Postmark no. 19 of 36 in use in China. SCHANGHAI DEUTSCHE POST. In use from April 1906 – 16. March 1917.
Seen on the following stamps (Michel no.):
Source: Die Postwertzeichen und Entwertungen der Deutschen Postanstalten in den Schutzgebieten und im Ausland, 3. edition by Albert Friedemann.
Genuine example:
Postmark no. 13 of 36 in use in China. KAISERLICH DEUTSCHE POSTAGENTUR SHANGHAI. In use from 16. August 1886 – June 1894.
Seen on the following stamps (Michel no.):
Source: Die Postwertzeichen und Entwertungen der Deutschen Postanstalten in den Schutzgebieten und im Ausland, 3. edition by Albert Friedemann.
Genuine example:
Postmark no. 36 of 36 in use in China. WEIHSIEN DEUTSCHE POST. In use from 1. June 1902 – 1. September 1914.
Seen on the following stamps (Michel no.):
Source: Die Postwertzeichen und Entwertungen der Deutschen Postanstalten in den Schutzgebieten und im Ausland, 3. edition by Albert Friedemann.
Genuine example:
Postmark no. 12 of 23 in use in Turkey. CONSTANTINOPEL DEUTSCHE POST. 3rd post office in Constantinople. In use from 1. March 1900 – 30. September 1914.
Seen on the following stamps (Michel no.):
Source: Die Postwertzeichen und Entwertungen der Deutschen Postanstalten in den Schutzgebieten und im Ausland, 3. edition by Albert Friedemann.
Genuine example:
The matrices of all the five values were engraved on one stone, and were reproduced by lithography. In the i schilling, the numerals in the corners vary, as the lithographer obliterated them in his transfer, and put in smaller ones by hand. The matrix of the 1 1/2 Sch. had the value in the plural (“Schillinge”). As strict grammarians objected to this, the lithographer altered it to “schilling” in his transfers. Hence the reprints, taken by transfer from the matrix, have “Schillinge.” Mr. Westoby’s Stamps of Europe, to which I am indebted for all the above information, states that a few unused originals are known, made at Bergedorf, with “Schillinge,” and so, from this, it is evident that the lithographer did not make the alteration until after some impressions had been taken by way of trial. And indeed this might have been expected, for the stamps would evidently have to be made before they could be objected to. We may therefore consider the “Schillinge” (original) to be simply a proof, or, as some people call it, an essay.
These stamps have always been very rare; and this is not to be wondered at, when we consider the extremely short life which they enjoyed. They are said to have been suppressed on the 10th of the same month, making way for the 1/2 Schilling, black on blue, and the 3 Schilling, blue on rose. But though the originals are so rare, the reprints are more common; and I fancy that they have often been passed off on the unsuspecting as real originals. However, col- lectors need not be taken in by them, if they will remember that the originals are very nicely done, and all the design is very clear; whereas these reprints show signs of wear in the matrix. Besides this, the originals are in soft colours, whilst the reprints are on paper which is too highly coloured, and they look altogether too new.
1/2 Schilling, black on violet.Lithographed, in greyish-black, on rather dull, violet wove paper. Surrounding the central design there is a circle of little rings, all linked together, and all very regular; these rings are 55 in number. Both in this and all the other values of both issues the central design is formed by “climidiation”, as the heralds call it, of half the triple-turreted castle of Lübeck, joined to half of Hamburg; showing, I suppose, that Bergedorf was under the joint protection of these two places. The left-hand turret is very slightly lower than the right-hand one. The half of a tail which the heralds have left to the unfortunate eagle is almost entirely of solid colour; but the shading, when it can be made out, is composed of two wavy, or rather curved, vertical lines, strongly bent towards the left, in the center. The eight shaded balls in the spandrels, outside the linked rings, all touch both the rings and the outer frame; though, in lightly-printed copies, the ball near the E of HALBER does not touch the center frame, and the one near the N of SCHILLING does not touch the linked rings. The horizontal black lines on the body of the castle (representing the courses of brickwork) divide it into ten coloured horizontal strips (I have counted the spaces, instead of the black lines, as there is less likelihood of making a mistake). The left-hand turret on the castle shows ten similar horizontal coloured spaces above the battlements, with parts of two others at the bottom; and the right-hand tower has nine spaces, with parts of two others at the bottom. The tail of each R of BERGEDORF is suddenly pinched off to a sort of point. The tail of the K of POSTMARKE is joined to the center of the oblique stroke. The fractions in the corners are composed of very fat figures; each little
1 being nearly as fat or thick as the upright stroke of the B of BERGEDORF. The I in the left top corner is not set in the center of the containing-square, but far too much to the right; and the little 1 of the fraction in the right top corner is not set above the 2, but far too much to the right, and the whole fraction is somewhat to the right of the center of the containing-square. The upper half of the shield on the breast of the eagle shows parts of four thin, broken vertical lines; and the lower half shows four thick, vertical lines, not counting the vertical outline of the castle. The eagle’s beak is very strongly hooked. There is a curly line of the background, which joins the point of the beak, and curves inwards, towards the lower part of the neck; and, in the space thus enclosed, under the chin, there are two other curly or wavy lines—a long and a short one. The topmost ring, under the second E of BERGEDORF, has a small black dot in the center. The ring of the post-horn is darkly shaded all over with vertical lines. The lines of the background are extremely wavy.
Nicely lithographed, in jet-black, on paper of a very cold violet. There are 55 linked rings, as in the genuine; but they are irregular, and some of them hardly overlap their neighbours at all. The left-hand turret is decidedly lower than the other. The eagle’s tail shows three thick, perfectly straight, vertical lines of shading, the right-hand one being the outline of the castle. The ball immediately to the left of the c of SCHILLING does not touch the rings. There are only seven coloured, horizontal bands across the body of the castle. The turrets both show seven similar, horizontal bands. Each R of BERGEDORF has its tail cut off perfectly square. The tail of the K of POSTMARKE joins the oblique stroke rather high up, but not so far as the center of the said stroke. The fractions are in thin figures, each 1 being much thinner than the upright stroke of the B of BERGEDORF. The I in the left top corner is set very slightly to the right of the center of the containing-square ; the one in the right top corner is in the center of the square, and the 1 is almost centrally over the 2, though not quite. The upper half of the shield on the breast of the eagle shows three rather coarse, vertical lines: and the lower half also has three vertical lines, the middle one being not quite parallel with the other two. The eagle’s beak is very slightly hooked: and the wavy line of shading, proceeding from near the base of the neck, does not go near the point of the beak. There is no dot in the top ring. The post-horn has very little shading on it.
Lithographed, in jet-black, on almost neutral-tinted wove paper. There are only 46 linked rings (instead of 55) round the central circle, and they are irregular. I think it will not be necessary to give any further test, as the rings are easy to count.
Genuine.—98. Occasionally it is struck twice, the second time at a different angle, making the whole into a zigzag. The distance between any two of the bars is 3 1/2 mm.
First Forgery.—98. Same distance apart as the genuine.
Second Forgery.—98. Lines very thin, and 3 3/4 mm. apart.
Lithographed, in greyish-black, on rose, or rather pale claret-red paper. There are, as usual, 55 linked rings, encircling the central design. is a black dot in the ring on the right side, opposite the head of the second L of SCHILLING. The lower half of the B, in the word BERGEDORF, is a good deal larger than the upper one. This may be very easily seen by turning the stamp upside down. The tail of the first R in this word is thickest in the middle, and gets narrower towards each extremity. The last R in the same word has the tail smallest at the point of insertion, and widest (square) at the outer end; and the D is rather tall and narrow, but it is plainly a D, and nothing else. The post-horn has a very large and badly-shaped mouthpiece; but the tube is very much smaller, or rather thinner, than the mouthpiece, till it begins to turn round. The 3 in the left top corner goes very close to the upper outline of the containing-square; but the others evidently do not touch any of their respective containing-squares. The lower half of the shield contains four distinct, straight, vertical lines, not counting the vertical outline of the castle; and the other half shows the commencements of three thin, vertical lines.
Lithographed, in jet-black, on violet wove paper. There are only 50 linked rings round the central circle.
Lithographed, in jet-black, on pale red wove paper. There are only 51 linked rings.
Lithographed, on pale red wove paper, very like the colour of the genuine. There are only 52 linked rings.
Lithographed, in jet-black, on very hard, very pale, almost buff paper. There are only 54 linked rings. The eagle’s head, in this forgery, is much more like that of a donkey than of a bird 1
This is an extremely poor production. It is lithographed, in jet-black, on yellowish, or pale buff wove paper. My specimen has been painted Prussian blue, all over the face, by hand. There are only 42 linked rings.
Genuine.—98.
First Forgery.—98. Space between bars 3 3/4 mm
Second Forgery.—Ditto.
Third Forgery.—Ditto. Nearly 4 mm. space between bars.
Fourth Forgery.—Ditto. Thick bars; spaced 3 1/4 mm. apart.
Fifth Forgery.—Ditto, but there are only three bars, and they are 4 mm. apart.
1861, November 10th. 1/2 Schilling’, black on blue.Lithographed, in rather dull black, on somewhat pale, Prussian-blue wove paper. The tests are the same as for the 1/2 schilling of the first issue.
Lithographed, in intense black, on very dark blue paper, though still of a Prussian-blue tint. This forgery is dangerous, for there are 55 linked rings, as in the genuine; but they are uneven, some of the rings being larger than the rest. There is no dot in the top ring. The left- hand turret is much lower than the right-hand one. The eagle’s tail shows three perfectly straight, vertical lines of shading. The ball to the left of the C of SCHILLING does not touch the rings. There are 7 horizontal blue bars across the body of the castle, 8 across the left-hand turret, and 7 across the right-hand one. Each R of BERGEDORF has its tail widest at the end, and cut off almost square. The tail of the K of POSTMARKE joins the bottom of the oblique stroke, instead of its center. The fractions are in the centers of the containing-squares, and the figures of the said fractions are too thin. The upper half of the shield on the breast of the eagle shows three very short, thick, vertical lines; and the lower half has three thick and long vertical lines. The eagle’s beak is not hooked; it looks something like the lips of a camel. There is a clear line of shading, running between the beak and the nearest part of the wing, which is not in the genuine. There is no dot in the top ring. The post-horn has very little shading on it. The curly lines of the background, especially to the right of the castle, are far straighter than the genuine.
This is by Engelhardt Fohl, of Leipzig. Lithographed, in dull, greasy black, on dull Prussian-blue wove paper, showing an extremely coarse grain, when held up to the light. There are only 47 linked rings.
Lithographed, in jet black, on dark blue wove paper. There are only 45 rings, and they are very irregular.
Lithographed, on pale, greenish-blue wove paper. There are only 45 rings. The two rings over R of POSTMARKE are linked; the rest only touch each other, instead of being linked.
Genuine.—98. As before.
First Forgery.—98. Very thick bars, 4 mm. apart. I have also seen three bars, in red, only 1 1/4 mm. apart.
Second Forgery.—I have never seen this cancelled.
Third Forgery.—Uncancelled.
Fourth Forgery.—Uncancelled.
1 Schilling, black on white.Lithographed, in very dull black, on yellowish-white wove paper. There are 55 linked rings, as before; and there is a black dot in the top ring, under the second E of BERGEDORF; another in the ring at the middle of the right side, opposite the head of the first L of SCHILLING, and a third on the left side, opposite the 1 of EIN. The tail of the eagle is the same as in the genuine 1/2 schilling. The ball below ER of BERGEDORF hardly touches the rings, and the one to the left of the N of SCHILLING does not touch the rings, and hardly touches the frame; but all the other balls touch both frame and rings. There are eight white bars across the body of the castle, the first and last being very thin and ragged. The turrets each show eight white bars, from the battlements of the castle to the beginning of their roofs, but they are not very distinct. Each R of BERGEDORF is the same as in the genuine i schilling. The lower half of the shield on the breast of the eagle bears four thick, vertical lines, as in the i schilling. The eagle’s beak is strongly hooked; and there is one line of the background between the point of the beak and the nearest part of the wing; the beak touches this line. The post-horn is the same as in the genuine 1/2 schilling.
Nicely lithographed, in jet black, on greyish-white wove paper. There are 55 linked rings, as in the genuine, but the three dots in the rings are absent. The tail of the eagle shows five almost straight, vertical lines All the eight balls touch both rings and frame, except the one under OR of BERGEDORF, which touches neither, and the one to the left of the N of SCHILLING, which does not touch the rings. The white lines across the body of the castle are the same as in the genuine; as are also those on the turrets, though the latter are much more difficult to make out than they are in the genuine. The lower half of the shield on the breast of the eagle shows five vertical lines, but the outer ones are very often
blotched into the outlines of the shield. The eagle’s beak almost touches the wing; and there is no line to be seen between the points of the beak and the nearest part of the wing. The ring under the beginning of the D of BERGEDORF is very badly shaped; indeed, all the rings on the right side of the circle are not nearly so regular as those on the left side.
This is Fohl’s. Poorly lithographed, in smudgy, greyish-black, on very greyish-white wove paper. There are only 51 linked rings, and they are irregular.
Rather well lithographed, on grey wove paper. There are 55 linked rings, as in the genuine, but no dots in the rings. The tail of the eagle is shaded by thin, straight, vertical lines. The ball below ER of BERGEDORF does not touch the rings; the one opposite the N of SCHILLING does not touch either rings or frame ; all the others touch both rings and frame. There are eight white lines across the body of the castle; the top one is very thin, but the others are rather better than the genuine. The postmark covers the upper part of the shield on the eagle’s breast in my specimen, but there do not seem to be any lines on it. The lower half of the shield shows four thick, vertical lines, not counting the outline of the castle. The eagle’s beak is like a parrot’s, and wide open. The postmark covers the space between the beak and the wing; but I can see that there is no line running from the point of the beak to the base of the neck, and all the lines of the background are very faint. The T and M of POSTMARKE have their tops joined together, though they are a good distance apart in the genuine. This is not a bad-looking forgery.
Lithographed, in deep black, on stout, yellowish-white wove paper. There are only 47 linked rings, and they are irregular on the right side.
Lithographed, on greyish-white wove paper. There are only 50 rings, and the outlines of some of them are strangely thickened, near the HILL of SCHILLING, the RGE of BERGEDORF, and the EL of EIN.
Lithographed, in deep black, on yellowish-white wove paper, rather soft. There are only 49 rings; they are very irregular, and most of them only touch each other, instead of being linked. The lettering of BERGEDORF and POSTMARKE is absurdly thin.
Genuine.—As before.
First Forgery.—Generally uncancelled, but also to be found with 98; the bars are thick, and 35 mm. apart.
Second Forgery.—Uncancelled.
Third Forgery.—98. There are five thick bars, only 1 1/2 mm. apart.
Fourth Forgery.—Uncancelled.
Fifth Forgery.—Uncancelled.
Sixth Forgery.—Uncancelled.
1 1/2 Schilling, black on yellow.Lithographed, on pale yellow wove paper. There are 55 linked, rings, as before, with a black dot in the topmost ring, just under the second E of BERGEDORF, as in the I schilling, and another in the ring to the left of the first L of SCHILLING. The right-hand turret has a very distinct ball on the top of it. The eagle’s tail is the same as in the genuine 1/2 schilling. The eye is large and round, and is placed most absurdly far down. All the balls touch both rings and frame. There are eight yellow horizontal bands across the body of the castle, between the base and the battlements, the top one being very thin. They are not so plain as in the genuine 1/2 and 1 schilling, as there are several thin black lines between the regular courses of brickwork, thus confusing them. The left turret shows eight yellow bars, and the right turret nine. None of the figures of the fractions in the corners touch any part of their respective containing-squares; though the fraction-line of the 1 1/2 in the right top corner, and the similar line in the left bottom corner, both touch the right side of the square. The lower half of the shield shows five thick, vertical lines. The eagle’s beak does not touch the wing; and there is no line of shading touching the very point of the beak. The serif to the head of the little 1 of the left bottom 1/2 is double, i.e., there are two projections to the left of the head of the figure, instead of one. The wide end of the post-horn does not touch the base of the castle above it. The ring of the post-horn is lightly shaded, with short lines, just crossing the tube; and, if they were prolonged, they would all meet in the center of the ring of the horn.
This is poor. Lithographed, in jet-black, on orange-yellow wove paper. There are only 48 rings in the circle, and they merely touch each other, instead of being linked together. There are no dots in the rings. The word SCHILLING is replaced by POSTMARKE, i.e., there is POSTMARK E both at the left side, and at the bottom as well.
Lithographed, in deep black, on pale yellow wove paper. There are 55 rings, as in the genuine. The eagle’s tail has two perfectly straight vertical lines in it, not counting the outline of the gate of the castle. The eye is small, of 110 particular shape, and placed in a normal position. The ball to the left of the C of SCHILLING does not touch the rings. There are eight distinct, thick lines across the body of the castle, with no thin lines to confuse them. There are about seven lines across each of the turrets, but my single specimen is blotched by the postmark just there, so that I cannot be certain as to the exact number. The tops of the large and small 1, and the tail of the small 2 in the 1 1/2 in the left top corner, all touch the outline of the containing-square; and the fraction-line of the 1 1/2 in the right top corner does not touch the outline of the square. The lower half of the shield bears four vertical lines, as in the genuine; but they are not all exactly parallel with each other. The stop after the small U of EIN U. EIN HALB, which is large and distinct in the genuine, is barely visible in this forgery. The eagle’s beak touches the wing. There is a very tiny dot in the ring to the left of the 1, and another in the one to the left of the first L, and another in the one to the left of the second L of SCHILLING, besides one in the ring under the O of BERGEDORF, which touches the black ball; but whether these four dots are accidental or not I cannot say. The topmost ring has no dot in it.
Lithographed, in jet-black, on dull yellow wove paper. There are only 43 rings, and some of them are twice the size of others.
Lithographed, in jet-black, on bright yellow wove paper. There are only 46 rings. They are fairly regular.
Lithographed, in jet-black, on stout, hard, bright orange-yellow wove paper. There are only 43 rings. They are fairly regular.
Genuine.—As before.
First Forgery.—Uncancelled.
Second Forgery.—98. The bars are thick, and 3 1/4 mm. apart.
Third Forgery.—Uncancelled, or a blotch of writing-ink.
Fourth Forgery.—Uncancelled.
Fifth Forgery.—Uncancelled.
1 1/2 “Schillinge”, black on yellow.I have already spoken of the status of this stamp. It is lithographed, on the same paper as the 1 1/2 Schilling, and the design is exactly the same, except for the addition of the final E to SCHILLING.
This is Fohl’s production. Lithographed, in dull black, on orange-yellow wove paper. There are 55 rings, as in the genuine, but no dots in the rings. The eagle’s tail is solid, or nearly so. The stamp is always heavily printed, so that most of the balls are solid, instead of showing shading-lines. The courses of brickwork across the castle cannot be made out with any certainty; and it is the same with the turrets; indeed, the left-hand turret is practically solid. The serif of the large 1 of the 1 Jr in the left top corner touches the outline to left of it, though it does not do so in the genuine. The fraction-line in the left lower corner does not touch the right outline of the square. The lower half of the shield is solid black. The serif to the head of the little 1 of the fraction in the left lower corner is single, instead of double. The wide end of the post-horn touches the base of the castle. The ring of the post-horn is shaded almost solid. There is a tiny black dot, outside the stamp, above the G of BERGEDORF. The lettering of all the inscriptions is very thin and ragged; and there is no cross-bar to the H or the A of HALBER, and only a mutilated one to the A of POSTMARKE.
Lithographed, in jet-black, on stout, bright orange-yellow wove paper. There are only 43 rings.
Genuine.—Being only a trial stamp, or essay, genuinely used specimens are unknown.
First Forgery.—Uncancelled.
Second Forgery.—Uncancelled.
3 Schillinge, blue on rose.Lithographed, in a sort of chalky, ultramarine blue, on pale pink or rose paper. The tests are the same as for the 3 schilling of the first issue.
Lithographed, in brilliant, dark ultramarine, on very shiny, rose-coloured wove paper. There are only 50 linked rings. This is not the same type as the first forgery of the 3 Schillinge, of the first issue.
This is Fohl’s. Lithographed, in bright ultramarine, on rather dark rose wove paper. There are only 52 linked rings.
This seems to be the commonest of all. Lithographed, in rather pale Prussian-blue, on very pale pink wove paper, thick and hard. There are only 54 linked rings.
Nicely lithographed, in deep blue, on very dark rose (almost magenta) wove paper, thick and hard. There are only 43 linked rings ; but otherwise the stamp looks very nice.
Poorly lithographed, in dull ultramarine, on very thick, very hard, dull rose paper. There are only 47 rings ; and they merely touch each other, instead of being linked together. I think this is the poorest of the forgeries of this value.
Lithographed, in dull blue, on very pale rose wove paper. It has 50 rings, like the first forgery, but may be distinguished from it, by having the numerals very thin, and by the fact that the wide end of the post- horn touches the base of the castle. It is a poor-looking counterfeit.
Lithographed, in pale ultramarine, on pale rose wove paper. There are only 45 rings. The balls are very lightly shaded with vertical lines, and are hardly visible at a first glance.
Genuine.—As before. First Forgery.—98. The bars are 3 1/4 mm. apart.
Second Forgery.—Uncancelled.
Third Forgery.—98. I have this with thin bars, 9 mm. apart (!), and with thicker bars, 3 1/2 mm. apart.
Fourth Forgery.—Uncancelled.
Fifth Forgery.—Uncancelled.
Sixth Forgery.—98. The bars are thin, and nearly 3 1/2 mm. apart.
Seventh Forgery.—Uncancelled.
4 Schillinge, black on brown.
Lithographed, the best executed of the set, in dull black, on wove paper of a sort of dirty Indian-red, or Sienna-red colour, which the catalogues generally agree to denominate “brown.” There are 55 linked rings, as before. There is a very tiny dot in the ring on the left side, near the bases of the IE of VIER. This dot is not in the center of the ring, but close to the left-hand edge of it. In the ring on the right side of the stamp, between the tops of the LL of SCHILLING, there is another tiny dot, not in the center of the ring, but at its extreme right-hand edge. These dots could certainly not be seen, unless specially looked for, with the microscope. The eagle’s tail is the same as in the genuine 1/2 Schilling. All the balls touch both frame and rings. The upper half of the shield on the breast of the eagle shows parts of four thin, vertical lines ; and the lower half shows four thick ones. The beak is nearly closed, and has a sort of Roman-nosed outline. The eye is a small, distinct outlined circle, not shaded. The spiral part of the post-horn is shaded with vertical lines. Eleven feathers in the wing are tolerably easy to see, and the tip of the wing touches the junction between two rings. The end of the tail hangs down very distinctly, a good distance below the base of the castle. The figures in the corners are exactly alike, except that the left-hand point of the 4 in the left top corner is a little sharper than the points of the others. The middle v-part of the M of POSTMARKE is sharply pointed. The foot of the eagle shows two claws, pointing to the left side of the stamp, one directly downwards, and the fourth obliquely down towards the post-horn. The tail of each R of BERGEDORF is, as it were, pinched off to a point, which is directed obliquely downwards to the right.
Lithographed, in jet-black, on pale buff wove paper. There are only 53 linked rings.
This is Fohl’s. Lithographed, in dull black, on wove paper, very similar to that of the genuine in colour. There are 55 linked rings, as in the genuine, but without the dots. They are fairly regular. The eagle’s tail is a black mass of solid colour. The upper half of the shield is perfectly blank, and the lower half is almost solid black. The eagle has a head like a greyhound, with a rather blunt nose; and there is no eye to be seen. The shading on the spiral part of the post-horn follows the outline, instead of being vertical. No more than eight feathers, large and small, can be made out, in the wing of the eagle; and the tip of it touches almost the middle of a ring instead of the junction between two rings. The end of the tail is very little lower than the base-line of the castle. All the figures differ slightly, either in shape or position: the point of the one in the left top corner goes too near to the left outline of the containing-square; that in the right top corner has its point too blunt and drooping; that in the left bottom corner has its oblique outline somewhat curved, instead of straight; and that in the right bottom corner has its transverse tail longer than the tails of the other three. The large end of the post-horn comes very close to the base of the castle. The middle v-part of the M of POSTMARKE is cut off square, instead of being pointed. Two of the claws of the eagle point to the left, as in the genuine; but both the others point downwards. The tail of the first R of BERGEDORF is like the genuine; while the tail of the second R is cut off square.
Lithographed, in jet-black, on pinkish-grey wove paper, which looks a sort of lilac at a distance. There are 55 rings, as in the genuine, but without the dots, and they are not very regular, some of them not over-lapping so far as the others. The eagle’s tail, in my specimen, is a solid mass of colour. The ball below the H in the right upper spandrel is at some distance from the rings; and the ball above the A, in the right lower spandrel, does not actually touch the rings, though it is very near. The upper half of the shield shows one transverse line, with (generally) a v-shaped mark standing on the transverse line; the lower half of the shield is nearly solid, but four thick vertical lines can usually be made out, by the aid of the microscope. The upper mandible of the beak is very little curved, and it is not like the beak of an eagle at all. The eye seems to have a crescent-shaped line of shading across it. The spiral part of the post-horn is shaded with irregular dots. There seem to be only six feathers in the wing, but my specimen is partly covered by the postmark just there, so there may be more than six, but certainly not more than about eight. The foot of the eagle is very indistinct in my specimen; but, as far as I can make out, one claw points upwards, one obliquely down to the left, one to the right, and one directly downwards. The tip of the wing does not touch the rings.
This counterfeit is no longer in my possession, so I reproduce the description from the second edition. Lithographed, in intense black, on almost salmon-coloured wove paper. There are 55 linked rings, as in the genuine. The ball under the H in the right-hand top spandrel does not touch the rings, the ball above the A in the right-hand bottom spandrel does not touch the rings, and the ball above the L in the left-hand top spandrel does not touch the rings. All the lettering of the stamp is very long and thin, not half as broad as in the genuine. All the lines of the background, on the right of the castle, are almost straight, and very wide apart. The tip of the eagle’s wing does not touch the rings. The tube of the post-horn is far too thick, and is almost the same thickness all the way, except just at the “bell” end. Between the wing and neck of the eagle there are four almost straight lines of background. The E of the word SCHILLINGE is at a considerable distance from the side of the frame.
Lithographed, in jet-black, on pale salmon-coloured wove paper. There are only 42 rings, irregularly linked, and without dots.
This is a frightful thing, and would hardly deceive the veriest tyro. Very coarsely lithographed, in dull black, on very thick, dull buff wove paper. The rings are represented by 42 white pearls, on a black, circular band. I have seldom seen a worse counterfeit of any stamp.
Rather nicely lithographed, in jet-black, on stout, dark brown wove paper, very nearly the colour of the old Brunswick 1/4 Sgr. There are only 39 rings.
In all these forgeries of the 4 Schillinge, No. 2 is the only one in which the colour of the paper comes anything near that of the genuine stamps; and even this said No. 2 is far too red, being almost exactly the colour of the second reprint.
Genuine.—As before.
First Forgery.—Uncancelled.
Second Forgery.—Uncancelled.
Third Forgery.—98. The bars are rather more than 3 1/4 mm. apart.
Fourth Forgery.—98. Five thick bars, a little over 3 mm. apart.
Fifth Forgery.—Uncancelled.
Sixth Forgery.—Uncancelled.
Seventh Forgery.—Uncancelled.
From: ‘Album Weeds’, 3rd edition by R. B. Eareé. 1906
1849. 1 Kr., Black.I am afraid I shall not be able to give very satisfactory tests to distinguish the forgery now to be commented upon, as the design of the original has been very carefully copied. I cannot help thinking that the forgers have lately adopted a different and better plan with regard to their lithographic imitations. Formerly, there were very great and striking differences in the design of the forgeries, as compared with the genuine stamps,—but, within the last few months, the designs of the forgeries have been, in all their salient points, almost identical with the designs of the real and authentic emissions. I therefore fancy that Messrs. Spiro Gebrüder have begun to be very particular in their lithographic transfers.
Typograph. Greyish black on yellowish paper. The solid labels, which bear the words of value, are very little darker than the rest of the stamp, and are rather spotty {i.e., the ink has left little places here and there untouched). The figure in centre is at an equal distance between the top and bottom of the central square of maze-work. The maze-work itself is rather irregular at the top, and under the letters AYE of BAYERN it does not come up far enough, thereby leaving a broader space of white than in any other part. The little figures in the corners are all well made, and perfectly distinct.
Lithographed in very black ink on very white paper. The solid name and value labels are intensely black, and there are no spots of white upon them. The figure in center is nearer to the bottom than to the top of the central square. The maze-work comes close up to the top and bottom boundary-lines, but not quite so close to the side lines. The little figures in the corners are not all alike, and are not very distinct. There have been several forgeries of this stamp; some of them better in execution than the one now under discussion, but not so accurate in minute details. I think the readiest test for the present forgery is the intense blackness of the labels, especially that bearing the word EIN, which, being a short word, allows more of the label to be seen. If I remember rightly, the old Bavarians used to be postmarked with a thing like a wheel without its tire, (i.e. with only the center and the spokes), but these forgeries are postmarked with an oval composed of straight lines. Printed in sheets of 63, 7 x 9, and ungummed.
From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.
For more information about the issues of Bayern, see —> Emil Minaar’s exhibition
See also –> Album Weeds – Bayern (Bavaria)
1851. Black on Colour, 1/3 S.GR., 1/30, 1/15 & 1/10 Thaler.
The stamps of the first issue have the appearance of being engraved on stone, but I am not sure whether they are engraved or not. The design varies slightly for each value. In the 1/3 S.GR., the cross on the top of the crown is partially obliterated by the inner boundary line, which cuts right across it. The mantle is knotted up without tassels, and there are 19 tails on the ermine. The bottom of the shield breaks into the scroll, exactly above the centre of N in OLDENBURG.
In the 1/30 Thaler (as well as in the 1/15 and 1/10), the cross does not go near the outer line. The cord which knots up the corners of the mantle, shows two tassels on each side. There are twelve tails on the ermine. The bottom of shield touches the scroll over first stroke of N.
In the 1/15 Thaler, the shield barely touches the scroll below it. In the 1/10 Thaler, the cords and tassels on the right-hand side are very thick and clumsy. There are eighteen or nineteen tails on the ermine (these are difficult to make out). The point of shield does not touch the scroll at all. There is a stop after OLDENBURG.
The colours are as follows:
These are all from the design of the 1/10 Thaler; so I will describe the various points in which they differ from that stamp. The cross on the crown is inclined a little to the left, as though it had had a blow which had bent it. In the genuine, the cross is perfectly upright. There are about sixteen tails on the ermine, but they are very indistinct. Copying the genuine 1/10 all the values in the forgeries have a stop after OLDENBURG, which stop is only found in the of the originals. The horizontal lines of shading behind the shield come up, in the forgeries, as high as the center of the crown, whereas, in the genuine 1/10 they reach only as high as the tassels on the mantle. The blank parts of the scroll, between the words of value and the name, are cross-shaded in the forgeries; but in the genuine, the lines of shading are all parallel with the boundary-lines of the scroll, without any crossshading.
The colours are as follows:
1858. Black on Colour. 1/3, 1, 2 & 3 Groschen.
The two scrolls, with name and value, are shaded for nearly their whole length. The orb, surmounted by a cross, at the top of the crown, stands well out from the crown. The lion, in the base of the shield has no visible features, and his crown barely touches his head. All four of his legs are perfectly distinct, and so is his tail. The shield does not touch the boundary line of the oval containing it in any part. The right-hand little oval, containing figure of value, just touches both the central oval and the frame.
Scarcely any shading on the scrolls. The crown looks as though its last wearer had been “bonneted”, so that the orb is pressed down and buried half-way in the top of the crown. The lion has a large dot in the very center of his countenance, by way of features. Only three of his legs are visible; his crown is very small, and appears to be almost buried in his hair. There is a shapeless lump upon his hind-quarters, which does duty for a tail. The base point of the shield almost touches the containing oval, and the sides of the shield are also very close to the said oval. The colours are all brighter than in the originals. Both the little ovals (which, by the way, are more like circles) are at some distance from the central oval and the sides.
1860. Lithographed colour on White. 1/3, 1, 2 & 3 Groschen.
The stamps of this issue are very ordinary lithographs, but, fortunately for us, the imitations are more ordinary still. The designs differ for each value, and the two new fractional values (1/4 and 1/2 GR.) are very different from the others. The stamps, value 1/3, 1, 2, and 3 Groschen, are exactly the same in design as those of the last issue just described (except, of course, that they are printed in colour on white, instead of in black on colour), and the description of the stamps of the 1858 issue, with this exception, will serve equally well for this issue. The two new values, 1/4 and 1/2 GR., have the center oval coloured instead of white. A single thick white line defines the oval, and the crown is very much larger than in the other values.
Forgeries of the 1, 2, and 3 groschen. Exactly the same as forgeries of the last issue, except that they are printed in colour on white.
1/4 and 1/2 Groschen.
These I will describe separately, to avoid confusion. The shading on the scrolls is rather coarse. The last complete lines of shading on the upper scroll pass between the o and L of OLDENBURG on one side, and between the R and G on the other. In the lower scroll, only about one-fifth is shaded on either side. The left outer arch of the crown is ornamented with eight pearls, the right-hand outer arch has ten, and there are no pearls along the other three arches, except three transverse ones at the base of each arch, upon which the arches rest. The lion is very indistinct, and appears to possess only three legs, but those three are of the proper length.
The shading on the scrolls is very coarse, and the lines are absurdly far apart. The whole of the upper scroll is covered with shading, except the N of OLDENBURG, and the lower scroll is also covered with lines, with the exception of about one-sixth in the center. There are seven pearls on each of the outer arches of the crown; the ce ntrearch is badly drawn, and the other two have pearls instead of jewels. The poor lion has been fearfully maltreated by the artist, and only the stumps of his legs are left.
From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.
1850. 3 Pfennige.The only genuine specimen of this stamp which I have been able to pick up is so very much obliterated, that I cannot give as complete a description of it as 1 could wish. The outer line of frame is very thick, and there is a thin inner line which connects the four labels of value together. In each corner is a quatrefoil, white on solid ground, with one line of shading, following the curve, in each lobe of the quatrefoil. One wavy groundwork has a kind of burete in it, reminding one of that on the second set of Hanoverians, but of the same colour as the rest of the stamp. Printed on transverse-laid paper.
Nicely lithographed on transverse-laid paper, and soaked in coffee to give age! The outer and inner lines of frame are both thin. The quatrefoils are white, without any lines of shading, and the groundwork is of plain wavy lines, without any burele. The D of DREI is at some little distance from the rest of the letters, and the C of FRANCO is very much smaller than the other letters in the same word. The chief test is, however, in the outer line of frame, which is the same thickness as the inner one. This can be very readily seen. The forgers have started a rather new idea, in obliterating each stamp on the sheet with the name of a different town. For instance, on the sheet of 60 stamps before me, there are, amongst many others, the postmarks of Zwickau, Reichenbach, Risa, Meisen, Herrnhuth.
1856. 10 Neu GR.Well engraved in taille-douce; the ink standing out from the plate very perceptibly. The shaded lines of background have been drawn too far in several places, and cut into the jaw under the chin, and also into the base of the neck in front. There is a large pointed trefoil over the N of NEU, and the lower leaf or lobe of this trefoil almost touches the edge of scroll of value over the N. This value-scroll has an enlargement in the center, to contain the figure 10, and below it will be seen two leaves, one on each side, both of which almost touch with their points the semicircular enlargement of scroll below the 10. Between the back of the head, and the inner line of the oval which contains it, there are three lines of the vertical shading, so that the back of the head is at some little distance from the boundary line.
Lithographed in a chalky blue on very white paper. Shaded lines of background do not cut into the chin or the neck. Point of lower lobe of trefoil over N of NEU, is at some distance from the edge of value-scroll. Points of leaves under 10 at some little distance from the semicircle, especially that on the left side. The back of the head very nearly touches the inner line of oval, so that there is barely room for one of the vertical lines of shading between the head and the inner line.
I have been obliged to go into rather minute details with this stamp, as the general design has been very carefully copied, and it is impossible to give broad distinctions. Always excepting the difference between a taille-douce engraving and a lithograph, there is really no other difference between the genuine and forged specimens which can be seen at a glance.
From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.
1850-51. 1 G.GR., 1/30, 1/15 & 1/10 Thaler. Engraved.I have a very deceptive set of forgeries to describe this month,—a set which proves very satisfactorily, to my own mind, how necessary it is for all collectors to know some- thing about what are called the “minor varieties”, i.e., watermark, gum, paper, &c. But without exhausting my readers’ patience with a disquisition upon the advantages to be derived from a careful study of stamps in general, let us turn at once to the examination of those stamps in particular which are now lying upon my desk, quietly awaiting their sentence and condemnation.
The 1 G.GR. blue has for watermark a kind of “Oxford frame.” All the others have a wreath of oak leaves, usually very plain and distinct. The gum on all the stamps of this issue is of a dark rose tint. There is a stop after the word KIN on the 1 G.GR. This is a mistake on the engraver’s part; but it is fortunate for us, as it affords one test for the detection of the forgeries, which have no such stop. The head of the unicorn is tolerably well-shaped, except that he need not have opened his mouth quite so much; and there is a little dot to represent the nostril. The crown on the head of the lion resembles a baron’s coronet; his tongue is curled upwards at the end, and his mane comes well up over his cheeks, nearly to his eyes. The harp in the royal arms has four strings. The shield containing the figures of value has a point in the center of the top, which is partially covered by the motto-scroll. The thin inner-line of frame never touches the thick outer one in any part. In good specimens, the figures of value on the shield are slightly embossed, owing to the pressure of the die. There are other minor differences; but these are the chief.
Lithographed. No watermark, white gum. No stop after BIN in the I G.GR. Head of unicorn like the open beak of an eagle. No dot for nostril. The crown on the lion’s head is of an indescribable shape; it is something like a crescent laid flat, with one horn longer than the other. His tongue ends in a knob curling slightly downwards, and there is no mane on the cheeks. The harp has only two strings when any are visible at all, but in most copies the instrument is merely a blotch. The point at the top of the shield of value just touches the motto-scroll above it, but is not covered by it. Thin inner line of frame often so blotched as to touch the outer one. Being lithographed, there is no trace of embossing on any of the stamps. Printed in sheets of 25, and sometimes postmarked with an imitation of the genuine postmark, but without the central date-figures.
1859. 3 Pfennige, Rose.Typographed (?) on white wove paper, backed with rose-coloured gum. 32 vertical lines in central oval. Design very distinct, and very little hidden by the burele pattern. There are 4 of the vertical lines between outside of oval and H of HANNOVER. The letters of value (EIN DRITTET SILBF.RGROSCHEN) are small, and do not nearly fill up the space between the boundary lines of the scroll. None of the letters run into one another. Printed in deep dull carmine.
Lithographed, on very badly made white wove paper, un- gummed, no watermark. There are only 29 lines in the central oval. The whole of the design is very much blotched, the letters frequently run into each other, the first E of SILBERGROSCHEN has a flaw at the top -(visible in all copies), and the burele pattern is so heavy and coarse that the design of the stamp is almost hidden by it. The H of HANNOVER touches the third line of the central oval. The letters of value are large, and almost touch the scroll at top and bottom. Printed in dirty rose-pink, and postmarked with HANNOVER in double circle, but no date. This stamp is not calculated to deceive; the absence of the rose gum, and the number of the lines (29 instead of 32) in central oval, afford a ready means of detection. The paper on which the forgeries are printed looks as though bones, and old iron, and tarred ropes, and all kinds of rubbish, had been ground up to make the pulp, besides the old rags which are ordinarily used for that purpose.
1859. 1, 2, 3 & 10 Groschen.These stamps, though not marvels of art, are, nevertheless, very carefully engraved The fine lines behind the king’s head are perfectly distinct, and never run into each other, though so close together. The pearls round the head are large, and close together (there are 88 of them, but unfortunately, there are the same number in the forgeries, so this is no test), and the king’s nose is strongly aquiline, with a line of shading from the eye nearly to the point. Outside the circle, between it and the border, there are two of the vertical lines of the groundwork to be seen on the left hand side, and one on the right. The lettering is moderately clear. Rose gum.
Lines of groundwork have a ragged look. Pearls round the head very small, and apparently a little distance apart. The king’s nose is rather snub, and only a slight touch of shading by the eyebrow. Between the outer circle and the outer line, there is only one of the vertical groundworklines to be seen on either side. The lettering is blotchy, and looks as if it had “run”. The gum is white. In these stamps, I have found it exceedingly difficult to give such tests as will enable a collector, possessing only one specimen, to decide at once whether that specimen is genuine or forged; for, though there are many differences between the genuine stamps and their imitations, I must, in justice to the forgers, say that these differences are very slight. The forgeries just described comprise both the yellow and the bistre 3 Groschen.
1863. 3 Pfennige, Green.Lithographed, and rather blotched; 32 lines in the oval. The legend on the scroll is often almost unreadable. Rose gum on the unperforated copies; when the gum is white, the stamps are perforated en arc.
The great mistake of the forgers has here been to lithograph their stamps too well; so that the forgeries look better than the genuine specimens. As before, the chief test is, that there are only 30 lines in the oval. Imperforate, with white gum.
1864. 1/2 Groschen, Black.10 small pearls and 1 large one outside the crown to right; and 9 small and 1 large to the left. Inside the wide mouth of the posthorn are 17 lines of shading. The jewels round the lower rim of the crown are oval. The paper is creamy white.
11 small pearls and 1 large one outside the top of crown to each side. Inside the mouth of the post-horn there are only 13 lines of shading. The jewels round the rim of the crown are round. Paper very chalky white. This stamp, as our readers will see for themselves, is most deceptive at first sight; and I have no doubt that many a too-confiding schoolboy collector will disburse his hoarded coppers in order to possess himself of this cheat.
From “The Spud Papers” by Atless, Pemberton & Earée, 1871-1881.
Postmark no. 28 of 36 in use in China. TONGKU DEUTSCHE POST. In use from 1. November 1900 – 30. April 1906.
Seen on the following stamps (Michel no.):
Source: Die Postwertzeichen und Entwertungen der Deutschen Postanstalten in den Schutzgebieten und im Ausland, 3. edition by Albert Friedemann.
Genuine example:
