Today, I will complete my examination of the printings of the 6d mauve and claret Queen Victoria surface printed (keyplate) stamp of Lagos, as well as the final plate 2 printing, in which the duty plate colour was changed to aniline carmine.
The original colour printings, which ran until August 1901, fall into two groups:
- Those from the fourth state of the plate, in which all the detail in the hair at the back of the head is gone, and most of the hairlines at the top of the crown and the base have merged together, leaving a narrow band of clearly discernable hairlines in the middle of the head, just above the crown. The thickness of the horizontal shading lines in the medallion is are just beginning to show signs of wear, with their thickness being slightly uneven, but overall, they still look clear. Finally, the horizontal shading lines in the band of the crown are mostly clear, but are just starting to show some merging.
- Those from the fifth, and final state of plate 1. In this final state, there is an overall coarseness to the background printing in the medallion, with very clear differences in the thickness of the shading lines. Most of the hair at the top of the head has merged together, as have most of the shading lines in the band of the crown.
Thirty Seventh Printing
Forty Seventh Printing
On this printing, the head plate colour is pale slate lilac and the duty plate colour is deep purple, that is just a touch brighter than the Gibbons shade. I have two used examples as shown above, The stamp on the right does appear somewhat brownish, but I believe that this is due to some light age toning of the paper. Both used examples are dated October 23, 1902 and January 1904.
The stamp on the right shows another flaw of the duty plate, which may be constant: the narrow topped "S" in "Six". In this flaw, the top curve of the "S" is notably narrower than the bottom curve, but the bottom curve is not especially thick. A close-up scan is shown below:
Forty Ninth Printing
The head plate colour of this printing is pale slate lilac and the duty plate colour is closest to Gibbons purple shade.
I have one mint, and one used example as shown above. As expected, the used example is cancelled with a 24 mm Lagos CDS cancel, dated July 1, 1901.
Fifty First Printing
Fifty Third Printing
The head plate colour of this printing is pale slate lilac, and the duty plate colour is closest to Gibbons's deep mauve.
I have one mint example, and two used examples, as shown above. Both used examples are cancelled with a 24 mm Lagos CDS, with one being dated sometime in 1903. However, neither cancellation is clear.
Fifty Seventh Printing
On this printing, the frame plate colour is closest to Gibbons' deep rose lilac, while the duty plate colour does not match any of the Gibbons swatches. It is an extremely deep magenta, being much deeper than the Gibbons deep magenta shade.
I have five mint examples as shown above, and seven used examples as shown below:
On this printing, the duty plate colour is the same as the last printing. However, the head plate colour, is also closest to Gibbons' deep rose lilac, but the colour is both paler and duller. So I would call this deep, dull rose lilac and very deep magenta.
I have six mint examples, as shown above, and twelve used examples, as shown below: