CANADA THE SMALL QUEENS ISSUE st November 2006

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1 CANADA THE SMALL QUEENS ISSUE st November 2006

2 Preface This booklet is my reference study on the Small Queens issues of Queen Victoria, and is the standard reference that I use to distinguish the printings. The information contained in these pages is by no means extensive; rather it lists all the basic variations that occur on each issue and provides a means of distinguishing between them. The listings of plate proofs, varieties etc, (with the exception of the 5 cent on 6 cent re-entry), are just listings of the major types, and as such are intended just to point the collector in the right direction when looking for variations, some of which may be minor. This booklet has been presented as a complimentary item relating to the display of 72 pages given to the Shropshire Philatelic Society on the 1 st November 2006 within which, stamps from this issue were included We hope that the information contained in this booklet will provide some insights into these issues and encourage further study Allan Oliver 2

3 Contents Introduction 4 Proofs 5 Plate characteristics 6 The printing periods 9 First Ottawa period 10 Montreal period 11 Second Ottawa period 12 Colour 14 Perforations 17 Paper 19 Gum 20 The main postage rates 21 Imprints and counters 23 Imperforates 25 Major varieties 26 The 5-cent on 6-cent re-entry 29 Postal history 35 Glossary 38 3

4 THE SMALL QUEENS ISSUE In the following pages we will cover in some detail the Small Queens issue, broken down into small sections. This subject has been chosen as the stamps are generally quite readily available and as such provide a good basis for study and expansion. Introduction The Small Queens issue was printed by the British American Bank Note Company using the same vignette as for the Large Queens Half Cent value, which in itself was the same as for the other denominations in that series but with a reduced circumference. The reduced size allowed for more stamps to be engraved on the printing plates, which increased production. The stamps in this series, which spans a period of more than 25 years, were printed at different locations, resulting in subtle differences among them. These appear at first sight to be difficult to discern but with a little practise, and using the clues provided in this publication, you will quickly be able to allocate most of the Small Queens that you come across. The illustration on the left is of the One Cent die proof, showing the lathe work at the base It was the first Small Queen to be designed, proofed and plated This publication has been created to serve both as an introduction to the Small Queens and as a ready reference for the major aspects relating to the series. I suggest you begin by reading the series as presented after which it can be used as a reference to look up particular areas. Study of this series, because of its longevity and complexity, can provide a wholly absorbing pastime, but here I would like to offer a word of warning however absorbing, one should never take things too seriously stamp collecting in any of its guises should above all be fun! 4

5 Proofs It seems likely that the vignette was based on a design produced by the British security printers, Bradbury Wilkinson & Co., which in turn was modelled on the portrait of the young Queen Victoria made by the English engraver Mr. Charles Henry Jeens. It seems more than co-incidence that the portrait adopted by Canada faced to the right rather than the normal left. Plate proofs of this design, (which was basically for trade sample purposes), are not difficult to find in various colours, the most desirable of which is black. Die proofs are another matter and it is believed only one exists. In order to produce the vignette of the Large Queen Half-Cent value, an impression was taken from the Large Queen vignette master die, and the circumference reduced, slightly off-centre cutting off the tip of the base of the neck. It was necessary to do this off-centre to keep the portrait centred in the smaller format. It seems likely that no die proofs of the Large Queen series vignette survives and I have only been able to trace two of the smaller vignette, proofed for the Half- Cent Large Queen and then employed for all the Small Queens other than the diminutive Half Cent of 1882, and the Eight Cents where the portrait is virtually a mirror image of that of the rest of the series. One was in the 1969 Robson Lowe Glassco sale, and to my knowledge has not been offered since, the other was in one of the Maresch Simpson sales. It would be of great interest if anyone knows of other copies. This vignette was used, (as already mentioned), for the bulk of the series, the scrollwork probably being done first, then the vignette die impressed on to the work in progress and finally the wording and value were added to complete each die. It should be noted that only one die was made for each value. Additionally some essays were made, that is for a design that was not adopted in the case of a rejected One Cent design, or values that were never issued in the case of a Twelve-and-a-Half Cents and Fifteen Cents values. The first because of reductions in postal rates that made the denomination redundant, and the second because the Fifteen Cents plate never needed to be replaced. All die proofs of the series are rare and pricey. Plate proofs are also much sought after and as a result these are not cheap either. 5

6 In the standard work on Canadian proofs, (by Messrs Pratt and Minuse published in 1979), they were apparently unaware of the small vignette proof as it is not listed. However, it did list an alleged essay of the Six Cents with a portrait of a Queen with a blunt nose, determined jaw, the neck brutally chopped off at the back, the ornamentation is heavy handed and where the style of lettering is quite unlike anything used by the British American Bank Note Company. Along with its cohorror, (a Two Cents denomination), it appears to have been accepted unquestioningly by many collectors and experts. Since the item is printed on gummed paper, a highly unusual practise, (as there was no reason to gum Die Proofs if the printer wanted one stuck to card he used glue), it is surprising that the status of these items, (illustration 39B-E in the book), does not seem to have been challenged. Unless someone can come up with a provable respectable provenance, I fear they are nothing but out and out forgeries. Plate Characteristics Up to about the end of 1879, in laying down each plate, the siderographer incised a position dot on the right of where each impression was to be rocked in on the printing plate. On the printed sheet this appears as a dot under the left corner of the stamp on all but the first vertical row. The reason the first row does not show this dot is because the dot under each stamp is actually the positioning point for the stamp to its left, so that while the tenth vertical row shows such a dot, and 90% of the stamps printed from these plates will have one, must be from an early plate, (though not necessarily from an early printing). For example, only one plate was made for the Ten Cents value and this was completed in Thus no Ten Cents is from the First Ottawa Period, however it was in use both at Montreal and the end of the Second Ottawa Period. Yet another plate, one of the Six Cents, (made probably in 1872), known as the A plate, was laid down with a transfer roller, (the tool used to rock stamp impressions on to the printing plate), which had a loose side point, (the device on the tool which was placed on the position dot to locate each impression in its correct position), and it sprang loose during the tremendous pressure exerted in rocking in, with the result that in its original state that plate has two dots, and, due to subsequent repairs, wound up with three and even on some positions, four dots. It was still in use in the 1890 s. However, most of the plates that showed a lower left position dot were out of use by the early 1880 s so its presence generally indicates either a First Ottawa or an early Montreal printing. 6

7 This strip of three is a First Ottawa Printing, first state from the 'A'plate positions 1,2, & 3. The left stamp has no position dot under the left corner, the other two have two, one heavy, one lighter where the side point sprung. Plate Layouts. The early plates were arranged ten subjects across by ten down on mild steel plates 11.5 x 9.5 in size. These plates were not hardened at any time during their life, making repair by re-entering the transfer tool on worn or faulty impressions a relatively simple matter. Imprints were placed centrally top, bottom and at both sides, and at least one counter (the stamp denomination e.g. TWO CENTS) to the left or right, (and occasionally to both), side of the top imprint. In the case of the Ten Cents plate, one of its two counters the left one was the figure 10. All the early plates were of this 10x10 format. Since the probable reason for the reduction in size from Large Queen to Small was to speed up production, the price was fixed at 25 cents per 1000, (so it would not have been to get a reduced price), though in time this price was reduced to 20 cents, it clearly occurred to the printers that things could be speeded up further by printing from two plates at a time. I suspect this actually happened as before long, for the lower values, (Three Cents and below), a twin pane format was introduced consisting of two panes 10 x 10 placed horizontally side by side on plates 18 x 11.5 in size. At first both panes had the four imprints added and the usual single counters, sometimes toward the centre of the plate, and sometimes toward the edges, but in the later Montreal years 7

8 the side imprints and occasionally the counters were dispensed with, particularly on One Cent plates. The Half-Cent plate was a twin pane type, but is unique for the time, in that the panes were not separated by guillotine, but by perforating the centre gutter. Sheets and half sheets still extant may therefore either have or may be devoid of selvedge on what would have been the side at the centre of the plate. This plate had no counters, but had four imprints, top, bottom and on the outside edge of each pane. By the end of the Montreal period twin plates had become the norm; the Six Cents plate made in 1887 but not brought into use until 1890 at the earliest was a twin plate while I believe it highly probable that its four predecessors were all single pane format. In 1892 there was a further departure. Perforating machines at this period could now cope with rows twenty across, so a number of One, Two and Three Cents plates were made 20 x 10 down using the same size piece of metal for the plate. They had counters on either side of the single top imprint, toward the outside edges of the sheet, and two bottom imprints symmetrically placed. The last four such plates were made in 1893 for the Eight Cents, which because its primary purpose was to pay postage and registration combined, the portrait faces the opposite way to its predecessors to draw attention to its special nature. These later plates had neither counters nor imprints and this may indicate that perhaps the printers had decided to save costs. Incidentally while they were equally valid for ordinary postage, one will find it just about impossible to find one on a cover that is not registered. 8

9 The Printing Periods There were three printing periods into which Small Queens fall: The First Ottawa Period ( /3) when the printers'works were located on Wellington Street, Ottawa. The Montreal Period ( ) when the printing operation was moved to the Company s premises in Montreal. The Second Ottawa Period ( ) when the Post Office Department insisted that printing was resumed in Ottawa in accordance with the terms of the original contract signed at the beginning of Some writers believe that the move of printing to Montreal took place in October 1871, but this is speculation for which there is no hard evidence. The company experienced a fire in its pressroom in January, 1870, as a result of which it was minuted after a subsequent board meeting that they were going firstly to request that the Post Office Department waive the contractual requirement to print in Ottawa, and, secondly, one of their officers was empowered to find suitable premises in Montreal, which was in any case the firm s preferred location. In due course it was recorded that suitable premises had been found and a lease taken, and certainly the offices were removed to Montreal in October What is missing is any record of permission being granted to moving the printing operation as well. The Post Office Department required printing to be done in Ottawa for ease of supervision, since they owned the plates, and needed safeguards to monitor the ongoing production. They obviously took some persuading and my guess is that permission eventually was reluctantly given because the Ottawa plant had not the capacity to meet the rapidly increasing demand for postage stamps that had probably led to the reduction in size from Large to Small Queens in the first place, and it was probably only given as a temporary measure since as already seen, that particular requirement, (Ottawa printing), of the original contract was never varied. It should be borne in mind that at this time printers made up their own inks, and while there are graduations in shade during the first three years, it is only at the beginning of the fourth, (January 1873), that there is a real break in the appearance of the stamps, first with the Three Cents value, and then with the other three values that were current. While the officials of the company relocated, the operatives on the shop floor would have been different men, and the way the Montreal printers made up their inks was subtly different from those in Ottawa. 9

10 First Ottawa Period Four denominations were issued during this period; One, Two, Three and Six Cents. March 1870 February 1872 January 1870 January 1872 All the plates made had lower left position dots and had either Type III or Type IV imprints, (these are detailed later), placed centrally top and sides and bottom. Additionally a Counter was added to one side or the other of the top imprint. The stamps are generally on good quality wove paper, usually creamy, but in 1872 some were printed on a very white thin wove paper. The Thick Soft paper also comes from this period circa The perforation of these stamps gauge either just under 12 or just over These items are in the Canadian archives and dated 1891 They are listed as plate proofs however I can find no evidence of a plate with the head facing left ever being produced. I would therefore suggest that this is a proof taken from a completed, but never used, die. It is worth noting that the portrait differs from that used on any of the other denominations, including the 8 cent which had the portrait facing this way, with the main difference being the ribbon hanging from the hair behind the neck. A plate proof of the 1 cent denomination, (which may also in fact be a die proof), from the same source is illustrated for comparison. 10

11 Montreal Period Seven denominations of stamps were printed during this period: Half, One, Two, Three, Five, Six and Ten Cents. The Half Cent, Five Cents and Ten Cents denominations were added after the move to Montreal. The four denominations that had previously been printed at Ottawa The Half Cent that was issued April 1st, 1868 along with the other Large Queens has always been regarded as a Large Queen even though it had the same size and format as the Small Queens. The plate did not wear out until 1882 when it was necessary to replace it. Just as the former Half Cent stamp was smaller than the other Large Queens, the new Half Cent stamp was smaller than the other Small Queens. In 1875 it became necessary to produce a Five Cents stamp due to the formation of the General Postal Union. This led to a reduction in rates, both to the U.K. and other member states, of a uniform 5 per half ounce. The Small Queen Five Cents appeared in February 1876, a rushed out 5 Large Queen having been introduced on October 1, 1875 as a stopgap. The General Postal Union later changed its name to that it is known by today: the Universal Postal Union. The Ten Cents preceded the Five, coming out in 1874, though for no obvious reason at that time. There was no specific ten cents rate in force. Later, once there was a rate in force of 5 per half ounce, then the 10 was needed for double rate mail. 11

12 Second Ottawa Period Eight denominations were issued during this period: Half, One, Two, Three, Five, Six, Eight, and Ten Cents. Imprint top marginal pair The revamped Ottawa premises officially opened in May 1889, but there is evidence to show that printing had started there perhaps as early as February as covers exist franked with 3 cents vermilion dated March saw important changes in rates, one of which, the introduction of a 2 cents per ounce local delivery rate, brought about a very large increase in the demand for stamps of that value. It had been in the doldrums since the introduction of Registered Letter Stamps in November 1875 had made the use of the 2 cents postage stamp to prepay the registration fee, contrary to regulations. The result of this innovation means that the majority of Two Cents Small Queens one comes across will be Second Ottawa prints. In 1893 three additional values were added. Two of these, the 20 Cents and the 50 Cents, were based on the Bill Stamps then current and produced by the same printers are not strictly speaking Small Queens. These are generally classified as a 12

13 separate issue and are known as the Widow Weeds. The third denomination, the Eight Cents is a Small Queens issue and this is detailed below. Until 1889 the use of Registered Letter Stamps on letters had been compulsory since their introduction in November In 1889 the domestic registration fee was increased from 2 to 5. In order to use up stocks of the 2, rules were relaxed so that as long as at least one Registered Letter Stamp was affixed the balance of up to 5 could be paid by the use of postage stamps. So, for example, if you stuck two 2 Registered Letter Stamps on the envelope you would use a 1 postage stamp to make up the difference, plus of course a 3 stamp to pay the normal inland postage rate. In 1893 the rules were relaxed further. No longer was it required for any part of the fee to be paid by a Registered Letter stamp. A combination of stamps up to the value of 8, for a 1oz domestic letter, or one bound for the U.S.A., could be used. The Eight Cents stamp was issued primarily to meet this combination rate. One supposes the reason its portrait is the reverse of the rest of the series is to draw attention to its prime purpose. A further change in April 1894 allowed postmasters to use date stamps to cancel postage stamps, which together with the introduction, first of the unsuccessful barred circle cancels in 1892, followed in 1893 by the successful squared circle, means that far more Second Ottawa printed stamps are date cancelled than stamps from the two preceding periods. In 1896, rapid cancelling machines were introduced; it is extremely unlikely that any stamp bearing part of one these postmarks can be anything other than a Second Ottawa printing. I have seen some offered on Ebay by North American dealers as Montreal printings and my only comment is they really ought to know better. Perforations were generally 12 all round, but 12 x (approximate) can be found, and these are probably from the earlier prints as this combination was in use in the final Montreal years. It is also possible to find some gauging 12 x Paper is perhaps the best guide, as it is thin, poor quality, and often shows embossing on the back. In cases of doubt and where colour does not clearly indicate a stamp s place of origin, one can refer to the section on Plates. Practise and familiarity makes identification pretty easy for perhaps 99% of specimens one comes across. But there is always that 1%, particularly those printed from 1887 to about 1890, (the change over period), and luckily it is a tiny minority covering inexpensive items. 13

14 Colour I ll start with the Ten Cents. Montreal shades vary from lilac through mauve to magenta and purple. Second Ottawa shades run from carmine-pink to brownish red, and from salmon-pink to those with a pinkish flesh hue. Lilac Carmine Pink Similarly, the Five Cents, introduced in February 1876, can be allocated to Montreal if it is greenish bronze, olive green, or even the wishy-washy olive grey found at the end of the period of production in Montreal. Ottawa shades have no trace of green in their colour but vary from brownish grey to pale grey. Brownish Grey Olive Green The Half-Cent issued in 1882 is a bit more difficult to distinguish by colour, (Montreal from Ottawa), although Montreal impressions are generally crisper, as subsequent repairs coarsened the lines of shade. Paper is a better guide in this particular case and that is dealt with under that heading. The really easy one is the Eight Cents. It was issued in 1893 and all are therefore Second Ottawa printings. Their colours range from bluish to purplish slate. Bluish Slate Purplish Slate 14

15 The first Ottawa Three Cents vary from the first printings that appear in Copper and Indian reds, through various shades of carmine rose, from deep to pale. All of them, like the Three Cents Large Queen have an underlying blue tone. Montreal printings, (with one exception), are all orange reds or dull reds and all of these have a yellow undertone. The only exception is the Rose Carmine, printed in September, October and December 1888, and these were printings made after the lease of the Montreal premises had run out. The revamped building at Wellington Street, Ottawa was not yet ready due to building problems, and the printers were occupying temporary premises on the fourth floor of the Gazette Building in Montreal, a paper owned by one of their major shareholders. Second Ottawa Three Cents are vermilion in colour, with a large proportion printed with aniline ink, which shows a pink flush on the back, (and fluoresces yellow under UV light). Indian Rose Deep Rose Red Carmine Rose Red The first Ottawa One Cent shades are orange or orange-yellow with the orange being predominant. Early Montreal printings are orange-yellow with the yellow predominant; lemon yellow, bright yellow and yellow-ochre are all to be found from the later period of production at this location. Second Ottawa printings show little difference from the late Montreal bright yellow and the collector also encounters a yellow-orange from this period. In these cases paper is again a better guide than shade to determine where the later stamps were printed. Orange Orange Yellow Bright Yellow 15

16 The Two Cents has similar problems where the later printings in green are concerned, but blue-greens and dull sea green, (a slightly yellowish shade), are from the Second Ottawa Period. First Ottawa shades have a soft colour while Montreal greens tend to be hard. Again, perforation and paper may be a better guide. Soft Green Hard Green The Six Cents, (issued a month before the Two cents), in January 1872, shows shades of yellow brown for First Ottawa and Montreal, and red-brown, chestnut or chocolate for Second Ottawa. There is a distinctive dark yellow brown from the early Montreal Period, (in this case 1874), but while to me the First Ottawa colour appears warmer than those that followed, subjective descriptions can be misleading, and the only sure way to separate the two is with perforation measurement. 16

17 Perforations Collectors will inevitably come across two gauges, the Instanta made by Stanley Gibbons and the Kiusalas, which was designed for Large and Small Queens and, as a result, is totally unintelligible to any collector who does not have one. Printed on aluminium its raison d être for the Kiusalas was the false premise that because American and Canadian engineers used imperial measurements, standard perforation gauges, (which are based on so many holes to two centimetres), are misleading when applied to early Canadian Issues as the machines used to perforate the stamps must have been made also using imperial measurements, and there would therefore be so many pins to the inch, rather than centimetres. Unfortunately what was overlooked was firstly that British engineers at the time also used imperial measurements as a rule, but the inventor of the first successful perforating machine, (Henry Archer), based his comb perforator on 16 pins to 2cm, later changed to 14 pins to 2 cm for the simple reason that British Line-Engraved (the same printing method used for all Canadian stamps until the present reign and also called recess printing or more correctly intaglio printing ), i.e. Penny Blacks and Penny Reds, were centred at two centimetres and so are Small Queens, Admirals, from the later reign), etc. In other words the measurement from the edge of a given stamp to the same edge of its immediate neighbour is 2 cm. The Canadian and American stamp printers did not, however, use Archer s comb perforating machine, (a comb perforates three sides at a time and is progressed down the sheet). Another British firm, Bemrose & Co., had patented a lineperforating machine. The American printers Toppen Carpenter imported one, and the perforating heads were also based on 16 pins to 2cm, which you will find on the first perforated United States stamps. It was this machine that was the basis of those subsequently bought by the British American Bank Note Company. Other minor drawbacks of the Kiusalas are that it can t be used for stamps on cover or for large blocks for the simple reason one cannot see through it. There are two versions of the Instanta gauge, which is probably the most useful perforation-measuring device made. The early ones on clear slightly yellowish plastic measure anything from 16 to 10 holes per 2 cm. The later version is on thinner plastic, and because the Malay States in the 1950 s used gauge 17 perforations, it reads from 18 to 10. This later type is not quite as accurate as the earlier version, but, for most, is perfectly satisfactory. The basic perforation measurements of Small Queens are 12, 11.75, 11.5x12, 11.75x12, and 12x

18 First Ottawa printings are given in the catalogues as being Perf 12. Very few apart from first printings are in this size, and accurately these will read on an original Instanta, approximately 11.9 all round. The standard gauge for First Ottawas is all round (accurately approximately 11.85). I say approximately because one of the endearing features of early line perforators is that the pins were not mathematically equally spaced. Any Small Queen gauging just under 12 or about all round is almost certainly First Ottawa printing. The early Montreal printings gauged 11.5 x 11.75, then 11.5 x 12, later x 12, then 12 all round, and finally 12 x A Small Queen with any of the first three measurements is a Montreal printing. Second Ottawa printings are usually 12 all round. Very occasionally, they can be 12 x 12.25, which is why paper must also be considered in assignment to the correct printing. 18

19 Paper As a general rule of thumb, the earlier the printing, the better was the quality of the paper used. First Ottawa printings: Paper A - A high quality medium thickness wove showing a clear grain on the back and smooth to the touch. Paper B - Thick soft white paper, sometimes erroneously described as blotting paper, (wrong because this paper has a very fine horizontal grain). It was so soft that perforation pins were inclined to tear rather than punch the holes, so they look hairy and there is often a lot of confetti still adhering to the holes. To be found only on the One and Three Cents, as well as the Large Queens still printed at the time (Half, Two & Six Cents) it was in use around the end of 1871 and is scarce. Paper C - Thin soft very white paper with a vertical grain, used in 1872 for some printings. Montreal printings: None of these papers were used in Montreal. Paper D - Wove paper where the thickness can vary from thin to stout, creamy or yellowish in colour with a grain that is more marked and the backs therefore feel rougher. Depending on how the sheet to be printed was offered to the press, the grain can be horizontal, (the norm), or vertical. Because printing throughout the period, (and in fact right up to 1922 with subsequent issues), was done on dampened paper, stamps with a vertical grain tend to be taller and narrower than those with horizontal. The paper if breathed on will tend to curl side to side rather than top to bottom. Paper E - Pelure paper, sometimes called onionskin paper, because it is so thin and transparent. It is very rare on this issue and if one comes across a copy, one is extremely lucky. Paper F - Similar to Paper type D but thin and clearly of poorer quality. Second Ottawa printings: Paper G - Poor thin quality paper with an indeterminate grain, it resembles rag stock, and stamps often show an embossing effect on the back. 19

20 Gum Of use only on mint stamps this is of no help at all for the majority of Small Queens, which will be found used. The gum used at Ottawa, , was thin, dull and smooth with particles of foreign matter in it. From 1873, when printing was moved to Montreal until 1878, the gum used was brownish and streaky, but was replaced by a smooth shiny somewhat yellowish gum used until the final move back to Ottawa; when again it was replaced, this time by a smooth thick brownish gum arabic. 20

21 The Main Postage Rates A Short Guide As a general rule of thumb, all letter rates were per half ounce, or part thereof, until May 1889 when the domestic rate, (and that to the United States), were increased to one ounce or part thereof. Until the 1 st October 1875, while it was mandatory to prepay registration fees, it was required neither to pay postage with the use of stamps, nor indeed to prepay postage at all, though that failure cost the recipient 5 instead of 3 had the sender been willing to fork out the cash. Half-Cent Rates Domestic newspaper rate Unaddressed circular rate, (i.e., junk mail ) Unsealed mail containing circulars. In fact not an official rate, but the Maritime Provinces allowed such mail through without surcharge One-Cent Rates Drop Letter rate, i.e., letters collected by the addressee at the post office at which the letter was mailed. Until 1875 there is no weight restriction mentioned, thereafter it was per half ounce until May 1889 when it became per one ounce. Addressed circulars Two Cents Rates Registration fee within the Dominion until Registered Letter Stamps were introduced in November 1875 Newspaper sent abroad Soldier s letter rate where countersigned by the Commanding Officer. The Sailor s rate was the same From November 1875, (apart from the last two previously mentioned), it had little use except in combination with other values to make up other rates. This changed in May From May 1889 it paid the one ounce delivered drop letter or, in common parlance, the local delivery rate 21

22 Three Cents Rates The domestic half ounce, then from May 1889 the one ounce rate The rate to the United States. From the 1 st January 1875, weights as for the Dominion The rate to Prince Edward Island per half ounce. There was no change in 1873 when that province joined Confederation Five Cents Rates Letter Rate per half ounce to the U.K. October 1, 1875 December 1898 Letter rate to members of the U.P.U. after Canada was admitted in 1878 Six Cents Rates Half-ounce letter rate to the U.K. via Quebec until October 1, It was an extra 2 if mailed via Cunard ships sailing from New York. Half ounce letter rate to U.S.A. until the 1 st January 1875 Double weight letters wherever the 3 rate was in force From 1879 small parcel rate not exceeding 4 oz Eight Cents Rates Half-ounce letter rate to the U.K. via New York until 1 st October 1875 (made by combining values such as the Six Cents and Two Cents stamps) After 1 st October 1875 when the 8 rate to the U.K. was superseded, there was no Eight Cents rate The rate for postage plus registration both domestic and to the United States was 8 from 1889, and the combination Eight Cents stamp was issued in 1893 primarily to pay both charges. Ten Cents Rates Paid the double letter rate where the 5 single letter rate was in force Parcel post use Finally there was a bulk printed matter rate in force from the 1 st October 1875 of 1 per pound or part thereof. All stamps other than the Half Cent on its own can be found on receipts paying this rate. 22

23 Imprints and Counters Imprints All imprints used show clear lettering on a coloured background, the colour naturally being in whatever ink was used for printing off the plate in use. Based on W.S.Boggs classification in his book The Postage Stamps and Postal History of Canada, the two imprints used for plates made in Ottawa before the move were Type III and Type IV. The former reads British American BANK NOTE Co. Montreal & Ottawa and was 47mm x 1mm high (so much for the printers not using metric measurements); the latter, 50.5mm x 1mm high read BRITISH AMERICAN BANK NOTE CO. MONTREAL & OTTAWA all in upper case lettering. As far as is known neither were applied to any plate made in Montreal, though the M & O plates were not withdrawn; indeed it is one of the mysteries that it is difficult to find any Three Cents, for example, earlier than about 1880, with anything other than one of those two imprints, Type III being the commoner. Type IV imprint 23

24 The first plate that is known to have been made with the standard Montreal Imprint was the Ten Cents denomination in Measuring 55mm x 2mm it read British American Bank Note Co. Montreal Designated as Type V, it is known on all values, other than the Eight Cents which did not appear until 1893 and is void of an imprint anyway. In 1889 after the final move back to Ottawa, (it is believed), two 2 Cents and one 5 Cents plates were made in the new 20x10 format bearing Boggs Type VI imprint BRITISH AMERICAN BANK NOTE Co. OTTAWA, this being 48mm x 1.25mm in size. By 1892 this was replaced by the final imprint to be used for Small Queens, Type VII only 40mm x 1mm in size it read as Type VI but was entirely in upper case lettering. Counters Counters, which simply in writing or occasionally in numerals gave the denomination of the plate, were generally but not always applied. Until the move to Ottawa they were generally in shaded fancy thick Serifed lettering; the One, Two and Three Cents plates of 1892 had thin un-serifed lettering. Serifed lettering Sans-serif lettering A left side pane of the 8-cent denomination showing that no imprints were placed on the margins of this value 24

25 Imperforates One sheet of each value, (including the Large Queen Fifteen Cents), was printed about 1892 and given to a gentleman who had been of service to the Department, some further few sheets were printed and got out, and some were actually on sale at Montreal. However, the bulk was purchased by the New England Stamp Company, (by devious means, which has been documented elsewhere), but eventually were cloaked with respectability. The only good thing that can be said about them is that imperforate or not, they were valid for postage and occasionally turn up on cover in un-separated pairs. One word of warning, unless it is a selvedge, (marginal), copy never be tempted to buy a single; there are some jokers out there who think it clever to trim off the perforations of jumbos, the usual giveaway is three decent margins and one close, and now and then one can still see traces of the original perforations. 25

26 Major Varieties Half Cent. In later printings it is difficult to find any copy that does not show some evidence of reentering, that is, the re-application of the transfer roller to a worn or defective impression to strengthen or freshen it, resulting in the deepening of the recessed lines, or doubling where the part of the old impression is still visible. The one really major variety is on the right hand pane, (horizontal) Row 5/9. The stamp is doubled virtually throughout its whole design. Re-entry One Cent. When the Small Queen plates were made, they were done using a transfer roller about 2.5 in diameter. This roller held two impressions diametrically opposite one another. This left no evidence of over-rocking the relief, that is, allowing it to travel too far, up or down. Strand of Hair In the mid 1890 s two values did show evidence of over-rocking, and it seems likely that the printers were experimenting, (somewhat unsuccessfully), with a multirelief roller with perhaps as many as six impressions on it, which would just fit onto a tool with the above mentioned diameter. On the One Cent this gave rise to the four Strand of Hair varieties; one long (illustrated above), a medium, (slightly shorter and less heavy), and two short versions which can be distinguished one from the other because one of them is also re-entered at the base. It is known that the long and medium variations come from the 1892 Ottawa plate with the letter C above the imprint and it has been confirmed that these are from the right side pane. 26

27 Two Cents. On two different plates, the siderographer, (the craftsman who made the plates), started to rock in an impression half a stamp too high. When he realised his mistake, the original impression was partially burnished, and the impression re-entered correctly. Since bits of his mistake are still visible, the two varieties are correctly described as Fresh Entries, ( Latent Entries in the United states and Canada), and not the more usual Re-entries because the re-entry is the body of the stamp, and the latent bit is what is not supposed to be there. A large block which enabled showing of the latent entry at the top to be plated is known, but the one showing it at the bottom right and in parts of the stamp design, (illustrated above), has never been plated, and it is estimated that there only about ten of these in existence. The Two Cents also boasts one major re-entry distinguished by distortion of the lettering and numerals at the bottom of the design. Three Cents. In spite of nearly 1.4 billion being printed, nothing really spectacular has yet been recorded. However there are plenty of lesser varieties that can be found, including two marks on the Queen s neck from slight damage to the plate known as Dracula s Kiss Five Cents. A pretty hefty bit of damage occurred to a plate in Montreal resulting in a diagonal scratch running from the Queen s head. Not too many are known to exist. A major re-entry exists on an Ottawa printing, which, although extensive, is weak in comparison with those recorded on the other values. Six Cents. This value really is a great hunting ground for the collector. One major re-entry was made on the first plate before printing, (with the exception of proofing), and this occurs on row 7 stamp 7. (This is termed as a fresh entry by American and Canadian collectors) 5 cents on 6 cents re-entry 27

28 There is also a strong flaw under the neck, (on the same plate), and this occurred after the move to Montreal but this is very scarce. This scarcity suggests that the plate was scrapped soon after, the major re-entry, relatively common on the early Ottawa printings, is extremely rare on a Montreal impressions perforated 11.5x12 and the neck flaw is equally as rare. The fun with this value really started in the 1890 s in Ottawa with seven 5 on 6 varieties, (where part of the Five Cents design was rocked on top of the Six Cents), probably using the same roller which caused the Strands of Hair on the One Cent, (Detailed above), and in fact two of the aforementioned are identical. Found on the A plate, and similar to the short stand of hair flaws, but across the tiara instead of the hair, the final repair to that plate, (which had survived since the first Ottawa days), produced two further 5 on 6 s varieties, one at the end of the second row, the other at the beginning of the third. One of the strand of hair like flaws is immediately above the later re-entry on row 2 stamp 1. The repair also produced the plate s single Major Re-entry from Row 3 stamp 4, and this is the most easily found one of the Six Cents from the second Ottawa printing. Almost unbelievably, there are three major 5 on 6 re-entries, but in two cases only one specimen of each has been recorded; both are thought to come from Pane B. The one that has been catalogued is confirmed as being from pane B, row 3 stamp 5. Regarded as among the rarities of the issue, there are three major re-entries from the same plate, one from Pane B, the two others from Pane C, and all are equally elusive Eight Cents. This has one major re-entry recorded where the whole impression has been strengthened. The alignment of roller for the re-entering seems to have been almost perfectly positioned and is only noticeable when compared to other copies in a similar shade, the re-entered stamp appearing slightly darker, the lines been deeper engraved and thus retaining more ink. Ten Cents. One major re-entry, (again made before printing commenced), comes from row 9 stamp 9 and is most visible along the top of the design for about two thirds of the way from the right corner. There are of course many minor varieties that can be found and these range from double perforations, pre-printing paper creases, plate damage, either from stress, (i.e. cracks), or from objects being dropped on it, to flaws which may be constant from a certain period but which are very minute. There is also on a number of impressions evidence of re-entering and this ranges from minor to quite strong. 28

29 The 5 on 6 Small Queen This section deals with the re-entry of the 6-cent value with impressions from the 5-cent relief on the roller containing multiple impressions. THE EIGHT PLATE POSITIONS OF THE 5 ON 6 SMALL QUEEN The controversy of the 5 entry on the 6 design of the Small Queen Issue rages on. Over the years, along with the concerns about how the variety occurred, we have had the added problem of the lesser 5 on 6 s that have been shown to exist in Positions 11, 20 & 21 of the A Pane, which are typified by the arc through the tiara and slight indications of some horizontal and vertical lines from the 5 cent design and these we be dealt with further on. Fig 1a Fig 1b To further complicate matters, it is now known that there are THREE different versions, and therefore different plate positions, of the original strong 5 on 6. Only one of these has been plated so far, and that is the original variety from pane B position 25. This is now known as type 1, and is shown in Fig. 1a & 1b above. Note carefully the position of the top horizontal line of the 5-cent design and where it cuts through the NA of CANADA and AG of POSTAGE. The position of this line is crucial in determining exactly which of the three types you may have. Fig 2a Fig 2b The second example, type 2 above, (Fig. 2a & 2b), which has not yet been plated, shows the line through NA in a slightly lower position than type 1. It is also slightly lower in the bottom strip of colour at the base of the A of POSTAGE, yet appears higher in the G. This suggests that the transfer roller was twisted slightly anti-clockwise when the re-entry was made, in comparison to type 1 which appears to have been aligned correctly. 29

30 Fig 3a Fig 3b A third type of the flaw is also known, (illustrations Fig. 3a & 3b above), and this has been called type 3. As you can see, the line through NA of CANADA looks pretty much identical to type 2, but when you look at the AG of POSTAGE, there is a startling difference. The line is now near the bottom of the strip of colour at the base of the A, and cuts through the top of the G much lower than in either type 1 or 2. The 5 design, below this line, also appears much lower than on type 3, but this is simply because the top rows of little squares seen in type 1 did not transfer. On type 2, the vertical lines transferred, but the horizontal ones that formed the small squares on type 1 did not. Both of the examples, (type 1 and type 2), have been known for some time, but without close-up pictures, such as those seen here, it has proven difficult to have them recognized and accepted by many of the Small Queen specialists. The addition of type 3 increases the known variations and I hope the illustrations will enable them to be separated according to type. So there are three distinct versions of the strong 5 on 6, only one of which, (type 1), has been plated. Chances are great, however, that types 2 & 3 also occurred on the late re-entered state of the B Pane. Full sheets of the late states of Pane A and Pane C have been examined and neither proved to have either of these types. A complete, late state of the B Pane is not known to exist. Having now shown detailed close-ups of the three different plate positions of the strong versions of the 5 on 6 cent, I am now going to examine the fainter, (thus lesser ), versions of the 5 on 6. Until fairly recently, three were known, all on the A Pane, and for which the plate positions are known. However, a forth has been discovered, (of which at least three copies are known), of yet another position which is not on the A Pane. While some specialists reject the notion that these are indeed legitimate 5 on 6 re-entries, as I will show from the very first example, they can be nothing but. The three known positions on the A Pane are stamps 11, 20 & 21. A20 is the strongest of the three, and is shown in Fig. 4 below. Along with the heavy arc through the tiara and the dots in the hair, there is the horizontal line through AG and in the white oval below the T, as well as the unmistakable tiny rectangles in the oval below the A. If you compare all of these markings to those on the strong versions shown earlier, there is no question that these originated from the 5 design from position A21, (seen in Fig. 5 below), has fainter markings, but the line is visible in AG, and the arc in the tiara is strong. 30

31 Fig 4 Fig 5 Like the strong 5-cent on 6 cents, both A20 & A21 have numerous dashes or markings in the hair below A P, which are remnants of the lettering of CANADA POSTAGE from the 5-cent relief. On A20 the vertical dash below the A touches the top of the head, whereas on A21 this dash does not touch the top line and there is a small gap visible between the dash and the top of the head. The impression from plate A stamp 11 is the weakest of the three plated positions, (and is seen in Fig. 6 below). Indeed, most of the evidence is gone, except for the tiny arc that crosses the tiara in approximately the same position as A20 & A21. Some specialists say that this is really stretching things to label this a lesser 5 on 6, and without the existence of A20 & A21, (illustrated above), I would agree. However, the arc in the tiara is so very like that of the ones seen in A20 & A21, that it more than likely originated at the same time and by the same process: over-rocking of the transfer roll. The fact that A11 is found directly above A21 also lends credence to this possibility. Fig 6 31

32 To take this a little further I would suggest the following Stamp 1 was re-entered, (although I can find no record of this), and the roller over-rocked causing the marks on stamp 11. This impression was also re-entered, weakening the traces from the 5 cent relief, (as illustrated above, Fig 6), and in the process the transfer roller was again over rocked causing the marks on position 21, (Fig 5). Fig 7 This latter reasoning is also needed for the newest member of this group, shown in Fig. 7 above. Here an arc, heavier than that of A11, is seen crossing the tiara. This arc is in the highest position of any of those seen to date, but it is nevertheless there. Again, were it not for the existence of A20 & A21, we might attribute this curved arc to some other cause. However, it is highly suggestive of yet another lesser 5 on 6. Every position of Pane A was re-examined to see if this stamp was there and had been previously missed, but a careful examination of every position on the pane failed to turn up this stamp. It was also noted that on all the originally found three copies of this variation, the top-centre lines of the top left corner ornament are broken, or weak. This feature can be found on many positions of the 6- cent stamp, and was to be of immense help in eventually plating this item. Copies of this stamp having a very wide left margin will also show a strong vertical guideline in the bottom left corner. 32

33 Fig 7a the marginal example that allowed this re-entry to be plated Some time later a lovely copy of the 6 with selvedge attached on the right side was submitted to the Green Foundation, and this impression had a tiny arc through the tiara. On close examination of this stamp, (shown above Fig 7a), I believe it is the same as our fourth lesser above, (Fig. 7). It has the same high arc and as can be seen from the scans, there are no marks in the hair. It also has the weak lines in the scroll in the upper left. The only thing missing is the strong vertical guideline in the lower left corner, but the margin here may not be quite wide enough to show it. From the extra-wide bottom margin, it is also obvious that this stamp is from position 100 on the sheet. On examination of photos in the Archives in Ottawa, I would say that this stamp is indeed from the C Pane, as the photo shows the same tiny arc, something that had obviously been missed by all the specialists who had looked at this item before. Therefore, I believe it is safe to say that this previously unknown position can now be said to be from plate C stamp100. Details of the variations, (as seen on this plated example), are shown below, (Fig 7b 7d). 33

34 Fig 7b Sharp arc through the tiara Fig 7c No marks in the hair Fig 7d Guide dot touching the corner ornament Fig 8a Fig 8b The final example is on an already plated stamp, plate C stamp 26. This stamp had already been recorded as having two small curved marks in the bottom right margin, but the arc through the tiara, (which is quite faint), was not previously noted. These are illustrated above, (Fig 8a and 8b). 34

35 Postal History This, in itself, is a complete subject, and what is presented here is only an indication of the areas of study that can be pursued. Between 1870 and 1875, although it was necessary to prepay registration fees, it was not required that the postage on a letter be prepaid, and if prepaid, it was not compulsory that postage stamps be used. On the question of stampless covers, certain individuals, (M.P. s for example), had the privilege of free postage within the Dominion, so you can find not only stampless covers there, but also covers sent outside Canada, where the free part was deducted. For example before the 1 st January 1875, the half-ounce rate to the U.S.A. was 6 cents. Anyone with the free privilege need only pay 3 Cents, free in Canada, but not across the border. Such covers are pretty scarce. In November 1875 Registered Letter Stamps were introduced for the prepayment of the fee on letters being sent either home or abroad. The registry system is a broad field, but there is much to look for even you confine your interest only to the Small Queens period was also the year prepayment and the use of postage stamps for mail became compulsory, so here a collection can be built up showing the various domestic and foreign rates and how they changed, (always downwards in those days), over the years. And of course there are the postmarks. This period was particularly rich in its variety because the regulations required that postage stamps were to be cancelled with a killer, (or failing that an ink cross), and that the sending post office s postmark, (generally circular but there are several types single ring, split ring, double split ring, skeleton, three ring are some of them), was to be applied to the envelope, not the stamp. The receiving office was to backstamp the item, as were all offices it passed through en route, if any. It was not until 1894 that regulations were relaxed to allow the use of post office date stamps on the stamp. Naturally the Post Office Department could not supply the rapidly increasing number of post offices with killers, so postmasters were allowed to make their own. Thus were born the Fancy Cancels of the Large and Small Queen periods, often termed corks; and although indeed sheets of cork were sold to postmasters for the purpose, (since rubber, wood, steel, and even signet rings were also employed as killers, to say nothing of misused officially issued devices such as mail-bag seals, rate markings and the like), I prefer the more generic term Fancy Cancels. These are best on cover, as this would give the office of origin, but some are known only on loose stamps, and so their origin remains unknown. 35

36 BHJ cork cancel Mailbag seal Of the official killers issued, these range from preconfederation postmarks such as the New Brunswick Grid Numerals, British Columbia Numerals (very scarce on Small Queens), Colonial 4-Ring and Confederation 2-Ring Numerals, to Bulls-Eye and Ring cancels and the expensive Duplexes given only to the more important offices. To add to the fun, some postmasters made up their own duplexes (which consist of a hammer bearing a circular date stamp and a killer so that only one strike was needed to service each cover), and so there is a field of unofficial duplexes, and duplexes where the killer could revolve round the date stamp as at Winnipeg, Montreal and Toronto. 36

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