12th January 1945 Camp Monticello 12th January 1945 Camp Monticello 12.01.1945 Fort Meade reverse.jpeg 12.01.1945 Fort Meade reverse.jpeg 1/1 POW mail sent from an Italian soldier housed at Camp Monticello, Arkansas to an address in Italy. With return address as Fort Meade. NEEDS FURTHER INVESTIGATION (Also see POW Camps within America). Ref: 12.01.1945 Camp Monticello Encyclopedia of Arkansas article on Camp Monticello Contact Brief History to inform us of additonal information regarding this page

16th December 1943 Luftwaffe Eagle 16th December 1943 Luftwaffe Eagle 16.12.1943 Lutwaffe Eagle cover.jpeg 16.12.1943 Lutwaffe Eagle cover.jpeg 1/1 Feldpost window envelope with illustrated correspondence. Featuring a Luftwaffe eagle label in gold (partly used as a seal). Ref: 16.12.1943 - 15/50 LUFTWAFFE EAGLE LABELS Luftwaffe Eagle adhesive label (in both gold and silver) Measurements: First measurement from wing tip to wing tip (span), second measurement from left swastika tip to right swastika tip. Gold: 48mm/9mm. Ref: 16.12.1943 - 15/50 Also see 21.04.1941 - 25/79 (three types to reverse of envelope) Luftwaffe Eagle adhesive label within a yellow triangle Measurements: Wing tip to wing tip (span) Silver on yellow: 28mm. Ref: 05.06.1940 Contact Brief History to inform us of additional information regarding this page

21st November 1942 Kremsier (Kroměříž) 1/1 Postcard depicting Kremsier (Kroměříž), in Czechoslovakia. Sent via feldpost. Ref: 21.11.1942 Kremsier Contact Brief History to inform us of additional information regarding this page

8th May 1939 8th May 1939 1/1 Examples of wedding congratulation cards (all sent to the same couple) in May 1939 Contact Brief History to inform us of additional information regarding this page

Commercial window envelope sent from a 'Ziegelverkaufsstelle' (brick sales outlet) in Degendorf to a customer in Oberalteich. Complete with 'Rechnung' (Invoice), 'Zahlkarte' (Payment Card/Slip), and slip advising on how to pay. Ref: 17.07.1934 - 1/5 17th July 1934 1/2 Commercial window envelope sent from a 'Ziegelverkaufsstelle' (brick sales outlet) in Degendorf to a customer in Oberalteich. Complete with 'Rechnung' (Invoice), 'Zahlkarte' (Payment Card/Slip), and slip advising on how to pay. Ref: 17.07.1934 - 1/5 Invoice for 11,000 bricks - priced at 32RM per 100 Contact Brief History to inform us of additional information regarding this page

31st December 1939 "BP" 1/0 See 31.12.1940 - 30/26 Contact Brief History to inform us of additonal information regarding this page

6th August 1945 6th August 1945 1/1 Cover sent from Glauchau to Zittau, featuring Kreis Glauchau obliterated Hitler head definitives, Mi.1, Mi.5, Mi.7, and Mi.10. Ref:06.08.1945

15th January 1939 Dornier Do 17 15th January 1939 Dornier Do 17 15.01.1939 Dornier reverse.jpeg 15.01.1939 Dornier reverse.jpeg 1/1 An 'Unsere Luftwaffe' postcard (Nr.227) depicting the Dornier Do 17 light bomber aircraft. Ref: 15.01.1939 Dornier Do 17 The Dornier Do 17 is a twin-engined light bomber produced by Dornier Flugzeugwerke for the German Luftwaffe during World War II. Designed in the early 1930s as a Schnellbomber ('fast bomber') intended to be fast enough to outrun opposing aircraft, the lightly built craft had a twin tail and 'shoulder wing'. Sometimes referred to as the Fliegender Bleistift ('flying pencil') or the Eversharp it was popular among its crews due to its handling, especially at low altitude, which made the Do 17 harder to hit than other German bombers. The Do 17 made its combat debut in 1937 during the Spanish Civil War, operating in the Condor Legion in various roles. Along with the Heinkel He 111 it was the main bomber type of the German air arm in 1939–1940. The Dornier was used throughout the early war, and saw action in significant numbers in every major campaign theatre as a front line aircraft until the end of 1941, when its effectiveness and usage was curtailed as its bomb load and range were limited. Production of the Dornier ended in mid-1940, in favour of the newer and more powerful Junkers Ju 88. The successor of the Do 17 was the much more powerful Dornier Do 217, which started to appear in strength in 1942. Some remaining Do 17s continued in various Luftwaffe roles until the end of the war, as a glider tug, research, and trainer aircraft. A considerable number were sent to other Axis nations, with few surviving the war. The last was scrapped in Finland. Source: Wikipedia Contact Brief History to inform us of additional information regarding this page

19th November 1935 1/2 Contact Brief History to inform us of additional information regarding this page

Mi.862 (24.10.1943) Mi.862 (24.10.1943) 1/1 Mi.862 (Ref: 24.10.1943) next stamp issue

Luftgaukommando Air District administration Luftgaukommando Air District administration 1/1 Official cover sent from Luftgaukommando VI in Münster to a correspondent in Dreibachen. Ref: 24.05.1940 - 3/14 Luftgaukommando Air District administraion centres Luftgau I (Königsberg) Luftgau II (Stettin) Luftgau III (Berlin) Luftgau IV (Dresden) Luftgau V (Stuttgart) Luftgau VI (Münster) Luftgau VII (Munich) Luftgau VIII (Breslau) Luftgau IX (Weimar) Luftgau X (Hamburg) Luftgau XI (Hanover) Luftgau XII (Giessen/Wiesbaden) Luftgau XIII (Nuremberg) Luftgau XIV (Koblenz) Luftgau XVII (Vienna - area Ostmark and Protectorate Bohemia and Moravia) LUFTGAUE IN GERMAN OCCUPIED COUNTRIES Luftgau Belgien-Nordfrankreich (was headquartered in Brussels and responsible for Belgium and northern France) Luftgau Charkow Luftgau Finnland Luftgau Holland Luftgaupostamt Amsterdam Luftgau Kiev Luftgau Moskau Luftgau Norwegen Luftgau Ostland Luftgau Petersburg Luftgau Rostow Luftgau Süd Luftgau Westfrankreich Contact Brief History to inform us of additional information regarding this page

TYPEFACES TYPEFACES 1/0 FRAKTUR (above) The first Fraktur typeface arose in the early 16th century, when Emperor Maximilian I commissioned the design of the Triumphal Arch woodcut by Albrecht Dürer and had a new typeface created specifically for this purpose, designed by Hieronymus Andreae. Fraktur types for printing were established by the Augsburg publisher Johann Schönsperger at the issuance of a series of Maximilian's works such as his Prayer Book (Gebetbuch, 1513) or the illustrated Theuerdank poem (1517). The Fraktur typefaces remained in use in Nazi Germany, when they were initially represented as true German script; official Nazi documents and letterheads employed the font, and the cover of Hitler's Mein Kampf used a hand-drawn version of it. However, more modernised fonts of the Gebrochene Grotesk type such as Tannenberg were in fact the most popular typefaces in Nazi Germany, especially for running text as opposed to decorative uses such as in titles. These fonts were designed in the early 20th century, mainly the 1930s, as grotesque versions of blackletter typefaces. The Nazis heavily used these fonts themselves, although the shift remained controversial; in fact, the press was at times scolded for its frequent use of 'Roman characters' under 'Jewish influence' and German émigrés were urged to use only 'German script'. On 3rd January 1941, the Nazi Party ended this controversy by switching to international scripts such as Antiqua. Martin Bormann issued a circular (the 'normal type decree') to all public offices which declared Fraktur (and its corollary, the Sütterlin-based handwriting) to be Judenlettern (Jewish letters) and prohibited their further use. German historian Albert Kapr has speculated that the regime viewed Fraktur as inhibiting communication in the occupied territories during World War II. Source: Wikipedia SÜTTERLIN Sütterlinschrift ('Sütterlin script') is the last widely used form of Kurrent, the historical form of German handwriting that evolved alongside German blackletter (most notably Fraktur) typefaces. Graphic artist Ludwig Sütterlin was commissioned by the Prussian Ministry of Science, Art and Culture (Preußisches Ministerium für Wissenschaft, Kunst und Volksbildung) to create a modern handwriting script in 1911. His handwriting scheme gradually replaced the older cursive scripts that had developed in the 16th century at the same time that letters in books had developed into Fraktur. The name Sütterlin is nowadays often used to refer to several similar varieties of old German handwriting, but Sütterlin's own script was taught only from 1915 to 1941 in all German schools. The ministry had asked for 'modern' handwriting scripts to be used in offices and to be taught in school. Sütterlin created two scripts in parallel with the two typefaces that were in use (Antiqua and Fraktur). The Sütterlin scripts were introduced in Prussia in 1915 and from the 1920s onwards they began to replace the relatively similar old German handwriting (Kurrent) in schools. In 1935 the Sütterlin style officially became the only German script taught in schools. The Nazi Party banned all 'broken' blackletter typefaces in 1941, which were seen as chaotic, including Sütterlin, and replaced them with Latin-type letters such as Antiqua. However many German speakers who had been brought up with that writing system continued to use it well into the postwar period. Sütterlin continued to be taught in some German schools until the 1970s but no longer as the primary script. Source: Wikipedia Contact Brief History to inform us of additional information regarding this page