ‘White Band’ PVO, and Karen and Kachin forces, among others. At one point the beleaguered ‘six mile government’ of U Nu was pretty much blockaded into central Rangoon. Hardly surprising that the administration was forced to improvise, official stationery included.

Here is an official cover and a half (the reverse of the envelope) from Rangoon in April and June of 1951. Both are printed envelopes with “On State Service” replacing the old “OHMS” heading, so printed after independence, and both on the backs of pieces of maps. That on the full envelope (opened out here) shows a small patch of Karen State, curiously enough.

Postscript – Mike Whittaker writes: “I have two covers made from maps. One is a 1948 home-made newspaper wrapper from Rangoon University to London made from a map of an area of Siam (sic) by 12th Army Survey HQ, September 1945 and the other is an official cover from Taunggyi to New York, 1951 and made from a map of the Migyaunglaung area of Tenasserim.”

Here are Mike’s covers, inside and outside. The official envelope (below) is a match for mine.

St Valentine’s Day massacre

There was a period, not so long ago, when Myanmar’s stamps, cards and cancels reflected relentlessly the distinctive iconography of its particular totalitarianism: the statues of the three kings, the grandiose fountains and architecture of Naypyitaw, the stick-breaker statuette and so on, not forgetting – in the final days of the Than Shwe era – the white elephant. As officialdom demanded the same images every time in slightly varying combinations, the stamp designers didn’t have to think too much about their task. In today’s “democratic” climate they seem more uncertain.

On February 14 Myanmar Post came up with a set of three Valentine’s Day cards and a commemorative cancel – a brave new departure. The cards are, frankly, awful: icky globalised clip art, enlarged and stretched. Why, to pick on just one point, is the girl doll blonde? The accompanying cancellation repeats one of the designs but, significantly, manages to omit any national or post office name; someone, it seems, simply forgot about that, and on the day staff had to bring out the GPO pictorial canceller and apply that too, just to demonstrate an origin.

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Apparently there was zero publicity, and the cards and cancel were only available at Yangon GPO. I’ve no idea how many were sold to the few collectors in the know, but it can’t have been a lot. A special postmark on your Valentine’s card is a nice idea, but it’s one for the general public, and that requires promotion and availability. And as all the items are dated for 2016, they won’t be able to use the remainders next year.

For me, the disappointment lies in the nature of the designs. Myanmar has a long tradition of romantically themed pictorial stationery, and I like to collect such cards and covers, but there’s always been something distinctively Burmese in the graphics, which has been lost here. It’s almost enough to make you remember fondly the bad old days of totalitarian design … Well, not quite.