Spud Papers | Stampforgeries of the World

Spud Papers – Sâo Tomé & Principe

October 1, 2013/0 Comments/in Spud Papers /by admin

1870. 5, 10, 20, 25, 50 & 100 Reis.

These stamps are very nicely designed and printed, but the forgers have succeeded tolerably well in their imitations of them. The originals seem to be all from the same matrix, though the 5 Reis may possibly be a different type.

Genuine

Engraved in epargne (typograph) on moderately stout surfaced white paper; perf. 13. The little pearls in the circle round the crown are all strung together, and are 122 in number. The accent over the E of THOME is quite visible in all the values, but the one over the E of PRINCIPE can only be seen in the 5 reis. The line under CORREIO goes quite to the boundary-line of the stamp on each side; as does also the line above the value. A straight line drawn upwards through the crown and through the cross on the top of it, would just miss the E of name. The body of the 1 of REIS is perfectly straight between the top and bottom cross-strokes. Above the NC of PRINCIPE, and in the three corresponding corners, there are two little circles formed by curls in the spandrels. Each of these circles contains a tiny quatrefoil, with an open dot in the center of it. The little white space in the center of each o of CORREIO is an oval. The letters of the name are in very thin ornamental type. I have not seen any used copies, so I cannot say what is the ordinary postmark. I have had several sets from Portugal, but they were invariably unused. The gum is brownish.

Forged

Lithographed on thinnish unsurfaced paper, ungummed; perf. 13.

5 Reis.—I am obliged to take this value separately, as it is different from the others. It may be known from the genuine 5 R. by the following tests:

The letters of CORREIO are too tall, and some of them touch (or almost touch) the outline at the top
The line under CORREIO touches the boundary-line on both sides of the stamp, and the line above the value touches on the left side only.
The right-hand end of the Etruscan ornament in the circle points towards the E of PRINCIPE instead of outwards.
The little ornaments in the corners are wrong; all the ends pointing one way, instead of all pointing inwards as the genuine ones do.
The pearls are much too small, and are separate.

10, 20, 25, 50 & 100 Reis.—All these are from one matrix, which is distinct from that of the 5 R. The little pearls in the circle round the crown are all separate from each other, and there are only 98 of them. In some copies there is no accent to be seen at all, and in others (20 and 25 reis) it is over the separate letter E instead of the E of THOME. The lines under CORREIO and above the value do not touch the outer boundary-line on either side. A straight line drawn upwards through the center of the crown and of the cross on the top of it, would pass between the E and P. The body of tile 1 of REIS widens out at top and bottom where it meets the transverse strokes. The circles above NC of PRINCIPE, and in the other three corresponding corners, have no ornament in them. The little white space in the center of each 0 of CORREIO is a rectangle. The letters of the name are much too thick, and are very clumsy. The postmark is like our own, but minus the central figures.

From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.

Spud Papers – Luxemburg

October 1, 2013/0 Comments/in Spud Papers /by admin

1852. 10C., Black & 1 SGR., Red.

I don’t think these abominations need detain us very long. The originals are very finely executed taille-douce engravings, and are water- marked with a very plain W. The forgeries (which, by the way, are soaked in some dirty mixture, to give them the yellowish appearance which age has given to the originals) are coarse lithographs, unwatermarked.

Genuine

Engraved in taille-douce, watermarked W. All the colours and values appear to be from the same die. The loop of the P of POSTES reaches down nearly to the bottom of the upright stroke. The face has a tolerably pleasing expression, and a considerable portion of the ear is visible.

Forged

Coarsely lithographed; no watermark. The loop of the P of POSTES is very small. The face has an idiotic look, the nose is out of drawing, the nostril absurd; and the sovereign appears as though he were on the point of being sick! The N of CENTIMES is upright (it is much slanted in the genuine) and there is a considerable space between the E and R of SILBERGROS. There is a stop after this latter word in the forgeries, which is not found in the originals.

Postmarks

The genuine stamps are usually postmarked with three concentric circles, with a dot in the center. The forgeries are obliterated with an oval containing six parallel straight bars, like some of the old Spanish stamps.

I have never seen the difference between taille-douce engravings and lithographs so strongly exemplified as in the stamps just described. The forgeries are copied from the originals almost line for line (except in part of the face) and yet they appear to be only miserable caricatures of the stamps which they are intended to imitate. If the forgers were not so very aspiring, and would content themselves with copying lithographed stamps only, then, after a time, we might justly fear them, but when it comes to a question of taille-douce versus lithograph, the latter must always and inevitably fail.

From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.

Spud Papers – Japan

October 1, 2013/0 Comments/in Spud Papers /by admin

1872. 2 Sen, Vermilion.

I would caution our readers against the forgery of this stamp, as it is very likely to mislead, and the forgers have been unusually successful with it.

Genuine

Engraved in taille-douce, on very yellowish laid pelure paper; perf. 11. There are many differences between this stamp and its counterfeits, but it is a matter of very great difficulty to describe them,—as anyone may see for himself, who will take both, and lay them side by side and compare them. The ink stands out very well from the paper, and the different parts of the design are not blotched in any part, except that the outer line of the frame sometimes runs into the next line, forming one thick line instead of two thin ones. As this line is seldom blotched all the way round, it will be seen that there are three lines forming the outer border of the stamp. There are seven lozenge-shaped ornaments running across the stamp, both above and below the dragons, inside the Etruscan bordering, and parallel with it. The tongue of the left-hand dragon touches the lozenge immediately above it, but the tongue of the right-hand dragon does not.

Forged

Lithographed, on whitish wove pelure paper; pin-pricked 13. The ink does not stand out from the paper at all, and the design is blotched in many parts. There are only two lines forming the outer border, a thick one and a thin one. There are seven-and-a-half lozenges running across the top of the stamp inside the Etruscan border. The lozenges at the bottom are like the genuine, except that the last on the left is smaller than the rest. The tongues of both dragons touch the lozenges above them. The best tests for these forgeries are the wove paper, and the small pin-pricked perforations, instead of the unmistakably laid paper and large machine-perforations of the genuine.

Postmarks

All my own used copies are postmarked with a square, enclosing some Japanese characters, struck in blue. The forgeries have three varieties of postmarks on the one sheet: a large, solid, five-pointed star, a single-lined circle containing NAGASAKI, and a black, circular patch, divided into four quarters, and the quarters so far removed from each other as to leave a white cross in the center. I am sorry that I cannot give a fuller description than the above of this forgery, but the design is so very complicated that I should only confuse, instead of enlightening the reader.

1873. 2 Sen, Yellow.

Genuine

Engraved in taille-douce; perf. 11 x 11 1/2. The perforations at top and bottom are large, clean-cut, and close together, whilst those at the sides are small, not very cleanly pierced, and far apart, like the British Guiana perforations. There are no fewer than forty types of this stamp, and our readers may suppose that it was no easy task to discover which of the forty was the type selected by the forgers for imitation. There are four value-labels, and the outlines of each are perfectly parallel with the outlines of the frames which contain the said labels. The figure 2 in the bottom label is somewhat shorter than the letters of the word SEN. There is a very small transverse open oval at the end of each of the spokes of the wheel-like flower at the top of the central portion of the stamp; and where the spokes converge, they do not run into each other. The flowers in the right-hand branch have nine petals, tolerably distinct, and the lower ends of the branches are on a level with the center of the small square label which is fastened just where they cross. (In some types this label is absent, but all the forgeries have it.) The flowers in the left-hand branch are bells.

Forged

Lithographed; perf. 13, and gummed. These are the first gummed productions of our friends from Hamburg which I have had the pleasure of dissecting; and they have overdone their imitation; for, although there is little gum on the forgeries, there is much less on the originals. The outlines of the value-labels are not by any means parallel with the outlines of the frames which contain them. The two outlines almost touch each other in the lower right-hand portion of each of the upright labels; and under the figure 2 of SEN, both at top and bottom, they are too far apart. The figure 2 in the bottom label is much higher than the letters of the word SEN. There are no open ovals at the outer ends of the spokes of the wheel; and the spokes are blotched, and run together where they converge in the center. The center is more oval than circular. The only flower in the right-hand branch whose petals can be counted, has eight instead of nine. The lower end of the right-hand branch, which is crossed over on to the left of the stamp, comes down as far as the bottom of the little square label. The flowers in the left-hand branch look more like buds (flower-buds) than anything else. The ink on the genuine stamps stands out well from the face of the stamps, whilst it is perfectly flat and smooth in the forgeries.

Postmarks

The usual postmark is what heralds would call a “cross voided”. It is formed of four V’s, or rather right angles, placed point to point, but not touching, being about 1/4 of an inch apart. I have found, occasionally, a round blotch, like the one which sometimes disfigures the last United States issue. The forgeries are postmarked with a large oblong of small square dots.

1873. 30 Sen, Grey.

Genuine

Engraved in taille-douce, on thick, soft, yellowish-white wove paper, machine perforated 13. The forgery is imitated from the edition which bears the plate letter like our figure 1 in the little oval where the stems of the branches cross; and, therefore, I will describe from the genuine one which bears that letter or figure, or syllabic character. The oblique side-stroke of the said plate letter almost touches the left side of the oval which contains it. The top leaf of the right-hand wreath, and the top leaf but one of the left-hand wreath, just touch the chrysanthemum, or wheel-like flower at the top of the central rectangle. The lowest hieroglyphic of the column of Japanese words in the center of the stamp almost touches the top of the little oval which contains the plate letter. The central tongue of the 3 in the top label is quite blunt, and projects almost level with the top and bottom curls of the figure; the same is the case with the 3 in the lower label. The inscription, both at top and bottom, reads 30SEN; i.e., there is no proper division between the numerals and the word. The bottom of the stalk of the left-hand branch just touches the lower spiral of the bell ornament in the right-hand bottom corner on the inner rectangle; and the bottom of the stalk of the right-hand branch is at some little distance from the similar spiral of the bell ornament in the left-hand bottom corner of the inner rectangle. The dot outside each of the bell ornaments is placed exactly at the apex of the bell. The bell in the right-hand top corner has 14 lines of shading in the narrow part, and 17 lines, and a fringe of 16 dots, in the wide part. The bell in the left-hand top corner has 16 lines in the narrow part, and 17 lines and 16 dots in the wide part. The bell in the bottom right-hand corner has 15 lines in the narrow part, and 17 lines and 13 dots in the wide part. The bell in the bottom left- hand corner has 13 lines in the narrow part, and 13 lines and 15 dots in the wide part. The most usual postmarks are either a thing like a five-armed star-fish—which is, I believe, the Japanese for “Post”—or a large blotch, or a St. Andrew’s cross in red, apparently laid on with a brush.

Forged

Lithographed on paper closely resembling that of the genuine, in almost exactly the same shade of colour, pin-perforated 13 1/2. The oblique side-stroke of the plate letter is very short, and does not come near the left side of the containing oval. Neither of the branches touches the wheel-flower. The lowest Japanese character in the central rectangle does not go near the top of the oval below it. The central tongue of the upper 3 ends in a sharp point, and is very short, so that it is not nearly level with the top and bottom curls of the said numeral. The lower 3 is just like the upper one. There is a slight division between 30 SEN, more plainly to be seen in the top inscription than in the bottom one. The bottom end of the right-hand branch touches the spiral curl of the left-hand bell ornament, and the bottom end of the left-hand branch is at some distance from the spiral curl of the right-hand bell ornament. The dot outside the top right-hand bell is too much to the left, the dot above the top left-hand bell is too much to the right; the dots below the bottom bells are about in their right places. The top right-hand bell has 11 lines in the narrow part, and 12 lines and 10 dots in the wide part. The top left-hand bell has 12 lines in the narrow part, and fourteen lines in the wide part, but the dots fringing this latter bell are run together, so that they cannot be counted. The bottom right-hand bell has 18 lines in the narrow part, and 15 lines and 8 joined dots in the wide part. The bottom left-hand bell has 12 lines in the narrow part, and 13 lines and 11 dots in the wide part. Two different postmarks are used for these counterfeits; the one being an oval formed by 4 parallel straight lines at the top and bottom, and 5 curved lines each side; the other being a large rectangle of square dots.

1875-76. 12 Sen, Rose.

Genuine

Engraved on thickish white wove paper; perf. 13. How these stamps are engraved I am unable to say, but they have all the appearance of taille-douce impressions; so that they may be readily distinguished from the lithographed forgeries. Of all the set, this 12 sen is the most difficult to describe, as the chief differences consist of variations in the forms of the Japanese letters; and I cannot explain these verbally. The other tests are as follows; there are 16 rays to the chrysanthemum at the top of the stamp; the s of SEN is much smaller than the EN; the legs of the bird are not visible; and its beak points to the N of SEN.

Forged

Lithographed, on thinnish, yellowish wove paper, perf. 13. In these stamps the forged are almost as well perforated as the genuine. There are only 13 rays to the chrysanthemum, and they are not distinct like the genuine. The s of SEN is the same size as the other letters. The bird has very long legs; almost in the style of the grallatores, in fact; and this alone is a sufficient test. The beak of the said bird points to the E of SEN.

1875-76. 15 Sen, Lilac.

Genuine

Engraved, as above; perf. 13. There are 16 rays to the chrysanthemum at the top. The two left-hand roses do not touch the outer line of the circle. The bird’s tail has the feathers almost parallel, and four toes can be counted on the foot. At the bottom of the circle, between 15 and SEN, is a small figure 1, which is, I suppose, the plate-number.

Forged

Lithographed, like forged 12 sen; perf. 13. There are 18 rays to the chrysanthemum, but they are very much blotched in most copies. The two left-hand roses distinctly touch the outer line of the circle. The bird’s tail is somewhat fan-shaped. There are only two toes visible on the bird’s foot. The plate-number is a sort of 4. The forgers have evidently mistaken the figure altogether; I suppose because the up-stroke of the 1 in the genuine stamps is rather too prominent.

1875-76. 45 Sen, Red.

Genuine

Engraving, paper, and perforation, as above. It will be noticed there are sixteen rays in the chrysanthemum, which are even more distinct than in the other values. The roses in the top corners are the same size as those at the bottom. Below these roses, outside the circle, there are two fan-shaped ornaments; the right has ten rays, and the left one has eleven. The two leaves which point to the chrysanthemum do not touch it, though they come very near it. There are nine feathers in the tail of the bird; and it will be observed there is a large white patch under its throat. The eye is visible, though very small.

Forged

Lithographed as above. There are seventeen rays in the chrysanthemum, nine in the right-hand fan, and eight in the left. The two top roses are much smaller than the bottom ones. The two leaves touch the chrysanthemum on each side. There are only five feathers in the bird’s tail; there is no white patch under its throat, and moreover the eye is not visible.

Postmarks

The 12 sen, forged, is postmarked with a large circle, containing NAGASAKI in large black capitals. The 15 and 45 sen bear an imitation of our own postmark, without the central figures. I have not received any of this issue post-marked, so I do not know the genuine obliteration.

The genuine are backed with thick yellow gum; the forgeries are ungummed, in sheets of 25, 5 x 5 .

From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.

Spud Papers – Honduras

October 1, 2013/0 Comments/in Spud Papers /by admin

1866. 2 Reales, Green, Rose.

These stamps come first, both alphabetically and in the order of merit. The forgers, having only lithographs to imitate, have succeeded in producing some very passable counterfeits, well-calculated to deceive too-confiding youth. I confess to having experienced some little difficulty in finding any sufficiently well-marked and salient points of difference between the forgeries and the originals.

Genuine

Lithographed, in greyish black, on bluish-green, or orange-pink paper. The outer oval touches the outline of the frame at top and bottom. The transverse lines of shading in the pyramid (or cone, or triangle, or whatever it is), do not trespass beyond the outline on either side. The semicircle connecting the two towers is composed of three lines, two outlines and a fine central line. The thick outline of the oval is tolerably smooth all the way round. There is no boundary-line at the sides of the stamps, and the top and bottom lines are very little thicker than the rest. The doors leading into the towers are not more than twice the size of the windows. The crossed branches are rather smudged and indistinct. All the used copies which I have seen, are obliterated with a large pen-and-ink cross.

Forged

Lithographed in black, on yellowish-green or bluish-pink paper. There is a considerable space between the central oval and the boundary-line, both at top and bottom. The transverse lines of shading show beyond the outline of the pyramid, especially on the left side. The semicircle connecting the towers is composed of two lines only. The thick outline of the oval is very wavy below the words DOS REALES. There is a fine boundary-line at the sides of the stamps, and a thick one at the top, much thicker than the rest. The windows in the towers are only about one-fourth the size of the doors. The crossed branches are much clearer and more distinct than in the originals. Instead of contenting themselves with pen-marking the counterfeits, the forgers have actually lithographed the pen-and-ink obliteration found on the originals!

Although, at first sight, these forgeries have a very deceptive look, yet, I think that the tests given above, will be amply sufficient to enable anyone to decide at once between the genuine stamps and their counterfeits. Moens says that the green stamps are for home use, and the pink for foreign postage; but, for my own part, I don’t believe the officials are very particular in this respect. And besides this, I fancy that, in any case, neither the green nor the pink stamps would frank a letter beyond the boundary of the Republic, certainly not to England, as we have no postal convention with these small American States.

From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.

Spud Papers – British Honduras

September 29, 2013/0 Comments/in Spud Papers /by admin

1865-72. 1d., 3d., 6d. & 1s.

Genuine

Engraved in epargne on slightly glace paper; perf. 14.; watermark, crown and cc. The frames all vary slightly, but the head has only two types, one for the 1d., 6d., and 1s., and the other for the 3d., which was issued later than the others. The hair covers a good portion of the eye-brow. The lettering does not touch the boundary-lines anywhere. There is a very distinct buckle to the garter in all the stamps, differing slightly for each value. The nose is straight in the 3d., but somewhat aquiline in the others. The top of the fleur-de-lis towards the back of the head just touches the arch of the crown above it in all the values. The stamps, as a rule, are very good specimens of typographic engravings, but occasionally we find copies of the 1d. slightly blurred, and not so well printed, the fault being with the printers, not with the artist.

Forged

Lithographed, on unsurfaced paper; perf. 13; no watermark, ungummed. The head is the same in all the values, with a moderately straight nose. The 1d., 6d., and 1s., have the large square buckle of the genuine 1d., and the 3d. has no buckle at all. The word penny or pence touches the outer boundary-line of the garter in the lower values. The two little ornamental stops between the name and value are alike in all, being copies of the genuine 1d. In the genuine they are all different. The cross pattee in front of the crown just touches the boundary of the shaded oval, as also do the orb at the top, and the bunch of hair at the back. In the genuine they none of them touch the boundary.

Postmarks

Genuine.—Like our own, with a 0 6 by way of central numerals.

Forged.—Four concentric circles, like the old Baden, Transvaal etc.

From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.

Spud Papers – Nova Scotia

September 29, 2013/0 Comments/in Spud Papers /by admin

1861. 1, 2, 5, 10 & 12 1/2 Cents.

I feel it quite infra dig. to have to chronicle such rubbish as these Nova Scotia imitations. If none of the forgeries offered to the public were any better than these, the raison d’etre of these Spud Papers would be no more. The 10 Cents, accompanying this paper (which is the best of the whole set), will serve to convince our readers that no collector above the age of nine-and-a-half years would be likely to be deceived by any of them.

1, 2 & 5 Cents.

Genuine

Beautifully engraved in taille-douce; perf. 12. More than half the lower part of the ear is visible, and the central passage is very distinct. The head stands out well from the background, and there is no pupil to the eye. The face has a good-tempered, rather sleepy expression. The nose is strongly aquiline. The last pearl of the tiara just peeps out from the hair.

Forged

Very poorly lithographed; perf. 12 1/2. Only the lobe of the ear is visible. The head is flat, and does not stand out from the background. There is a dark outline to the profile of the nose and mouth and part of the forehead, which is not seen in the genuine. There is a pupil to the eye; the expression of the face is staring; the outline of the nose is straight. All the pearls of the tiara are equally distinct, or rather, indistinct.

10 & 12 1/2 Cents.

Genuine

Beautifully engraved in taille-douce; perf. 12. The eyes are small, with a distinct pupil. The eyebrows are light, especially the outer corners. There is very little light on the hair.

Forged

Very poorly lithographed ; perf. 12 1/2. Very large staring eyes, with a dark iris, but no pupil to be seen. The eyebrows are equally dark throughout their whole length, and they meet over the nose. There are patches of light all over the hair.

Our readers will see that I have not gone very much into details in these stamps; but it really is quite unnecessary, when we consider that in the whole range of philately we can hardly find any set of stamps so finely engraved as these. Lithography will have to make very great strides before it can overtake copper-plate and steel-plate engraving; and, as long as the forgers insist upon trying to imitate engravings, we need not be much alarmed.

Most of the Nova Scotia stamps are on paper which has a slightly yellowish tint. The forgers have imitated this, and have rather overdone it. The postmark on the forgeries is somewhat like our own, but the space where the numerals ought to be is filled up by curved lines. All these forgeries are ungummed.

The genuine stamps were engraved, I believe, by the British American Bank Note Company.

From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.

Spud Papers – Bermuda

September 29, 2013/0 Comments/in Spud Papers /by admin

1865-6. 1d., 2d., 6d. & 1s.

Of our readers will kindly look back at the forgeries of Dominica and St. Christopher described lately, they will see that there is a remarkable likeness between them and the counterfeits now to be described. The fact is, that the government engravers have made the same head of Her Majesty do duty as the centre of all these stamps; and, of course, the forgers have taken advantage of it, to save themselves some trouble. But if they have saved themselves trouble, they have saved us trouble also; for, when we have once recognized a forgery for any one of these countries, we shall have no difficulty in condemning the forgeries for all the rest.

Genuine

Typographed; watermark, crown and cc; perf. 14. Part of the eyebrow is hidden by the hair. The rim of the ear is shaded, and the lobe is fat and hangs down. The shading on the neck does not go quite across, leaving a white patch all down the front of the neck and throat. The thistles on the tiara are nearly as high as the pearls.

Forged

Lithographed; no watermark; perforated 13. The hair is brushed clear of the eyebrow. The rim of the ear is thin and unshaded, and the lobe is thin also, and does not hang down. The shading on the neck goes right across. The thistle towards the front of the tiara is very small, and much lower than the pearls on each side of it; the one over the ear is rather higher than the pearls.

In both genuine and forged, the framework differs for each value. The simplest test for these forgeries is the absence of watermark. I have not thought it necessary to enter into any very elaborate description of the various other discrepancies which may be traced between the genuine and forged; for the forgeries are very poor, and not likely to mislead. The 1 /. is, perhaps, the best of the lot.

From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.

Spud Papers – St. Christopher

September 29, 2013/0 Comments/in Spud Papers /by admin

1870. 1d. & 6d.

Genuine

Typographed (i.e., engraved in epargne), on thin white paper, slightly glacé. Watermark, crown and cc; perforated 12 1/2. Both stamps are from the same die. The monetary value is not always put exactly in the center of the value-label. In the copies now before me, the ONE PENNY is printed low down, almost touching the bottom of the label; whilst the six PENCE is printed high up, almost touching the top of the label. There are three jewels, in three separate compartments, on the band of the coronet; the one over the ear being rather indistinct. The forehead is lightly shaded. One wave of the hair comes down so low as to cover the corner of the eyebrow. The front pearl of the coronet touches the white circle a little before the beginning of the first H in CHRISTOPHER. A perpendicular, let fall from the right arm of the T in the same word, would cut into the bunch of curls at the back of the head. The ear is shaded all over, but very lightly at the bottom; indeed, the whole of the portrait is shaded, with the exception of a small portion of the front of the forehead.

Forged

Lithographed, on rather thick, unsurfaced paper. No watermark; perf. 12 1/2. Both stamps from the same stone. The values are properly placed, in the middle of the labels. There are dim blotches, instead of jewels, in the three compartments of the lower band of the coronet. The forehead has no shading, and is, therefore, much too white. The base of the neck is also unshaded.

The hair sweeps clear of the eyebrow. The front pearl of the coronet comes almost under the middle of the H in CHRISTOPHER. A perpendicular, let fall from the right arm of the T in the same word, would cut off the back of the head without touching the chignon. The rim of the ear is unshaded, until it is covered by the hair. The fleur-de-lis, in the right bottom spandrel, is imperfect. The perforation is rather better than usual. Printed in sheets of 25, 5 X 5, and ungummed. The postmark is like one of the earliest Spanish cancel-stamps; an oval frame, containing six parallel bars.

From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.

Spud Papers – Montenegro

September 29, 2013/0 Comments/in Spud Papers /by admin

1874. 2, 3, 5, 7, 10, 15 & 25 Novch.

These “Novch.” are probably the equivalents of the Austrian Kreuzer and Soldi; and, from there being a 7 in the set, it is possible that we may see a 7 Kr. and 7 Soldi for Austria soon. This, of course, is only a conjecture. The letter which is translated v in “Novch,” is the Russ soft B, with which we take most singular liberties. In the Russian locals for instance, it is given as v, B, W,U, and even as FF! but I fancy that v is the best rendering, as that is nearest to the sound of it. I am sorry our publishers have no Russ types, as there is a mistake in the forgeries which could be shown by these types in an instant, but which is rather difficult to explain in words.

Genuine

Lithographed (?) on thick white wove paper, perf. 10 1/2. All values from same stone. Inscription on right hand label reads, TSR. GORE. The letter TS is like two I’s joined at top and bottom, with a little tail to the right hand of the bottom cross-stroke. In these stamps, it looks like a flaw in the label more than anything else. The stops after TSR. and NOVCH. are large and distinct. The ear is large, and very prominent. There is a strongly-marked vertical cleft or dimple in the chin.

Forged

Lithographed, on thin white wove paper; perf. All values from same stone. Inscription on right-hand label reads PR. GORE. The p is like two I’s joined top and bottom, but without the little tail. The stops are very small. The ear is almost hidden by the hair and whisker. The cleft or dimple in the chin is very slight, and oblique. The colours closely resemble those of the originals. I must give the forgers credit for having made some excellent imitations. I pored over these stamps for a long time, before I noticed any variations between the genuine and the false; and even now, I fear that these differences are not very prominent. The perforation is a good test; it is large and very clear in the genuine, but very poor in the forgeries. This, and the prominent ear and the little tail to the T’s, are the only points which show the genuine stamps. The forgeries are printed in sheets of 25, 5 x 5, and postmarked with four concentric circles, like the old Baden postmark. Both these and the Dominica forgeries are destitute of gum.

From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.

Spud Papers – Dominica

September 29, 2013/0 Comments/in Spud Papers /by admin

1874. 1d., 6d. & 1/.

I am pleased to be able to say that the forgeries of these stamps are not likely to prove dangerous, as the originals are most beautifully executed. If our English engravers would take the trouble to invent new designs, I think we might challenge even the American Bank Note Company to produce finer stamps than we can turn out; but, as it is, we are never favored with anything but the same tiresome old portrait, which is about as much like Her Majesty as I am !

Genuine

Typographed, on thin white wove paper, slightly surfaced. Watermark, crown and cc. All values from the same die. Perf. 12 1/2. The name-circle does not touch the value-label, T of POSTAGE very much dwarfed. Lower part of tiara divided into three compartments; with an oblong jewel in the first, over the forehead, a diamond-shaped one in center, and another oblong one in the third, over the ear. The lobe of the ear is very round and fat. The last pearl of the tiara, over the ear, leans towards the left. The portrait is shaded all over with very fine lines. The hair covers part of the eyebrow at the outer corner.

Colours:—1d., bright mauve ; 6d., emerald-green ; 1/., rich rose, with very slight nuance of blue.

 Forged

Lithographed, on soft white wove paper, rather thick, and unsurfaced. No watermark. Perf. 13 (very badly), All values from the same stone. The name-circle runs into the value-label, below T of POSTAGE, T of POSTAGE is the same size as the other letters. No jewel over forehead, center jewel is blotched, and the one over the ear is very indistinct. The lobe of the ear is quite thin, and does not hang down. The last pearl of the tiara, over the ear, is upright. The forehead is unshaded, with a white patch at base of neck. The hair does not touch the eyebrow.

Colours:—1d., lilac; 6d., dark yellow-green; 1/., chalky rose, Printed in sheets of 25, 5 X 5, and postmarked with an obliteration somewhat like our own, but without numerals. I have not yet seen postmarked specimens of the genuine.

From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.