Source: http://nzpf.org.nz/exhibitions/judging/special-regulations-srevs-fip/thematic/
Timestamp: 2019-04-21 23:02:53+00:00

Document:
In accordance with Article 1.4 of the General Regulations of the FIP for the Evaluation of Competitive Exhibits at FIP Exhibitions (GREV), these Special Regulations have been developed to supplement those principles with regard to thematic exhibits.They are explained in the Guidelines to these Special Regulations.
A thematic exhibit develops a theme according to a plan, as defined under 3.2.1, demonstrating thematic and philatelic knowledge through the items chosen.Such knowledge should result in the best possible selection and arrangement of the material and the accuracy of the relevant thematic and philatelic text.
3.1.1 A thematic exhibit uses the widest range of appropriate postal-philatelic material (refer GREV Art 3.2).
3.1.2 Each item must be connected to the chosen theme and present its thematic information in the clearest and most effective way.
The treatment of a thematic exhibit comprises the structure of the work (title and plan) and the elaboration of each point of that structure (development).
The title with any subtitle defines the scope of the exhibit.The plan defines the structure of the exhibit and its subdivisions and covers all major aspects relevant to the title. It should be entirely structured according to thematic criteria. The order of the main chapters and their subdivisions should demonstrate the development of the plan rather than list its main aspects.The title and the plan must be presented on a page at the beginning of the exhibit, written in one of the official FIP languages.
a thematic text, to ensure the necessary thematic links and to provide thematic details, whenever needed.
The connection between the philatelic material and the theme must be clearly demonstrated, when it is not obvious.
The general criteria, as specified in GREV Art. 4, are adapted to the peculiarities of the thematic class.
Treatment will be evaluated according to the title and the plan, the development, and the innovation shown in the exhibit.
coverage of all major aspects necessary to develop the theme.
elaboration of all aspects of the plan.
4.1.3 Innovation will be evaluated according to Art. 3.2.3.
The criterion for Knowledge, Personal Study and Research requires the evaluation of the thematic and philatelic aspects of the exhibit.
presence of new thematic findings for the theme.
presence of philatelic studies and related skillful use of important philatelic material.
The criteria of “Condition and Rarity” require an evaluation of the quality of the displayed material considering the standard of the material that exists for the chosen subject, the rarity and the relative, difficulty of acquisition of the selected material.
The criterion of “Presentation” requires an evaluation of the clarity of display, the text as well as the overall aesthetic balance of the exhibit.
5.1 Thematic exhibits will be judged by the approved specialists in their respective field and in accordance with the Section V, Art. 31 to 46, of the GREX (refer GREV Art. 5.1).
5.2 For thematic exhibits, the following relative terms are presented to lead the Jury to a balanced evaluation (ref: GREV Art. 5.3).
6.1 In the event of any discrepancies in the text arising from translation, the English text shall prevail.
6.2 The Special Regulations of the FIP for the Evaluation of Thematic Exhibits at FIP Exhibitions (SREV) were approved at the 66th FIP Congress on October 14, 2000 in Madrid. They take effect immediately following closure of Congress.
These Guidelines have the objective of guiding collectors to assemble an exhibit and jurors to evaluate it according to the principles of the General Regulations for the Evaluation of Competitive Exhibits at FIP Exhibitions (GREV) and the Special Regulations for the Evaluation of Thematic Exhibits (SREV).
show in depth specific sections of the collection without losing the coherence and the continuity of the chosen theme. In this case it may be necessary to adapt the plan page (see 3.2.1 below) to suit the exhibit.
postal franking items (stamps, stamp booklets, postal stationery, franking meters, computer vended postage e.g. FRAMA labels, etc.) and their modifications (e.g. overprints, surcharges, and punch-perforations, as shown by “perfins”). However modified items are not to be included if the modification distracts from the original theme (e.g. by making it no longer visible); they may be used for the theme(s) related to the modification.
other items used in the postal operations, such as registration labels, postal route labels and markings, supplementary labels or markings (e.g. censorship, disinfection, crash mail), mail delivery dockets, reply coupons, forwarding agents markings, postal automation markings and labels, etc.; where applicable, these items should be on the relevant document.
revenue stamps. They are admitted as long as they are postally used or have postage validity. Revenue stamps for fiscal purposes are admitted in exceptional cases, when they are the only means to describe an important thematic point.
postal material from the pre-stamp era, through the classic period, to the present day.
private post, authorised or tolerated by the official authorities, or active in total absence of an official post.
Under “other postal communications” are included other forms of postal services, like pneumatic post, telegrams, electronic mail (i.e. message sent electronically to a Post Office where it is printed out and delivered to an addressee), etc.
private vignettes (advertising labels), whatever the purpose of their use.
The variety of postal services and regulations in different countries and their evolution over time make it impossible to define a list encompassing all possible situations. Some items only follow to a certain extent the above definitions of appropriate or inappropriate material; therefore they should be used mainly when no other material is available to describe a specific thematic detail. When included in the exhibit, they should always be supported by a thorough philatelic justification.
Items belonging to the specific philatelic culture of a theme, a country or a region can be tolerated as much as they are justified and their number is proportional to the degree of elaboration of the exhibit.
indirectly as a result of a deeper analysis that enables the use of items that, at a first glance, do not show any connection with the theme.
those which document a particular period.
the text or illustration of margins, gutters, tabs, cover and interleaving of booklets, etc.
functions of the postal service, which have a thematic significance (e.g. railway, telegraph, newspaper stamps, official service postal stationery, pigeon post).
approved by the postal service (e.g. postal stationery to private order).
Printing or surcharges added privately after the sale of the items do not fulfil this requirement.
Generic cancellations can be used because of the specific meaning of a place name, or of the reason a place exists. Alternatively, they must contain adequate thematic information (e.g. advertising text, illustration), in addition to the data concerning the place and/or the date. A postmark, even if of the pre-philatelic period, does not document the birthplace of a person. Also the postmark date and place, when related to a special event which happened on the same date and place, is relevant only if other thematic elements concern the theme or it has a specific thematic significance from a postal history standpoint; in the latter case it should only be used when it refers to an important detail of the theme.
Sender and addressee data represents insignificant information, unless the document shows a special postal privilege (e.g. reduced or free postage) as a result of the position, condition or status (e.g. military, government or other official mail) of one of the parties. The indication of reduced (or free) postage or the service postmarks, or equivalent markings of the postal route, provide sufficient evidence. In some instances sender and/or addressee data may be helpful as complementary thematic information, in combination with the postal elements of the document.
The information made available by vignettes (i.e. pictorial labels), marks, cachets and decorative overprints of private origin (i.e. not postally authorised) should not be used for the thematic development. In exceptional cases, where no other material exists, these items can be considered as a part of the document as long as they are relevant to describe a specific postal route or they present a significant thematic connection.
In thematic philately the concept defined by the GREV is represented by the plan.The plan and the development represent the two aspects of an interlaced process, based on personal study and research by the collector on both the theme and the material. A deeper knowledge of the theme enables one to increase the number of facts and details and to look for additional items to illustrate them. A better knowledge of the material allows one to identify new pieces, which often must be justified through further study of the theme, which could result in a more elaborate plan.
derive naturally from the theme.
The structure may follow a time-related classification (historical, evolutionary), or subject-related criteria (scientific, systematic, organisational, economic, etc.), or other criteria. For instance, themes related to Organisations and Institutions (e.g. Red Cross, League of Nations, Council of Europe), repetitive events (e.g. Stamp Days, Olympic Games), etc. can be subdivided according to their structure, type of organisation, and individual events following thematically time- or place-related classifications.
Themes developed within an organisational or chronological framework should clearly show the historical background, the aims, tasks, results and effects of the activities of such organisations or events. The plan consists only of thematic divisions and subdivisions, with no generic chapters (e.g. “Miscellaneous”, “Appendix”). Subdivisions by date of issue, issuing country, type of material (e.g. “Meters”, “Postal stationery”), or purpose of issue (e.g. “Anniversaries”) are to be avoided. Such items are best used according to their thematic information. The same applies to special philatelic studies (refer: 3.2.3).
The plan is supposed to present a logical order allowing the study of the entire exhibit without disturbing breaks between the different chapters. Ideally the beginning of the following chapter has a logical link with that preceding. This helps to create an interesting story instead of an unconnected “list of contents”.
An effective plan covers the largest scope compatible with the title. In this respect, unless specifically stated in the title, the plan should not be limited by time or by geography, as far as the chosen theme allows it.
The different chapters should have a good balance, according to their relative thematic weight within the scope of the theme as defined by the title rather than by the quantity of material available.
The construction of an innovative plan is considered a prerequisite for an innovative development.
The plan page comprises all major subdivisions of the plan; finer and more detailed subdivisions are presented, in principle, only on the individual pages. The plan cannot be replaced by a literary description or by a generic introductory statement.
An adequate plan page will ensure that the public and the jurors do not have to “reconstruct” the plan by browsing through the pages of the exhibit. The obvious difficulties caused by having to do so might be reflected in the understanding and the evaluation of the exhibit.
A numerical classification (e.g. decimal, legal systems) may be used if it helps to make the exhibit easier to understand. It should be limited to major divisions of the plan. Experience has shown that a two/three digits/letters system is sufficient.
In addition to the plan page, an introductory title page may highlight the theme.
The official FIP languages in which the title, the plan and any other introductory statement have to be presented are English, French, German, Russian, and Spanish.
the selection of the most suitable items for each thematic detail described.
the balanced utilisation of the items according to the significance of the thematic detail they support. The number of philatelic items available for the same detail should not be the basis for their inclusion.
the accurate thematic arrangement of the items shown on the same page according to the sequence of the “story”. The correct sequence takes priority over the best appearance of the page.
Therefore, the simple classification of the philatelic pieces related to a subject is necessary but not sufficient to achieve an advanced degree of elaboration.
illustrates the logical sequence of the development, by connecting the items shown. A good connection is effective and concise, without unnecessary information. This requires that the text be fluid enough to demonstrate the thread of the development.
gives appropriate information of the thematic details of stamps and documents.
Any thematic explanation has to be closely related to the material shown, and any given statement must be covered by thematically appropriate philatelic items, otherwise it weakens the thematic development.
Even if FIP languages are not compulsory for thematic and philatelic text, exhibitors who intend to show frequently at international exhibitions are strongly advised to present their exhibit in one of those languages, to help in the understanding of their work (Refer GREV 3.3).
The exhibit is supposed to show the personal work of the exhibitor, highlighting the results of his/her ability to innovate. This requires personal effort by study, research and imagination and cannot result from the simple mechanical duplication of existing works. Exhibitors can take advantage of all sources available on the subject (e.g. thematic and philatelic literature as well as other collections) to push their research forward.
meter frankings with correct postage, as opposed to favour cancellations (e.g. “000”), unless the latter is a “specimen” or it has a justified postal reason.
Exceptions to the above criteria may only be shown if properly justified.
The relative rarity or unusual characteristics of proofs, varieties and similar items, can increase the philatelic quality of the exhibit. Common varieties (e.g. minor colour nuances) play an insignificant role and they are likely to adversely affect the thematic development. If a variety does not clearly demonstrate the connection with the theme, the normal item should be also shown as a reference.
Common stamps and documents are appropriate if they best represent important thematic details.
The use of maximum cards should be limited to a few, significant items, mainly to enhance the understanding of the thematic information on the stamp. In addition to the necessary concordance of subject, time and date, defined in the principles of Maximaphily, these items should have a theme-related cancellation.
The use of revenue stamps for fiscal purposes should be limited to a few, significant items, mainly to enhance the thematic development in very important points of the theme that cannot be covered otherwise. These items are to be properly justified.
Postal items and documents present a number of philatelic variants. If this material is of thematic and philatelic importance, then a concise and balanced philatelic study is commendable, so that this material can be properly shown.
A philatelic study follows in a systematic manner the criteria for traditional philately (e.g. development of the item, varieties), postal history (e.g. usage, routes, handling of the mail, postmarks) or any other postal philatelic discipline. A philatelic study may exploit existing sources for further personal research. In order to safeguard the balance of the exhibit, the aim of these studies is not completeness, but the presence of the most significant philatelic peculiarities. The extent of the studies is proportional to the degree of specialisation of the exhibit.
Philatelic studies, whenever included, blend with the thematic development without affecting the fluidity of elaboration of the exhibit. The thematic text has to continue in parallel with the study, so that there is no disturbing interruption.
A philatelic text can be used when a specific philatelic characteristic of the item is not easily recognizable, for documenting the use of revenue stamps, or for presenting a philatelic study. Boosting definitions, in the style of those of the auction-catalogues, are inappropriate.
3.4 PresentationThe statement of the GREV suits perfectly thematic exhibits; hence there is no specific article in the SREV.
Balanced: The same importance should be given to the different sections in accordance with the thematic significance and the available material coverage of all major aspects necessary to develop the theme.
4.1.2 DevelopmentThe correct assembly and position of the items, including the individual ones on each page, is demonstrated by a well understood, correct, and fluent thread of development. Misplaced items make development confused and hard to understand.The balance is demonstrated by giving the appropriate depth and size to the various thematic details, according to their significance within the theme. This also applies to philatelic studies.
A “concept” related knowledge. In almost all classes is of postal and philatelic nature: issues, usages, printing processes, rates, routes, services, and so on. In thematic philately this “concept” is of a thematic nature: cars, bridges, history, nature, sport, etc.; hence “thematic knowledge” is that which is based on personal study and research and sound knowledge of the subject studied.
“Philatelic knowledge”, that relates to the material used to support the concept. This component is common to all classes.
Thematic knowledge refers to the overall knowledge of the theme as expressed in the choice of the items, their correlation and the degree of appropriateness of the accompanying text; the correct thematic use of material is reflected by the degree of appropriateness to cover specific thematic details.Thematic knowledge is also demonstrated by the use of material that has a thematic qualification, which is not immediately obvious and needs to be discovered by the exhibitor.Thematic knowledge assumes the absence of thematic errors and avoids pretexts for introducing material not directly related with the theme or unnecessary borderline items.The level of thematic study and research is evaluated by taking into account the availability of previous studies of the theme, in order to assess how much the treatment took advantage of available thematic and philatelic literature, catalogues and documented research. This will then be compared with the personal research and study shown in the exhibit.
philatelic studies presenting a true, well documented, philatelic in depth analysis and which are not just an excuse for showing an accumulation of more pieces without any serious philatelic foundation.
The condition is based on the usual overall criteria for evaluation in philately. For modern material good condition is an essential requirement. Booklets should be presented complete with stamps.Cancellations must be clear, and allow the stamp design, where thematically relevant, to be clearly visible.The rarity is based on objective criteria such as recognised absolute scarcity and difficulty of acquisition.It is essential that varieties, proofs, essays, are rarer than the issue itself, in order to increase the philatelic level. The same applies to blocks, strips, etc.It is obvious that items which, despite being very rare, have no or insufficient relationship to the theme, should not be included in the evaluation of this criterion.
the overall aesthetic balance of the exhibit.
The thematic jurors must complete an evaluation form in order to be guided towards a thorough and consistent judgement.The presence of faked, forged or repaired items, which are not clearly marked as such, will cause the downgrading of the exhibit by the Jury, according to the report of the special Expert Team appointed at each exhibition.Reprints must be presented as such. Weak or faded postmarks must not be redrawn on piece; instead a copy of the postmark should be redrawn and presented next to the item.Collectors are therefore recommended to have any doubtful item expertised before selecting it for the exhibit and the original of the certificates should be included behind the sheet, in the same transparent protective cover. In case a photocopy is used, the same has to be certified by the Federation. Alternatively, the commissioner may bring the original certificate for use if needed. Irrelevant of how the certificate is made available, at the end of the philatelic text concerning the item certified should be put the abbreviation “e” in bold thus (e).

References: Art 3
 Art. 4
 Art. 3
 Art. 31
 Art. 5
 Art. 5