Post am Rochus
In 2011 Austrian Post decided to abandon the company’s headquarters in the Postgasse in Vienna’s 1st district, and to set up a new head office. Now, in autumn 2017, the building work is complete and the “Post am Rochus” is to open. The commemorative stamp shows the new company headquarters as seen from the Rochusmarkt.Since the founding of the Postal and Telegraph Administration in 1866, this has been located in the Innere Stadt city centre district of Vienna in the former Barbara Foundation building. Following the decision to move into a new main building, the company’s headquarters temporarily moved to Haidingergase in the 3rd district. The new headquarters was to be built in the city centre district on a property near the Rochusmarkt owned by Austrian Post. The design was selected in an EU-wide competition for the submission of ideas, with the winning design ultimately being that of Schenker Salvi Weber Architekten ZT GmbH in collaboration with feld72 architekten zt gmbH.
Issue Date:18.10.2017 Designer:Karin Klier Printer:Joh. Enschedé Stamps B.V Process:Offset
Day of the Stamp 2017
This year’s design for the commemorative stamp for the Day of the Stamp is dedicated to the “last knight”, Emperor Maximilian I. His epic poem Theuerdank, dating from the year 1517, is an important exemplar of the art of early printing. Once again, the supplement charged on this stamp will be used to promote philately. Maximilian was born in the Lower Austrian city of Wiener Neustadt – which is why, to celebrate its 50th anniversary, the Hirtenberg philatelists’ association, which also hails from Lower Austria, was entrusted with organising the Austrian philatelic event ÖVEBRIA 2017. Maximilian I (1459–1519), of the house of Habsburg, became the emperor of the Holy Roman Empire in 1508, although without being crowned by the Pope, after already having been elected King of the Romans and becoming ruler over the Austrian hereditary lands following the death of his father Frederick III. Maximilian was very well-educated and took a great interest in science and in classical traditions of chivalry such as tournaments and the medieval literature dedicated to chivalric heroes.
Issue Date:18.10.2017 Designer:Anita Kern Printer:Joh. Enschedé Stamps B.V Process:Offset
Peter Paul Rubens :Girl with Fan
The great Flemish Baroque painter Peter Paul Rubens (1577-1640) studied the “Old Masters” throughout his life. They were his role models and his inspiration. He copied and interpreted them in his own way in order to learn from and outdo them. One of his paintings is the “Girl with the Fan”, which Rubens created based on a portrait by Titian, and which Austrian Post is now featuring on a stamp from the “Old Masters” series. Titian (c. 1488-1576), the Venetian master from the Renaissance, painted his “Lady in White” in around 1555, around 70 years before Rubens’ painting. Titian had sent the painting to Philipp II together with a letter in which he described the woman depicted as “the absolute mistress of my soul”. The woman in Titian’s portrait is often believed to be his daughter Lavinia, who had married in 1555. However, it could also be Emilia, an illegitimate daughter of the artist. Rubens, likewise, did not know whom the portrait depicted. He had seen Titian’s work in the Spanish Court in 1628/29 during his journey to Madrid. From contemporary books he probably knew that young women in Venice wore white when leaving the house after the wedding and therefore interpreted the portrayed as a bride. Rubens may also have known the copper engraving “The Venetian Wedding” by Hendrick Goltzius, in which a bride, similarly attired and with her hair put up in a similar fashion, is depicted. In Rubens’ inventory of his collection, his portrait is described as “Image of a bride”. Rubens mostly painted his copies of Titian’s pictures for himself, at the end of his life owning 69 such pictures. Titian’s painting significantly influenced later artists from various periods and Peter Paul Rubens engaged with Titian’s work with unusual intensity in his own development. Rubens produced a relatively faithful copy of Titian’s portrait. However, there are differences in some details. The skin has much more colour in Ruben’s work, and a more nuanced softness; the eyes are opened wider; the décolleté somewhat lower; the hair slightly more curly and the dress more billowy. Overall the young lady looks more lively, corporeal and sensual than in Titian’s work; her smile a little more confident. Ruben’s copy also differs from the original in its particular technique: thus the pale grey background shows through with a bluish tint in certain places, such as the corners of the eyes, making the skin appear light and transparent. The portrait “Girl with Fan”, painted in c. 1628/29 on canvas and not – as is often the case with Rubens – on wood, is now owned by the portrait Gallery of the Kunsthistorisches Museum in Vienna.
Issue Date:18.10.2017 Designer:Peter Paul Rubens Printer:Joh. Enschedé Stamps B.V Process:Kombi