Color: Brown Subject: Thomas Jefferson Paper: Soft porous paper Printing method: line-engraved intaglio on flat plates Printer: American Bank Note Co. Perforations: 12 Scott #: 209 Quantity issued: 151,000,000 Issued: April 1st, 1882 #209 is re-engraved (see below)
Value
An unused stamp with perfect gum:$400-$550 An unused stamp with gum and a hinge mark: $15-$40 A used stamp:$1.50-$3.50
About the large bank note stamps
A pane of #209
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"Large Bank Note" stamps refers to a major definitive series of postage stamps issued between 1870 and 1890. They are called "Bank Notes" because they were produced under contract by three private security printing firms—the National, Continental, and American Bank Note Companies—before the Bureau of Engraving and Printing took over production in 1894.
Key Characteristics Size: They are called "Large" to distinguish them from the "Small Bank Notes" (or "Baby Bank Notes") issued from 1890 to 1894, which were reduced in size to cut production costs. Paper and Grills:Early issues (National) often feature "grills" (embossed patterns intended to prevent reuse), while later issues moved from hard paper (National and Continental) to soft porous paper (American). Secret Marks:To identify which company printed which stamp, "secret marks" (tiny design modifications) were often added to the original plates when contracts changed hands.
Historical Timeline National Bank Note Co. (1870–1873): The original printers who introduced the designs. Continental Bank Note Co. (1873–1879):Took over the contract and added secret marks to the 1¢ through 15¢ denominations. American Bank Note Co. (1879–1890): After merging with Continental, they printed the same designs on soft porous paper and later introduced re-engraved versions with slightly modified details.
Usage
The earliest known documented use of #209, May 4th, 1882
Key Usages of the 10¢ 1882 Stamp: Depending on route mail to Germany, other European countries, China and Japan typically cost 10¢. It was sometimes used as part of the 15¢ rate for registered letters and heavier mail. As 10¢ was the registration fee it is common to see covers with both the 10¢ stamp and the standard rate 3¢ stamp.
Shades of the brown 10¢ and the reasons behind them
The color variations in the 10¢ brown issue were primarily due to inconsistencies in ink mixing, printing batches, and different formulas used by the various printers. While officially issued as "brown," this specific stamp exists in shades ranging from chocolate brown to reddish brown or orange-brown.
The American Bank Note Company had taken over the printing contract in 1879 and was responsible for maintaining the quality of the postal issues, which involved updating the engravings on these definitive stamps. The plates from the 1879 issue were showing significant wear, requiring new engraving to ensure clear, high-quality images.
On examination there are only four lines on the left border of #209 as shown in the illustration.
Essays and Proofs
209-E2a
209-E2c
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209-E3a
209-E4a
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209-E4a
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209-E4b
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209-E6a
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209-E6b
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209-E6a
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209-E6a
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209-E6b
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209-E7a
209-P1
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209-P2a
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209-P3
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209-P4
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209-TC
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209-TC
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209-TC
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209-E4a
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209-E4b
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209-E6a
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209-E6b
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209-E6a
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209-E6a
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209-E6b
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209-E7a
209-P1
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209-P2a
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209-P3
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209-P4
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209-TC
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209-TC
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209-TC
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The Inspiration for the Design
Hiram Powers' statue of Thomas Jefferson
The inspiration for the design of the 10¢ stamp, featuring Thomas Jefferson, was a marble statue by renowned American sculptor Hiram Powers.
Commissioned by President James Buchanan in 1859 for $10,000, this larger-than-life marble figure stands eight feet tall. It was installed in 1863 at the foot of the east staircase on the House side of the U.S. Capitol. His pose is inspired by Michelangelo’s David, featuring a slight shift in weight (contrapposto) and one hand raised near his shoulder