#192 1880 1¢ Special Printing

Basic Information

Color: Ultramarine
Subject: Benjamin Franklin
Paper: Soft porous paper, without gum
Printing method: line-engraved intaglio on flat plates
Printer: American Bank Note Co.
Perforations: 12
Scott #: 192
Known copies: 28
Issued: January 1st, 1880
#192 has a secret mark (see below)

Value

An unused stamp without gum: $9,000-$21,000

About the Special Printings

Hoe & Co. steam driven printing press

The 1880 Special Printings

The special printing was first issued in 1880, following the American Bank Note Company's buyout of the Continental Bank Note Company in 1879. They were created with the aim of allowing collectors to purchase high quality printings of stamps. However, as can be seen by the few surviving copies, the were largely ignored at the time.

Following the takeover, the original designs produced by the Continental Bank Note Company were printed on softer paper and featured greater variation in colour. They were the first stamps to be printed on A.B.N.Co’s new Hoe & Co steam driven printing press.

1880 vs. 1875 Special Printings

The 1875 special printings were printed by the Continental Bank Note Co. on hard white paper. The 1880 special printings were printed by the Amercican Bank Note Co. on soft porous paper. The 1875 printings are bright vibrant colors, the 1880 printings are a little duller.

The Secret Mark

#192
Click image to enlarge
Consult the identification guide
Click image to enlarge

#192 has a secret mark placed there by the new printers, the Continental Bank Note Company, to differentiate it from the previous printers stamps. An arc of color can be seen in the ball to the left of the figure one.

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