Whilst other postal authorities cashed in on the series of feature films, Royal Mail came up with something much more tasteful to celebrate the 50th anniversary of the publication of the first two novels in J R R Tolkien’s Lord Of The Rings trilogy.
Its stamps were created from original designs by the revered author himself, and his son Christopher.
Every one of the 10 designs is a treasure, but the loveliest is that showing Rivendell, the serene Elven outpost in Middle Earth.
The 250th anniversary of the British Museum was celebrated by a striking set of five amazing photographs of statues or masks, all with one eye staring starkly out from a shadowy background.
Most menacingly, the 47p value has the 600-year-old Mixtec-Aztec regalia mask of Xiuhtecuhtli, the Mexican firegod.
The shining turquoise of its mosaic pattern makes it visually stunning, and the white eye and teeth contrast with this to complete a face you won’t forget in a hurry.
There is no doubting which was the most arresting stamp in the set of five commemorating 50 years of passenger jet aviation.
A beautifully lit photo-essay features the ‘face’ of a contemporary Airbus A340-600, staring back at the viewer like some benevolent monster.
The bulk of the aircraft, which can carry almost 400 people, is not illustrated but is clearly suggested by its massive head, standing out magnificently against an indigo clear sky.
Like No50 in our countdown, this stamp was issued as a result of a competition run by television’s Blue Peter programme.
But in this case the design brief was much more complicated: children were asked for ideas with an environmental message.
Alice Newton-Mold, aged 12, painted the Bird of Hope, ingeniously showing shining modern homes and green trees apparently being regenerated from grey industrial wasteland as the bird flies over them.
Have you ever seen a jollier Father Christmas than the one realised by five-year-old Samantha Brown, the youngest ever designer of a British stamp?
One result of a competition on BBC Television’s Blue Peter programme, which attracted a staggering 74,000 entries and resulted in a set of five very different designs, Samantha’s glorious Santa beams at us with beady eyes, holding his arms wide with presents falling all around him.
Unencumbered by any other design detail, he is the total focus of our attention, and is he not the epitome of a toddler’s idea of Father Christmas: happy, cuddly, brightly coloured and full of surprises?
Design: Samantha Brown.
In a year dominated by modern-looking issues, one that stood out was a more traditional one marking the 150th anniversary of the pillar box by showing its development through the years.
The star of this very elegant set of five, based on engravings by the celebrated Czeslaw Slania, was the 2nd class NVI depicting a light green Victorian box with a fantastic array of golden decoration.
Apparently this embellishment was exclusive to the capital cities of England, Scotland and Ireland, in contrast to the plain ‘economy’ version seen everywhere else.
With parliamentarians representing the thousand million people in the British Commonwealth meeting to promote democracy at Westminster Hall in London, the single stamp issued to mark the event was wonderfully symbolic and elegant.
Central to the design is a ballot-paper X, rendered in a particularly clever way that suggests the integration of representatives from many different countries, with many strands of opinion.
The patronage of the Queen is acknowledged through the use of regal silver, and the activity of the conference through vibrant red and blue.
The 2002 Europa theme of the circus must have given designers all over the continent great fun, and was certainly a spectacular series to collect.
Britain’s predominantly greenish set of five stamps concentrated on stereotypical elements of the big top, and our favourite is the Trick Tricyclists design, with its three identical and rather po-faced monocyclists.
One curiosity, immediately beneath the Queen’s head, is the value ‘E’ (for the European letter rate) represented as ‘€’.
The four values in the Weather set are designed to be viewed as a group, completing the circular face of a barometer, and this is best seen in the format of the miniature sheet, which is itself circular.
The set is a veritable riot of colour and amusement, with many intriguing design elements which repay closer study, such as cats and dogs falling from the sky in the 19p.
But most striking of all is the 27p value, hinting at fair weather by way of a smiley-faced sun, with the value denominator doubling as a pressure gauge.
Britain’s very memorable first Christmas stamps were the result of a ground-breaking design competition limited to children under 16.
Six-year-old James Berry of Beckenham painted a jolly snowman in a blizzard, and his 1s 6d stamp, with the Queen’s head die-stamped in gold foil, remains one of the most recognisable ever.
When we first saw the stamps, many of us were appalled.
So many stamps were produced in the Millennium series of 1999-2000 that collectors were overwhelmed – and perhaps irritated.
As a result, some wonderful designs have gone largely ignored.
The dominant stamp in the military set, entitled The Soldiers’ Tale, was the 19p depicting Robert the Bruce, but the striking 26p devoted to the English Civil War is a hidden gem, requiring more careful study to appreciate its intricacies.
Many modern British stamps have been criticised for being essentially a photograph with the Queen’s head and inscription added, and that’s just what this one is.
But what a stunner!
A single specimen of autumn crocus is lit classically against a black background, highlighting the stem and flower’s varying hues of light green, purple, puce and white.
The colours combine with the angle of the petals to the lens, suggesting a raised hand, to make this a breathtaking composition.
One of the most stunning Christmas sets was based on illuminated letters from the Acts of Mary & Joseph, a medieval Italian manuscript housed in Oxford University’s Bodleian Library.
The 24p value shows the Virgin Mary looking at the baby Jesus, who has a startlingly adult face, lying in a stall in the manager with a humble beast of the field looking on through the open window.
The golden and red tones of the stamp, and the oak leaf border of the letter ‘M’ (for Maria), make this an appropriately rich and beautiful philatelic essay.
