U 20sen fake

• perfs are fake

 

IJP 20sen vars

 

UPU Enkakushi and presentation album

•  Francais UPU language

Plácido Ramón de Torres (1847–1910)

Plácido Ramón de Torres (1847–1910)   a.k.a Rosendo Fernandez, was a prolific Spanish engraver ... ...collaborated with Fournier , Senf (Shaubek) ;  J B Moens was his client  1864-1899

• TORRES style varied widely from crude woodblock prints to superb litho illustrations and fakes
• NK and OK mainly low values were faked as packet material
• design elements were changed randomly,  
• bent frame lines are common
• shades seldom match genuine, sometimes color change
• romaji or kanji varied widely
• cancels mimic IJP or fantasy

In the early 1860’s, the young Torres started his career in Italy, where he had grown up, making stamp illustrations for his patron, one of the first Italian stamp dealers, the editor and multi-talent Elia Carlo Usigli (1812-1894). Through his international connections Usigli sold those copies to the editors of the emerging stamp magazines and catalogues all over Europe. Once finished an illustration both made “private copies” in colour and put them into stamp packages, creating what I call the Torres/Usigli “minor forgeries”. So, nowadays, most 19^th century European stamp catalogues (Moens, Stanley Gibbons, Maury, Roussin and a large etc.) as well as the little known catalogue Torres published in 1879 in Barcelona, can serve to detect those forgeries of mostly single and cheap values

Torres only made lithographic copies. The ‘minor forgeries’ are usually unused and often exist in odd colours.  You can sometimes find small jokes or mockeries of the original stamp within the inscriptions. People often mistakenly think that these are accidental errors but he created them purposefully.

The ‘major forgeries’ are those with cancellations.- Gerhard Lang-Valchs

TORRES work reached Japan.  I have found many items there. foreigners likely brought  them and some are postally used on cover.

NB variance in width of kobans .

no embossing on 1Yen ....

REDRAWN vars exist ... search by value

 A TRUE CHAMELEON ...

Wood-engraving, etching, and lead-casting are just a few of the printing techniques that brought hand-drawn images to multiple viewers before and beyond the advent of modern photo-reproduction. Lithography, for example, pushed a kind of DIY-revolution in visual culture after its 1796 invention by Alois Senefelder. For the first time, artists could draw directly onto printing surfaces, leading to massive innovation.

  Later techniques, such as electrotype and photo-engraving, often pushed the human hand farther away from reproduced images.  

U 20sen FAKE

 

• top romaji frame irregular

PERF does not exist = 14x16

 

IJP 50sen var 77He

• missing radials
• SEN dots
• not in JSCA  2021

11L

DIE flaw

MAEDA D11 2sen rose fake

• not a direct match - style elements
• positions are unique as redrawn
• Sn/ 
• romaji 

• cancel Niigata  - (Michael Stein)

 

U 5sen fake OK

• frame distorted, poor detail
• V  no serif 
• 5  corners 
• UR wheel error
• kiku petals flat ends

relief printing ...

art and technology :  printing methodology 

Chiossone 1875-1891  " galvanoplastic "  relief -  electro-membrane method of reproducing plates (Ichida)
the plate making is described in the JSCA catalog and the monographs of JPS.   80, 100 and 400 matrix plates .  the method was used by Batz of Denmark, before koban era ...

A relief print is an image created by a printmaking process, such as woodcut, where the areas of the matrix
(plate or block) that are to show printed black (typically) are on the original surface; the parts of the matrix that
are to be blank (white) having been cut away, or otherwise removed. Printing the image is therefore a relatively
simple matter of inking the face of the matrix and bringing it in firm contact with the paper; a printing-press may
not be needed as the back of the paper can be rubbed or pressed by hand with a simple tool.


This contrasts with an intaglio print, such as an engraving or etching (although there can also be relief etching), where the areas to print black are below the original surface of the matrix, and the original surface of the matrix will print blank. To print these the whole matrix is inked, and the ink then wiped away from the surface, so that it remains only in the lines (classically) that the artist has made below the surface of the matrix. Much greater  ressure is then needed to force the paper into the channels containing the ink, and a high-pressure press will normally be required.


The relief family of techniques includes woodcut, wood engraving, relief etching, linocut, and some types of collography. Traditional text printing with movable type is also a relief technique, which meant that woodcuts were much easier to use as book illustrations, as they could be printed together with the text, whilst intaglio prints such as engravings had to be printed separately.


The other traditional families of techniques are:
• intaglio , including engraving, etching and drypoint,
• planographic , including techniques such as lithography; here all the original surface of the matrix
remains, but the image is created by treating some areas of the surface,
- but modern developments have created other types.

Chiosonne

Chiossone arrived in Tokyo on January 12, 1875. In the

same month the machines ordered arrived in

Yokohama.

From 1875 to 1891  

02.01.1876: Completion of eight original dies for then

Koban-stamps with nominal face value from 5 Rin to 15

Sen, Michel-Nos. 40 - 49 (Sakura Nos. 61, 62, 64, 67-

73).

07.03.1876: The bloc-of-four-die of the 5 Rin design

had been amplified 20-fold to form a die of 80 stamps

to produce corresponding printing plates.

17.05.1876: The first relief printing stamps of Japan,

Koban 5 Rin, 1 Sen and 2 Sen (Michel-Nos. 40 - 42;

Sakura Nos. 61, 62, 64) had been issued.

26.07.1876: Completion of the dies for domestic postal

stationary cards of 5 Rin and 1 Sen in Koban design.

Michel-Nos. 40 – 49 //  Sakura Nos. 61, 62, 64, 67-

73

19.09.1876: Issue of the first two postal stationary

cards of 5 Rin ochre and 1 Sen blue in relief printing.

29.06.1877: Issue of postal stationary covers in two

formats with Koban value imprint.

20.11.1877: Issue of the first postal stationary cards for

foreign use (UPU-cards) valued 3, 5 and 6 Sen.

The balance of his philatelic activities in the

Government Printing Office (insatsukyoku):

Stamps:

29 stamps within the period of 1876-92.

The two values of 25 Sen and 1 Yen issued in 1888 had

already been designed by Japanese.

Postal Stationaries:

Postcards: totally 20, covering 5 domestic postcards

1876-1888, 9 foreign postcards 1877-1898 (including 3

reply postcards). The total number includes 4 cards

with changed paper from 1892 and the two issues with

additional overprint "China" from 1910 using the Kobandesign.

Covers: one type "Koban-design with Guilloche-frame",

used for 4 different cover sizes from 1877-1888. These

four cards cannot definitely be assigned to Chiossone.

Sealing Stamp:

Official sealing stamp for foreign mails No. 1 with the

inscription "General Post Office of Japan".

The last stamps of the old Koban-issue appeared on

October 11, 1879. Afterwards, Chiossone didn't create

any more dies and plates for postal purposes.

Plates evolved from 4-pos cliche to 80-pos plate,  100-pos plate , and 400-pos plate

IJP 30sen vars

 

not remarked in JSCA 2021

IJP 2sen plate flaws

 

• oval anomolies never seen before
• domestic rate - heavily reproduced
• small bota M19 6 mos only

• shading irregular in oval