The Printings of the 4d Lilac and Black Queen Victoria Keyplate Stamp of Lagos - Part Two
Group 3 - Printings 17-31 Made From the Third State of the Plate - June or July 1891-March 1895
In this group of printings, mint and used examples are fairly evenly matched, and on the used, the barred oval obliterator cancels predominate, though there are a few early CDS's. I have one cover from this period, and one large mint block of 12 of the last printing in the group.
The head plate colour of this printing is closest to Gibbons's dull mauve, but without the brownish undertone that the dull mauve swatch has. It is a perfect match in terms of the overall intensity, and general tone. The other lilac swatches contain far too much red tone to match this colour. So I would call this dull mauve. I have five mint examples as shown above, and four used examples as shown below:
These appear to be cancelled with predominantly 8-bar oval obliterators, and one example of the wider Lagos CDS that became popular in the late 1890's (i.e. after 1896).
The colour of this printing is almost identical to the seventeenth printing, but is just a touch darker. I do not have any mint examples, but just the above three used examples. The stamp on the left appears to have been canceled with a 9-bar oval, but it is hard to say for sure. The stamp on the right bears the smaller 20 mm Lagos CDS. The date on this is somewhat indistinct, but it is likely before 1897, as there are very few instances of this cancel after 1896. The middle stamp, which unfortunately has a vertical crease, is cancelled with a fantastic 23 mm Lagos CDS from January 19, 1899. Given that these printings are supposed to encompass the period to 1895, this is likely another example of a late usage.
This printing is very similar to the last, but the colour is just a little paler, and more reddish. I have the two mint examples shown above only.
Twenty Third Printing
Twenty Fourth Printing
The head plate colour of this printing is closest to Gibbons's dull mauve, but without the brownish undertone which that shade has. I have only the used example shown above, which is cancelled with an 8-bar oval obliterator.
Twenty Fifth Printing
Twenty Sixth Printing
The head plate colour of this printing is closest to Gibbons's slate lilac, but is just a little paler. I have no mint examples, but just the three used examples shown above, all of which are cancelled with a barred oval obliterator. The two stamps on the end are cancelled with 8 bars, while the stamp in the middle is cancelled with 9 bars.
Twenty Seventh Printing
The head plate colour of this printing is closest to Gibbons's reddish lilac, but is perhaps, just a little bit deeper. I have the three mint examples of this printing as shown above, as well as one example on a registered cover to Bavaria, which is dated August 6, 1895.
Below is a close-up scan of the stamp, where you can see that the colour matches the three mint examples:
Twenty Eighth Printing
The colour of this printing is a perfect match to Gibbons's reddish lilac. I do have the two mint examples shown above, which unfortunately have defective perforations, and one used example. The used example is cancelled with an 8-bar oval obliterator.
Twenty Ninth Printing
This printing is very similar to the last, in that the colour is a near perfect match to Gibbons's reddish lilac. However the colour of the stamps in this printing are a little milkier than the colour of the 28th printing. I have two mint examples, and one single used example, which is canceled with what appears to be a 9-bar oval obliterator.
Thirty First Printing
On this printing, the head plate colour is closest to Gibbons's plum, but both slightly paler and duller. I do not have any used examples, but instead this fantastic mint block of 12, representing two complete rows of the sheet, though I am not sure which rows. There is no upper or lower selvage, which suggests that it is from between rows 2-9.
A close up scan of the third stamp from the left in the top row is shown below: