Lot 266 Greece #21a 40 Lepta Greyish Lilac on Bluish Paper, 1862-1867 Large Hermes Heads Consecutive Athens Printing, A VF Used Example, 1870 SON CDS Cancel
Lot 266 Greece #21a 40 Lepta Greyish Lilac on Bluish Paper, 1862-1867 Large Hermes Heads Consecutive Athens Printing, A VF Used Example, 1870 SON CDS Cancel
A VF used example, with 1870 SON CDS cancel, of the 40 lepta greyish lilac on bluish paper, from the 1862-1867 consecutive Athens printings.
2022 Scott Classic Values a VF example at $37.5. The stamp offered here grades 75 as follows:
Centering/Margins: 35/60
Paper Freshness: 10/10
Colour: 10/10
Impression: 5/5
Absence of Visible Paper Flaws: 5/5
Cancellation: 10/10
The 1861-1882 Large Hermes Heads are a very complex philatelic area that can be broken down into three main groups, which may be further subdivided. The first group consists of the printings made on coloured papers, that have figures of value printed on the back on every value except the 1L and 2L. The second group consists of printings on cream paper that still have figures of value on the back. The third group are those printings on cream paper that have no figures of value on the back. The first group covers printings made from 1861 to 1875. The second group covers printings made from 1875 to 1880. The third group covers printings made after 1880.
The first group can be further subdivided into seven groups: (1) 1861 Paris Printings with 8mm figures on back; (2) 1861-1862 Provisional Athens Printings with 6 mm figures on back; (3) 1862-1867 Consecutive Athens printings; (4) 1868 Cleaned Plates printings; (5) 1870 Shaved Hermes printings; (6) 1870-1872 Medium to Thin Paper printings; (7) 1872-1875 Thin Transparent Meshed Paper printings. In distinguishing the printings, we would note that (1) can be identified by the size of the figures on back. The printings in (5) can be identified by the very short beard lines. The printings in (7) can be readily identified by the clear, coarse mesh in the paper. To distinguish the rest we look at four things: (1) the appearance of the figures on back, (2) the impression, particularly the appearance of the medallion and presence of ink spots, (3) the shades of the papers and inks, and (4) the presence or absence of relief in the design. Printings from (2) have figures that are very fine and distinct, with thin left strokes and heavily shaded right strokes. Printings from (3), which form the majority from the first group have medallions that often have a lined or quadrilled appearance, or a solid appearance, and they often have ink spots in the design, as well as always having a coarse impression. They also often show relief through the back. Printings from (4) have figures that are more evenly shaded on the left and right strokes, and medallions that appear pale and lack contrast. Printings from (6) can be identified by the coarse figures on the back primarily, as well as the broken lines in the spandrels.
As far as grading goes, Scott defines full margins as 3/4 mm, and the vast majority of examples do not have 4 full margins. VF examples will typically have between 2 and 4 full margins, with the remaining margins beig close, while fine examples will either have 4 close margins or 1 full margin and 3 close ones. Stamps cut into on one or more sides, which are the majority found on the market will be VG or good. The paper is generally very fragile and subject to thinning. These thins range from shallow to deep. A shallow thin that is only visible through backlighting will reduce the grade, but not severely and is fairly normal on these stamps. You should consider this when deciding how much to bid. Margins are generally far more important than the presence or absence of a light thin or crease.