The Die Varieties
of the
NESBITT SERIES
of
United States Envelopes
By
VICTOR M. BERTHOLD.
NEW YORK
SCOTT STAMP & COIN CO.
1906.
Copyrighted, 1906
All rights reserved.
CONTENTS.
INTRODUCTION, 3
THE 1853-55 SERIES, 6
Reference List, 33
SECOND ISSUE: 1860, 40
One cent: Blue, 40
Three cents: Red, 45
Four cents, 47
Six cents: Red, 48
Ten cents: Green, 48
Reference List, 48
THIRD ISSUE: 1861, 53
Three cents: Rose, 53
Six cents: Rose, 59
Reference List, 60
FOURTH ISSUE: 1863 AND 1864, 63
Dies Inscribed "U. S. Postage", 64
Dies Inscribed "U. S. Post", 68
Reference List, 83
FIFTH ISSUE: 1864-1865, 90
Reference List, 97
APPENDIX, 103
ADDENDA, 105
ERRATA, 106
INTRODUCTION
"Variety is the spice of Life". This aphorism, if applied to collectors
of the dies of the early United States envelopes, changes with
kaleidoscopic rapidity into: "Varieties are the bane of collectors".
The truth of this statement is borne out by the fact that, though the
die varieties of the Nesbitt issues are one of the most interesting
phases of American philately, the amount of our knowledge concerning
them is surprisingly small.
If we recall that many of these dies have been in existence for half a
century, embracing all issues prior to 1870, and thus, in comparison
with modern issues, are hoary with age, that they have been collected
for decades by ardent lovers of United States envelopes, our surprise
is heightened.
The honor of the first attempt at describing the various Nesbitt die
varieties and making this knowledge public property belongs to an
English philatelist of rare ability, the late Gilbert Harrison. While
this confers great credit upon the latter, it is an humiliation to
American philatelists that this page of our own history was left to be
written by an English student. Even so, this work[A] did not appear
until fully forty years after the Nesbitt dies were first issued.
It is, likewise, true that Messrs. Tiffany, Bogert and Rechert in their
"Historical Notes"[B] undertook to rescue the Nesbitt die varieties
from an ignominious oblivion, and for this they are also entitled to
praise, but up to the most recent time, the great body of collectors
did not possess a guide-book, a "Philatelic Baedeker," which would
enable the timorous traveler to proceed into the unknown country with a
feeling of perfect safety.
Naturally the question arises: What is the reason for this state of
affairs? Why have the Nesbitt die varieties been relegated to an
entirely unmerited obscurity?
Unless I am greatly mistaken the answer is that the large majority of
collectors believed the subject to be fraught with difficulties. Add to
this both the lack of a catalogue and of any systematic exposition of
the early die varieties, and it is easy to comprehend why the bugbear
has continued to the detriment of United States philately.
However, thanks to the good services of the Scott Stamp & Coin Co., and
the J. M. Bartels Co., this wrong impression has been largely removed
and the future collector of the Nesbitt dies has a rich and inviting
field now open for his favorite pursuit. Moreover, henceforth no
collection lacking these important die varieties can lay a claim to a
full degree of completeness, and this remark refers equally to those
who collect entire envelopes or cut square specimens. Indeed, of the
two the latter is by far the larger gainer, because these varieties
appear on comparatively few "knives" or shapes of envelopes.
Assuming that not many collectors, either young or old, have busied
themselves with die varieties a few remarks about the method or way of
studying them, gained from practical experience, may not be out of
place.
Of course, I do not intend to give specific rules here. These will be
in order as soon as we take up a special issue.
It is true that die varieties may be found in half a dozen different
ways, but it is equally plain that if we can use a uniform method,
applicable to all, we shall be far better off. Although this fact is
self evident, such a method was unknown when the writer commenced the
study of the Nesbitt die varieties. Recognizing, however, the value of
some simple means, various methods were pursued until, after numerous
disappointing failures, the solution of the problem was found by means
of line prolongation and the use of a unit distance measurement.
As in redrawing a die the engravers of the Nesbitt envelopes have
endeavored merely to reproduce the stamp in its general features, the
result is that the spacings between the letters, the form of the
letters, their size, and the size of the entire stamp may all be
subject to many changes. Owing to this nonchalant procedure, and
referring now to the very first issue, the engravers have left to
posterity not less than ten different heads of the "Father of our
Country" which can readily be seen on fine specimens. For the same
reason there are ten dies of the 3 cent red, commonly known as Die 5 or
E, which are further characterized by the "T" of "THREE" having a long
cross stroke. This die was redrawn and the long cross stroke of "T"
changed into a short line. The alteration added twenty varieties, among
which are some highly interesting and valuable specimens.
Suppose we select the "T" of "THREE" for our starting point and, noting
that that letter is found in various positions, slanting to the right
or left, or standing nearly vertically, we lay the edge of a fine piece
of paper along the outside of the downstroke and thus virtually prolong
the "T" line downward. Next we carefully note where that prolongation
touches a letter in the lower label. If we find that in a number of
dies the line touches the "N" of "CENTS", we have probably established
a general class. Continuing our inquiry we may note that the "T" line
falls outside of the "N", perhaps touches the "T" or may even cut the
"S" of "CENTS"; a clear indication that we have other die varieties.
The above, I believe, illustrates sufficiently what is meant by a
system of line prolongation.
Another great help is furnished by the use of a uniform distance
measurement. For convenience take ten millimetres and, setting a
divider at that distance, commence with the "T" of "THREE", selecting
as our starting point the left end of the horizontal cross stroke of
"T". Assume that, in our first specimen, the end of the ten millimetre
line touches the end of the first "E", in the second it may fall
between the two "E"s, while in a third the same distance reaches
outside the final "E". In this simple and comparatively easy manner, we
have ascertained three important classes.
Knowing our main classes, the next step is to study a number of dies of
the same general class for sub-varieties, using again one or both of
the methods with which we are now well acquainted.
In this manner order is brought out of apparent confusion, and if we
work carefully, and are willing to have a little patience, the final
success will pay well for all our trouble. Indeed the mental training
gained by this work is very valuable and will assist us greatly in the
knowledge of other stamps or dies.
So far I have not spoken of the various forms of watermarks employed by
Nesbitt, nor of the tresses, or seals, found on the flaps. These are of
importance to the collector of entire envelopes, but are a negligible
quantity for those who prefer to get the die varieties as cut square
specimens.
As it is evident that the purpose of the present work is to enable the
great body of collectors of United States stamps to become well
acquainted with the early Nesbitt varieties, hitherto considered the
exclusive property of the specialist, I suggest to the powers that
supply our need in the way of stamp albums to prepare a couple of extra
pages, showing the die and its main varieties. A friend of the writer,
an enthusiastic collector of cut square specimens, has adopted this
plan and it is certain that if any of our readers had an opportunity to
see how attractive and interesting these pages appear, they would not
hesitate to do likewise.
Perhaps this suggestion will be heeded by the album publishers. If so,
there will soon spring up special groups of collectors of the early
Nesbitt Die Varieties.
In conclusion I desire to express to Messrs. J. M. Bartels, Edward H.
Mason and Geo. Rauh, all of Boston, my sincere thanks for the valuable
aid which they have rendered me in preparing this work.
Mr. Bartels has worked with me continuously in my investigations into
the intricacies of these dies; Mr. Mason has placed his grand
collection of United States envelopes unreservedly at my disposal,
besides aiding me in many other ways, and it is to Mr. Rauh that I am
indebted for the very fine and conscientiously executed drawings of the
various, heads of this series.
VICTOR M. BERTHOLD.
Boston, Mass.
Feb. 1905.
FOOTNOTES:
[Footnote A: The--Nesbitt Stamped Envelopes--and Wrappers--of
the--United States of America,--with descriptions of the varieties of
the dies,--and fifteen full-page illustrations--by--the late Gilbert
Harrison.--Edited and completed--by--E. D. Bacon.--Published as a
supplement to the "London Philatelist",--by M. P.
Castle,--Vice-President of the Philatelic Society, London,--1895.]
[Footnote B: The--Stamped Envelopes.--Wrappers and Sheets--of the
United States--by John K. Tiffany, R. R. Bogert,--and Joseph
Rechert.--A Committee of the National Philatelical Society,--New
York--1892.--Published by--The Scott Stamp & Coin Co. Limited.--12 East
23rd St.]
THE 1853-55 SERIES.
It is strange that the Yankee, who is generally so quick witted in all
matters pertaining to trade and commerce, has been comparatively slow
in recognizing the value of the stamped envelope for business purposes.
As a matter of fact, the famous Mulready and its numerous caricatures
had been used in Great Britain for nearly a dozen years when the
Thirty-second Congress, on Aug. 31, 1852, authorized the issue of
stamped envelopes in the United States.
The next we hear of the matter is a short line in the Report of the
Postmaster-General, dated December 4, 1852, which reads: "Such
envelopes as are authorized are now in preparation and will soon be
issued." And, in February of the following year, the _Scientific
American_ mentions the interesting news that "G. F. Nesbitt has shown
to the Postmaster-General an embossed stamp for prepaid envelopes which
has been accepted, and the manufacture will at once proceed. Such,
however, is the labor and care required for their production, that none
will be ready for delivery before the middle of next April."
The much heralded novelty of the Post Office finally appeared July 7,
1853. At least, this date is certified to by the National Intelligencer
of the _Washington Journal_, which, in describing the envelopes just
sent out for distribution, states: "they are as yet but of a single
size and of the three cent value." It also adds that the addition of
the Nesbitt seal is an outrage.
Without entering into further details, it is of general interest to
note that, up to 1869, Geo. F. Nesbitt & Co., of New York, continued to
furnish the United States Post Office Department with envelopes.
Recalling the fact that Nesbitt originated the dies; that the machinery
for embossing was very crude compared with our modern apparatus,
collectors must concede that his work deserves great credit.
The question, however, of superlative interest to philatelists is: why
has Nesbitt produced such a large number of dies or die varieties? The
answer is simple: Pressed hard by the Department to manufacture several
millions of envelopes, a gigantic task in the early days of stamp
making, and lacking our present means of reproducing working dies from
the matrix, he undoubtedly used his best effort; i.e. he probably
ordered a number of engravers to reproduce the original die, and, in
the hurry of the work, little attention was paid to exactness. This
would seem a very plausible explanation, and in the absence of any
official data let us permit the above assumption to stand.
Whatever may be the facts in the case, one thing is certain; the
varieties exist and have been a source of trouble to many collectors of
United States envelopes. With wider knowledge and on better
acquaintance, it is certain that in future they will prove a most
interesting branch of United States philately.
DIE I.
[Illustration]
Short labels with curved ends close to the letters. 10 loops in left
side ornament and 9 in right.
TEN HEADS--TWELVE VARIETIES.
In accordance with the instructions of the United States Postal
Department, the first issue of United States envelopes was to represent
a profile of General Washington after Houdon's famous bust. No doubt
the spirit of the engraver was willing, but the "flesh was woefully
weak." Indeed, it is no exaggeration to affirm that the head, or heads,
of Die I (or A) are as far from Houdon's masterpiece as the sun is from
our planet. Moreover, on a close inspection we find a lot of curious
and noteworthy details which seem to indicate that the artist, or
artists, had peculiar ideas of the manly beauty of the "Father of our
Country."
Certainly, various national types are represented and the expression
runs the gamut of meekness, aggressiveness, stolidity, stupidity and
boozy hilarity. As a rule an artist would be satisfied to ornament the
eye of his subject with one eyebrow, but several of the profiles of Die
1 have two, and in a position which would bewilder the student of
anatomy. Another startling feature is the sidelock, which sometimes
grows upon the eyebrow. And finally we are forced to conclude that the
tonsorial artist who attended Washington performed queer tricks. In one
die one-half of the head appears void of hirsutic covering. Well,
perhaps this was the summer season! I must not forget to mention that
on one side of the nostrils appears a Phrygian cap, probably an
indication of the republican spirit of the United States. In conclusion
the writer recalls a good joke by a gentleman prominent in philatelic
circles. After a perusal of the above paragraphs he expressed himself
that the bust of Washington of Die 1, instead of being "after Houdon"
was a "Hoodoo", and there is a great deal of truth in the witticism.
Owing to the antiquity of the first issue of Nesbitt dies, collectors
must not expect to find an abundance of mint specimens. Of course they
are the exception, but in many used envelopes the head is impressed
with sufficient clearness to permit identification, and the cuts
accompanying the dies, being photographic reproductions of pen
drawings by an artist, will be found a valuable aid. Indeed, as far as
the varieties of Die 1 are concerned, a thorough knowledge of, or
acquaintance with, the various heads is necessary to avoid confusion,
especially as the inscription in several labels is similar and not
unfrequently the lettering is quite indistinct.
If the question is asked why a unit distance measurement is not applied
to differentiate these varieties, the answer is that the spacing of the
letters of the inscription is nearly alike. Of course the slant of the
letters differs. Such differences as are helpful and noticeable will be
mentioned. The system of line prolongation, for example, the downward
prolongation of the "T" of "THREE", discloses certain groups in the
writer's opinion, but the differences obtained thereby are not of
sufficient practical value for establishing groups. For a quick and
reliable identification of these varieties an intimate knowledge of the
heads is required.
It having been decided to reproduce the heads, the question arose:
Shall we draw every feature and every detail, or is it preferable to
indicate merely such portions of the face as are different in the
various dies? Evidently, many minor points could be omitted without in
any way detracting from the usefulness of the drawings. Indeed, the
adoption of this plan permitted the artist to emphasize and to bring
out more strikingly such features as constitute the real differences.
There are three prominent features in each of the ten heads. The first
is the side-lock, which may be either single or double, straight or
hooked, short or long. Second in importance is the distance between the
end of the side-lock and the ear-lobe. Even a casual observation shows
that the distance between the ear-lobe and the end of the side-lock
varies greatly; very wide, near and close. The third feature is the
lowest front-lock, which, by the taste or art of the die cutters has
been, like man, "wonderfully and fearfully made", short or long, thin
or full, single or double. In good specimens the eyebrow constitutes a
valuable adjunct, and in all dies where this feature plays a prominent
part it will be noted. Finally the attention of the collector is
directed to the fact that only Head 1 shows Washington with circularly
cropped hair, or, as the barber would express it, a "Dutch clip". This
head was used for varieties 1, 2 and 3, the first being a rather scarce
article. If the student fixes his attention on the above three main
features, and does not attempt to get the entire ten heads fixed in his
mind at a glance, it will be found that the task of differentiation is
not at all a burden even to the youngest collector of cut square
specimens. A certain amount of patience is, however, required; likewise
a certain amount of willingness to be taught, but the collector
possessing these two virtues--and it is one of the crowning glories of
stamp collectors to be both studious and patient--will soon have the
various Nesbitt heads of Washington engraved upon his memory.
Taking the distance between the end of the side-lock and the ear-lobe
as our main feature, the various heads may be grouped into three
distinct classes:
CLASS I. Distance between side-lock and ear-lobe very wide.
Heads 1a, 3, 4, 6, 7.
CLASS II. Distance between side-lock and ear-lobe near.
Heads 1, 2, 8.
CLASS III. Side-lock close to ear-lobe. Heads 5, 9, 10.
* * * * *
HEAD I.
[Illustration: I.]
A long side-lock commences a short distance above the corner of the
eye, but stops quite a distance from it. Together with the side-lock
commences a heavy lower lock which slants across the ear-lobe, leaving
the lower half exposed. There is a considerable space between the end
of the side-lock and the ear-lobe. The entire hair ends in a nearly
horizontal line. Two folds in the garment on the right side of the
neck.
[HW: See Appendix page 103]
[Illustration]
Variety I:--"CENTS" close to outer oval line. "CE" on level and far
apart. "C" quite a distance from curve. "N" and "T" wide apart at base.
"S" close to curve. The final "E" of "THREE" is somewhat lower than the
first "E", dips to the right, and is close to the curve. "T" of "Three"
is also close to curve. Many of the white envelopes are on horizontally
laid paper.
Variety 2:--"THREE" near outer oval line. "T" further from curve. "RE"
wider apart at top than in Var. 1, and "HR" slightly nearer than in
Var. 1. The distance between "EN" and "NT" of "CENTS" is very wide. "S"
far from curve. "CE" wide apart.
HEAD Ia.
[Illustration: Ia.]
Same as Head I, but the side-lock is shorter and is further from the
ear-lobe.
[Illustration]
Variety 3:--"C" is above level of "E", near inner oval line and close
to curve. "CE" wide apart. Note that "ENT" is near and "NT" much nearer
at base than in Var. 1 or 2. "NTS" is also nearer inner oval line. "TH"
of "THREE" is close. The "R" of "THREE" slants to right.
This variety is often seen on white paper horizontally laid.
HEAD II.
[Illustration: II.]
An heavy eyebrow. Two side-locks, of which the first is merely a fine
line, commence far from and high above the corner of the eye. The
first side-lock is only half as long as the second; the latter is
curved sharply at its end, and near the ear-lobe. Near the end of the
side-lock commences the lowest front-lock, which slants only a little
distance across the lobe. Front-lock and ear-lobe resemble the letter
"T". Hair is divided into two parts. The lowest lock of the back row is
in line with the queue.
[Illustration]
Variety 4.--"CENTS" is close to outer frame line and "C" is far from
curve. "EN" near; "CE" wide. "NT" wide at base, "THR" near.
HEAD III.
[Illustration: III.]
Side-lock starts some distance from the eye-brow and a little above it.
The eyebrow is heavy. The side-lock is long, rather heavy and curved
and ends far from the ear-lobe. The main feature is the heavy lowest
front-lock, which slants across the lobe but ends in line with it.
Side-lock, lobe and lowest front-lock somewhat resemble a figure 1.
[Illustration]
Variety 5:--"C" above level of "E": The entire word is high in label,
especially "NT". "CE" wide. Note the top of "S" which almost touches
the lower right curve. "TH" wide at top. "R" is nearly vertically
placed and in centre of the label. The top of the "T" of "CENTS" is a
little above final stroke of "N".
HEAD IV.
[Illustration: IV.]
A heavy eyebrow ends near the middle of the side-lock. The latter is
short and stops (as in Head III) far from the ear-lobe. The main
feature is that the queue forms a direct continuation of the lowest
front-lock.
[Illustration]
Variety 6:--"CE" of "CENTS" near. "EN" wide. "NT" wide at base. Note
that the upper end of the lower right curve reaches well over the top
of "S" and "C" is far from curve. "TH" close. Distance at top of "HR"
and "RE" about the same.
HEAD V.
[Illustration: V.]
A very heavy eye-brow. The side-lock starts in line with the corner of
the eye and near the eyebrow; it curls slightly outward and, following
closely the outline of the ear-lobe, ends almost above it. A heavy lock
starts near the end of the side-lock, slants across the ear-lobe and
ends in nearly a point. This feature distinguishes Head V from Head II,
in which the lowest lock ends full and rounded. The queue is continued
from the second heavy lock. Note also that the lock immediately behind
the side-lock consists of two fine hairs and a heavy third strand.
[Illustration]
Variety 7:--"T" of "THREE" below level of "HREE". "CENTS" near outer
oval line. "C" and "S" quite a distance from curves. "ENT" spaced
nearer than "C" to "E" and "T" to "S".
HEAD VI.
[Illustration: VI.]
An heavy eyebrow. Near its end starts a small side-lock together with a
long, narrow lock which slants across ear-lobe. Note that half of this
lock is below the lobe. There is some distance between the side-lock
and the lobe. A second heavy strand of hair extends the entire length
of the [HW: narrow] lock and continues into the queue.
[Illustration]
Variety 8:--"C" above level of "E" and far from it. "N" stands
vertically and almost in centre of label. "NT" close at top and near at
base. "C" and "S" are close to curves. Note that "HR" and "RE" are wide
at top.
HEAD VII.
[Illustration: VII.]
An heavy eyebrow extends beyond the corner of the eye. A long side-lock
starts from the eyebrow and ends far from the ear-lobe. The lowest lock
commences near the middle of the side-lock. Along the latter is another
strand of hair of the same thickness but it is longer than the first
and in line with the queue. The hair consists of two distinct rows,
each of which has five locks.
[Illustration]
Variety 9:--"CENTS" near inner oval line. "CE" near; "ENT" near; "NT"
close at top. "C" and "S" far from curves. "RE" wider at top than "HR".
HEAD VIII.
[Illustration: VIII.]
An heavy eyebrow near the corner of the eye. It extends to the
beginning of the side-lock, which is long, slim, almost straight, and
ends a little distance from the ear-lobe. Note that the point of the
side-lock is not turned up to the left. Together with the side-lock
starts the lowest front-lock. It is rather thin, slants across the
lobe, and is divided at the end, which is the main feature. Note that
it extends but a little distance beyond the lobe. Immediately above the
lowest strand is a second one, much longer than the first, forming the
commencement of the queue.
[Illustration]
Variety 10:--"THREE" high in label. "HR" very close. "CENTS" near outer
oval line. Base of "E" a little below that of "C". "EN" wide. "TS" near
at base.
HEAD IX.
[Illustration: IX.]
The side-lock starts above and far from the corner of the eye. It is
short, curves outward towards its end, and terminates a little distance
above the ear-lobe. Note that the ear-lobe is larger than usual and
extends quite a distance beyond the end of the side-lock. Together with
the side-lock commences the lowest bunch of hair, which resembles
somewhat a pear, i.e. slim at the start and bulging towards the base.
The hair is divided into two rows. The queue is in line with the back
row.
[Illustration]
Variety 11:--"CENTS" near inner oval line; "C" high, and a little
above level of "E". "CE" wide; "ENT" near at top. "S" close to curve.
"THREE" close to inner oval line. "HR" and "RE" wide at top.
HEAD X.
[Illustration: X.]
An heavy eyebrow starting upward from the bridge of the nose. A second
eyebrow is close to the corner of the eye. A long side-lock starts near
it and touches the ends in line with the ear-lobe. The hair is divided
into two parts, four locks in front and three in the back row. The
lowest lock in the front row is by far the heaviest. The hair is cut
round similar to Head 1. Note that the queue is in line with the second
row of hair.
[Illustration]
Variety 12:--"CENTS" close to inner frame line, especially "C". "THREE"
close to inner oval line. "ENT" near at base. The die resembles closely
Var. 9 with the exception of "C," which is high in the label.
* * * * *
Before leaving this issue some remarks about the paper and its various
tints may be useful. The writer well remembers that when he first took
up the study of these envelopes he was often sorely puzzled how to
classify a specimen. The general catalogue knows but two shades of
paper, white and buff, and is mute on the question of quality.
As a matter of fact the quality of the paper used for the first issue
varies from soft to a hard, brittle texture, from thin to thick, with a
dull or even highly glazed surface. A decided rarity is a kind of wove
paper, unwatermarked. We find fine laid lines, the cross lines near or
far, and two very distinct varieties of watermarks.
The white paper has sometimes a creamy and at other times a bluish
tint, and the buff may be collected in various light and dark shades.
The most pronounced shade varieties of buff appear, however, later, and
will be mentioned when we study Die 5.
For the benefit of collectors of entire envelopes we will conclude this
chapter by adding that:
Knife I appears only in five varieties, i.e. Nos. 4, 6, 7, 8, and 10,
while Knife 2, both white and buff, exists in all varieties.
THREE CENTS, RED. DIE 2.
[Illustration]
THE "STRAIGHT END" DIE.
Short labels with straight ends. 8-1/2 loops on the left; 9 loops on
the right.
* * * * *
It is generally conceded that this die is one of the earliest made,
because many of the envelopes bear the Nesbitt tress or seal on the
flap.
In addition to Head 1, used for Die I, there now appear two new ones.
This issue is also noticeable because in each of the three varieties
the lettering is about the same. For this reason a knowledge of the
heads is imperative for identification of the varieties. It may also
assist the collector to note that Head I exists only with the seal on
the flap of the envelope, and that in Heads XI and XII the garment at
the back of the neck has four folds in contradistinction to Head I, in
which the garment has but two folds.
As far as we know, letter size envelopes, bearing Die 2, were issued in
July, 1853, and note size in September of the same year. Excepting note
size (Knife 1 of the present list), all other envelopes exist on both
white and buff paper.
[Illustration]
Variety 1, Head I:--As this head has been fully described and
illustrated under Die 1, it needs no additional remarks.
HEAD XI.
[Illustration: XI.]
Variety 2, Head XI.--A small but heavy eyebrow near the corner of the
eye. The side-lock commences close to the eye-brow and is rather short
and shaped like a comma. Near the end of the side-lock begins the
lowest front-lock, which is very short, heavy, and extends some
distance beyond the ear-lobe. Note that the end of the side-lock
reaches to the middle of the ear-lobe. The queue is continued from the
second front-lock. There are five locks in the front row and two heavy
upper locks in the back row:
[HW: there is usually a flaw in the outer colored line opposite the
lower left straight line near "C."]
HEAD XII.
[Illustration: XII.]
Variety 3, Head XII:--A long, heavy-side-lock starts near a heavy
eyebrow, which extends far beyond the corner of the eye. At its end the
side-lock bends sharply to the left and is quite a distance from the
ear-lobe. Together with the side-lock starts the lowest front-lock. It
slants across the ear-lobe, broadens towards its middle and is pointed
at the end. The side-lock, front-lock and ear-lobe somewhat resemble
the figure 1. The queue is continued from the lowest lock immediately
behind the second front-lock. There are five locks in the front row and
three heavy locks in the back row.
* * * * *
THREE CENTS, RED. DIE 3.
"THREE" in square label with a diagonal line across each corner _called
"K Ends_."
8-1/2 loops on left; 9 loops on right.
[Illustration]
This die appeared in July, 1853, and exists on note and letter size
envelopes. The former is extremely rare. Mr. Harrison, who has
carefully studied this die, found two heads of Washington (XIII and
XIV). He states, however, that: "in the heads in relief there is only a
slight difference in the arrangement of the hair, which is of no
practical use, as in most specimens of this series the head is so
lightly impressed that it is impossible to detect any differences."
Realizing how difficult it is to get a fine specimen of this die, the
writer tried his best to obtain a clear impression, and the drawing
shows that the search has not been in vain.
HEAD XIII.
Two small side-locks. (For further description see Head XIV).
[Illustration]
Variety 1.:--"C" of "Cents" low.
HEAD XIV.
[Illustration: XIV.]
One short side-lock: A heavy eyebrow. A fine, short side-lock starts
quite a distance from the latter and ends far from the ear-lobe.
Together with the side-lock commences the short, lowest front-lock.
Immediately above the latter commences the third front-lock, which is
bifurcated to the middle. This is the main feature of the die. It is by
far the heaviest strand and continues, uninterruptedly, into the queue.
All other front or rear locks are short. Between the last-mentioned
long front-lock and the short, lowest one lies a small rear lock,
pointed at its start and broad at its end. Including the lowest
front-lock, there are five locks in front and but three in the rear
row, i.e., two above the long, bifurcated front-lock and a small one
immediately below the latter.
Variety 2:--"C" of "CENTS" high in the frame.
THREE CENTS, RED. DIE 4.
[Illustration]
Wide label, measuring 20 mm. horizontally, with square ends; lower
label short (17 mm.) but also with straight ends. 7 loops on each side.
Issued July, 1853.
Luckily the engraver has seen fit to use but one head for this issue
and it is our old favorite, HEAD I, and needs no further description.
There is but one variety, and none of the envelopes have the Nesbitt
seal.
[Illustration]
Variety 1:--Letters of "THREE" very widely spaced, especially the last
two letters. "T" nearer to left label than "E" to the right. "ENT" of
"CENTS" nearer to each other than "C" to "E" and "T" to "S".
The die has been used for note and letter size, i.e., Knives 1 and 2,
on white, and for the latter on both white and buff paper.
THREE CENTS, RED. DIE 5.
[Illustration]
The common die of the first series.
Short labels (measuring 15 mm. horizontally) with curved ends.
9 loops on the left; 8-1/2 loops on the right.
* * * * *
This die appeared in March, 1854, and remained in existence until
October, 1860. On account of its six years of constant use, it was not
strange that the die should need repairing and retouching.
Nevertheless, while admitting the necessity of repairs, this does not
account in any way for the fact that we have thirty distinctly
different dies in this series, many of which cannot be explained by the
above theory. Of course, the various curves of the labels may be
accounted for by repeated retouching, but no one who compares many of
these dies would attempt to give the same reason for the totally
different lettering and the great variety in the spacing. As a matter
of fact, most of the so-called varieties are far more distinct dies
than some of the well-known Reays and Plimptons of equal denominations.
In spite of the great number of varieties of this issue, the engraver
has seen fit to use but one head of Washington, which is totally
different from any of those preceding.
HEAD XV.
[Illustration: XV.]
Two fine, very short side-locks, reaching to the middle of the
ear-lobe, which is rather large. There are seven very thin locks of
hair, almost hair lines, in the upper part of the head, extending to
the back of the head, each with a curve in the centre. Below these
there is a short, thick bunch, or lock, bent upwards into the space
left by the curve of the seventh thin lock. There is one short, thick
front-lock and three in the back row, side by side, nearly at right
angles to the bunch of hair which is bent upwards. The lowest
front-lock slants a considerable distance across the ear, while the
lock immediately above it is much longer and reaches into the queue.
The latter is very thin and shows no subdivisions.
Doubtless the thirty varieties of this die would have been highly
prized by collectors and would have been well known many years ago if
American philatelists had taken the trouble to study them with a view
to systematic classification. Certainly, without a system the
collector's task is troublesome, but, with a proper classification, the
difficulty vanishes and what has hitherto been considered an annoyance
becomes a pleasurable pursuit. This issue greatly favors the collector
of cut square specimens, for a good many dies can easily be found. On
the contrary, the collector of entires, especially the advanced
collector who desires mint copies, will find it difficult to get unused
specimens of many dies.
The paper used is white and buff, and, as mentioned before, both the
quality and color differ widely. For instance: "Buff" covers shades
which would be called at the present time light chocolate, brown,
oriental buff, light yellow, etc. A great many envelopes are of soft
paper, nearly unsurfaced, while there are numerous others having a
hard, brittle texture, highly surfaced or glazed. Often six shades may
be obtained, and they are certainly worthy of being collected with
care.
It has already been stated that the thirty varieties can be classified,
and that such classification is a great help to the philatelist.
Fortunately, the first ten dies are quickly recognized by the long,
horizontal cross stroke of "T" of "THREE," and "T" of "CENTS," while
the remaining twenty dies have a short top stroke, and this
differentiation, in the writer's humble opinion, should have been
introduced long ago in the general catalogues.
Before commencing the study of the first ten varieties, it is only
proper to state that even Mr. Harrison has put himself on record that:
"the ten earlier varieties are by no means easy to separate." Indeed,
they are decidedly more troublesome and require far closer work than
any of the other Nesbitt die varieties. The student is sure to find
many specimens in which the upper curves are entirely worn away, and in
judging the spacing of the letters errors are likely to occur, due to
heavy impressions, which are not infrequent.
Being well aware of these annoyances, the writer has tried, to the best
of his ability, to make the description of these ten varieties as lucid
as possible, and as they now stand they represent the labor of many
hours. Expressions like "far", "near" or "close" are, of course,
subject to individual interpretation, but by comparing the
illustrations accompanying the text, what is meant by "close", etc.,
will be easily understood. Wherever greater accuracy seemed needful,
the distance between two letters, either at the top or the base has
been added. If a letter is stated to be below the level of another, the
student, as a rule, should have no difficulty in recognizing this fact.
This is true of varieties 4 and 5, but a certain amount of training of
the eye is required to recognize quickly the lower position of "T" and
"E" of "THREE" in varieties 1, 2 and 10.
Together with the new die two new sizes of envelopes appear, known as
Knives 4 and 5, respectively; both are termed "Full Letter" and have
three black lines on the inside of the left side flap.
* * * * *
"T" WITH LONG CROSS STROKE.
Dies 1 to 10.
The ten die varieties are divided into three groups by drawing a
straight line along the outside of the downward stroke of "T" of
"THREE".
1) Line cuts through "S" of "CENTS" (Var. 1, 2, 3, 4).
2) Line goes to right of "S" (Var. 5, 6, 7).
3) Line goes through right lower curve (Var. 8, 9, 10).
It should be understood, however, that the above line prolongation is
only tentative, not absolute, and can only be relied upon in a general
way as certain specimens will be found which will vary from it to a
greater or less extent.
Description of Dies.
[Illustration]
Variety 1:--"T" a considerable distance from upper left
curve. "TH" widely spaced, but "HR" near and "R" the
highest letter. "RE" wide at top. "EE" wide. "CE" wide at
base. "EN" wide. "NT" wide at base. Lower curves deep and
far from "C" and "S".
Variety 2:--"T" near curve, and "T" and final "E" below
level of "HRE". "TH" near, "HR" near, but "RE" and "EE" wide
at top. Upper curves are frequently much deteriorated. Lower
left curve far from "C". "CE" and "NT" wide at base. "TS"
near. Lower right curve near "S".
[Illustration]
Variety 3:--Upper left curve very far from "T". "RE" wide
and "R" slants sharply to the right. "EE" near at top. "C"
far from lower left curve. "CE" wide at base. "E" slants
sharply to the left and "EN" wide at base. "S" close to
curve.
Variety 4:--"T" near curve but below level of "H". "HR" wide
but "RE" wider, and "EE" widest at top. The main feature of
this die is that the lower left curve slants sharply
downward and is far from base of "C". "CE" wide at base.
"NT" very wide at base. "S" far from curve.
Variety 5:--Upper right curve flattened and top of "T" near
curve. "T" low and far from "H". "HR" widely spaced at top,
but "RE" still wider. "EE" near. Upper right curve far from
"E" both at top and base. Frequently the curves are nearly
obliterated.
[Illustration]
Variety 6:--Upper right curve near "T". Top of "T" some
distance from "H". "RE" wide at top. "EE" wide. The curve is
far from top of "E", but slants so that, at the point where
it meets the inner oval line, it is near base of "E". Lower
left curve near "C" and reaches over the top of the letter.
"CEN" near; "NT" near at base. "S" far from curve.
[Illustration]
Variety 7:--The FLAW VARIETY. Upper right curve very deep.
Top of "T" considerably nearer curve than base. "TH" near.
"HR" and "RE" near at top. "EE" very wide at top. Curve is
very far from "E" both at top and base. Lower left curve
flattened and near "C". "EX" near. "NT" well spaced. In the
outer red frame line, near base of "T", a small portion of
the die is broken away.
Variety 8:--Upper left curve deep and top of "T" near curve.
"TH" near. "HRE" near, and "RE" the closest spacing of all
the varieties. "EE" near. Right curve is a good distance
from top of "E". Lower left curve small and near "C". "CE"
wide. "ENT" near and upper horizontal stroke of "N" often
joined to "T". "TS" near and "S" close to curve.
[Illustration]
Variety 9:--Upper left curve much flattened and close to
"T"; "T" and final "E" somewhat below level of "HRE". "TH"
close and "H" sharply slanting to left. "HREE" near at top.
Right curve far from "E". Lower left curve short and near
"C". "CE" close. "EN" near. "NT" near at base. Right curve
near "S".
Variety 10:--Upper left curve near "T". "TH" near at top.
"HRE" spaced as in Var. 9 but "EE" nearer, and top of "E"
nearer the curve. Lower left curve near "C". "C" above level
of "E" and near at base. "ENTS" near. "S" far from curve.
LETTERS "T" WITH SHORT CROSS STROKES.
Dies 11 to 30.
These twenty die varieties are grouped into two classes by the use of a
unit distance measurement of 14 and 12 mm. respectively.
Class I.
[Illustration]
A line 14mm. long will extend from the point where the upper left curve
meets the inner white frame-line to the end of the final "E" of
"THREE".
[Illustration]
Group A:--A line 12mm. long, starting from the junction of
the upper left curve and the inner, white, frame-line will
extend to the end of the horizontal stroke of the first "E"
of "THREE". (Var. 11 to 18.)
Group B:--A line 12mm. long, starting from the junction of
the upper left curve and the inner, white, frame-line will
extend to a point just beyond the end of the horizontal
stroke of the first "E" of "THREE". (Var. 19 to 27.)
Class II.
[Illustration]
A line 14mm. long, starting from the junction of the upper left curve
and the inner, white, frame-line, will extend to a point just outside
of the final "E" of "THREE". (Var. 28 to 30.)
[Illustration]
Variety 11:--THE TOP STROKE OF "N," IF EXTENDED, WOULD
BISECT THE VERTICAL STROKE OF "T". "RE" very wide at top.
"T" and "E" about an equal distance from curves. Lower left
curve well rounded. "EN" near at top. "N" broad.
Variety 12:--THE SMALL HORIZONTAL LINE OF "N," IF EXTENDED,
WOULD CUT THE VERTICAL DOWNSTROKE OF "T." All the centre
crossbars of "Es" touch the horizontal upper stroke. "N" of
"CENTS" is narrow; is the lowest letter, and has a heavy
middle line. "T" and "E" are close to the curves, which are
short. "TS" close and on level.
There are often two dots in the central oval, one near the
throat and the other opposite the third loop above "C".
Compare variety 11 for "NT," also variety 21.
Variety 13:--A FLAW IN THE DESIGN, caused by the addition of
a short line immediately above the right lower curve and at
the beginning of the first loop. "TH" wide. "RE" wide at
top. "CE" near. The entire word "CENTS" is well in the
centre of the label. "S" above level of "T". Note the wide
distance of "C" from the lower left corner.
[Illustration]
Variety 14:--THIS DIE SHOWS THE WIDEST SPACING OF "THREE".
Lower left curve is deep; slants back and is far from "C".
Lower right curve near "S". "T" and "E" about equally far
from curves. Upper right curve much flattened. Note "T"
short and top of "C" considerably below inner oval line.
Note also that centre of first loop below upper right curve
is unfinished. "TH" wide at base; "CE" near: "EN" wide. "N"
_tall and narrow_.
Variety 15:--"RE" VERY WIDE. THERE IS A SMALL TRIANGLE IN
THE DESIGN IMMEDIATELY ABOVE THE CENTRE OF LOWER RIGHT
CURVE. Upper left curve very deep and "T" far from it. "HRE"
wide at base. Final "E" below level of first "E" and nearer
curve than "T". Lower left curve is flat and "C" is far from
it, both at top and base. "CE" wide. _Tall, narrow "N"._
Note that the entire word is high in the label.
[Illustration]
Variety 16:--"S" OF "CENTS" HIGH IN LABEL. Lower left curve
very slightly curved and very far from "C," which is
elongated. "CE" wide, likewise "EN". "N" large and broad.
Lower right curve flattened and "S" far from curve. "T" and
"E" about equally distant from upper curves, which are,
likewise, flattened. "TH" nearer at top than "HR". "RE"
wider at top than "HR". "EE" wide at top. Compare varieties
26 and 27 for upper right curve.
Variety 17:--LOWER LEFT CURVE COMMENCES NEAR TOP OF "C" OF
"CENTS", SLANTS SHARPLY DOWNWARD, AND IS, AT THE POINT WHERE
THE CURVE MEETS THE OUTER OVAL LINE, FAR FROM BASE OF "C".
Upper right curve is much flattened and close to "E" at
base. Upper left curve is deep and a good distance from "T".
The latter is short, thick and near "H". "RE" much wider at
top than "HR". There are two small dots immediately below
the upper right curve. In the lower label "C" and "S" are
slightly above the level of "ENT"; "EN" near; "N" broad.
Compare variety 18 for lower left curve and note position of
"T" of "THREE" with regard to upper left curve.
[Illustration]
Variety 18:--LOWER LEFT CURVE SLANTS BACK AND IS FAR FROM
"C" AT THE JUNCTION OF THE CURVE WITH THE OUTER FRAME LINE.
"T" close to upper left curve. Upper left curve flat and "T"
is much nearer to it than "E" to the right curve. "THR" near
at top. "RE" very wide at top. "EE" near. The entire word
"CENTS" is close to the inner oval line. "N" is broad, and
top of "T" is slightly above "X". "TS" close. Note that
there are three dots immediately above lower right curve.
Compare Variety 17 for lower left curve.
Variety 19:--"T" AND "E" CLOSE TO CURVES. Upper curves
short. "HRE" wide at top. "EE" near. Lower left curve near
"C". "CE" close. "EN" wide. "N" in upright position. "NT"
wide at base. Compare variety 12 for arrangement of letters
in upper label and note "NT". Note that the top of "E" is
very near curve.
[Illustration]
Variety 20:--"C" HIGH; NEAR INNER OVAL LINE AND CLOSE TO
"E". "C" and "S" above level of "ENT". "C" heavy and near
lower left curve. "EN" wide. "NT" close. Upper curves are
short. "T" near upper left curve. "TH" close and "T" has
short top stroke. Upper right curve starts far from top of
"E" and slants inward. "EE" near. Lower right curve deep.
Compare varieties 12, 19 and 21 for lower label.
Variety 21:--"T" SHORT, THICK AND NEAR CURVE. "TH" near. "R"
in the centre of label and in a vertical position. Upper
right curve slants inward and is much nearer to base than to
top of "E". "C" and "S" in lower label are above level of
"ENT". "S" of "CENTS" far from curve. Lower left curve short
and close to "C". "N" is broad. Lower right curve deeper
than lower left curve. "CEN" near. Compare variety 30 for
lower right curve and 20 for upper right curve.
[Illustration]
Variety 22:--"EN" JOINED AT TOP. "HR" very wide at top and
forming a sharp angle. "TH" close. Upper left curve flat.
Upper right curve is deep; far from top of "E" and
terminates at its base. Lower left curve far from "C". "C"
and "S" above level of "ENT". Upper cross stroke of "T"
short. "S" far from lower right curve. First loop above
lower right curve has a very large centre. Compare variety
21.
Variety 23:--"R" HIGHEST LETTER AND CLOSE TO OUTER FRAME
LINE. "TH" close. "RE" very wide at top. "T" and "E" about
the same distance from curves. There are two small, colored
dots immediately below the upper right curve. Lower left
curve slants. "C" and "S" equally far from curves. "CENT" on
level and "CEN" close at base. Compare variety 17 for lower
left curve.
[Illustration]
Variety 24:--TOP STROKE OF "E" IS ABOVE TOP OF "C". "CE"
close. "EN" near at top. "N" short and thick. Top stroke of
"N" nearly touches "T". "NT" high in label. Lower curves
well rounded and short, but lower left curve deeper than
lower right. "C" somewhat further from curve than "S". Upper
right curve deep and far from "E". "TH" near and about
parallel. "HR" near, but "RE" wider at top. "EE" near;
centre strokes touch upper horizontal line. Compare, for
distance of "THR", variety 29.
Variety 25:--A FLAW, i.e., a white line running out from the
middle of the third loop on the right, towards the inner
oval line. Lower left curve a good distance away from "C".
"C" round and full, but shorter than the rest of the
letters. "S" far from lower right curve. "EE" widely spaced
and upper right curve flat. "C" and "S" above level of
"ENT".
[Illustration]
Variety 26:--"C" OF "CENTS" ELONGATED, VERY SLANTING AND
FAR FROM "E". Lower left curve is very flat and far from
"C". "ENT" near at top. Lower right curve slants back and is
far from base of "S". Upper left curve is very flat. "HRE"
very wide at top and "EE" widely spaced. "N" is broad. There
are, also, two dots immediately below upper right curve.
Compare varieties 16 and 29.