SHIP STAMP SOCIETY

SHIP STAMP SOCIETY

Interested in Ships and Stamps? The Ship Stamp Society is an international society and publishes it’s journal, Log Book, six time a year.
Other benefits include the availability of a "Packet" for anyone who wants to purchase or sell ship stamps.
Full membership of £17 (UK only) includes receiving Log Book by post, but there is an online membership costing just £12pa.
Full details can be found on our web site at http://www.shipstampsociety.com where you can also join and pay your chosen subscription through Paypal or by cheque.
A free sample of Log Book is available on request.

ANDERS SPARRMANN and Tahitian canoes

On this stamp of Sweden is depict a portrait of the Swedish naturalist Anders Sparrmann who made a voyage with James Cook during his second voyage in 1772. The background shows a part of a painting made by William Hodges of Matavai Bay, Tahiti and the island from the north-west, with Mount Orofena in the distance, together with Point Venus and One-Tree Hill. The scene is diffused with the light from the rising sun on the left of the painting. Various Tahitian boats can be seen in the foreground; a small outrigger sailing canoe on the far left, the coastal craft in the centre with two figures on board, and the war canoe on the far right with its dominant stern. (the war canoe is not visible on the stamp.)
Read more at http://collections.rmg.co.uk/collection ... TGlOS4S.99

Wikipedia gives on Sparrmann:
Anders Sparrman (27 February 1748, Tensta, Uppland – 9 August 1820) was a Swedish naturalist, abolitionist and an apostle of Carl Linnaeus.
Sparrman was the son of a clergyman. At the age of nine he enrolled at Uppsala University, beginning medical studies at fourteen and becoming one of the outstanding pupils of Linnaeus. In 1765 he went on a voyage to China as ship's doctor, returning two years later and describing the animals and plants he had encountered. On this voyage he met Carl Gustaf Ekeberg.
He sailed for the Cape of Good Hope in January 1772 to take up a post as a tutor. When James Cook arrived there later in the year at the start of his second voyage, Sparrman was taken on as assistant naturalist to Johann and Georg Forster. After the voyage he returned to Cape Town in July 1775 and practiced medicine, earning enough to finance a journey into the interior. He was guided by Daniel Ferdinand Immelman, the young frontiersman who had previously guided the Swedish botanist Carl Peter Thunberg. Daniel and Sparrman reached the Great Fish River and returned in April 1776. In 1776 Sparrman returned to Sweden, where he had been awarded an honorary doctorate in his absence. He was also elected a member of the Royal Swedish Academy of Sciences in 1777. He was appointed keeper of the natural historical collections of the Academy of Sciences in 1780, Professor of natural history and pharmacology in 1781 and assessor of the Collegium Medicum in 1790. In 1787 he took part in an expedition to West Africa, but this was not successful.
Sparrman published several works, the best known of which is his account of his travels in South Africa and with Cook, published in English as A voyage to the Cape of Good Hope, towards the Antarctic polar circle, and round the world: But chiefly into the country of the Hottentots and Caffres, from the year 1772 to 1776 (1789). He also published a Catalogue of the Museum Carlsonianum (1786–89), in which he described many of the specimens he had collected in South Africa and the South Pacific, some of which were new to science. He published an Ornithology of Sweden in 1806.
The asteroid 16646 Sparrman bears his name. The Swedish novelist Per Wästberg has written a biographical novel about Sparrman which was published in English in 2010, under the title as The Journey of Anders Sparrman. Anders Erikson Sparrman is denoted by the author abbreviation Sparrm. when citing a botanical name.

From: https://en.wikipedia.org/wiki/Anders_Sparrman
Sweden 1973 1k sg 746, scott 1006.

UTO LIGHTHOUSE

This stamp issued by Finland in 1946 for the 250th Anniversary of the Pilotage Authority shows us the old light tower of Uto built in 1753, on the stamp is also a sailing vessel which is not identified. The rigging looks like a schoonerbarque?

Uto is a small island in the archipelago of the Baltic Sea, Utö is the southernmost year-round inhabited island in Finland. Uto lighthouse was built upon this small island on the eastern side of the Uto inlet, which is the entrance of the channel that leads through and amongst the islands to Abo (Turku).

She was the oldest of the Finnish lighthouses and built in 1753 on Uto, also known as the main gateway to the Archipelago Sea. The Uto lighthouse was destroyed in the War of Finland 1808-1809, but was rebuilt in 1814. Subsequently, its tower has been remodelled several times.

The old tower was conical built, 30 meter high. The tower had two lights, an oil-light in the lantern on top of the tower and a coal fire outside the tower in an iron basket attached to the tower via a wooden type frame.

Source: Sailing directions for the Gulf of Finland, Navicula and internet
Finland 1946 8.00M sg 420, scott252.

KALEVALA POEM

For the 100th anniversary of the publication of the epic poem Kalevala, Finland issued three stamps in 1935 which shows on the 2,00 M stamp a type of Viking ship in which the hero of the epos Väinämöinen escaped with the “sampo”, made by the blacksmith Ilmarinen.
When the Goddess Louhi finds out that the “sampo” was stolen, she changed in an eagle, took her warriors on her back and landed on the boat of Väinämöinen (as seen on stamp), where after a battle started in which the boat sank, which took with her the “sampo”.
Plenty more on this poem you can find on the internet,

Encyclopaedia Britannica gives:
Kalevala, Finnish national epic compiled from old Finnish ballads, lyrical songs, and incantations that were a part of Finnish oral tradition.
The Kalevala was compiled by Elias Lönnrot, who published the folk material in two editions (32 cantos, 1835; enlarged into 50 cantos, 1849). Kalevala, the dwelling place of the poem’s chief characters, is a poetic name for Finland, meaning “land of heroes.” The leader of the “sons of Kaleva” is the old and wise Väinämöinen, a powerful seer with supernatural origins, who is a master of the kantele, the Finnish harplike stringed instrument. Other characters include the skilled smith Ilmarinen, one of those who forged the “lids of heaven” when the world was created; Lemminkäinen, the carefree adventurer-warrior and charmer of women; Louhi, the female ruler of Pohjola, a powerful land in the north; and the tragic hero Kullervo, who is forced by fate to be a slave from childhood.
Among the main dramas of the poem are the creation of the world and the adventurous journeys of Väinämöinen, Ilmarinen, and Lemminkäinen to Pohjola to woo the beautiful daughter of Louhi, during which the miraculous sampo, a mill that produces salt, meal, and gold and is a talisman of happiness and prosperity, is forged and recovered for the people of Kalevala. Although the Kalevala depicts the conditions and ideas of the pre-Christian period, the last canto seems to predict the decline of paganism: the maid Marjatta gives birth to a son who is baptized king of Karelia, and the pagan Väinämöinen makes way for him, departing from Finland without his kantele and songs.
The Kalevala is written in unrhymed octosyllabic trochees and dactyls (the Kalevala metre) and its style is characterized by alliteration, parallelism, and repetition. Besides fostering the Finnish national spirit, the poem has been translated into at least 20 languages; it has inspired many outstanding works of art, e.g., the paintings of Akseli Gallen-Kallela and the musical compositions of Jean Sibelius. The epic style and metre of the poem The Song of Hiawatha by Henry Wadsworth Longfellow also reflect the influence of the Kalevala.

Finland 1935 2.00M sg 307, scott 208. The painting shows the landing of Louhi on the boat, painting is made by Aksell Gallen Kallela.

Haukur 1973

Haukur was built in Reykjavík in 1973, thus being a youngster for a wooden boat. In the beginning she was designed as a fishing boat but due to the shipbuilder’s respect and enthusiasm for old sail boats the hull shape was rather unusual and in fact with a resemblance to the old shark and fishing schooners that were common around Iceland in the 19th century. When North Sailing bought the boat in 1996 it was soon clear that the boat would be a great sailing vessel and after serving 5 summers as an ordinary whale watching vessel the boat was transformed to a two mast schooner in the shipyard of Húsavík.

Phoenix 1929

The Phoenix is a ship built by Hjorne & Jakobsen at Frederikshavn, Denmark in 1929, originally as an Evangelical Mission Schooner.
Length: 112ft Beam21.9ft Draught 8.5ft. Propulsion 12 sails, 235 h.p. Volvo. Crew of 10

Missionary and cargo ship
Twenty years later she retired from missionary work and carried cargo until her engine room was damaged by fire. In 1974 she was bought by new owners who converted her into a Brigantine before being purchased by Square Sail in 1988. A first aid over-haul enabled her to sail back to the UK where she underwent a complete refit.
Appearances in films
Caravel Santa Maria
During 1991 she was converted to the 15th century Caravel Santa Maria for Ridley Scott's film 1492: Conquest of Paradise. The ship was known as Santa Maria until, in 1996, due to increasing demand for period square-riggers, she was converted into a 2 masted Brig and reverted to her original name Phoenix of Dell Quay.
Hornblower Series 3
Phoenix of Dell Quay was used as the ship Retribution in the Hornblower Series 3.

Wikipedia

Spirit of New Zealand 1986

The tall ship Spirit of New Zealand is a steel-hulled, three-masted barquentine from Auckland, New Zealand. It was purpose-built by the Spirit of Adventure Trust in 1986 for youth development. It is 42.5 m in total length and carries a maximum of 40 trainees and 13 crew on overnight voyages. The ship's home port is Auckland, and it spends most of its time sailing around the Hauraki Gulf. During the summer season, it often sails to the Marlborough Sounds and Nelson, at the top of the South Island.
The spirit of the project was derived from the sail training operations of the schooners "Sir Winston Churchill" and "Malcolm Miller" which were built for the organisation formerly known as the Sail Training Association ( STA) https://www.spiritofadventure.org.nz/th ... ur-history
The ship is used for a year-round programme of youth development, consisting primarily of 10-day individual voyages for 15- to 19-year-olds and 5-day Spirit Trophy voyages for teams of 10 Year 10 students. Once a year an Inspiration voyage for trainees with physical disabilities is run, as well as board of trustees and Navy training voyages. In addition, adult day, weekend and coastal voyages are offered to paying members of the public. The ship is usually in dry-dock for refit in November and does not sail on Christmas Day.
Design
The Spirit of New Zealand is a barquentine-rigged three-masted steel hull 33.3 m (109 ft) long, with an overall length of 45.2 m (148 ft) including the bowsprit, and a maximum width of 9.1 m (29.9 ft). She has a draft of about 4 m (13 ft) and a displacement of 286 tons. Under power, the Spirit of New Zealand can reach a top speed of 10 knots, and 14 knots under sail. A new engine installed in late 2010 is expected to increase the vessel's maximum speed.
The three steel masts are 28.7, 31.3, and 28.0 metres high and carry 14 sails totalling 724.3m² (7,965 ft²). There are 3 jibs and 4 square sails on the foremast. The main and mizzen masts are gaff rigged, and both can carry a gaff-topsail. In addition, there are 3 staysails on the main mast.
The hull is painted black with the ship's name and the Trust's website painted in white at the bow and across the stern. In addition, a large silver fern is painted on either side of the bow beneath the name. A stainless steel rubbing strake runs the length of the vessel and circular port holes are visible above the waterline. A wooden rail runs around the edge of the entire deck.
The standard crew of the Spirit of New Zealand has varied during her lifetime, but in 2010 consisted of 1 master, 3 mates, 1 cook, 1 engineer, 2 cadets, 3 volunteer watch assistants, 2 leading hands and 40 trainees. For day sail voyages, the ship is registered to carry significantly more passengers. The trainees are normally split 20 male and 20 female, and sleep in separate accommodation. A change to the male accommodation was made so that 6 of the bunks could be separated from the remainder, allowing voyages to sail with 26 females and 14 males. This change was made in response to frequently higher female applicants than male applicants.
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A GLIMPSE OF EVERYDAY LIFE IN THE VIKING AGE

The full index of our ship stamp archive

A GLIMPSE OF EVERYDAY LIFE IN THE VIKING AGE

Postby aukepalmhof » Sun Mar 16, 2014 8:12 pm

tmp13F.jpg
Click image to view full size
The stamp in the margin shows us two boats used in that time at the Faroer Islands and one used for daily use and fishing, the other under construction and in the background on the right a Viking longboat under sail.

Where people spend any amount of time, they leave traces, including the remains of the buildings they once erected in their settlements. Most domestic waste was thrown out of the door, where it remained unless anything that might be edible was eaten by domestic animals such as cats, dogs and pigs. It is this detritus that can give posterity an insight into what it was like to live in the past. If this knowledge is to be gained, however, such material relics must undergo archaeological investigation.

On the farms around the Faroe Islands the people of the Viking Age lived off what the land, both the infields and outlying pasture, could produce together with what could be caught at sea, landed from the coast and hunted in the mountains.

The kitchen utensils used in the households of the period were partly of domestic and partly of foreign origin. The imported goods were either produced abroad or made from foreign raw materials, i.e. materials that were not found locally on the islands. These included utensils and implements made from soapstone, e.g. vessels and pots, which were more or less bowl-shaped and were used for cooking. They varied greatly in size from less than 20 cm to around 50 cm in diameter. As the same types of vessel found on the Faroe Islands are also found in Norway, it is natural to assume that such goods were imported from Norway. Another possibility is Shetland, where soapstone is also found as a raw material.

Households used earthenware as well as soapstone vessels. Based on the information available, it is impossible to say whether the early settlers, or Landnamsmen as they are called, were already using earthenware when they arrived on the islands. There is a great deal to indicate, however, that earthenware became part of domestic life during the Viking Age, i.e. in the late 10th – 11th century. This is interesting in terms of cultural history, because back in Norway earthenware had been completely abandoned in favour of soapstone vessels, a practice that the Northmen brought with them as they travelled west. These earthenware vessels are all unglazed, shaped by hand, generally by coiling and without a wheel, and fired at a low temperature. There seems to be considerable variation in shape, with bowl-shaped, hemispherical and bucket-shaped vessels having been found. There is also considerable variation in size, with the opening varying between about 18 and 30 cm, for example, and the height between around 10 and 20 cm. Food encrustation on the inside indicates that the earthenware vessels were used for the preparation of food. However, no remains have been found that might have been linked to earthenware productionitself, e.g. kilns, but it is easy to imagine earthenware vessels being fired in the hearth.

The exciting investigations into animal bones that have taken place in recent years have provided an insight into the animal husbandry of the past and the resources exploited in the Viking Age. It has been established that pigs were widely kept in addition to sheep and cattle, while compared with other locations in the North Atlantic, seabirds accounted for a very large proportion of the diet on the Faroe Islands.

Rooms were illuminated by means of oil lamps, which might have been no more than hollowed-out stones. But there are also examples of lamps being carved from tuff, a soft, volcanic rock that was easy to carve, which is why such lamps often had various forms of simple decoration.

In addition to the above types of kitchen utensil made from stone, the people also used a lot of different vessels made from wood, including turned wooden vessels and small, carved rectangular vessels or bowls. Staves and heads from large and small crozed wooden vessels have also been found. The many finds of twisted juniper stems are characteristic of the remains of older settlements. Juniper grew locally when people and animals took possession of the islands. The stems have been found in many different lengths and thicknesses, and were used as handles for wooden vessels or as ropes, for example. Wooden pins of varying sizes have also been found. Some of then are frequently interpreted as being so-called “sausage skewers” and others as being spindles used for working with wool.

Apart from food preparation, other important indoor chores included wool processing. Finds of spindle whorls and warp weights bear witness to this activity. The spindle whorls, which can be of basalt or tuff, are often also made from fragments of broken soapstone pots. Weights were required for work on verticallooms. Some special forms of warp weight made of drilled slate for hanging seem to have been imported, but ordinary basalt stones with a groove round the outside were also widely used.

In daily work both indoors and out cutting implements such as knives and scythes, for example, were indispensable, and they had to be kept sharp. The number of whetstones found bears witness to this. They were made from both clay slate and mica schist – even whole blanks of the raw material for whetstones have been found. This is another example of goods that had to be imported from Norway.

Hay was produced for animal feed. But grain was also grown on the Faroe Islands, with the grain of the Viking Age being six-rowed barley. This had to be ground, which was done using millstones of relatively soft mica schist characterised by hard red garnets inclusions. This raw material is found at Hardanger in West Norway. Studies have shown that this area had large quarries that produced schist for making millstones for export as long ago as the Viking Age.

The fields were not the only place where work was done. Sinkers testify to the importance of fishing. These might be made from soapstone, which frequently turned out to have been reworked from vessel fragments. But it was most usual, perhaps, to use large and small pebbles with a groove round the outside to secure the line to.

Apart from the knives previously mentioned, metal artefacts include iron locks, rivets and fish hooks of various sizes. The metal finds frequently occur in very small fragments such as bronze plates with rivets attached, which may have been rim or opening hardware for wooden vessels, for example. The quitefrequent finds of slag may also be the result of forging to do with the utensils already mentioned.

In visualising how people on the Faroe Islands dressed during the Viking Age, we must make do with drawing comparisons with what is known from other locations in the North Atlantic, but there are several finds to indicate that people quite liked to dress up. There is, for example, evidence of objects that can be described as personal accessories – ornaments such as bone combs, for example, both single and double. People wore necklaces and bracelets with both amber beads and silver- or gold-coated glass beads. They also wore silver rings, fine bronze buckles and ring pins, which they attached to their clothes.

Leisure activities and children’s games clearly also played an important role in everyday life in the Viking Age. In addition to gaming pieces, half a game board has been found with “Nine Men’s Morris” on one side and the Old Norse game of “Hneftafl” on the other. Finely carved horses and toy boats were made for the children, with examples being found at the Viking Age farm in Kvívík and the summer settlement at Argisbrekka near the village of Eiði.

Just as in other locations in the North Atlantic the art of writing was also practised on the Faroe Islands in the Viking
Age. Several artefacts made of both wood and stone with engraved runes were found during the excavation of dwellings in Eiði and Leirvík, for example.

The imported materials provide clear evidence that the Viking Age population on the Faroe Islands was not isolated to any great extent. Such materials clearly indicate quite close contact with the outside world, as likely as not in the form of trading relations both with the inhabitants’ old homeland, with communication doubtlessly originating in Bergen, and the other Norse settlements in the areas to the south of the Faroe Islands.

Faroer Island 2005 7.50 Kr. SgMS?, scott?

Source: Faroer Post
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