Every stamp and piece of mail tells a story. In fact, each often tells multiple stories, ranging from concept to art design to production to usage, often with tales of politics, history, technology, biography, genealogy, economics, geography, disaster, and triumph. The lens of philately offers a fresh and engaging story of American history, culture, and identity, and it can also help deepen the understanding of world cultures. The William H. Gross Stamp Gallery, opened at the Smithsonian National Postal Museum in September 2013, has many such stories to tell. Chief philately curator Cheryl R. Ganz guides readers through some of the gallery's nearly 20,000 objects that together illustrate the history of our nation's postal operations and postage stamps.

DISCOVER THE INCREDIBLE STORY OF AMERICA THROUGH ITS BEAUTIFUL AND DIVERSE POSTAGE STAMPS IN THIS EXUBERANT AND ALWAYS CHARMING HISTORY. In A History of America in Thirty-six Postage Stamps, Chris West explores America's own rich philatelic history. From George Washington's dour gaze to the charging buffalo of the western frontier and Lindbergh's soaring biplane, American stamps are a vivid window into our country's extraordinary and distinctive past. With the always accessible and spirited West as your guide, discover the remarkable breadth of America's short history through a fresh lens. On their own, stamps can be curiosities, even artistic marvels; in this book, stamps become a window into the larger sweep of history.

An inside look at the obsessive, secretive, and often bizarre world of high-profile stamp collecting, told through the journey of the world’s most sought-after stamp. When it was issued in 1856, it cost a penny. In 2014, this tiny square of faded red paper sold at Sotheby’s for nearly $9.5 million, the largest amount ever paid for a postage stamp at auction. Through the stories of the eccentric characters who have bought, owned, and sold the one-cent magenta in the years in between, James Barron delivers a fascinating tale of global history and immense wealth, and of the human desire to collect. One-cent magentas were provisional stamps, printed quickly in what was then British Guiana when a shipment of official stamps from London did not arrive. They were intended for periodicals, and most were thrown out with the newspapers. But one stamp survived. The singular one-cent magenta has had only nine owners since a twelve-year-old boy discovered it in 1873 as he sorted through papers in his uncle’s house. He soon sold it for what would be $17 today. (That’s been called the worst stamp deal in history.) Among later owners was a fabulously wealthy Frenchman who hid the stamp from almost everyone (even King George V of England couldn’t get a peek); a businessman who traveled with the stamp in a briefcase he handcuffed to his wrist; and John E. du Pont, an heir to the chemical fortune, who died while serving a thirty-year sentence for the murder of Olympic wrestler Dave Schultz. Recommended for fans of Nicholas A. Basbanes, Susan Orlean, and Simon Winchester, The One-Cent Magenta explores the intersection of obsessive pursuits and great affluence and asks why we want most what is most rare.

Today, European nations still use stamps to commemorate aspects of a nation's culture, history and achievements. During the Second World War, however, stamps were considered far more important in conveying political and ideological messages about their country's change in fortunes – whether it was as triumphant occupier, willing or unwilling ally, or oppressed victim. Some issues and overprints contained obvious messages, but many others were skillfully designed and subtle in their intentions. Stamps and their accompanying postmarks offer an absorbing and surprisingly detailed insight into the hopes and fears of nations at this tumultuous time. This remarkable collection examines and interprets the stamps of twenty-two countries across western and eastern Europe. The glorification of the Führer and Germany on the stamps of countries he most oppressed was inevitable, but many issues are ambiguous and indicative of the rival ethnic and political forces striving to attain influence and power. Desperate to unite the people, Soviet Russia resorted to images of the nation's heroic achievements under the Tsars; the mutually hostile puppet states Hitler and Mussolini allowed to emerge out of conquered Yugoslavia lost no time in issuing stamps proclaiming their cultural diversity; and Vichy France sought to justify its existence with issues linking past glories under Louis XIV and Napoleon with an equally glorious future alongside Hitler. These and many more stories reveal the aspirations, assumptions and anxieties of so many nations as their destinies hung in the balance.

Dorothy Knapp: Philately and Family is the definitive biography and complete works of the most famous cachet artist in the history of philately. Envelope art has been utilized for over a century to communicate a public message through the mail system. Every stamp and event tells a story and Dorothy illustrated this in her legendary style within the limited canvas of an envelope. Over 1600 full color images tell the story of her work of nearly 20 years. The collection of these works uncovered unsolved mysteries about her relationships with others in the industry and identification of her unsigned work. Journals, letters, interviews and family photos tell her personal story and how her life translated into this remarkable body of work.

Chicago's 1933 world's fair set a new direction for international expositions. Earlier fairs had exhibited technological advances, but Chicago's fair organizers used the very idea of progress to buoy national optimism during the Depression's darkest years. Orchestrated by business leaders and engineers, almost all former military men, the fair reflected a business-military-engineering model that envisioned a promising future through science and technology's application to everyday life. But not everyone at Chicago's 1933 exposition had abandoned notions of progress that entailed social justice and equality, recognition of ethnicity and gender, and personal freedom and expression. The fair's motto, "Science Finds, Industry Applies, Man Conforms," was challenged by iconoclasts such as Sally Rand, whose provocative fan dance became a persistent symbol of the fair, as well as a handful of other exceptional individuals, including African Americans, ethnic populations and foreign nationals, groups of working women, and even well-heeled socialites. Cheryl R. Ganz offers the stories of fair planners and participants who showcased education, industry, and entertainment to sell optimism during the depths of the Great Depression. This engaging history also features eighty-six photographs--nearly half of which are full color--of key locations, exhibits, and people, as well as authentic ticket stubs, postcards, pamphlets, posters, and other it

Nearly sixty years after the end of World War II the Third Reich continues to fascinate both authors and readers. Nazi propaganda, in particular, has been the topic of countless books, as have the personalities involved in the German propaganda machine. Yet, despite all of the efforts in this regard, one aspect of that propaganda study has remained largely unexamined. It is the regimes use of postal materials as a tool for expressing its propaganda message. In this new, profusely illustrated book, Albert L. Moore offers readers an overview of the images and messages that filled the mailboxes of Hitlers subjects and victims. As official documents of Nazi Germany, the stamps, postcards, and even postmarks used during the time provide the reader with an explicit picture of the types of propaganda messages every German was expected to see and act upon on a daily basis. Moores groundbreaking work helps us to better understand this powerful, yet heretofore unrecognized, weapon in Hitlers propaganda arsenal. This is not merely a book for those interested in stamps or postcards as collectibles, it is a book for those who desire to better understand what it was like to live inside the Third Reich!

"For every book lover who fantasized about getting locked in the library overnight,The Story Collectoris a dream come true!"—New York Times-bestselling author Alan Gratz In the tradition of E. L. Konisburg, this middle-grade mystery adventure is inspired by the real life of Viviani Joffre Fedeler, born and raised in the New York Public Library. The Story Collector by Kristin O'Donnell Tubb is a middle-grade historical fiction inspired by the real life of Viviani Fedeler. Eleven-year-old Viviani Fedeler has spent her whole life in the New York Public Library. She knows every room by heart, except the ones her father keeps locked. When Viviani becomes convinced that the library is haunted, new girl Merit Mubarak makes fun of her. So Viviani decides to play a harmless little prank, roping her older brothers and best friend Eva to help out. But what begins as a joke quickly gets out of hand, and soon Viviani and her friends have to solve two big mysteries: Is the Library truly haunted? And what happened to the expensive new stamp collection? It's up to Viviani, Eva, and Merit (reluctantly) to find out.

The Stampographer traverses the fantastic, anarchic imagination of Parisian artist Vincent Sardon (born 1970), whose dark, combative sense of humor is infused with Dadaist subversion and Pataphysical play. Using rubber stamps he designs and manufactures himself, Sardon commandeers a medium often associated with petty and idiotic displays of bureaucratic power, then uses those stamps not to assert authority, but to refuse it. He scours the Parisian landscape as well as the world at large, skewering the power-hungry and the pretentious, reveling in the vulgar and profane. In The Stampographer, there are insults in multiple languages, sadomasochistic Christmas ornaments, and a miniature Kamasutra with an auto-erotic Jesus. Sardon also wields the stamp as satirical device, deconstructing Warhol portraits into primary colors, turning ink blots into Pollock paint drips, and clarifying just what Yves Klein did with women's bodies. Yet Sardon's razor-sharp wit is tinged with the irony of his exquisite sense of beauty. The stamps are rarely static--they have an animating magic, whether boxers are punching faces out of place or dragonflies seemingly hover over the page. Sardon's work is provocative in its subject matter as well as in its process and dissemination: he not only stands defiantly outside the art world's modes of commerce but his artworks (the rubber stamps themselves) are actually the means with which anyone can make a work of their own. The Stampographer introduces English-speaking readers to one of the most unusual and original voices in contemporary French culture.