#212 1887 1¢

Basic Information

Color: Ultramarine
Subject: Benjamin Franklin
Paper: Soft porous paper
Printing method: line-engraved intaglio on flat plates
Printer: American Bank Note Co.
Perforations: 12
Scott #: 212
Quantity issued: 1,578,043,800
Issued: June 11th, 1887

Value

An unused stamp with perfect gum: $55-$75
An unused stamp with gum and a hinge mark: $2-$7
A used stamp: 75¢-$1.50

A new design and color

A pane of #212
Click image to enlarge

With its striking ultramarine color, marking a design shift by the American Bank Note Company in June 1887. It is known for being part of a broader, late-19th-century effort to update the colors of regular issue postage.

The release followed an official circular announcing widespread color changes for several postage stamps and envelopes to improve efficiency and distinguish denominations.

Usage

The earliest known documented use of #212, July 15th, 1887

#212 was primarily used for paying the postage on drop letters, one-cent post cards, circulars, newspapers/periodicals and other third class mail.

Drop Letters: Letters delivered within the same post office where they were mailed (if not sent to a carrier-delivery office).
Third-Class Mail: Used on circulars, newspapers, and periodicals (often mailed by publishers or news agents).
Postcards: Postcards were becoming common and the stamp was used for the one-cent post card.
Multiples: Used in multiples or in combination with other denominations to fulfill higher postage rates, such as advertising matter.

Plates

#212 was issued with the following plate #'s

R 573-577, S 578-582, T 583-587, F.F. 644-648, G.G. 649-653, J.J. 664-668,
P.P. 694-698, U.U. 719-723

The Inspiration for the Design

Benjamin Franklin bust by Jean-Antoine Houdon

The design of the orginal 1869 1¢ stamp with this vignette (#112) was inspired by a sculpture of Benjamin Franklin by Jean-Antoine Houdon, which is currently located in the Pennsylvania Academy of Fine Arts in Philadelphia.

It has been much debated whether Franklin actually sat for Houdon or if the sculptor captured his vividly accurate image from mere passing acquaintance. He would have had ample opportunity to observe the American minister at the Masonic lodge of the Nine Sisters to which they, as well as many other artists and patrons in the expatriate community (e.g., Count Stroganov; see Voltaire and Diderot), belonged. This cleanly truncated version, in modern dress, was clearly preferred by contemporary American statesmen and anticipates George Washington's insistence that Houdon's statue of him.