Basic Information
Color: Carmine lake
Subject: George Washington
Watermark: Unwatermarked
Printing method: line-engraved intaglio on flat plates
Printer: The Bureau of Engraving and Printing
Perforations: 12
Scott #: 249
Quantity issued: 98,000,000
Issued: October 5th, 1894
Value
An unused stamp with perfect gum: $20-$40
An unused stamp with gum and a hinge mark: $10-$15
A used stamp: $1.50-$2.50
About the First Bureau stamps
A pane of #248
(there is no surviving pane of #249)
Click the image to enlarge
The 1894 Series, known as the "First Bureau Issue," marked the first time the U.S. government printed its own postage stamps, ending the 47-year monopoly of private contractors. Produced by the Bureau of Engraving and Printing (BEP), this series used existing designs but introduced small, unique "triangles" in the corners of the stamps to distinguish them from earlier American Bank Note Company issues.
The BEP, which had been established in 1862, successfully bid for the contract to print postage stamps, overcoming intense opposition from private firms that claimed the government was incapable of the work. The BEP reused the 1890–1893 stamp dies. The most defining feature of this series is the addition of small triangles in the upper corners of the designs.
Working at the Bureau in 1894
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.
Usage
#249 on a multicolored Seabury & Johnson advertising cover
#249 was primarily used to pay the first-class letter rate for a single-weight letter, which had recently been reduced from 3¢ to 2¢, effective October 1, 1883. It was also used for postcards, double-rate postcards, and drop letters (local mail)
Plates
#249 was issued with the following plate #'s
1, 3-5, 7-13, 16, 19, 20, 22-23, 25-26, 30, 32, 78-80, 82, 88-89, 96-97, 110-111, 113-114
#249a
#249a
Double Impression
The Inspiration for the Design
George Washington bust by Jean-Antoine Houdon
The vignette was based on a bust of George Washington by french sculptor Jean-Antoine Houdon.
Created in 1785 the bust is considered the most accurate likeness of the first U.S. president. Based on a life mask and clay model made at Mount Vernon, it captures Washington at age 53 with precise facial details, blending a Roman, toga-style aesthetic with realistic aging. It is considered one of the most accurate representations of Washington.