Spud Papers – Braunschweig (Brunswick)

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Forgeries of the earliest issues of this duchy are so numerous, and so well copy the poorly-designed originals, that young collectors cannot be too careful in purchasing labels purporting to be Brunswick stamps; more particularly so, now that so many reprints are being placed in circulation.

The only varieties issued without the post horn watermark were those of the first emission 1 s.gr. rose, 2 s.gr. blue, 3 s.gr. vermilion. Therefore all the oblong Brunswick, except of the trio enumerated, found upon unwatermarked paper, are either reprints or forgeries.

Spud_Braunschweig1Spud_Braunschweig2 Spud_Braunschweig31852. 1 S.GR. Rose, 2 S.GR. Blue and 3 S.GR. Vermilion – on White Paper.

We place the three stamps forming this set together, as they are all from a drawing identical in the major parts,—i.e., only varying in the lower riband, and of course the side numerals.

Genuine

Horse’s tail touches the third perpendicular line from the right side of oval, All the letters in upper inscription clear and separate, We have also seen another counterfeit of the I s.gr. it is a very indistinct lithograph, with the upper lettering too deep, and the R and A touching.

Forged

Tail of horse very close to the side of oval; with the naked eye, it seems to touch it. RA of BRAUNSWEIG touch each other; and the right-hand bottom line of A goes under, and touches the U; G is very badly formed, with a peculiar curl where it finishes.

Spud_Braunschweig4 Spud_Braunschweig51 S.GR. Yellow, 2 S.GR. Blue and 3 S.GR. Rose – Coloured paper.

 

 

 

Spud_Braunschweig73 S.GR. Rose – White paper.

 

 

 

Spud_Braunschweig81865. 1 S.GR. Yellow – White paper.

The remarks relative to the forged and genuine of the 1852 issue will apply to these, with the addition, that all originals are watermarked.

There is a very deceptive imitation of the 2 s.gr. on dark blue paper; the chief test lies in the crown, which is considerably too far below the line of oval.

 

Spud_Braunschweig91/4 S.GR (Drei Pfennig).

Genuine

Crown as large as in the higher values, upper lettering leaving a fair space above and below it; a marked interval between DRFI and PFENNIG; and a period after the last (contracted) word.

Forgery

Rather poor, crown small and narrow, upper inscription too deep; the right stroke of N immature, and the final letter larger than the 1; value in lower riband reading almost as one word; no period after PFENNIG.

Spud_Braunschweig101/3 S.GR. (Vier Silbr. Pf).

Genuine

G of BRAUNSCHWEIG pretty close to the edge of riband, only showing one short and one long stroke between.

Forgery

From the same drawing as that used to counterfeit the earliest series; showing one short stroke and two long ones between the G in upper inscription and the edge of the band.

Spud_Braunschweig111/2 S.GR. (Fünf Pfennig)

Genuine

Wide crown, slanting to the left; right forefoot of horse nearly touches the oval; short line divides the fractional figures. The ends of lower riband are rather close to the frame.

Forged

Crown small, slanting somewhat to the right; right forefoot of horse at a little distance from the oval. The line dividing 1/2 is almost as wide as the oval containing it. A good interval between the ends of the lower riband and the frame.

 

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

 

LupSee also —> Album Weeds – Braunschweig (Brunswick)

Spud Papers – Uruguay

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Spud_Uruguay2Spud_Uruguay3 Spud_Uruguay41864. 6, 8, 10 and 12 Centisimos.

The originals of this series are, as a rule, such poor lithographs, that it is impossible to state for a certainty that they are all from one stone; but we are inclined to think that such is the case. All copies show the background more or less blurred. The angles are lined, but in each corner there is a blotch of colour. The space between the central design and the band containing value is generally solid, but some- times a line is here and there visible, due to defective printing. There is a large white dot both before and after REPUBLICA ORIENTAL. All the letters, except the first, are fairly formed, and are placed upon a solid band of colour, divided from the central device by a thin white line, not showing beyond N on the right side. The wreath (supporting the shield) well fills the solid space containing it. The horse and balance in the shield are, considering their size, plainly drawn. The lower label projects slightly beyond the background, on the left side, but is a line from it on the right. Each value is from a separate drawing.

Forgeries

6 Centesimos

Entire background and space above label of value clearly lined. No dots either before or after chief inscription. Many of the letters badly shaped. Wreath evidently not passed a budding state. The armorial balance represented by,—well, anything from a bill-file to a bird-cage. Lower label at an equal distance from each side of the background.

8 Centesimos

All the background solid, so that the lettering is upon it, and not upon a band. No period after inscription. Whole execution wretched.

10 Centesimos

Between the lettered solid band and the upper line of frame, there is a slight lined space. Small dots before and after inscription. No white line line between the inscribed band and the central device. Label with value at some distance from each side. Figure 1 with no head-stroke,—it has one in the genuine.

12 Centesimos

Entire background solid, as in the 08 c. A badly-shaped dot before and after chief inscription. Front part of a donkey in upper right portion of shield. Label with value at equal distance from each side.

Spud_Uruguay51866. 1 Centisimo.

Of this stamp there are two forgeries, one very finely done. We will first take the genuine.

 

 

Genuine

The solid center of figure is outlined with a thick evenly- patterned line. Between the pans of the balance and the thick line beneath, are two lines of shading. Above the mountain the shading does not come lower than the head of the figure, CORREOS is nearly as deep as the band containing it. That portion of the outer ornament nearest to the c of REPUBLICA touches the white line of frame.

First Forgery

Figure outlined with a straight line. Top of mountain lost in the shading. Bull very like a mule, or a Noah’s-ark lamb. CORREOS much smaller than the band containing it.

Second Forgery

Figure outlined to copy the original, but the pattern is not distinct. Between the pans of the balance and the thick line beneath are three lines of shading. Above the mountain the shading comes below the head of figure, and down to a line with D. CORREOS smaller than the space containing it. The outer ornament nearest to C on the left side is at some distance from the white line of frame.

Spud_Uruguay61866. 5 Centisimos.

Genuine

There is a space between the figure and the lower line. From the background there are short dashes by the head of figure. MONTEVIDEO commences exactly under the side line of inner frame. The armorial insignia are all distinct.

Forgery

Bottom of figure touches the line below. Between the small lettering forming the background, and the head of figure upon each side, there are no short dashes. The tail of the 5 almost touches the upper portion of that figure, M of MONTEVIDEO at some little distance from under the perpendicular line. Between the two last letters considerable space.

Spud_Uruguay710 Centisimos.

Genuine

Inner rectangle of a single line throughout. Between the numeral o and side, lettering is visible. Shield runs into the line inside the figure 1. Beneath the numerals a line of inscription is complete and unbroken. The lettering is all even.

Forgery

The central rectangle has a double line above. The numeral 0 almost touches the side line.
There is no stroke preceding or following the lettering within the numeral mentioned. Shield does not touch ‘ the line within the figure 1. Final o of name very small.

Spud_Uruguay815 Centisimos.

Genuine

Background as fine as in the other values. Sun’s face is before the figure, the point of the shield going against the nose. The surcharging upon the 1 is small, and in the middle. Upon the 5 is CENTECI, and portion of M. The numerals do not touch below, and the top of the 5 is flat.

Forgery

A whitey washed-out looking article, with background of lettering much too large and far apart. The right side of the sun’s face obscured by the 5, the tail of which numeral is close to the side. Figure 1 with the surcharge very prominent, beginning at some distance from the base, and finishing close to the top. Second figure inscribed CENTECIMO, with the final letter very small. The two numerals touch below, and the top of the 5 turns up.

Spud_Uruguay920 Centisimos.

Genuine

Execution fine. Below the center of shield is CIM (c not plain in top line) five times repeated. Under both numerals are two unbroken and distinct lines of inscription. Upper and lower lettering commence at some little distance from the side.

Forgery

Very poor, the small lettering being scarcely readable. Exactly under the shield is NT five times repeated. Under the 2 there is only one unbroken line of inscription, R of upper lettering close to side, and M below the same.

 

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

 

 

Spud Papers – Chile

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Spud_Chile1 Spud_Chile2Spud_Chile3 Spud_Chile4Spud_Chile51867. 1, 2 5, 10, and 20 Centavos.

The forgeries of these stamps are of such miserable execution, that it seems almost a waste of time to describe them. However, as boys will patronize swindlers, but will not study stamps, some hints on this matter are needed for their benefit.

Genuine

Very beautifully engraved. Background of fine engine-turning, extending nearly to the white circle, and showing within the C and between the upper letters, and under COLON. On strong paper.

Forged

Head has the appearance of having a double chin. Background formed of simple crossed straight lines, radiating from the head. None of these lines extend to the white circle. Below COLON a line of dots only. Coarse lithographs, on poor paper, and badly perforated.

 

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

 

LupSee also –> Album Weeds – Chile

Spud Papers – Spain

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Spud_Spain1Spud_Spain2 Spud_Spain3Spud_Spain41855. Official. Media, Una, Cuatro Onzas and Una Libra.

The counterfeits we are about to describe are somewhat specious, particularly so from their being unobliterated, a very unusual thing for this sort of ware. One drawing did service for the originals, and the same course has been adopted for the shams.

Genuine

All the pearls or circlets in the crown are distinct, and can easily be counted. Between the topmost link of collar on the left and the crown, is quite a clear space. The first three letters of CORREO are close to the collar. Period after OFICIAL on a line with junction of links. Both the lions in shield crowned, and touching the lines above them. In the lower point of shield is a pomegranate.

Forged

Crown unevenly done, and ornaments not easily to be counted. Very little space between the crown and upper left-hand link of collar, CORREO at some distance from the
design. Period after OFICIAL below the level of the junction of links nearest to it. In shield, the upper lion is not crowned, and is too “scraggy;” the lower lion resembles a bear, and is also without a crown. The head of neither of the animals touch the lines above them. The point at the bottom of shield is quite plain. This is the easiest test.

1 Real, Blue. 1874. 16 Maravedis, Rose.

(Carlist Insurrection)

I have the pleasure of presenting to our readers this month the counterfeits of the blue and the rose stamps of His (would-be) Majesty, Don Carlos. The blue forgery is rather well done, but the rose is very poor. However, as the stamps are not particularly rare, I dare say most of our readers will be able to judge for themselves as to the goodness or badness of the imitations. As a rule, I think Messrs. Spiro succeed pretty well when they have only lithographs to deal with; and, if they would take the advice of one who does his best to pick holes in their productions, they would content themselves with imitating lithographs only; and let épargne and taille-douce alone. I always notice that when I can say a forgery is a pretty good imitation, the original is almost certain to be a lithograph.

1873. 1 Real, Blue.

Genuine

Lithographed, on thick, white, glace paper, no watermark, ungummed. The hair of the effigy is parted in the center of the fore- head. The point of the nose is shaded with dots. There is a good space of white between the eyebrows, and a faint white outline may be seen all round the beard, which is caused by the horizontal lines of shading in the background not being drawn quite up to the beard. The point where the neck is cut off in front is at some little distance from the edge of the containing oval. The horizontal lines of shading break off before they reach the edge on either side, so that there is a narrow rim of white all round the inside of the outline of the oval. The end of the moustache is long, and droops down, and then curls up again. (This requires to be closely examined, before it can be seen). The outline of the oval touches the frame at the middle of the left- hand side.

Forged

Lithographed, on thinnish, ordinary paper, ungummed. The hair is not parted at all. The point of the nose is not shaded. There are two little dots near the outer corner of the eyebrow; and if a vertical line be drawn down from those dots, it will almost pass through two larger dots, one on the upper edge of the whisker, and the other on the lower edge. None of these dots are found in the original. The eyebrows almost meet, there being but the very faintest separation between them. There is no white outline round the beard; and the beard itself is much more like a beard than in the genuine. The point of the neck in front is very near the edge of the containing oval. The horizontal lines of shading almost cut into the outline of the oval in front of the forehead and in front of the beard. The end of the moustache is quite short, and scarcely comes beyond the corner of the mouth. The outline of the oval does not touch the frame anywhere.

Postmarks

There is a great variety of postmarks in the genuine stamps. Out of eight stamps now before me, two are postmarked with the diamond of dots with a solid diamond in the centre, so familiar on the 1870 stamps; the third is simply pen-marked; the fourth is pen-marked, and has, in addition, a large circular date-stamp struck in blue, from VIZCAYA; the fifth is also pen-marked, and has a five-pointed star struck in blue; the sixth has this star without pen-mark; the seventh has a small circular date-stamp, struck in black, bearing ESPANA and part of the name of a town; the eighth has seven short parallel bars, forming a long rectangle, as long as the width of the stamps.

The forgeries are postmarked with a large rectangle of dots (square dots, not round like the genuine). This rectangle is almost exactly the size of the stamps.

1874. 16 Maravedis, Rose.


Genuine

Lithographed, on thin, slightly-surfaced paper, backed with a white gum. There is a tilde over the N of ANO and of CATALUNA. The stop after CORREOS is circular. The 1 of 16 comes both higher and lower than the 6, and the monetary denomination is MS VN. The hair behind the ears down to the back of the neck is cut quite short. The lines forming the network are wavy, and the meshes are therefore somewhat oval in shape. The lines of shading on the ends of the upper scroll are much thicker and somewhat shorter on the right side than on the left. The shading on the forehead is light. The moustache droops very little. The beard is easily distinguished from the shading on the neck. The whiskers join the hair. The outline of the frame is very jagged.

Forged

Liographed, on paper slightly stouter than that of the forged i real; ungummed. ANO and CATALUNA without accents. The stop after CORREOS is a short hyphen. The 6 of 16 is higher than the I, and the I is lower than the 6. The N of is merely a blotch; I suppose the forgers did not know what it was. All the hair is long, and looks marvelously like a wig. It seems all to spring from the back of the head. The lines forming the network are straight, and the
meshes are diamonds. The lines of shading on the upper scroll are very much longer on the right side than on the left. The front of the forehead is heavily shaded, and the neck is so absurdly dark in front that it looks like part of the beard. The whisker also appears to be pointed, from the same cause. There is a small division between the hair and the whisker. The moustache droops a good deal. There is a mark like a large comma just above the middle of the eyebrow, which is altogether absent in the genuine. The outline of the frame is well done.

Postmarks

I have not seen any postmarked specimens of the genuine stamps, but the forgeries are obliterated with a large rectangle of square dots, like the forged 1 Real.

Both forgeries are printed in sheets, of 25, 5 x 5. The colour of the rose stamp is a fair imitation of that of the genuine, though of a more chalky hue. The blue stamp is rather of a greenish cast, and is a more delicate colour than the genuine.

1874. 1/2 Real, Rose.

If Don Carlos really resembles the portraits on the two types of the 1/2 Real stamps, I don’t at all wonder that well-disposed Spaniards should resist his claims to their allegiance; for these portraits are simply hideous; and, as represented on these stamps, he would, for ugliness, be a fitting consort for Queen Isabella, as represented on the Philippines of 1854.

I don’t know which type is the earlier, but the one which I will call Type I. has the rays round the medallion very faint; the lines of shading behind the head very close together; the scrolls touch the framework both at top and bottom, and the portrait is that of a fat, bull-necked man. In Type II. the scrolls are narrower, and do not touch the framework; the rays are well defined; the lines of shading behind the head are faint and wide apart; the beard is longer, and the face is thinner. The one which the forgers have imitated is this latter stamp, which I have called Type II., and which I will now proceed to describe.

Genuine

Lithographed, on thinnish white wove paper, which shows very distinctly the texture of the canvas or wire-gauze on which it was formed. This paper is similar to that of the Brazilian stamps (Roman numerals), or to that of our own newspaper wrappers. In the portrait, the blank space on the under jaw, above where the beard grows, is of a pointed form, the point being above the figure of value. Behind the head there are 28 horizontal lines of shading, if counted down the right-hand side, and 30 if counted down the left-hand side of the head. There are 77 oblique rays round the medallion, and there are two of these rays between the point of each fleur-de-lis and the end of the scroll above it. If the little oblique line which divides the figures of the fraction 1/2 were continued upwards, it would pass considerably to the right of the face. I think these tests will be sufficient, though there are many other minute points of difference.

Forged

Lithographed, on rather stout ordinary white wove paper. The blank space on the under jaw, above where the beard grows, is semicircular. Behind the head there are 32 lines of shading, counted from the right, and 33 counted from the left. There are 88 oblique rays round the medallion. These rays, both in genuine and forged, must be counted from
the outside (i.e., where they touch the framework), for some of the rays only go from the outline of the oval to the outline of the scrolls. There is only one clear ray between the point of the fleur-de-lis on each side, and the end of the scroll above it. A continuation
of the oblique line in the fraction would cut through the beard, and touch the point of the nose. The colour of the genuine stamps is a pale rose, whilst that of the forgeries is a deep red, almost carmine. The genuine stamps are gummed; the forgeries are not.

1874. 1 Real, Lilac.

Genuine

Very well lithographed, on white wove paper, gummed. The nose is rather blunt, the tilde over the N of ESPANA is very distinct; the top of the F of FRANQUEO is below the level of the other letters; the shading behind the scrolls is composed of vertical wavy lines, fine, but distinct. The whole of the ear is lightly shaded, and there is a line or wrinkle from the corner of the nose to the corner of the mouth. The unshaded part of the neck runs up almost to the tip of the ear. This is a handsome stamp, and well printed; indeed, at first I thought it was engraved. Unfortunately, the forgers have-succeeded in producing a very creditable imitation, and our readers must content themselves with these few tests which I have been able to discover. All the more important details of the original have been very closely copied, line for line.

Forged

Lithographed, on yellowish-white paper, ungummed. The nose ends in a very sharp point; and the profile reminds me very much of that of the King of the Belgians on the current stamps. The tilde over the N of ESPANA looks more like a thickening of the outline of the scroll than anything else, and it does not stand out separate from the outline of the scroll as the genuine does. The top of the F of FRANQUEO is above the level of the other letters. The shading behind the scroll is partly solid, though some of the lines can be seen in the right top corner. However, these lines are straight. The rim of the ear is quite white, and there is no wrinkle or line on the face. There is a white dot on the under lip, and another on the side of the chin, below the corner of the moustache. These are not seen in the originals. The white, un- shaded part of the neck does not come near the ear; it only comes about as high as the level of the mouth.

Postmarks

I have not seen either of these stamps postmarked, but the forgeries are obliterated with a large rectangle of square dots.

Gum

The gum on the originals is perfectly white; the forgeries are ungummed. Both originals and forgeries are unperforated. If the reader will kindly compare this forged 1 Real with a genuine copy, he will see why I have found it so difficult to give good instant tests.

 

 

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

Spud Papers – Turks Islands

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Spud_TurksIslands1 Spud_TurksIslands2Spud_TurksIslands3One Penny, Six Pence and One Shilling.

The imitations of these stamps are simply execrable, and may be detected by the paper and gum.

 

Genuine

Finely engraved, with clearly-defined background. The lettering almost as deep as the labels. Paper crisp, with yellowish gum.

Forged

Background speckled, without any attempt at pattern, except a few loops on the left side. Profile of Queen very poor and indistinct. Lettering not nearly so deep as the labels containing it. Paper thin and white, and white gum.

 

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

Spud Papers – British Guiana

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Spud_BritishGuiana2 Spud_BritishGuiana3Spud_BritishGuiana4Spud_BritishGuiana61860. 1, 2, 4, 8, 12 and 24 Cents.

Although each value of these stamps is from the same matrix, two dies are found of the 1, 2, 8, and 12 cents. The sole difference is in the lower lettering, which in the earliest has the value and CENTS farther apart than in the later stamps. Only a single type exists of the 4 and 24 cents.

The forgeries are badly perforated with diamond-shaped dents. It will suffice to add, that the forged are all inscribed RETIMUSOUE, to prevent anyone from being taken in.

The genuine have PETIMUSQUE, but with the tail of Q badly defined.

6 Cents

Genuine

The background, with the exception of the corner ornaments, is solid; and the lettering is well formed, V and 1 are separate.

Forged

Very coarse; above and below the lettered circle is a white oblong space, with three lines; and at sides are short strokes of shading. The q in the inscription is almost square. The Roman numerals touch each other. Neither of the letters N have a top stroke on the left side.

24 Cents

Genuine

Sky heavily shaded; mast of vessel does not touch the circle, but the bow does. Pattern in circle is in the center of the lower portion. Corner ornaments clear and graceful.

Forged

A poor lithograph, having a whitey washed-out look. Mast of ship touches lettered circle, but the bow is some distance away from it. Pattern at bottom of circle too much to the left, and nearer the upper line than the lower.

 

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

 

LupSee also –> Album Weeds – British Guiana

Spud Papers – Nicaragua

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Spud_Nicaragua1 Spud_Nicaragua21862. 2 and 5 Centavos.

Genuine

Beautifully engraved, with sky formed of fine lines, close together. Rays not too strongly shown; the pole, surmounted by cap, is clearly visible; the right side of the farthest mountain is much less steep than its left side. Lettering well formed, and the numerals filling the circles prepared for them.

Forged

Coarsely done; the shading of sky consisting of rather thick lines, wide apart. Rays of sun very glaring, one of them running into the left angle of the design. The cap of liberty is shown, but not the pole. Both the sides of the most distant peak are almost straight. Lettering is poor; and in the lowest value the numeral in upper left circle is smaller than
its companions. There is an older state of this forgery, in which the cap of liberty is absent.

Spud_Nicaragua31871. 1 Centavo.

This stamp is a fine example of the foolishness of man in attempting the impossible. In the present case the foolishness consists in the effort to make a lithograph look like a taille-douce engraving; and though the forgers have done all they could, in the way of copying line for line, yet the effect produced is very poor; and anyone who has once had the pleasure of seeing one of the beautifully-engraved originals, will be able to judge and condemn this forgery at a glance.

Genuine

Engraved in taille-douce, on thick yellowish paper; perf. 12. The rays of the sun are very faint, and delicately done; but eight of them can be counted. In the left bottom corner, above the u of UN, there are two small trees. The oak tree on the mountain does not touch the top of the sky. The ornamental curls on the figures of value do not touch the outline of the circles, but they would do so, if they were made the least degree larger. The lettering is very clear. The P of PORTE just touches the 0. The volcanic peak in the front catches the full light of the sun; whilst the other peaks are not so strongly illuminated. The framework is slightly embossed on the back of the stamp, owing to the pressure of the plate. The colour is a rich, very yellowish brown.

Forged

Lithographed, in a sort of reddish brown, on white wove paper, moderately thick; perf. 12 1/2. The sun’s rays are very coarse and white, and nine of them can be counted. There are no trees in the left bottom corner, above the U. The oak-tree on the mountain is very faint, and just touches the sky-border. The ornamental curls to the corner figures are very small, and might be made much larger without touching the containing circles. All the lettering is poor and ragged. The P and O of PORTE do not touch each other. Two of the peaks in the background are as brightly illuminated as the one in front. There is, of course, no embossing to be seen on the back of the stamp. The genuine stamps are backed with yellow gum, whilst these forgeries are ungummed. The postmark is an imitation of our own usual cancel-stamp, without the figures. Printed in sheets of 25, 5X5.

 

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

Spud Papers – Cuba

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Album_Weeds_Cuba16 Album_Weeds_Cuba181867. 10 & 40 Centavos.

The forgers have been very careful here, and have executed a lithographic transfer of the originals, corresponding with them almost line for line. If the printing and perforation were better, these would certainly be dangerous forgeries.

Genuine

Perf. 14. All the values are from the same die, the figures only being altered for each separate value. The lines of shading on the Queen’s neck go quite to the back; and each line is distinct from its neighbors. The stop before CORREOS is exactly midway between the c and the boundary line. The fine inner line of the lower scroll, below the figures and words of value, runs the whole way from end to end of the scroll. The little pearls set on stalks between the zig-zags down each side of the stamp do not touch the fine inner boundary line in one single instance. The pearls and jewels on the coronet are very distinct, as is also the chain pattern in the oval round the head. The figures of value and the date are very evidently typographed.

Forged

Lithographed; perf. 12 1/2. Both values from the same stone. The lines of shading on the Queen’s neck do not go quite to the back, and there is, consequently, a white line down the back of the neck. Some of the lines are blurred, and run into each other. The stop before CORREOS is much too close to the C, and almost touches it. The fine inner line of the lower scroll is broken away just below the 0 of 10 (or of 40, as the case may be). The little pearls on stalks touch the boundary lines in many cases. The pearls and jewels on the coronet
are smudged, and difficult to count. The chain pattern round the head is also smudged, and very badly done. The figures of value and the date, like the rest of the stamp, are lithographed.

The 5 and 20 C. have probably been forged at the same time as the 10 and the 40 C. described above, but I have not seen them. If they have been forged, our readers will find the tests just given sufficient for their detection.

These counterfeits all have a sort of oval perforation, instead of the circular perforation of the originals. This, however, would scarcely be noticed on a single detached stamp; but is very plain where two or more stamps can be examined before separation. They are ungummed, printed in sheets of 25 (5 X 5), and are postmarked with the old British Guiana obliteration, without the central figures.

Album_Weeds_Cuba23Spud_Cuba2 Spud_Cuba31870. 5, 10, 20, and 40 Centavos.

One matrix has served for each value, both of the genuine and counterfeit respectively.

The forgeries now before us, although easily to be condemned at sight, are very difficult to describe, being so faithfully copied in details.

Genuine

The whole design is well engraved; and the nose, right cheek, chin, and neck, are distinctly shaded. The crown is clearly shown, and the star is of correct proportions. The outer lines of frame are very wavy; eight undulations can easily be counted upon each side, and seven above and below.

Forged

The face has a very whitey look, due to the almost entire absence of shading, particularly on the neck. The mural crown is immature, and the lower right-hand point of the star is too long. The outer lines of frame are not sufficiently wavy. These shams are on very poor paper, and badly perforated.

Spud_Cuba6Spud_Cuba81871. 12, 25, 50 c. & 1 Peseta.

I have a full set of Cubas, for 1871, to introduce to the notice of our readers this month. The forgeries are not badly done, but of course they fail, when compared with the originals.

Genuine

Typographed, on thick white wove paper; perf. 14. All values from the same die. All the A’S in the inscriptions have the transverse stroke very low down, which makes them look like triangles with slightly protruding bottom corners, or like the Russ letter D (A). The hand holding the branch is perfectly distinct, and all the fingers can be plainly seen. The three lower values have the stop after the D (C.D PESETA) high up in the center of the line, instead of at the bottom. In the I peseta there is not any stop, except after the figure 1. The right foot is sharply pointed, and touches the inner line of frame in all values. The long, flowing hair, and the wreath round the head are both plain. The long staff in the left-hand is composed of two lines, which very rarely run into each other.

Forged

Lithographed, on thin, white wove paper, perf. 13. All values from the same stone. The A’S in the inscriptions are properly made. The hand holding the branch is a mere blotch, and the fingers are not to be distinguished. The stop after D. in the lower values is on a level with the bottom of the letters, like the stop after C. In the 1 peseta there is a faint hyphen
before 1., a very small stop after 1., and a faint hyphen and a stop after PESETA. The hyphens are not to be seen in some copies without a glass. The right foot is stumpy, and does not touch the boundary line. The hair is very blotchy, and the wreath is not at all plain. The long staff in the left hand is, in most copies, one thick line. The rampant lion in
the shield has only three legs visible, and his tongue hangs out slightly. The colours closely resemble those of the originals. The postmark is like our ordinary cancel-stamp, but without the central numerals, whereas the originals are usually postmarked with that curious, well-known network, with stars where the lines intersect.

Spud_Cuba9Spud_Cuba10Spud_Cuba11 Spud_Cuba121873. 12 1/2, 25, 50 c & 1 Peseta.

These stamps will probably become comparatively rare after a time, so that there is more likelihood of young collectors being deceived by them. I say comparatively rare; because, owing to the dealers’ custom of laying in large stocks of all new stamps directly they are issued, no stamps of the present day can become very rare. Twenty years ago, stamps might be in existence years before collectors ever heard of them; but now, what with magazines, dealers, and energetic amateurs, “on a changé tout ccla,” and we now usually have timely notice of emissions before they take place. But, as the stamps under discussion were not long in circulation, they will never be very common, and therefore, there is more chance of our young friends being sold by the counterfeits.

Genuine

Engraved in epargne; perf. 14. The U, and the final R of ULTRAMAR touch the outer frame, but none of the letters touch the outline of the central medallion, though they are very close to it. The end of the moustache, on the left side of the face, is split into two points. The outline of the central medallion is formed of small horizontal lines set very close tog-ether, except just above the head, where it is one single line. The edge of the linen collar is formed of two lines. The embroidery on the collar of the uniform has a design in the center looking like a monogram of the letters WC. The outline of the neck, between the ear and the collar, is formed of short horizontal lines.

Forged

Lithographed; perf. 13. Most of the letters of ULTRAMAR touch the outline of the oval The moustache ends in a single point on each side. The outline of the central medallion is formed of one single line. The edge of the collar is also single, except where it touches the beard. The embroidery on the collar of the uniform is very indistinct. The outline of the neck is one single vertical line. The postmark on the forgeries is somewhat like our own, without the central figures. The colours are tolerably like those of the genuine. The small piece of flesh in the inner corner of each eye is very large and distinct in the forgeries, but it is scarcely visible in the genuine stamps.

 

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

 

LupSee also –> Album Weeds – Cuba

Spud Papers – Argentina

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Album_Weeds_Argentina4Album_Weeds_Argentina3Album_Weeds_Argentina2Issue of 1858. 5, 10, and 15 Centavos.

The set with small figures are from one drawing, with numerals only varying; the same may be said of those with large figures, of which the only emitted value was the 5 c. We know of two full sets of forgeries (both, we believe, of Hamburg birth), and a coarsely executed imitation of the 10 c., which latter may be detected, by having periods after the upper inscription and the numerals.

The large-figure stamp does not appear to have been counterfeited. For the benefit of our young friends, we may mention, in passing, that, in addition to the size of the numerals, the set with small figures has the Etruscan border larger than in the earliest 5 c. In the latter, the pattern is composed of six pieces; in the former, of four.

Genuine

The oval is well formed, touching the frame upon the left side, and slightly compressed by it upon the right. The head is exactly above the cap of liberty. The upper inscription is at some little distance from the top, and is a good deal nearer to the frame upon the left, than upon the right. Under ON there are two lines, but they are not always distinct. The rays are clear, and are evenly arched by the lettering. The 5 c. is the only value having a period after the numeral, and in some copies two are shown.

First Set of Forgeries

All from one stone. Central oval does not touch the frame upon either side; and in the Etruscan pattern, the two end pieces in the upper portion have the long line at bottom, and the upper inscription is equidistant from the frame upon both sides. The rays are in a semi-circle; thereby making the space between them, and the first and last letters of the inscription, greater than between them and the central letters. Period after numerals in the 5 Cent and 15 Cent only.

Second Set of Forgeries

5 Cent.—Central oval very badly shaped, tapering more upon the right side than upon the left, and the end upon the former side broken by the frame. Upper line of Etruscan border, on the left side, is near to the outside of frame; and the design is carried, unbroken, round both the right-hand corners. Head is not directly over the cap of liberty, but slightly to the right. The rays form a semi-circle. ON is a single line only, G in ARGENTINA has no cross-stroke, and the last A is close to the frame. Lower lettering much too small.

10 Cent.—The head is at some little distance above the oval, and the oval itself does not touch the frame on either side. Only a single line under ON. The center of the upper lettering is very close to the frame.

15 Cent.—The cap of liberty is quite unrecognizable, and the head above it is considerably to the right. Some of the upper rays upon the right side run into the frame.
is only one line under ON, and the center of the upper inscription is very near to the border.

 

1867. 5, 10 & 15 Centavos.

There are two types of each of these stamps, but it will not be necessary to confuse the reader with the details of the different types. I shall take merely these points of general variation between the genuine and the forgeries which can be easily seen and detected.

Genuine

Lithographed, on soft, slightly surfaced, finely-wove paper. Top of cap of liberty droops well over to the right. Hands clasping pole moderately distinct, E and N of CENTAVOS almost touch each other. Number of pearls in circle varies, according to type, from 71 to 78. O of CENTAVOS the same size as the other letters. Postmark is a long narrow oval, with lettering.

N.B. Most of the unused copies now offered for sale are reprints.

Forged

Lithographed on coarsely-wove paper. Cap of liberty resembles a bundle of flax on a distaff more than anything else. Droop of top hardly perceptible. Considerable space between E and N of CENTAVOS; and the O in the same word is much smaller than the other
letters. All the values have 81 pearls in circle. There are two parallel wavy lines to represent the hands and arms of the originals. Postmark of parallel bars. These forgeries are really very fairly done; and, I think, may be classed as dangerous. Of course the concoctions, having only lithographs to deal with, have had fewer difficulties to overcome.

 

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

 

LupFor more information about the classical issues of Argentina, see —> René Jacobsohn’s exhibition

See also –> Album Weeds – Argentina

 

 

Spud Papers – Venezuela

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All the stamps of Venezuela have been extensively imitated.

Spud_Venezuela00Spud_Venezuela01Spud_Venezuela021859. Medio, 1 and 2 Reales.

The originals (particularly of the highest and lowest values), are generally so poor in colour, indistinct in details, and smeared in execution, that it is difficult to arrive at any decision as to whether the three are from one drawing or not. A careful examination is of little use, as the stamps of one value apparently vary among themselves. We will, for the sake of convenience, place all the values under one paragraph, as they are alike in all principal points.

Genuine

All the upper lettering clear, and without any speck above E of first word; E of DE not very distinct, Z of Venezuela under RE of CORREOS. A of name at some distance from end of label. All the letters of motto and of value even and well-formed. Horse on lined ground. General execution nicely carried out, but usually spoilt in the printing. The originals are always on thin white paper. The imitations are on paper of a stouter quality, or else upon some with a bluish tinge.

Forged

All from one stone, with value added, E of CORREO has a white spot above, Z of Venezuela under the EO of CORREOS, and the A of the first-named word close to the side. Final letter of LIBERTAD small, above the line of other letters, and somewhat like an o. Horse on an almost white ground. Lettering of value, except in the 1 real, very uneven and bad. Background of stamp coarse.

Spud_Venezuela031861. Cuarto Centavo.

Genuine

Upper lettering thick, with C near to the side, and almost touching the top pearl. The shield does not touch the riband. Horse on a ground of fine lines. The ends of the riband and the bow touch the pearls.

Forged

Upper inscription of thin letters, with first at some distance from side. Left side of riband goes against the shield. Horse of an extraordinary shape, upon a ground of lines wide apart. The ends of the riband and the bow at foot are considerably above the pearl border.

Spud_Venezuela04Medio Centavo.

Genuine

Horse upon a ground of fine lines, D of motto close to the end of riband. Leaves upon right side of shield close together, and looking like a single member of the cactus family. Left side of bow touching the pearls; and right side almost so. Letters of value thick, with the dot of 1 full and distinct.

Forged

Horse as in the lowest value, D of LIBERTAD at some distance from the end of riband. A marked space between the bow at foot and the pearl border. Lower lettering thin and “squat”. Very small dot to 1.

Un Centavo.

Genuine

C of CORREOS almost touches pearl beneath; sheaf in shield distinct. Pearls continuous upon both sides, LIBERTAD commences at some distance from below side of shield. Bow beneath small, and with both ends touching pearls.

Forged

Upper lettering as in the other values. Sheaf in upper part of shield nothing but a shapeless blur. There are no pearls upon the right side nearest to the ends of riband, L of motto begins beneath the perpendicular line of shield.

1863 Issue,

Spud_Venezuela1Medio Centavo

This value is generally in such a washed-out condition, that it is difficult to trace the original design. The central star is at equal distance from the upper portion of frame and the circle. There is no ornament inside of frame next to star, on either side.

Spud_Venezuela2Un Centavo

Stars very much as in the 1/2 c.; the central one a shade to the left of the R above, and near to the upper line. Side of frame, almost as in the 1/2 c., but with a little additional stroke above on the right, and an extra dash below on the left. The upper corner of bend of riband on the left, almost goes against the frame.

Spud_Venezuela3Medio Real

Of this value there are two types, but the following  will apply to both. The central star, and the next on the right hand, are on one level; the latter, therefore, being close to the frame. Left side of riband touches the inner line of frame.

Spud_Venezuela4Un Real

The third star from the left, and the central one, are level; the first-named is directly under the E, and is nearer to the second star than to the middle one Riband, as in the 1 c.; on the right side of frame is a small bent stroke, nearly on a line with the last star.

Spud_Venezuela5Dos Reales

Central star touches frame. The extreme right-hand star is nearer to the frame than is the one upon the left. There is no portion of ornament at the sides of frame next to the end stars. S of REALES is somewhat like an immature z.

 

First Set of Forgeries.

Eagle rather carefully drawn, and each bead in circle distinct and equal; stars large, and side ornaments extending all the way down; stop after value; riband inscribed VENEZULANA. In those later printed, the stars are much larger, and the whole appearance coarser.

Second Set of Forgeries.

Eagle well drawn, but too wide across the breast; stars of same size as in the genuine, and presumably copied from those on the 1/2 c. stamp. The ornaments at sides extend all the way up, with a slight break after the three dots above and below. On a line with the last star on both sides, is a portion of the pattern of frame; a stop after value, and the riband correctly inscribed VENEZOLANA.

Third Set of Forgeries.

This is the commonest, and by far the worst. As it is here figured, a further description is not necessary; suffice it to add that, in the 1/2 Real, there is no dot after value; and that, in the 1 Real., the period is on a line with the top of L.

 

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