In contrast to the triumphant images which adorn previous denominations of the Trans-Mississippi Exposition Issue, the 10-cent stamp portrays the hardships of the expansion and emigration westward. This stamp was good for payment of airmail postage on an item of one ounce or less across two zones of the Transcontinental Air Mail Route (westbound, New York-Cheyenne, Chicago-San Francisco eastbound, San Francisco-Chicago, Cheyenne-New York) or a double-weight letter over one zone. The Post Office Department issued 5,309,275 of the 16-cent stamps. The plate numbers appear eight times on each four hundred subject sheet adjacent to the fifth stamp from each outside corner, so that each pane of one hundred stamps has two plate number blocks of six. The Bureau of Engraving and Printing used four plate numbers (14828-14831) for this design. Huston designed the stamp, which was engraved by H.
The meaningful design and rich color of this stamp make it one of the most popular single-color airmail stamps ever produced. The stamp's central design is the official insignia of the Air Mail Service-a circular center with spread wings.
The Post Office Department first issued the stamp in Washington, D.C., on August 17, 1923. Originally scheduled to be issued in black, when the design was approved on August 6, 1923, it was decided to print it in deep blue. This 16-cent issue was the first United States stamp designated for airmail purposes that had the words 'Air Mail' in its design.
A couple of months later, on July 31, the airmail rate changed, creating a very short time of usage for the booklets. Because of demand for airmail stamps in booklet form, the post office issued booklets with six Lindbergh stamps in panes of three on May 26, 1928. Louis, Missouri Detroit, Michigan Little Falls, Minnesota and the District of Columbia. The Lindbergh stamp replaced the previous 10-cent airmail stamp, and the first sale took place in St. On June 6 a proof was made, on June 8 the die was hardened, and on June 9 rolls and plates were made so that the next day the issue went to press. The model was approved on June 3 and engraving began the same day. Hall, director of the Bureau, believed that the engraving of this stamp and the making of the printing plates were accomplished in a shorter period of time than any similar printing job by the Bureau. The postmaster general presented the booklets on the evening of June 11 at a reception for Lindbergh at the Washington Auditorium by the National Press Club.Ī. The Bureau of Engraving and Printing prepared two leather-bound booklets: one with the first impression and one with the second impression. The postmaster general requested first impressions of the stamp for presentation to Lindbergh and his mother. The stamp was issued less than a month later, on June 18. The 10-cent design in dark blue shows the start and finish points of the solo, non-stop flight and the 3,600-mile route, which Lindbergh flew in thirty-three and a half hours on May 20-21, 1927. The plane was later suspended in the main entrance hall of the Smithsonian Institution’s Arts and Industries Building (later moved to the Smithsonian Institution’s National Air and Space Museum). Because the law prohibited the use of the portrait of a living person, the central design represented Lindbergh’s airplane, The Spirit of St. Lindbergh flew solo across the Atlantic Ocean from New York to Paris, the post office decided to break tradition and issue a stamp that honored a living American. 10-cent Charles Lindbergh's Plane Spirit of St.