Posta Stamps No. 43 Faroe Islands February 2020 - H.M. Queen Margrethe II 80th Anniversary - Europa 2020: Ancient Postal Routes - Field Post Offices during WW2 - Sepac 2020: Artwork - Franking Labels: Old Postcards FO 929 Test proof H.M. Queen Margrethe II - 80th Anniversary On April 16, 2020, Her Majesty the Queen some extent, it is also an adventure superb- Margrethe II of Denmark celebrates her ly expressed in Edward Fuglø’s painting. 80th anniversary. H.M. Queen Margrethe II was born on April 16, 1940, at Amalienborg. Shown in regal profile, the Queen sprouts She was the daughter of King Frederick IX up from the Faroese coast, surrounded by a and Queen Ingrid, born Princess of Sweden. large number of animals, preferably birds. One comes to think of adventures in which Margrethe Alexandrine Þórhildur Ingrid, wild animals come to the aid of a hero or which is her full name, became Queen of heroine in distress. This is actually the case Denmark on January 14, 1972 and has now here, as evidenced by the title which the reigned for 48 years. artist has given to his painting. Celebrating the Queen’s anniversary Posta The title consists of a slightly altered quote is issuing a souvenir sheet featuring the from a well-known Faroese folk ballad, Queen. The motif is the Faroe Islands’ offi- Sjúrðarkvæði, more specifically the first part cial present to the Queen on the occasion of of the ballad Regin Smiður (Regin the her 40th regent anniversary in 2012. The Smith): “She was well acquainted with birds present was a painting of the Queen by art- and beasts of wild”. Strictly speaking, it’s ist Edward Fuglø. Sjúrður, the hero of the ballad, who sudden- ly understands bird language after having “Bird Song And Animal Language She killed the dragon Frænir and tasted its Was Able To Understand” blood. However, thanks to the change of It bears a keen resemblance to an adven- “he” to “she” in the title, it is the Queen who ture, a legend from days of old. And to understands messages conveyed by the ani- mals - an elegant compliment indeed. 2 Edward Fuglø (1965): Bird Song And Animal Language She Was Able To Understand. 2012 Acrylic, Alu- minium and gold leaf on wood, 177 x 122 cm. 3 to the native Faroese flora - also eighteen in number corresponding to the number of islands. The stylized flowers are patterned into the Queen’s attire indicating that she has become draped, most becomingly, in the Faroe Islands. But the adventure doesn’t end here. Thanks to the numerous birds and the Queen’s iconic profile, the painting also contains a reference to Nólsoyar-Páll’s national ro- mantic “Fuglakvæði” (Ballad of the Birds) from ca. 1800. Here a conflict which arises between the native Faroese population and the Danish authorities is depicted in the guise of an allegory - a battle between small birds and ferocious birds of prey - with the king in the shape of an eagle pro- Crown Princess Margrethe visits Tvøroyri in the Faroe Islands in June 1959 - only 19 years old. Photo: Ritzau Scanpix. tecting and watching over his people. The birds are as follows: Oystercatcher, the However, everything is not pure idyll in Ed- shag, the great skua, the razorbill, the ful- ward Fuglø’s painting. There is also room mar, the common eider, black-backed gull, for humorous commentary. To be sure, the the guillemot, the puffin, the artic tern, the Queen has become an integral part of the gannet, the common murre, the hooded Faroese landscape and is accompanied by crow, the raven, the starling and the whim- her faithful companions representing the is- brel – all Faroese birds. In addition we have lands’ wildlife. However, the sturdy ram, the ram and the hare, the only four-legged being the Faroe Islands’ symbol in the Coat creatures found in Faroese nature. Along of Arms, looks a bit menacing with its low- with the birds they form group of eighteen – ered head, seemingly ready to give her a corresponding to the number of islands in push over the edge. Thus, the Faroese inde- the Faroese archipelago. pendence movement also gets a slight hint in the artwork! The Queen’s profile has been stylized and gilded as on a minted coin. Thus, she is Although the Queen’s profile is at the cen- transformed into an icon vis-à-vis the natu- tre, Edward Fuglø’s work is far from being a ralistically painted animals. She is not portrait in the conventional sense. It is an merely a person, but an institution as well. allegory, i.e. a mental depiction reading It is also in this regal role that most Faroese somewhat like a challenging tale of the re- get to meet Queen in a direct way, namely lationship between the Queen and the Far- through the coins bearing her likeness. oe Islands. In this way, the picture is typical of Edward Fuglø’s art which always fea- The Queen is depicted in her green dress tures rich content, as evidenced by the title with a cloak, which at the same time hints of the painting which in this case plays a at the verdant landscape of the Faroe Is- central role in decoding the content. lands. Here we find small flowers belonging 4 Queen Margrethe visiting the village Hvalba on Suðuroy island, June 2016. Photo: Liselotte Sabroe/Ritzau Scanpix. The style is figurative pop art inspired by photography and advertising, with surreal leaps between different levels of reality. Of these, the most striking breach of reality is the portrayal of the Queen’s profile as mint- ed on Danish coins. In the painting, the art- ist achieves this with a gilded aluminium relief attached to the artwork’s wooden plate. Thus, the painting gives the impres- sion of a collage composed of various materials. A black print of the mini-sheet has been pro- The past and present meet in Edward duced in a limited edition! It is included in the Fuglø’s painting, fairy tales and allegories on one hand, humour and modern art ex- 2020 Yearbook at no additional cost, but is pressions on the other. Both formally and also available separately. substantively, this is a work of abundance which in an ingenious, loving and humorous The black print is numbered and printed in way, pays tribute to the Queen as the Re- 1.500 prints of which only 400 will be sold gent of the Faroe Islands. separately. Size: 10 x 7 cm. Price: 150,- DKK. Nils Ohrt, MA History of Art 5 Áarskarð Test proof Europa 2020: Ancient Postal Routes Postal routes in the Faroe Islands have vertical cliff of approx. 19 meters. On the always been difficult and challenging. For- map depicted on the stamp, postman Jákup’s midable mountains had to be climbed and route is marked in yellow. deceptive straits crossed to deliver the mail - and sometimes things went very wrong. The Postmen on the Mountain The 17KR stamp motif depicts another dra- The Route: Klaksvík - Viðareiði matic event on the same route. A few dec- One of the most challenging postal routes ades after Jákup suffered his fatal accident, on land was Klaksvík - Viðareiði, requiring two postmen were heading in the other hardy mail carriers to vanquish one of the direction - from Viðareiði to Klaksvík. One most inaccessible mountain areas in the of them, Jacob Vitalis, Jakke í Krotugrøvini as Faroe Islands. he was called, recounted the experience in an interview recorded in 1971. Postman Jákup’s Demise On November 24, 1887, the very first post- Having crossed the mountain ridge facing man in the Northern Islands, Jacob Elias- Árnafjørður, the two postmen were taken sen (1836 - 1887), embarked on the route aback when hit with a heavy snowstorm. At Klaksvík - Viðareiði. Although the weather a place called “Breytarstígar” they realized was reasonably good, mountains were cov- that they would not be able to climb down ered with snow and ice. Postman Jákup, because of darkness and heavy snowdrifts. or Jakke í Vági, as he also was called, was They managed to reach a rocky hill close never seen alive again. A search and rescue by where they built a shelter of stones for party was quickly assembled and the fol- their own protection. The night was cold and lowing day Jákup’s body was found on the the wind blew fiercely. In order not freeze to precipitous hillside north of Árnafjørður. It death, they started tearing down the stone became clear that he had chopped tracks in shelter and piling the stones up again. Thus, the steep path up to the passage at Gjógv the night passed - they stacked the stones, but lost his footing and fallen down approx. tore them down again and sometimes fought 350 meters, plunging headlong over a each other in jest to keep warm. At daybreak 6 The place where the two postmen spent the night. The recess between the mountain ridges on the upper right is "Breytar- skarð" which they had passed through. The rocks below are part of the landslide where they stacked up a stone wall for shelter to stay alive. From there they walked down the steep hillside towards the bottom of the fjord. Photo: Pól Sundskarð. they were able to see their surroundings and A Mailboat Goes Down started digging themselves down through Friday, October 1, 1920, was just such a day. the snowdrifts with the shovels they had It was very windy – strong gusts and ocean brought with them, hauling each other down currents coming from opposite directions.