Spud Papers – Danube Steam Navigation Company

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Spud_Austria_DDSG1April, l866. 17 Soldi, Vermilion, perf. 9 1/2.

Genuine

Very thin rough white paper. The wavy lines of groundwork are continued to the very edge of the stamps, where they are cut short off, without any boundary-line whatever. The letters of inscription do not touch the outer oval in any point. The circle round the 17 is composed of one thick zig-zag line, between two thin ones. Both anchors are well drawn; and the cables twisted round their stems are very distinct.

Forged

Smooth wove paper, very white. Perforated 13 or 13 1/2. Faint line all round the stamp. All the capitals and taller letters of the inscription touch the outer line of the oval. The circle round the 17 is blotchy, but the inner zig-zag appears to be the thickest. There are two stops after 17,—a
large one and a small one; and there is also a dot immediately before the numeral, but
slightly below the line. The inner fluke of the left-hand anchor is invisible, and the cables are
not at all plain. In sheets of twenty-five, postmarked where four stamps meet, with four concentric circles, containing some unreadable letters. Ungummed.

Spud_Austria_DDSG21866.—10 Soldi, Mauve, perf. 9 1/2.

Genuine

M. Moens catalogs this stamp as lilac; but all the copies we have seen are bright mauve. It is from the same matrix as the 17 Soldi, so that a further description is unnecessary. The figure 1 of 10 is slightly higher than the O.

Forged

Perf. 13 or 13 1/2; same matrix as 17; red-violet. Figure 1 printed lower than o. Blotch above shoulder of G. Postmarked, in single circle, k.k. zeitungs-expedition. Ungummed.

1868. 10 Soldi, Green, perf. 9 1/2.

Genuine

This stamp is the best-printed of the three, and the details of design come out very well. The color is yellow-green.

Forged

Chalky bluish-green; same matrix; perforation 13 or 13 1/2; postmark as before; ungummed.

It will be seen that, in all these forgeries, the principal tests are the same,—viz., that the inscriptions touch the outside of the oval, and that there is a faint line round the outside; in both of which things they differ from the originals. Besides this, the genuine stamps are perforated the same as the latest Austrian issue; whereas the forgeries have a much smaller perforation.

 

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

 

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Spud Papers – Fiji

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Spud_Fiji1Issue of 1872, Surcharged.

It is in forgeries such as this sample that the world-renowned firms of Sidney, Simpson, & Co., Turner & Co., and others in Hull, largely deal. This very weed is universally in request, and has sold to a large extent. As an imitation, however, it is not first rate, being too coarse; the pearls in circle are too large, the lines in ground irregular and rough, especially under the crown on the left-hand side. The letters C.R. are of one thickness throughout, and stand out too prominently in consequence. The label above containing Fiji has a cross and ornament at each end, which, in this imitation, are greatly exaggerated,
being too white, and the line down the center of the foliated ornaments is bold and distinct to the naked eye, although so fine in the original as to require a magnifying glass to distinguish its presence. The best test for this forgery is the shape of the base of the crown; in the genuine the bottom line is perfectly straight, but curved (or convex) in the specimen annexed. Another thing is, that the side-points of the crown are (in the forgery) large, and the leaves next them have no particular shape, though they appear very clear and prominent. On the genuine stamp these inner leaves require a magnifying glass, or very powerful sight, to make them out, and they are somewhat of the fleur-de-lis pattern, with five curling lines. In the surcharged letters, the c of CENTS is a small rounded capital letter, but we can see that the forgery shews a long square-looking C. The letters C.R. stand for CAKOMBAU REX; but why the gentlemanly inhabitants of the Fiji Islands can’t call a cannibal a king, we don’t know.

 

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

 

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Spud Papers – Sierra Leone

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Spud_SierraLeone1 Spud_SierraLeone2Spud_SierraLeone3Spud_SierraLeone4Issue of 1872.

It will be seen that the forgery annexed has no mean appearance, and is certainly calculated to deceive many. There is one thing that may be taken as an instant test, and that is,the white appearance of the profile from the top of the crown to the end of the nose; and again there is the same effect down the neck, which is unnatural and due to bad workmanship. The lozenges in the angles containing the cross, are mathematically true and perfect and all four alike in the real stamp, though not so in this forgery. But however we may pull its weak points to pieces, the whiteness of the profile remains the test; because the other points require comparison with an original; and when a forgery cannot be detected from its description alone, it is proof that the tests are not true. Of course, succeeding forgeries may render any description invalid; and the only way by which we can overcome the necessity for the wordiness of technical descriptions, is by studying our stamps, and becoming acquainted with their characteristics of paper and perforation. Whilst we are continually giving this advice, we cannot help wondering how it is that the miserable sameness of style, colour, paper, perforation, and obliteration, common to the weeds we preserve in this our herbarium, is not sufficient to enable a reader of one or two of these articles to detect the rubbish at sight. In common with the whole of its class, it is lithographed and without watermark, in lieu of being finely engraved and watermarked with the cc. and crown. The full set has been imitated:

  • 1 p., lake
  • 3 p., buff yellow
  • 4 p., blue
  • 
1 sh., green

One peculiarity about the originals is, that they are all printed from one die, the values being stamped in afterwards, so that there i s frequently a discrepancy in the tints of the two printings. It is almost unnecessary to add that the forgeries are printed in the ordinary manner.

 

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

Spud Papers – Mexico

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Spud_Mexico1 Spud_Mexico2Spud_Mexico3 Spud_Mexico4Spud_Mexico5Issue of 1872.

 

 

The specimen which is annexed is a very fair sample of the series, all the specimens of which are sold by the Hull firms on their sheets.

The five values are:

  • 
Seis (6) centavos, dull green
  • Doce (12) centavos, blue
  • 
Veinticinco (25) centavos, red
  • Cincueuta (50) centavos, yellow
  • Cien (100) centavos, lilac

In the genuine stamps we find a distinct die for each value, and the paper bearing a blue lithographic pattern at back; the engraving is execrable, so bad that there can really be nothing to prevent their forgery, and use for postage, save the cumbrous system of surcharging each batch of stamps sent to each province with the name of the province, the date, and a number, arbitrary for each name. The word CENTAVOS occurs on the right hand side in the 6c., but on the left in all the others, and the backgrounds vary in fineness in the several values; whereas the forgeries, being from one die, have the background of one uniform coarseness; but the 6c. forgery has the word SEIS on the correct side. Where the originals are so poor, and the forgeries rather excel in boldness of execution, it is somewhat difficult to fix on any particular point, so we will select the left hand frame first, and dissect it sufficiently to enable any one to tell a genuine from this forgery. Above the label are four small curls on each of the imitations, but only three in the genuine. The same label, whether containing SEIS or CENTAVOS, is cut square and straight at the top end in each forgery, but is plainly rounded in all genuine. The forgery delights in a peculiarly square letter o in CENTAVOS, a form which does not occur in the same word in any genuine one. Another, and more crucial test, is that the forgery shews but one outer line, which is border, frame, and all; but in the genuine this outer line is certainly a second, or finishing one, but put so close to the design that it runs into the edges of the labels and corners, which are consequently thickened on the outer parts; whereas the forgery shews a line of uniform thickness everywhere. It is hardly necessary to go any further into details after this last item, but we feel as if we should like to say something about the exasperating expression given to the face on the forgery. The original is not very sweet to look upon, but really it is hardly so wooden-headed as the annexed sample of Hull wares would have us believe. The blue moire pattern lithographed at the backs of the sheets is very closely imitated by the forgeries under discussion, but it is too bold and too blue; the absence of perforation also characterizes these “bogus” stamps.

 

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

 

Spud Papers – Denmark

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Spud_Denmark11851. 2 RBS Blue.

The annexed specimen is printed on paper carefully soaked in some dirty mixture to give it an appearance of extreme age: no genuine stamp was ever printed on a laid paper such as is to be seen in this forgery. The discrepancies in design are many and glaring; but those most easily noticed without comparison with a genuine, will be found as follows :

  1. Slight cross above crown is on a solid ground which projects into the background, and is therefore prominent. In the genuine it is not to be distinguished readily, being upon the pattern of the background.
  2. Crown too broad and regular; the fine open spaces, so prominent here, and all of a like oval shape, are smaller and most irregular in the genuine.
  3. The absence of any dot after POST is very conspicuous, for the genuine bears a broad oblong mark for a period.
  4. The post-horn is thin, and lacks the bold curl on the genuine which nearly hides the mouthpiece; and that curl is shewn (in the genuine) by a clear circle of dots.

The genuine stamps are usually covered with a fancy pattern in pale brown, over the whole surface of the paper, and probably designed in addition to the crown watermark, as a preventive to forgery. It is needless to add that neither watermark or burele appear on the forgery, as it may be seen from the specimen annexed.

 

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

 

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Spud Papers – Hawaii

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We have a little batch of these stamps to describe, no less than five different values being produced by the zealous dealers whose doings first called these papers into existence. The imitations are of the first stamps, with portraits, that are now obsolete, the three current designs having escaped forgery for the present. The third we describe is the best imitation, but principally because the original stamp is the worst in point of execution of any of the five we are about to notice.

Spud_Hawaii11852. 5 Cents Blue.

The forgery annexed will be found a sufficiently near imitation to puzzle tyros considerably. It is, however, too coarse in appearance and in the execution of the face to be a dangerous forgery to any one who knows the originals. If we refer to the forgery annexed, we shall observe that the value is in very large letters, that the arched white line under POSTAGE is very thick, and its edges are ragged; that the crossed lines of the background are defective under this arched white line on the left-hand side, leaving a slight white mark there (but this is not so clear on “slurred” specimens of this forgery); that the inner line running downwards on the left-hand side (under HONOLULU) has been thickened in its lower part, i.e., from the epaulette downwards; on the right side, the inner line running downwards (under HAWAIIAN 1s) is broken off under the H of HAWAIIAN, and does not appear lower down, causing the edge of the background to bulge slightly outwards under that word, and to be ragged and unequal from the epaulette downwards; the hair of the king’s head has too much white in it. The opposite of all these points characterizes the genuine stamp, which is very beautifully engraved, though somewhat coarser in details than we are now accustomed to observe in stamps engraved upon steel. There is one point which we have never seen imitated by forgeries, and that is, in the genuine stamp in the label containing the value at base, there are two minute marks proceeding from the upper line forming the edge of that label; they occur, to the left, over the F and I, to the right, over and between the T and S.

These two marks are the remnants of the two vertical lines which occur on the same label in the 13 c. of this issue. The 13 c. was the first engraved, and the same die was used to print the 5 c. In making the alterations requisite, these two lines were not taken “clean” out, but the two points or marks were left, and to these we now call attention.

Spud_Hawaii21852. 13 Cents Red.

The principal discrepancies that strike us in this forgery are, there is too much white in the king’s hair, and the face is too roughly shaded. On the genuine stamp we may, as in the 5 cents previously described, find a trifling point which no forgery known to us has imitated. It is this, that the right-hand outer line of the frame is composed of two fine lines, instead of one. Again, the 5 CENTS in the left-hand label should have a dot after. As will be seen, this forgery omits it, and the lower halves of all the figures 3 should be larger and bolder than the upper halves, a point in which the forgery again fails.

 

Spud_Hawaii32 Cents (ELUA KENETA) Rose-red of 1862.

From the fact of the original of this forgery being a poorly engraved stamp, (said to be a lithograph) the specimen annexed is somewhat more dangerous than the previous or the succeeding forgeries. however, be at once detected by the absence of the dot after KENETA; but as it would not take the makers a minute to add this, we may further remark, that It may, the figure 2 in each upper angle should be in the center, and not so near to the right side as to all but touch. In the value below ELUA KENETA the forgery makes the center strokes of all the letters E too bold, as they are quite immature and very thin in the genuine: the colour, too, is never so red in the genuine. We may here recall to our readers that there are two distinct issues of this 2 C, the first (the only one we have ever seen postmarked) being a poorly engraved stamp (said to be lithographed) on laid paper; the other—only known to us unused or marked “Specimen”—being precisely the same in every detail, but clearly engraved from a steel die, on yellowish wove paper.

Spud_Hawaii4Spud_Hawaii52 Cents Vermilion and 5 Cents Blue 1864-66, Perf.

These forgeries are both much too coarse in their execution, although cleverly done so far as their inferior execution can imitate the superb engraving (on steel) of the originals. In each forgery the background can be clearly traced, crossed lines in the 2 C., horizontal lines in the 5 C., whilst the originals are so finely drawn that the backgrounds are difficult to decide about at first sight. The vertical lines in the labels containing inscriptions are very coarse in
the forgeries herewith; but in the genuine stamps the lines are so fine (especially in the upper labels) that it is difficult to trace them without a magnifying glass. The paper upon which all these five forgeries are printed is very common and white; and the cancellation is one we never saw anything like, except upon the earliest issued Chileans, and some Canadians and United States.

 

Spud_Hawaii61 Cent (Head of Princess Victoria Kamamalu), Mauve.

Genuine

Engraved on creamy-white wove paper, perf. 12. This stamp (like the two others described below) is very beautifully engraved in taille-douce. Backed with dark brown gum. The oval round the head is perfect in till parts. The figures in the bottom corners are nearer to the bottom than to the top of the containing circles. The lettering is in that peculiar thick type favoured by the American engravers, as in the latest Newfoundlands. The H and 1 of AKAHI touch each other at top and bottom, and the I of AKAHI and the K of KENETA are separated by a dark space of background which, in consequence of the curved shape of the letters, forms an exact circle. The Princess’s eyes are well open, and there is a light on the pupils. The nose is broad, but well drawn. The lips are not very full.

Forged

Coarsely lithographed, on very white paper, perf. 13. No gum. The oval round the head is not continuous, but it is divided, and the two ends overlap under the word Hawaii, one end forming the bottom of the name-label. This is a very curious mistake, and has arisen from the forger failing to see the very fine line which forms the bottom of the name-label in the original. The figures in the bottom corners are much nearer to the top than to the bottom of the containing circles. The lettering is thin and meagre, and too straight. The h and i are not near each other. The I and K are very far apart, so that the space between them is a transverse oval instead of a circle. The left eye is half shut, or, at least, not so wide open as the right; and the pupils are dark, without-any light in them. The nose is absurdly broad, the right nostril barely visible, and the left nostril much exaggerated. The lips are very full, and look as though Her Royal Highness were just in the act of blowing out a candle. There is a very white patch just above the right shoulder. Postmarked with very thin concentric circles.

Spud_Hawaii76 cents (Head of kamehameha v.), Green.

Genuine

Engraved in taille-douce on yellowish white paper, perf. 12. All lettering very clear and distinct. Two circles in upper corners are mathematically true, The H and A of HAWAII, and the T and A of Keneta, touch each other. The king has plenty of hair on both sides of his head, and there is a line drawn down the centre of his coat, to mark where the two sides button together. The middle button is left white, except a dot in the center and a ring round the outside. There is a point under KE of KENETA which comes down below the boundary line.

Forged

Lithographed, on yellowish paper, perf. 13. The lettering looks ragged. Two circles in upper corners are very badly drawn, and the outline is broken and untrue. The H and A and the T and A do not touch each other. The king seems to have scarcely any hair on the left side of his head. There is no join in the coat where it buttons. The middle button is shaded nearly all over, except a small white patch on one side of it. The point under KE does not come within two or three lines of the boundary, instead of overlapping it as in the genuine. Postmarked with concentric circles. The perforation is rather better than usual, but the drawing is bad in the minor details. The colour of the original is like that of the 3 C. United States, whilst the forgery is of a peculiar chalky yellow-green. The eyes are too fierce and glaring in the forgery.

Spud_Hawaii818 Cents (Head of Kekuanoa), red.

Genuine

Engraved in taille-douce, on yellowish-white paper, perf. 12. Eyes pretty well open, and pupils visible. Three strongly-marked “crow’s feet” wrinkles in the corner of right eye. The two strong wrinkles on each side of the nose are exactly opposite each other. The coat and waistcoat are very distinct, so that there is no difficulty in saying which is which. The figure I is the same in both bottom corners. All the labels stand out very distinctly from the background, and all the lines of shading throughout are excessively fine, except the lines on the coat, which are five or six times thicker than any of the others. There are two little triangles coming down from the top, over the H and last I of HAWAII, half of the one over H is very darkly shaded, and the one over the I is scarcely shaded at all. The bow of the necktie is very distinct.

Forged

Lithographed on very yellowish paper, perf. 13. Eyes almost shut, and pupils not visible. No wrinkles to be seen in corner of right eye. Wrinkles on each side of the nose not opposite to each other, the one on the right cheek being considerably higher than the one on the left. No certainty as to which is coat, and which is waistcoat. Figures in bottom corners not both alike, the left-hand 1 being bigger than the right.
The labels do not stand well out from the background; and the lines of shading throughout are rather coarse, those on the coat being no thicker than the rest. The two little triangles over the H and last 1 of name are both very darkly shaded. They form part of an arch over the name, the rest of the arch being supposed to be cut away by the top of the stamp, but this is more evident in the forgery than in the genuine. The bow of necktie is not well drawn, and the right-hand end is particularly indistinct. There are other minute differences, but the above are the most important. Printed in sheets of 25 ( 5 x 5 ) , and ungummed.
Postmarked with the old British Guiana postmark.

 

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

 

LupSee also –> Forgeries of the Numeral series

Spud Papers – Brazil

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Album_Weeds_Brazil31843. 90 Reis, Black.

Genuine

Finely engraved, in taille-douce, on yellowish or bluish white wove paper; imperf. The background is composed of an engine-turned design, the white lines of which are very fine, and the black parts, between the intersections of the white lines, of almost microscopic minuteness. The figures of value seem to be, as it were, laid upon the design of the background. Following the curves of the figures, there is a very light black outline outside the shaded parts of each; and the engine-turning of the background can be seen between the outlines and the figures.

Forged

Very coarsely lithographed, on yellowish white wove paper; imperf. The imitation of the engine-turning in the background is poor, all the white lines being very irregular, and of all thicknesses; and the black parts between the intersections of the white lines are very large. The figures of value do not stand well out from the background, although they seem much whiter than in the genuine stamps. There is a coarse outline following the shaded parts of each figure, and the spaces between figure and outline are perfectly white, with no trace of the engine-turning. Immediately inside the inmost line of the ornamental frame there is a sort of chain-pattern running right round the stamp, which is not to be seen in the originals; and inside this again, behind the figures, are three concentric ovals of double black lines, which are intended to represent the darker parts of the engine-turning in the originals.

The forgeries are postmarked RIO DE JANEIRO in large capitals, in a large double circle. A very similar postmark is often to be found on the genuine. I think I have said enough to show that these vermin are not likely to be at all dangerous.

 

Spud_Brazil1Spud_Brazil2

Italic Figures: 10, 30, 60, 90, 180, 300 and 600 Reis.

 

 

Spud_Brazil3 Spud_Brazil4 Spud_Brazil6

 

 

 

Genuine

Wove paper, very well made, and strongly resembling in texture the paper of our own halfpenny newspaper wrappers. The paper is a little thicker than that of the forgeries, but is very soft. The colour affords no great assistance in distinguishing the genuine stamps, because there are two sets, one on white paper, and the other on what is commonly called grey, but which seems to us to be a very pale yellowish brown. The background of the design is formed of fine engine-turned white lines, making what appears to be, on close inspection, a kind of lace-work pattern.

Forged

Thin, irregularly made, white wove paper; groundwork of design composed of dots; figures of value very coarse, and only partially outlined in some of the values. The dotted groundwork of the forgeries will always afford instant means for their detection, so that it is scarcely necessary to take each stamp and describe it; but there are many points of difference in the numerals. For instance, in the forged 10 Reis, the figure I is very blunt at the top and bottom; whereas, in the original, both are sharply pointed. The same holds good with the 180 Reis. In the 300 Reis, the center loop of the 3 is unfinished, instead of being carried round to touch the outline of the lower limb, as in the genuine.

Spud_Brazil9Spud_Brazil11

Roman Figures: 10, 20, 30, 60, 90, 180, 300 and 600 Reis.

 

 

Spud_Brazil12 Spud_Brazil13 Spud_Brazil14

 

 

 

Genuine

The paper is the same as that of the italic set, but the groundwork of the design is different. Like the other, however, it is composed of engine-turned white lines. We have not seen any forgeries of the 280 R. vermilion, and the 430 R. orange.

Forged

The paper of these forgeries is not always the same; for we have seen the 10 and 20 Reis on laid. Usually, however, they are on paper similar to the forgeries of the italic set. Sometimes they are printed very faintly, so as to appear grey, instead of black; but the majority are very dark and “smudgy”. The crucial test for these, as for the other set, is that the background is of dots, instead of lines. The right hand side of the foot of the figure in the 10 R., projects beyond the thick-shaded downstroke; whereas, in the genuine, the foot does not even touch the outer line. The top half of the 3 in the 30 R. is larger than the bottom; but in the genuine, the lower limb is the larger of the two. The center of the 6 in the 60 R. is a kidney-shaped blotch, instead of being a shaded oval. The tail of the 9 in the 90 R. is very thick where the final loop commences; and in the genuine, the part of the tail nearest the final loop is the thinnest part of the whole figure. The 8 in the 180 R. is very much taller than the figures on each side of it; in the genuine, all three are the same height. In the 300 R., the lower limb of the 3 is rather below the other two figures; and in the genuine, it is the upper limb which projects slightly above the other two. The same may be said of the 6 in the 600 R.

Spud_Brazil17Blue 10 and 30 Reis.

 

 

Genuine

Paper as before; groundwork of engine-turned white lines; colour, shades of prussian-blue. And now a word as to postmarks. We generally find that the obliteration on the genuine stamps are so very much blotched, that it is next to impossible to make out their form. The stamps of the italic set are very often obliterated in red. The most common obliteration (and which is even now in use) is a number of V’s arranged point to point in the form of a circle.

Forgeries

The paper is similar to that of the other forgeries; the colours are in shades of ultramarine; the ground-work is composed of blue dots and scratches.

The forgeries are almost all obliterated with 18 thick oblique bars, forming a large oval; but we have seen one or two cancelled with a date-stamp very like one of our own, containing some unreadable letters and figures.

Spud_Brazil18280 Reis.

 

 

Genuine

Engraved in taille-douce, on thin wove grayish paper. In almost all copies, the ink stands out much above the surface of the paper, and is, in some parts, very thick. The wavy outline of the engine-turned central oval touches the outer line in four places; at the left of the 2, above and below the 8, and at the right of the 0. The centers of the 8 and the 0 are heavily shaded. In the right and left hand bottom corners, there are fourteen horizontal lines, besides the boundary line. The colour is a deep vermilion, rather dull.

Forged

Lithographed. The paper is a trifle thinner than the genuine, and is rather whiter. The stamp itself is very poorly done, and instead of the fine engine-turning, there is a sort of oval chain- pattern round the central figures; the rest of the oval being filled in with wavy lines. There is no thickness of ink. The chain-pattern outline does not touch the top of the frame; but, to make up for this, two of the scallops touch the frame at the bottom, under the 8. The centers of the 8 and of the 0 are very lightly shaded. In the right-hand bottom corner there are only twelve horizontal lines, but on the left we find eleven or twelve, because the twelfth is not very conspicuous. It is printed a pale, washy orange, vermilion in the eyes of Messrs. Spiro.

Spud_Brazil19430 Reis.

 

 

Genuine

Engraved in taille-douce, like the 280 Reis. The wavy outline of the engine-turning only touches the border in three places; viz., the top, bottom, and left-hand. There are sixteen horizontal lines in the right bottom corner, and fifteen on the left. The engine-turning is (as in the 280 Reis) equally dark almost all over. The colour is lemon.

These forgeries are cancelled in two different ways; the first is a set of four concentric circles, as in the old Baden stamps; and the other is somewhat like the British Guiana cancel-stamps, without the numerals. The forgeries, as I have received them, are in double sheets; each sheet containing two blocks of 25 stamps, 5 x 5 . They are ungummed.

1867. 300 Reis, Envelope.

Genuine

Embossed on laid paper, with the lines running obliquely. The head stands out very much from the paper, but the lettering is not very much embossed. The 3 of “300” on each side of the head, does not go too near the side-boundary of the label. A straight-edge, laid along the center of
the first stroke of the B in BRAZIL, will cut into the E of REIS.

Forged

Embossed on plain wove paper. The head is not very highly embossed, but the lettering is all in high relief. The 3 of each “300” is almost jammed up against the side-boundary of containing label. A straight-edge, laid along the center of the first stroke of the B in BRAZIL, cuts through the 1 of REIS. There is a little white dot between the E and I of REIS; and another between the N and T of TREZENTOS, not quite so plain. The hair looks tumbled on the top of the Emperor’s head; whereas it is perfectly tidy in the genuine. I think the above tests will be found sufficient.

 

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

 

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Spud Papers – Austria

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Few stamps have been so often imitated as the early Austrian Mercury trio; and few forgeries can be easier detected. The blue stamp is so common, that it can be purchased for a penny from any respectable dealer; and as the genuine, yellow, and red are from the same die, amateurs can soon test any copies of the latter they may come across. For the present, our purpose is solely with the Hamburg productions now in the market.

Album_Weeds_AustriaNewspaper8 Album_Weeds_AustriaNewspaper9 Album_Weeds_AustriaNewspaper101851. Blue, Yellow and Red

Genuine

Background clear, much darker towards the bottom. Stroke after ZEITUNGS, and period after STAMPEL. Last named word commences just beneath the front of tunic.

Forged

Very bad indeed, face with a “half-baked” expression, and background whitey and poorly done. Period after ZEITUNGS. Front of tunic comes above the right side of of T in STAMPEL. No period after word last named.

 

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

 

LupSee also —> Album Weeds – Austria

Spud Papers – New Brunswick

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Spud_NewBrunswick11857. Three Pence.

Genuine

Crown large, well formed and showing two fleurs de lis, within a single linear octagon; flowers well drawn, as is also the rest of the stamp. The great test consists in the disposition of the numerals. Taking the top of the stamp from the attitude of crown, all the figures are placed upright in the diamonds containing them.

Forged

Crown, small, with three strawberry leaves visible within a double linear octagon; floral emblems badly drawn, the head of the thistle touching the side of star; background of scratches; numerals in each angle placed so that the bottom is just above the flower.

Spud_NewBrunswick21860. 1 Cent.

Genuine

Scarcely any shading in front of engine; funnel considerably thicker above than below. Very fine background of horizontal lines, crossed by others going obliquely from right to left. The background is so fine, that the points we have stated can only be discerned through a microscope. The genuine stamps can always be told by their really beautiful execution.

Forged

Heavy shading in front of- locomotive, the funnel of which is almost the same thickness throughout. A coarse background of horizontal lines, crossed by oblique lines going from left to right.

Spud_NewBrunswick32 Cents.

Genuine

Very finely done; face and neck shaded with dots throughout; hyphen between words of name, and period before TWO; numerals on lined ground.

Forged

A miserable production. Face and neck almost devoid of shading. Lettering very bad; no hyphen between NEW and BRUNSWICK. or period before TWO. Numerals on solid ground.

Spud_NewBrunswick45 Cents.

Genuine

Face and neck shaded by dots; tiara of Queen at some little distance from the top of oval; hyphen between words of name; background very fine.

Forged

Face and neck very white; tiara of Queen rather near to ring of oval; no hyphen between NEW and BRUNSWICK; background coarse, and lettering poor.

Spud_NewBrunswick510 Cents.

Genuine

Hyphen joining NEW and BRUNSWICK; X in double linear ovals; background as in 5 c.

Forged

Same center used as for the 5 cents; therefore, no hyphen between words of name; X in poorly-shaped single-lined ovals.

Spud_NewBrunswick612 1/2 Cents.

Genuine

Engraved in taille-douce; perf. 12. Surface of the stamp slightly blued by the plate. The paper is wove, and rather thick. Hull of steamer very dark all over. Smoke from funnel seems to go in front of the masts, but behind the flag. There is no “dolphin-striker” on the bowsprit. There are two white lines forming the wake of the vessel. The whole stamp is very beautifully engraved.

Forged

Lithographed on very white wove paper, rather thin; perf. 13. There is a strongly-marked white line which runs the whole length of the hull, and which is not visible in the originals. The smoke seems to go behind both masts and flag, and the flag itself stands out much too prominently. There is a “dolphin-striker” on the bowsprit, rather small, but perfectly distinct. The perforation is tolerably good, but is 13 instead of 12. The wake of the vessel consists of three very white lines. One glance at this stamp is enough to condemn it; for, though carefully copied, it is impossible not to notice the vast difference of finish and
execution between the taille-douce original and the lithographed forgery. There are two postmarks, either of which is used indifferently for the forgeries. The one is an imitation of the old British Guiana postmark (without the numerals) and the other has four concentric circles, with short parallel lines in center. The forgeries are ungummed, whereas the originals generally have a good deal of thick yellowish-brown gum.

Spud_NewBrunswick717 Cents.

Genuine

A brooch upon right shoulder of Prince, perpendicular lines of tartan above second E and first N of SEVENTEEN, the lines slightly sloping; all the numerals in double linear transverse ovals.

Forged

No brooch shown upon the Prince’s shoulder; portion of plaid of tartan shown by two perpendicular lines, one coming above the space between the first E and N, and the other above the T of SEVENTEEN; numerals in single linear oblong-ovals, except in the right lower-corner.

 

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

Spud Papers – Suez Maritime Canal Company

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Late in 1868, M. Maury, in his Collectionneur, first made mention of a set of stamps having been issued by this company, for the use of persons in their employ. So far as we are individually concerned, we have always felt inclined to regard the assertion with discredit, and have certainly considered the labels themselves as the results of a “little game”. Although these things have been out getting on for four years, nothing really definite has been given as to their character; the only amateur looking upon them with favor, being the one so well known under the nom de plume of “A Parisian Collector.” Speaking of the omission of the stamps from Mr. Overy Taylor’s catalogue, the writer alluded to states, “All that we can say is, that our own copies came directly from the company, by order of M. de Lesseps. We know that they were used by the company for a short time, but the authority to continue them was withdrawn by the Khedive. Obliterated copies are as rare as obliterated specimens of the stamps of the Ionian Islands.” An obliterated copy was found in the splendid collection of Mr. Suchsland, lately amalgamated with Mr. Pemberton’s collection.

The above are straightforward assertions, and authenticity of these stamps.

Spud_Suez1 Spud_Suez2Spud_Suez3 Spud_Suez4

 

 

 

1, 5, 20 and 40 c.

Genuine

Clouds light, with very little dots about them; no speck between the stern and funnel; smoke does not go higher than the top of mast.

Forged

Clouds heavy, composed chiefly of dotted lines. Between the stern and the funnel is a dot representing a passenger. The smoke goes through the mast at some distance from its top.

 

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

 

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