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Spud Papers – Braunschweig (Brunswick)

September 10, 2013/0 Comments/in Spud Papers /by admin

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.

1852. 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.

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

3 S.GR. Rose – White paper.

1865. 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.

1/4 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.

1/3 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.

1/2 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.

Album Weeds – Bayern (Bavaria)

September 8, 2013/0 Comments/in Album Weeds /by admin

Issue of 1849. 1 Kreuzer, black.

There are two plates of this stamp. In the first plate the blocks were made of type-metal, in ten rows of nine blocks (Nov., 1849), but this material wore away rapidly; so in September, 1850, a new plate was made, which was in two panes, of 45 brass blocks in each pane. Specimens from this latter plate may be distinguished from plate 1 by the greater sharpness of the impression and clearness of the design. Westoby says that only 2,000 sheets were printed from plate 2. In the catalogs this stamp used to be listed with and without a silk thread in the substance of the paper; but those with the thread are simply proofs, and were not issued to the public.

Genuine

Engraved in épargne, in grayish-black and black, on stout, yellowish- white wove paper. The stamp measures 20 x 20 mm. from outside to outside ; and the central square 12 1/2 x 12 1/2 mm., measuring from black label to black label. The word EIN is 4 1/2 mm. long, and the top and middle tongues of the E are of equal length, while the lowest limb is decidedly longer. The BAYERN label is 12 mm. wide, and the bottom limb of the E is very much longer than the others, the central tongue being the shortest. The word KREUZER is 11 1/2 mm. long, and the two E’s are exactly alike. The word FRANCO is 10J mm. long, the tongue of the F is much shorter than the top limb, and the distance between the head and tail of the C is decidedly less than 1/2 mm. The little numerals in the corner-squares are nicely done; the one in the right top corner has not the strong vertical line of shading at the back that the others have. These numerals are placed on a ground of alternate white and black lozenges, running obliquely down from the left top to the right bottom corner of the little containing-squares. This pattern is part of the arms of Bavaria, being a reproduction of the “shield of pretense,” or little shield, in the center of the large shield of Bavaria. There is no straight outline round any portion of the central square of maze-work, except just at the bottom of the left side. The large central numeral is equidistant between the BAYERN and FRANCO labels, and some of the maze- work can be seen both above and below the numeral. The numeral itself is filled, not with maze work like the background, but with a floriated pattern of conventional leafage, with two distinct, eight-petalled white flowers near the base, to right and left of the branch which bears them. This numeral is not at all prominent, showing more white than black. The white lines separating the various labels from each other are all of the same width.

First Forgery

Lithographed, on thick, hard, yellowish-white wove paper. The stamp is too small; from outside to outside it measures 19 1/2 x 19 1/2 mm., and the central square 12 1/8 x 12 1/8 mm. The word EIN is almost 5 mm. long, the central tongue is shorter than the upper limb, and the said upper limb is decidedly thinner than the others. The BAYERN label is mm. long, and the B is too thin, while the central tongue of the E is very nearly the same length as the top limb. The word KREUZER is 10 1/2 mm. long long, being a good deal too short. The word FRANCO is the same size as the genuine, but the tongue of the F is the same length as the top limb, instead of being much shorter ; the head and tail of the C are more than 1/2 mm. apart. The corner-numerals, in the genuine, are as wide as the width of the I of EIN; but in this forgery they are thinner, especially the one in the right top corner. The one in the left top corner is not in the center of the square. A few of the lozenges in the squares are dark, but they are very badly done, and irregular, instead of being alternately black and white. There is a thin outline along the top and bottom of the maze-work square, and two outlines are visible down the right side of it. The central numeral is much nearer to BAYERN than to FRANCO. The numeral itself is very dark, much darker than either the genuine or any other forgery. There seems to be an attempt at a six-pointed flower, but it is extremely indistinct. The white lines separating the various labels, are very faulty. Those before and after KREUZER are most like the genuine; but those before and after BAYERN are far too thick; the one before EIN is slanting down to the left; the one before FRANCO is too wide; the one after FRANCO slants to the right, and is broader at the top than the bottom. The maze-work, in this forgery is very much too coarse. The dark, central figure is the easiest test for this counterfeit.

Second Forgery

Lithographed, on thick, hard, yellowish-white wove paper. The stamp measures 20 x 20 mm., like the genuine, but the central square, between the EIN label and the KREUZER label, is only a shade over 12 mm. In the word EIN, the top and bottom tongues are equal, and the centre one shorter. The BAYERN label is only 11 1/2 mm. wide, and the top and bottom tongues are also equal. The word KREUZER is 11 mm. long; P’RANCO is just a shade over 10 mm. long; the tongue of the F is very nearly as long as the top limb, and the two ends of the C are nearly 1 mm. apart. The small numerals in the corner-squares are better done than in the first forgery, but the one in the left top corner is not in the center of the square, and the groundwork of the squares is of white lozenges, instead of alternately black and white ones. There is an irregular outline down the left side of the central square of maze-work, and it is also partly outlined along the bottom. The central numeral is nearer to the BAYERN label than to the FRANCO label; none of the maze-work shows above the numeral, and only a sort of double, wavy line below it. There are no flowers in the numeral, and it is a good deal blacker than the genuine, though not so much as the first forgery. The white line before EIN is much broader than any of the others.

Third Forgery

Lithographed, on stout, yellowish-white wove paper. The stamp is distinctly smaller than the genuine, measuring 19 3/4 x 19 3/4 and 12 1/8 x 12 1/8 mm. The middle tongue of the E of EIN is much shorter than the top or bottom limb. The BAYERN label is a little over 11 3/4 mm. wide; the top and bottom limbs of the E of that word are equal, and the central tongue very short. The word KREUZER is 11 1/4 mm. long. The distance between the head and tail of the C is more than 1/2 mm. The small numerals in the corner-squares, on the left side of the stamp, are not truly in the centers of the squares, being placed too much to the right. The background to each of the four squares is of white lozenges. The large central numeral is nearer to the BAYERN label than to FRANCO. The left-hand flower in the numeral may be partly made out, but not the other.

Fourth Forgery

Lithographed, on fairly stout, yellowish-white wove paper. The word EIN is only about 4 1/4 mm. long. The E, in my single specimen, is heavily postmarked, so that I cannot say whether the top and central tongues are of equal length. The BAYERN label is 11 3/4 mm. wide. KREUZER is 11 1/4 mm. long. The distance between the head and tail of the C of FRANCO is rather more than 1/2 mm. The numeral in the left top corner has its base and right side more heavily shaded even than the genuine; but the left side has hardly any outline. The numeral in the left bottom corner leans slightly over to the left, instead of being upright. The groundwork of these corner squares shows parts of one or two of the diamonds dark. The two flowers in the large central numeral are fairly well done. I am sorry that the postmark prevents my giving a more accurate description of this forgery.

Fifth Forgery

In some respects, this is decidedly the best of all the counterfeits. Lithographed, on medium, yellowish-white wove paper. My specimen has “COUNTERFEIT” stamped diagonally across the back, in tall, sans-serif, green letters. The stamp measures 19 1/2 x 19 1/2 mm. The bottom limb of the E of EIN is hardly any longer than the top limb. The bottom half of the B of BAYERN is very little larger than the top half, though it is sensibly larger in the genuine. The shaft of the Y has got a twist to the left at the bottom, instead of being perfectly straight. The word KREUZER is 11 1/4 mm. long, and the lower limb of the first E is longer than that of the second E. A good test for this forgery is the z of KREUZER, the head of the letter being absurdly short. In the genuine, the top of the Z is very nearly 1 1/2 mm. wide; in this forgery it is about 1 1/4 mm. The groundwork of the corner-squares has the black parts exaggerated. In the genuine, the square in the right top corner shows parts of 13 white lozenges; and the square in the right bottom corner also shows parts of 13. In this forgery, the upper square shows parts of 9 white lozenges, and the lower square shows parts of 4 long lozenges. Thus the general appearance of the left lower square is that of white marks on a black ground, instead of alternately white and black. The large central numeral is about 1 1/4 mm. from the BAYERN label, and 1 mm. from the FRANCO label. The two flowers in the numeral are very well imitated.

Sixth Forgery

Lithographed, on thick, yellowish-white wove paper. The stamp measures 20 X 19 3/4 mm., and the central square 12 1/8 x 12 1/8 mm. The word EIN is hardly 4 1/2 mm. long : the bottom limb of the E is the same length as the top limb; the central tongue is covered by the postmark, so that I cannot say anything about its length. The BAYERN label is nearly 12 mm. long, and the E of that word (an easy test) has all three limbs exactly the same length, KREUZER is 11 1/4 mm. long. The ends of the C of FRANCO are 3/4 mm. apart. The small numeral in the left lower corner is set a little too low, and a little too far to the right. There are portions of 10 white lozenges, instead of 13, in the left top square; portions of 9 white lozenges, instead of 13, in the left lower square; and portions of 8, instead of about 12, in the right lower square. The flowers in the central numeral are well copied.

Postmarks

Genuine.—14, 15, 29 (rare). I have also seen something like 1, but with very much larger letters.

First Forgery.—Uncancelled.

Second Forgery.—Apparently a portion of 54.

Third Forgery.—14. The numeral in the center of my specimen is 317.

Fourth Forgery.—14, with numeral 295 in the center.

Fifth Forgery.—Uncancelled ; also 15 with B. P. in the center.

Sixth Forgery—14, with numeral 20 or 40 in the center.

Issue of 1854-58. 12 Kreuzer, red; 18 Kreuzer, yellow.

Issue of 1862. 12 Kreuzer, green; 18 Kreuzer, red.

Genuine

Engraved in épargne, on moderately stout, and on much thinner, very rough, white wove paper, with a silk thread in the substance of the paper, running vertically downwards. The lettering is very clear and square-cut.

Forged

Poorly lithographed, on rather thin, smooth, white wove paper; no silk thread. The lettering is ragged and blotchy, the ends of most of the letters being’ rounded, instead of cut off squarely. The absence of the silk thread is such an easy test that I have not troubled to dissect the design. The 18 kreuzer of 1854 is, in this forgery, a sort of brownish ochre, instead of yellow.

Postmarks

Genuine.—14, 15, 29.

Forged.—14; also a blotch. Also 29, with name spelt “Munich.” The German name is, of course, ” Munchen.”

Postage Due.

Issue of 1862. 3 Kreuzer, black.

Genuine

I have only two specimens from which to make my description, but the reader will bear in mind that, as the stamps are tvpe-set, there will doubtless be many small variations in the setting. They are typographed, in black, on medium, very rough, white, or more generally, yellowish- white wove paper, with a silk thread horizontally in the substance of the paper. The Y of BAYER. has a distinct tail, and there is a round stop after that word, and a similar one after POSTTAXE. The G of EMPFANGER is the usual small (or “lower-case”) German G. The L of ZAHLBAR is almost under the first stroke of the M of EMPFANGER (just a shade to the left), and the left top corner of the R is under the F. The middle tongue of the large central “3,” sticks out level with the centers of the balls which form the head and tail of the numeral. The top horizontal line of the frame round the said “3,” if prolonged to the left, would pass far above the R of the left-hand KREUZER; and if prolonged to the right, it would cut into the ball of the tail of the right-hand “3.” The vertical, right outline of this frame, if prolonged upwards, would cut exactly centrally through the X of POSTTAXE; and if prolonged downwards, it would cut centrally through the G of EMPFANGER. The vertical, left side of this frame, if prolonged upwards, would touch the left side of the A of BAYER.; and if prolonged downwards, it would just touch the right side of the O of VOM. Each Z of the various inscriptions has a loop for its tail, which comes up and joins the centre of the body of the letter. At the outer corners of the stamp, outside everything, are four black diamonds, of equal size and shape.

First Forgery

Lithographed, on rather stout, very hard, somewhat rough, very white wove paper; no silk thread. In my single specimen, which is the only one I have ever met with, the Y of BAYER. has no tail, so that it reads BANER. There is a black blotch just over the head of the P of POSTTAXE , and the stop after that word is exceedingly small and faint, almost invisible, and very much smaller than the stop after BAYER. The G of EMPFANGER is a very distinct numeral “9.” The middle tongue of the large central “3” is too short, and does not reach out level with the centres of the balls which form the head and tail. In the frame round this central “3” the top line, if prolonged to the left, would just graze the R of the left-hand KREUZER. The right side of the said frame, if prolonged upwards, would pass between the letters AX of POSTTAXE, and, if prolonged downwards, it would pass between the letters NG of EMPFANGER. The left side of the said frame, if prolonged upwards, would cut centrally through the A of BAYER, and, if prolonged downwards, it would cut centrally through the O of VOM. The outside corner-ornaments are all of different shapes and sizes, the one in the right top corner being most like the diamond of the genuine.

Second Forgery

This is new to me (1902). Apparently typographed, on white wove paper; no silk thread. The L of ZAHLBAR is exactly under the middle stroke of the M of EMPFANGER, and the R is under the A. The top line of the central frame, if prolonged to the left, would pass very close to the R of KREUZER, and if prolonged to the right, it would pass clear above the right-hand “3.” The right side of this inner frame, if pro- longed upwards, would pass very nearly clear to the left of the x of POSTTAXE; and if prolonged downwards, it would just graze the left side of the G of EMPFANGER. The left side of the frame, if prolonged upwards, would cut almost centrally through the A of BAYER; and if prolonged downwards, it would cut through the centre of the O of VOM. The z of each KREUZER looks somewhat like an elongated “3,” as there is no loop to the tail; while the Z of ZAHLBAR has a loop, which does not merely join the center of the letter, but passes through it, and sticks out at the back. This is a very much better forgery than the first, and is likely to deceive; though, of course, the absence of the silk thread is an easy test.

Third Forgery

This is the best counterfeit that I have seen of this particular stamp. Typographed, on rough, yellowish-white wove paper, rather hard; no silk thread. The stops after BAYER. and POSTTAXE are not round, but of a sort of diamond-shape. The G of EMPFANGER is not a German G, but is like a numeral “9.” One L of ZAHLBAR is exactly under the first stroke of the M of EMPFANGER, and the F of this latter word, if prolonged downwards, would pass to the right of the centre of the R of ZAHLBAR. The bottom of the F is very blunt, though it is very sharply pointed in the genuine. The tongue of the large central “3” has a smoothly rounded point, while it is cut off nearly square in the genuine. The top line of the central frame, if prolonged to the left, would just graze the R of the left-hand KREUZER; and if prolonged to the right, it would pass high above the right-hand “3.” The right outline of the frame, if prolonged upwards, would just graze the left bottom corner of the x of POSTTAXE: and if prolonged downwards, it would graze the left side of the G of EMPFANGER. The left side of this inner frame, if prolonged upwards, would cut centrally through the A of BAYER; and if prolonged downwards, it would cut centrally through the O of VOM. The letters HLB of ZAHLBAR are all of the same height in the genuine, but, in this forgery, the H is the shortest, and the B is the longest. The central frame is in one piece; but in the genuine it is evidently broken at all the four corners. The four thin, inner outlines of the outer frame of the stamp touch the corner- ornaments, but none of them touch in the genuine.

Fourth Forgery

Typographed, on yellowish-white wove paper, smoother than the genuine; no silk thread. The type of which the inscriptions are made is battered, and has evidently seen much service. The Y of BAYER has a very long tail, which reaches to below the end of the A. In the genuine, the tail ends below the middle of the Y itself. The stop after the word is very shapeless. The accent on the A of EMPFANGER consists of two dots in the genuine ; but in this forgery it is like two grave accents (“). The word ZAHLBAR is spelt ZABLBAR, and the first B is much shorter than the second. The R of this word is under the A. The frame round the central “3” is not square, as the top piece slopes down to the right. If prolonged to the left, this top piece would cut well into the tail of the R of the left-hand KREUZER ; and if prolonged to the right, it would cut almost into the centre of the right-hand “3.” The right side of this frame, if prolonged upwards, would just graze the left side of the X of POSTTAXE. The left side of the frame, if prolonged down- wards, would pass between the letters OM of VOM. There is no loop to the tail of the z in either KREUZER. The tail of the z of ZAHLBAR curls up, but does not form a closed loop. There is a distinct hyphen, instead of a stop, after this word. The thin, inner outlines of the outer frame of the stamp all touch the inner corner-ornaments, except in the right top corner. The black diamond in the right top corner, outside the stamp, is not like the rest, as half of it has apparently been cut away.

Postmarks

Genuine.—I have never seen this stamp cancelled.

First Forgery.—14, apparently lithographed at the same time as the stamp, instead of being hand-struck.

Second Forgery.—14.

Third Forgery.—My specimen is uncancelled.

Fourth Forgery.—My specimen of this also is uncancelled.

NOTE.—I have seen no forgeries of the issue of 1870, perforated 11 1/2, but my readers will please recollect that the genuine 1 kreuzer and 3 kreuzer of this issue are on paper watermarked with lozenges.

Returned Letter Labels.

I have met with some counterfeits of these; but, as the originals are not postage stamps in any sense of the word, they are not worth describing, although specimens, genuine or otherwise, from the various offices of Augsburg, Bamberg, München, Nürnburg, Regensburg, Speyer, and Wiirzburg may be found in many collections. These “stamps” were simply used to seal up returned letters, after they had been opened to ascertain the name and address of the writer. I fancy the reason why these labels got into the old albums was from a mistaken idea that the legend on them, “Commission für Retourbriefe,” signified a commission (or tax) on returned letters, whereas the “Commission” simply referred to the officials or department charged with the duty of opening and returning dead letters.

Specimen Stamps.

Of these I must say a few words, as the stamps are so very often found in albums, and various legends are related concerning them. They are the stamps of the numeral series, of the same design as the postals, but printed in black, on colored paper. When the stamps were distributed to the post offices, each packet of 50 sheets had a wrapper round it, and on the wrapper (which was colored like the particular value on the sheets) was struck in black a copy of the stamp. There would therefore be no need for any official to open a packet, to see what was the value of the sheets, and doubtless the stamps saved a good deal of trouble. I fancy many collectors believe that these stamps were used in the same way as the “specimens,” sent to post offices in England by the authorities, whenever new types were issued; but, as will be seen from what I have said, this was not the case, although I have called them “specimen stamps ” for convenience’ sake.

From: ‘Album Weeds’, 3rd edition by R. B. Eareé. 1906

For more information about the issues of Bayern, see —> Emil Minaar’s exhibition

See also –> Spud Papers – Bayern (Bavaria)

Spud Papers – Heligoland

September 8, 2013/0 Comments/in Spud Papers /by admin

The stamps of this island being pretty, have naturally had a large sale among juvenile collectors; so, in copying these stamps, the forgers have expended some trouble, and as the fruits of their labors, we get some deceptive-looking articles. In each value, both of the genuine and imitation respectively, the centers seem to be from one matrix. The corner ornaments are smaller in the originals than in the counterfeits.

1/2 Schilling.

Genuine

The upper line of central frame is level with the bottom curl of the 2 in left-hand top corner. All the lettering is fine and even.

Forged

The center of the figure 2 in left upper corner is on a level with the top line of inner frame. Letters in the repeated word SCHILLING are rather thick, and slightly uneven.

1 Schilling.

Genuine

Bottom stroke of 1 is a shade above the outer line of central frame in both upper angles. In the lower left corner the 1 is at some distance from the inner rectangle.

Forged

Bottom stroke of 1 in both upper angles is on a level with the outer line of central frame. The figure in lower left corner almost touches the angle of inner frame. Lettering as in the 1/2 Schilling.

2 Schilling.

Genuine

All the figures are uniform, and in the center of the squares containing them. There is the same distance between the labels and the outer line upon the left side as upon the right.

Forged

The figures in the lower corners are nearer to the side labels than to the outer line. The inscribed label on the left side is farther from the frame than the one upon the right.

6 Schilling.

The genuine resembles the 2 Schilling in details, as the forgery of that value is like the forgery of this. It may be mentioned as an additional test, that, in the counterfeit, the 6 in the lower left-hand corner almost touches the inscribed label, and that all the figures are too short.

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

Spud Papers – Lübeck

September 8, 2013/0 Comments/in Spud Papers /by admin

1859, First Issue.

Each value of the genuine is from a separate die; but one matrix has been made to do duty for the set of forgeries. The colours of the latter, with the exception of the 1 Schilling, approximate pretty closely to the originals.

1/2 Schilling.

Genuine

Eagle’s right beak does not go against the wing. The bird does not touch the label in any place. There is no period after SCHILLING. The lines by which the figures are divided are very fine, and the figures themselves are small.

Forged

The right beak of the hermaphroditic eagle touches the wing. The three upper segments of the left wing nearly touch the riband, and the fourth quite touches it. There is a period after SCHILLING. All the lines dividing- the fractional figures are very bold, and the numerals themselves are large.

1 Schilling.

Genuine

Eagle very much like the one upon the genuine 1/2 Schilling, but the right-hand head is more flattened, and consequently shapeless, EIN is in letters of the same size as those used in the words following it.

Forged

Eagle as in the 1/2 Schilling. EIN in much larger letters than the remainder of the inscription. The figure I, in upper left-hand angle, has no bottom stroke.

2 Schilling.

Genuine

Eagle’s left beak touches the wing, and the right one nearly so; there are no dots between the heads and wings. Over the u a diaeresis of very small solid dots.

Forged

Similar eagle to the last, G in SCHILLING smaller than its companion letters. Between each of the eagles’ heads and wings are dots. The diaeresis over U in LUBECK is composed of small circles. The second dot on the first row of the dotted ground is considerably above the level of the others.

2 1/2 Schilling.

Genuine

Eagle’s left claw is at some little distance from the inscribed riband. No full-stop after any of the words. All the fractional figures are very small, and the strokes dividing them nearly indistinct. The top-most of the three dashes under the upright stroke upon the left hand is merely a dot.

Forged

Eagles as before, both claws touching the label. A period after both SCHILLING and POSTMARKS. The tail of the 2 in the upper left- hand angle almost touches the white line of frame. Figures altogether stand out boldly. The three horizontal strokes under the perpendicular line on the left side are nearly of one length.

4 Schilling.

Genuine

The third segment of eagle’s right wing touches the riband. There are either four or five dots (but only three are clearly formed) in the hollow between the beak and wing, and those not together, but dispersed, P in POSTMARKE almost touches the fold of the band.

Forged

Eagle as in the other values. Three dots one above another just at the bend of the right neck. The right wing is at some little distance from the riband. There is room for the insertion of another letter between the line representing the fold of the riband and the p of POSTMARKE.

1864, 1 1/4 Schilling.

In addition to the values described in our last paper, the great Hamburg facsimile firm are the makers of a very passable imitation of the 1 1/4 Schilling.

Genuine

There are two dots between the necks of the eagle, and the tail touches the frame. The lower portion of the B is wretchedly done.

Forged

Between the necks of the eagle is a single dot; the tail of the bird is at some distance from the bottom of the oval, and the B of LÜBECK is well-shaped. The forgery is usually on bluish paper; the original always on white.

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

Album Weeds – Baden

September 4, 2013/0 Comments/in Album Weeds /by admin

1 Kreuzer, black on buff, 1851; black on white, 1853.

Genuine

Engraved in épargne, on buff (1851) or white wove paper (1853); imperf. The “F” of “Freimarke” does not touch the line above it. The right-hand inscription is “Vertrag v. 6. April 1850.” The oblique side- stroke, at the top left-hand side of the central numeral, is thin, tapering, slightly curved outwards, and appears naturally to belong to the numeral. There are six horizontal rows of small, pear-shaped ovals in the back- ground of the central circle, formed by and among the wavy lines. These pear-shaped ovals have the small ends uppermost. The stop after the I is not abnormally large ; it does not touch the numeral, and lies between two of the horizontal rows of ovals.

In all the stamps of this design, the engraver has introduced a secret mark, in the shape of a little dot. The position is rather difficult to describe without a diagram. The inner border of the circle round the central numeral is a set of crescent-shaped lines, and, outside these crescents, there is a circle of black triangles, joined at their points, forming black scallops. The secret mark in this 1 kr. is a white dot in the inner edge of the black triangle which is opposite to the left lower corner, i.e., the third from the bottom. Nobody would take this for anything but a flaw.

Forged

Lithographed, in black, on brown, or on white wove paper. The “F” of “Freimarke” touches the line above it. The right-hand inscription is “Vertrag d. 6 April 1850.” The oblique side-stroke to the left-hand of the top of the central numeral is straight, much too thick, not tapered, and does not seem to belong to the numeral. There are seven rows of (not pear-shaped) ovals in the background of the central circle. The stop after the numeral is abnormally large ; it touches the numeral, and exactly obliterates one of the little ovals. There is no secret mark.

6 kr., black on green, 1851; 6 kr., black on yellow, 1853.

Genuine

Engraved as before, on green (1851) or yellow wove paper (1853); moderately stout The thin line of the frame above BADEN is as thin as the line below that word, and is not ragged. The “F” of ”Freimarke” does not touch the line above it. The left-hand inscription reads “Deutsch = Oestr. Postverein,” with a sort of very short double hyphen, close to the “Deutsch,” a full-stop after “Oestr,” and another after “Postverein” ; the latter stop almost touches the “n” before it. The right-hand inscription is “Vertrag v. 6. April 1850.” In each corner of the stamp there is an heraldic rose, the centre of which forms a sort of star of four points, with blank centre. Most of the points of these four stars are long enough to touch the turned-over edges of the petals of the roses. The stop after the “6” is round. The background of the central circle is composed of pairs of interlaced or crossing’, wavy horizontal lines. The light scalloped line round the central circle is much thinner than the light ring surrounding it.

The secret mark, in this value, is a dot, the color of the paper, in the edge of the black triangle opposite to the right lower corner, i.e., the third from the bottom to the right.

Forged

Lithographed, on rather thin, green or yellow wove paper. The green is decidedly blue-green ; very different from the yellow-green of the genuine. The inner line of the frame above BADEN is considerably thicker than the line immediately below that word, and it is very ragged. The ” F ” of ” Freimarke” touches the line above it. The dot to the “i” of “Freimarke” is like a comma, instead of being diamond-shaped, and it touches the “i.” The left-hand inscription is “Deutsch: Oestr Postverern,” with a very small colon, nearer to ” Oestr” than to ” Deutsch,” and the stop after “Postverern” is at a considerable distance from the “n.” The right-hand inscription is, “Vertrag v 6 April 1850” (sometimes “1350”), with no stops except after “1850.” The black stars in the center of the four heraldic roses in the corners of the stamp have very blunt points, very short, and hardly any of them long enough to touch the turned-over rims of the petals of the roses. The stop after the “6” is very shapeless. The background of the central circle is composed of pairs of straight, oblique lines in a sort of lattice-work, running down from left to right, and from right to left. The scalloped line round the central numeral is much thicker than the ring outside it.

There is no secret mark. I have no forgeries of the 3 and 9 kr., but I might mention that the secret mark of the 3 kr. is a light dot in the edge of the top triangle, under the D of BADEN ; and, in the 9 kr., it is the same as in the 6 kr.

Postmarks

Genuine.—5

Forged.—Four concentric circles of equal thickness, and without numeral in the centre.

Most of the unused copies of this issue now to be had are reprints; unused originals are not common.

1861. 1, 3, 6, 9 kr. Perf. 13 1/2.

These are the first perforated set, with the central square shaded with horizontal lines. I have the 9 kr. of one type of forgery and the 1 kr. of another type. It is very possible that a full set exists of each type.

Genuine

Engraved in épargne, on thin, white wove paper ; perforated 13 1/2. The band which passes obliquely across the shield contains eighteen vertical, colored lines. The upper outline of this band is distinctly darker and somewhat thicker than the corresponding lower outline. All the dots of color on the shield are of a good size, very distinct, and regularly placed. The space each side of the central arch of the crown is dark and solid, so that none of the lines of the background can be seen through either. The cross at the top of the crown reaches up to the third of the horizontal lines of the background, counting from the top. The central leaf below the shield has its end-lobe hardly at all projecting beyond the side-lobes, and this end-lobe touches the third of the horizontal lines of the background, counting from the bottom. In the word BADEN, all the different strokes of the letters of the word are of the same width, and the lower limb of the E is only very slightly longer than the upper limb.

First Forgery

Rather well lithographed, on stout, white wove paper; perforated 13 1/2, like the genuine, but not so cleanly cut. The band which passes obliquely across the shield contains seventeen vertical dark lines. The upper outline of this band is not more prominent than the lower one. The colored dots on the shield are very faint, inconspicuous, small, and irregularly placed. The space each side of the central arch of the crown is light in color, and allows several of the horizontal lines of the background to be seen through it. The cross at the top of the crown reaches up to the second horizontal line of the background, counting from the top. The central leaf, below the bottom of the shield, has its lower lobe projecting far below the side-lobes ; it reaches to the second horizontal line of the background, counting from the bottom. In the word BADEN, the left-hand stroke of the A, the horizontal strokes of the E, and the first stroke of the N are all palpably narrower than the rest; this is very easily seen in the A, both of whose limbs ought to be of the same width. The lower limb of the E of this word is abnormally longer than the upper one. The ornaments in the corners are very different from those of the genuine, but it would be impossible to explain the differences without an illustration.

Second Forgery

I have only the 1 kr., black on yellow. This is a hideous thing, and not at all likely to deceive. Coarsely lithographed in black, on yellow wove paper, unperforated. There are twenty scratchy, crooked, and imperfect vertical lines on the oblique band across the shield. The upper outline of this band is very much thicker than the lower one in parts, but is very irregular. The dots of black on the shield are placed fairly regularly, but some of them are much smaller than others. The crown is covered by the postmark, but, as far as I can discern, it is of a quite different design from that of the genuine. As far as I can make out, the central lobe of the leaf, below the shield, touches the outline of the bottom label, above the end of the E of KREUZER. The top and bottom limbs of the E of BADEN are of equal length.

Third Forgery

This is, if possible, worse than the last. I have only the 1 kr., vermilion on yellow. Badly lithographed, on very rough, pale dull yellow wove paper, unperforated. There are only twelve vertical lines on the oblique band across the shield. Both outlines of the band are of equal thickness. The black dots on the shield are irregular, and, in my specimen, many of those in the lower half of the shield are missing. The crown is covered by the postmark, so I am unable to describe it, but there seems to be a ball on the top of it, instead of a cross. The background at the top is composed of very wavy horizontal lines, and at the bottom it is formed by rows of long black diamonds. The center-lobe of the leaf, below the shield, projects below the side-lobes, so as to very nearly touch the outline of the label below it. The bottom limb of the E of BADEN is too thin. The corner-ornaments in this counterfeit are exceedingly unlike the genuine ; and the one in the left top corner is a mere caricature of the original design.

Postmarks

Genuine.—5 ; the outer and inner circles are usually a little thicker than the others; also 1, 29, 71.

Forged.—Five concentric circles, the outer and inner ones very much thicker than the rest, and without numeral in center.

1862-64. 3 kr. Perf. 13 1/2. 1, 3, 6, 9, 18, 30 kr. Perf. 10.

These stamps are of the same design as those just described, except that the central square behind the arms is plain white, instead of being filled in with horizontal lines. The 3 kr., perforated 13 1/2, is rare, as only 2,000 sheets were printed, before the gauge of the perforation was altered to 10.

Genuine

Engraved in épargne, on white wove paper ; perforated 13 1/2 or 10, as above. The right-hand griffin, supporting the shield, has eleven feathers in its wings, but there are only ten feathers in the wings of the left-hand griffin. The crown has five arches, containing pearls ; and, beginning from the left outer arch, the pearls are 7, 5, 3, 7, 8. They are tolerably easy to count. The dark space, each side of the central arch of the crown, is filled with closely-set horizontal lines, which look solid in some copies. There are eighteen vertical lines in the oblique band across the shield. The dots on the shield are very distinct, and placed in regular rows. The cross on the top of the crown is very nearly under the centre of the D of BADEN. The two spiral curls, on the inner ends of the two ribbons on which the two griffins stand, are exactly alike; except, of course, that they curl different ways. In the word POSTVEREIN, the top and bottom limbs of each E are of equal length; and, if a line be drawn along the center of the tongue of the first E, through the centre of the tongue of the second E, it will cut exactly through the center of the R between them. The centers of the RKE of FREIMARKE are all exactly in one line; and the upright stroke of the K only just touches the joined oblique strokes.

First Forgery

Of this I have the 3, 18, and 30 kr. Lithographed, on white wove paper; badly perforated 11 1/2 or sometimes 12. There are twelve feathers in the wings of the right-hand griffin and ten” in the wings of the left hand one. The arches on the crown are confused and uncountable; only the two each side of the central one have pearls. These pearls are in the places occupied by the dark spaces of the genuine. There are only fourteen vertical lines in the oblique band across the shield. The dots on the shield are indistinct, and irregularly placed. The cross on the top of the crown is a good deal to the right of the center of the D of BADEN.

Second Forgery

Of this I have only the 3 kr. Lithographed, on thin, white wove paper, perforated 13 1/2, very nicely. There are eleven feathers in the wing of the right-hand griffin, and eleven also in the wing of the left- hand one. There are five arches with pearls on the crown, as in the genuine ; but the numbers of the pearls, beginning with the left-hand arch of the crown, are 9, 7, 3, 5, and 7; and the spaces each side of the central arches are quite solid, instead of being filled with horizontal lines. The cross on the top of the crown is quite under the right-hand stroke of the D of BADEN. There are seventeen vertical lines in the oblique band across the shield. The dots on the shield are very faint, but placed pretty regularly.

Third Forgery

This is the worst of the lot, and hardly worthy of a place in this book. Typographed in black, on rough, rather thin grey paper, unperforated, and colored on the face by hand. (My copy is colored bright Prussian blue !) I have only the 18 kr. The wings of the right-hand griffin show only nine feathers and a stump, and I fancy there are only eight in the wings of the left-hand griffin, but the postmark covers this part, so I am not sure. The heads of these animals are not in the least like eagles’ heads, and their crowns are exactly like the small crown watermark of the first English id. and 2d. stamps. The crown on the shield has six arches, formed of solid black lines without any pearls, and with blank spaces between. There are only eleven vertical lines in the oblique band across the shield, and nearly all the dots on the shield are absent. I do not think any further tests are needed ; though I may add that the corner-ornaments are four-petalled flowers, containing a black upright cross, with a white dot in the center of each cross.

Fourth Forgery. 18 Kreuzer.

This is a very excellent production ; and quite new, I believe. Nicely engraved, in épargne, on yellowish-white wove paper, somewhat thicker and smoother than that of the genuine; perf. 10. The spiral curl on the right side is not exactly like that on the left; having, apparently, half a twist more. The upper limb of each E of POSTVEREIN is decidedly longer than the lower limb ; and a straight line joining the tongues of the two letters would cut through the R a little above its center. The center of the K of FREIMARKE is somewhat lower than the centers of the R and E each side of it; and the oblique strokes of the said K are firmly joined to the vertical stroke, instead of just touching it. Beyond these slight differences, the stamp seems to be a facsimile of the genuine ; though the postmark may possibly hide a few others. The lines and dots on the shield are exactly copied.

Postmarks

Genuine.—5, 6.

Forged.—1, 5.

Issue of 1862. “Land-post.”

1, 3, 12 Kreuzer, black on yellow.

These were rural stamps, for a messenger service, to connect the rural villages that had no post office with the nearest State post office, something like the Russian locals. The Land-post also conveyed letters and parcels between the villages, and was used to collect the delivery-charges on parcels, etc. The post was established in 1859, but stamps were first issued in 1862. The stamps were not sold to the public, but used only by the officials. When the Baden stamps were sold in 1872, Goldner, of Hamburg, bought nearly a million of these Land-post labels. I give these details from Mr. Westoby’s book, as so many collectors have the very vaguest ideas as to the use and meaning of these stamps.

1 Kreuzer. Genuine

Typographed, in black, on orange-yellow wove paper ; machine-perforated 10. The N of LAND is nicely shaped. The O of POST and each 0 of PORTO are block letters; i.e., with the black outline the same thickness all the way round. The S of POST is nicely shaped. The M of MARKE is almost perfectly upright. It is a block letter, with thefirst and last upright strokes of equal thickness. The letters of MARKE do not follow a perfect curve; i.e., suppose a perfect arc of a circle to be drawn from the left lower corner of the M to the right lower corner of the E, then the right lower corner of the M would come too low, and the left lower corner of the E would be too high. There is a horizontal line in the ornamental border, above the D-P of LAND-POST, and a similar one under the O-M of PORTO-MARKE. These lines are only very slightly wavy. The two little leaves, to the right and left of the middle of the numeral of value, do not touch the horizontal, pyramid-shaped stalks from which they are supposed to spring, although each leaf has a tiny bit of stalk projecting from its base. The horizontal stroke at the foot of the numeral extends from very nearly the left top corner of the T of PORTO to nearly the middle of the R of MARKE.

1 Kreuzer. Forged

Nicely typographed, on pale, primrose-yellow wove paper, cleanly machine-perforated 9. The right-hand upstroke of the N of LAND stands out too far from the oblique stroke. The black outline of each o is thinner at the top and bottom than at the sides, as is usual in Roman type. The M of MARKE slopes over to the left, and its first stroke is much thinner than the last stroke. The bottoms of the letters of MARKE follow a perfect curve. The horizontal lines, respectively above D – P of LAND-POST and below O-M of PORTO-MARKE, are very wavy. The leaves to the right and left of the numeral are joined to the horizontal, pyramid-shaped stalks issuing from the border. The horizontal foot-stroke of the numeral extends from the middle of the T of PORTO to the beginning of the R of MARKE.

3 Kreuzer. Genuine

Typographed, the paper and perforation the same as in the genuine 1 kr. The N of LAND somewhat squeezed up, and a little taller than the letters each side of it. The S is nicely shaped. Each 0 is a block letter. The M of MARKE has its first and last strokes of equal thickness. The horizontal lines at the top and bottom of the stamp are very slightly wavy. The two leaves do not touch the pyramid-shaped stalks. The bottom limb of the 3 is not much larger than the top limb. There are nice, square-ended head- and foot-strokes to the letters of the inscription. The black frame round the stamp is barely half a millimeter broad. Nearly all the different curls of the ornaments inside the frame all round are separated more or less distinctly from each other.

3 Kreuzer. First Forgery

Nicely typographed, on pale, primrose-yellow wove paper, cleanly machine-perforated 9. The bottom limb of the 3 is decidedly larger than the top limb. The other tests are the same as those for the forgery of the 1 kr. just described. I have not seen the 12 kr. of this type of forgery, but it doubtless exists; and the tests for the 1 kr. will be sufficient to identify it, should any of my readers possess it.

3 Kreuzer. Second Forgery

Lithographed, on yellow wove paper, which is not such an orange-yellow as the genuine, but not such a pale primrose-yellow as that of the forgery last described; and badly pin-perforated 12. The N of LAND is a wide or “extended” letter, and exactly the same height as the letters each side of it. The top tongue or kern of the S of POST is wanting, and the letter is not a nice shape. Each O of the inscription is a Roman letter. The first stroke of the M of MARKE is much thinner than the last stroke. The horizontal lines at the top and bottom of the stamp are coarsely wavy. The leaves are joined to the pyramids. The bottom limb of the 3 is much larger than the top limb; this may best be seen by holding the stamp upside-down. The head-stroke of the P of PORTO is nice and square, but none of the others are, although they ought to be. The frame of the stamp is more than three-quarters of a millimeter broad; i.e., very nearly double the breadth of the genuine. Most of the ornamental curls round the stamp are joined together. This is a poor forgery, compared with that of the 1 kr., the latter being dangerous.

12 Kreuzer. Genuine

Typographed, the paper and perforation the same as in the genuine 1 and 3 kr. There is a short, thick hyphen between the D and P of LAND-POST, and it is nearer to the D than to the P. The bottom-stroke of the 1 of 12 extends from the middle of the O of PORTO to the middle of the hyphen after that word. The horizontal wavy stroke below O-M of PORTO-MARKE touches the curls each side of it, and extends from the end of the O to beyond the middle of the M. All the other tests are the same as in the genuine 3 kr.

12 Kreuzer. Forged

Lithographed, the paper the same as in the forged 3 kr. My only copy is cut close, but is probably badly pin-perforated 12, like the forged 3 kr. There is a longish hyphen between the words LAND-POST, and this hyphen is nearer to the P than to the D. The bottom-stroke of the 1 of 12 extends from the top left corner of the R of PORTO to the beginning of the hyphen after that word. The horizontal, wavy stroke under the O-M does not touch either of the curly ornaments each side of it, and extends from the beginning of the hyphen to the middle of the M of MARKE.

Postmarks

Genuine.—Postmarked stamps of this issue are decidedly rare, though they are common enough unused. The most usual cancellation is something like 14; there is also to be found an oval postmark, bearing the names of the local receiving-office and the State office with which it was connected.

Forged.—1, 5. Also one similar to 29.

From: ‘Album Weeds’, 3rd edition by R. B. Eareé. 1906

Album Weeds – Alsace

September 3, 2013/0 Comments/in Album Weeds /by admin

Issue of 1870-71

1, 2, 4, 5, 10, 20 & 25 Centimes. Perf. 13,5 x 14,5.

The normal type has the points of the burelé or network upwards; the scarcer type has the points downwards. As the stamps were printed at two operations—the burelé first, and the lettering and numerals afterwards—it sometimes happened that the sheets were put in the press upside-down for the second printing, hence the inverted burelé.

The numbers, here and throughout the book, refer to the illustrations of postmarks in the Appendix. I conclude my readers will understand that, in the case of illustrations of postmarks with particular names upon them, the illustrations only indicate the type of postmark. For instance, when I say “Postmark 1,” this simply means that the postmark is a single circle, with name of place (whatever that may happen to be) following the curve and date, etc., in the centre, as in illustration 1, which is a London postmark.

Genuine

Engraved in épargne, on moderately stout, white wove paper, perf. 13 1/2 x 14 1/2. The lettering, value, and inside edge of the colored border are all more or less sunk into the paper, and very distinct. The network of the background is not at all prominent, so that it does not interfere in any way with the inscription. The E of POSTES has its upper, central, and lower tongues drawn out into sharp points ; while each E of CENTIME (or CENTIMES) has them all quite blunt. The left- hand edge of the upright stroke of the P of POSTES is 3 mm., or even more, from the inner edge of the frame.

First Forgery

Of this I possess only the 2 c., and have never seen any others ; but there may be a full set. Very badly lithographed, on thin, hard paper, imperforated, or pin-perf. 13 1/2 x 13, very badly. No portion of the design is sunk into the paper, and the whole stamp is dreadfully smudged. The network is much too dark, so that the lettering does not stand out from it. The E of POSTES has all three tongues blunt. Of the lower inscription, only the letters CENT are readable ; the rest are smudged. The P of POSTES is only 2 1/2 mm. from the inside edge of the frame. This coarse forgery is not likely to deceive anyone who has once seen the genuine stamps.

Second Forgery

I think there is a full set of these, but I am not quite sure. They may be easily detected by the curious, misty appearance of the (inverted) net- work, which looks almost as if the paper had moved in the very act of printing. They are lithographed, on rather soft, white wove paper, with very regular graining, perf. 13 1/2. The little tongues of the E of POSTES are much blunter than in the genuine, and the P of that word is hardly 2 1/2 mm. from the inner edge of the colored frame.

Third (Official) Forgery

These are commonly called “reprints,” but, as the type of the inscriptions had to be reset, they are evidently what philatelists would call, or ought to call, “forgeries.” They were made for a Hamburg dealer in 1885. They are said to be always with inverted burelé, but I fancy I have seen one or two with normal burelé, and these would probably be accidents. They are engraved in épargne, like the originals, with the same perforation, 13 1/2 x 14 1/2 The chief test is the P of POSTES, which is only 2 1/2 mm. from the edge of frame, instead of 3 mm., or more.

From: ‘Album Weeds’, 3rd edition by R. B. Eareé. 1906