Basic Information
Color: Deep Green
Subject: Benjamin Franklin
Watermark: Watermarked double-lined USPS
Printing method: line-engraved intaglio on flat plates
Printer: The Bureau of Engraving and Printing
Perforations: 12
Scott #: 279
Quantity issued: 5,216,159,932
Issued: January 17th, 1898
Value
An unused stamp with perfect gum: $6-$9
An unused stamp with gum and a hinge mark: $2-$3
A used stamp: 25¢-50¢
About the 1898 definitive stamps
A pane of #279
Click the image to enlarge
The 1898 US definitive stamps (specifically the 1-cent and other denominations) were primarily issued to comply with Universal Postal Union color standards, changing the 1-cent from blue to green to assist international identification. These changes coincided with the Spanish-American War and the 1898 Trans-Mississippi Exposition
The post card rate stamp became U.P.U. sanctioned green in many countries
#279a
#279a
Click the image to enlarge
#279a
Vertical watermark, only four examples known. Three off cover and one on cover
Value used: $65-$125
Working at the Bureau in 1898
Preparing the Ink
We are fortunate that in the early 1890's, the Bureau photographed the process of printing a stamp. The 1890 series was the last contract for the American Banknote company, thereafter the Bureau of Engraving and Printing printed stamps. The building these photographs were taken was replaced by a new building in 1918.
Preparing the Ink
To make the printing ink, the base color was mixed with oil then the mixture was ground under heavy steel rollers. The machinery was belt driven by steam. Inks then was tested to see if it was the correct color. Some of the inks contained quite a few impurities which wore down the printing plates. Black was the least impure ink, blues and greens the most impure inks.
Preparing the Gum
Preparing the Gum
Down in the basement with the window open for ventilation this poor guy mixed ingredients to make the water soluble gum. Gumming took place after printing and before perforation, usually because the paper had to be damp for printing to work well. The production of gum was in fact an art. The gum could not be too acidic as it would destroy the paper over time. It has to be the right viscosity for application. The gum should also be stable, not yellow or crack.
Preparing the Paper
Preparing the Paper
This is a photo of workers in the postage stamp gumming and drying room in the Stamp Division at the Bureau of Engraving & Printing. Again power is supplied by steam driven belts.
Drying the paper
Drying the Paper
A photo workers taking mucilaged (applying water soluble glue) sheets of postage stamps from the drying box in the gumming and drying room
Women at work
Women at Work
A photo of women at work in the Bureau in 1890. If anyone can tell me function they are performing please email me at rogerkirby9@gmail.com
African Americans at Work
African Americans at Work
The dirty job of working in the Bureau's laundry was assigned to African Americans
Wetting the Paper
Wetting the Paper
Wetting the paper prior to printing in the Bureau
Perforating the Paper
Perforating the Paper
Women perforating printed sheets of stamps. The odd hats are to prevent the dust created by perforating from getting in their hair.
A change of color
As a postal clerk in a foreign country it was difficult to ascertain the value of the foreign countries stamp. In order to assist the Universal Postal Union (UPU) requested all its member countries to standardise the colors of each value. So a local standard letter rate would be red, a standard overseas rate blue, etc etc. To confirm with the correct color for the 1¢ it was changed from blue to green.
Usage
#279 on an illustrated cover
#279 was primarily used for paying the postage on postcards. It was also used for drop letters, circulars, and newspapers/periodicals. Another use was in combination with other denominations to fulfill higher postage rates.
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 work on the statue of him.
Plates
The complete plate numbers for #279 are unknown