Basic Information
Color: Ultramarine
Subject: Benjamin Franklin
Paper: Hard white wove paper
Printing method: line-engraved intaglio on flat plates
Printer: Continental Bank Note Co.
Perforations: 12
Scott #: 156
Quantity issued: 448 million
Issued: July 1st, 1873
#156 has a secret mark (see below)
Value
An unused stamp with perfect gum: $3,000-$4,000
An unused stamp with gum and a hinge mark: $40-$65
A used stamp: 50¢-$1
About the large bank note stamps
A National Bank notes from 1870
Click image to enlarge
"Large Bank Note" stamps refers to a major definitive series of postage stamps issued between 1870 and 1890. They are called "Bank Notes" because they were produced under contract by three private security printing firms—the National, Continental, and American Bank Note Companies—before the Bureau of Engraving and Printing took over production in 1894.
Key Characteristics
Size: They are called "Large" to distinguish them from the "Small Bank Notes" (or "Baby Bank Notes") issued from 1890 to 1894, which were reduced in size to cut production costs.
Paper and Grills: Early issues (National) often feature "grills" (embossed patterns intended to prevent reuse), while later issues moved from hard paper (National and Continental) to soft porous paper (American).
Secret Marks: To identify which company printed which stamp, "secret marks" (tiny design modifications) were often added to the original plates when contracts changed hands.
Historical Timeline
National Bank Note Co. (1870–1873): The original printers who introduced the designs.
Continental Bank Note Co. (1873–1879): Took over the contract and added secret marks to the 1¢ through 15¢ denominations. They promised higher quality stamps.
American Bank Note Co. (1879–1890): After merging with Continental, they printed the same designs on soft porous paper and later introduced re-engraved versions with slightly modified details.
Hard paper vs. soft paper
Bank note light test
Click image to enlarge
The Light Test (Most Common)
Hold the stamp up to a strong light source and look through it from the back.
Soft Paper: Will have a mottled or "grainy" appearance, often compared to looking through a paper towel or newsprint. You can see the uneven distribution of paper fibers (the "pores").
Hard Paper: Will look much smoother and more uniform in its translucency. It lacks the distinct "mesh" or "pitted" look of the soft paper.
The Snap Test
Gently flick the edge of the stamp with your finger (ideally when the gum has been removed).
Soft Paper: Produces a dull "thud" or "flop" sound. The fibers are loosely packed, making the paper more absorbent and less resonant.
Hard Paper: Produces a sharp, high-pitched "ping". This is due to the specific sizing compounds used to make the paper less absorbent and more rigid.
The Secret Mark
#156
Click image to enlarge
#156 has a secret mark placed there by the new printers, the Continental Bank Note Company, to differentiate it from the previous printers stamps. An arc of color can be seen in the ball to the left of the figure one.
Usage
#156 earliest date of use, August 22nd, 1873
#156 was primarily used for paying the postage on drop letters, circulars, and newspapers/periodicals
Drop Letters: Letters delivered within the same post office where they were mailed (if not sent to a carrier-delivery office).
Third-Class Mail: Used on circulars, newspapers, and periodicals (often mailed by publishers or news agents).
Multiples: Used in multiples or in combination with other denominations to fulfill higher postage rates, such as advertising matter
Shades of the blue 1¢ and the reasons behind them
The high number of shades found on the US 1¢ Benjamin Franklin "Bank Note" stamps (such as #156) is primarily due to the inconsistent production methods and environmental vulnerabilities of 19th-century printing. Because of this I would advise attempting to identify the large banknote 1¢ stamp by its color. The shade of blue does not affect its value.
While the official colour for these issues is often listed as ultramarine or blue, collectors frequently encounter a vast spectrum ranging from bright to dull hues.
Key Reasons for Shade Variations
Manual Ink Mixing: In the 1870s, inks were mixed by hand in large batches. Small differences in the ratio of pigments, oils, and dryers between print runs led to noticeable shifts in the final shade of blue.
Multiple Printing Companies: The "Bank Note" series was produced by three different companies over nearly two decades: National Bank Note Co. (1870–1873), Continental Bank Note Co. (1873–1879), and American Bank Note Co. (1879 onwards). Each company used its own ink formulas and printing equipment, further diversifying the available shades.
Ink and Paper Sensitivity: The blue pigments used during this era were highly susceptible to environmental changes. Factors such as humidity, temperature in the press room (which affected ink thickness), and exposure to sunlight (fading) have altered the stamps' appearance over the last 150 years.
Chemical Reactions ("Changelings"): Some variations are not original but are "changelings" caused by chemical exposure. For instance, exposure to sulfur or acidic album pages can cause oxidation, turning certain blue or green inks darker or even blackish over time.
#156a, #156e, #156f
Double Paper
#156a
Click image to enlarge
Grilled (J grilll)
#156e
Click image to enlarge
Imperf. pair
#156f
The Glen Allen precancel
Amongst the first precancels is the well known,and rare, Glen Allen precancel, an example is shown above. It was in use from the 1870s until 1898. Stamps were affixed to envelopes and then precancelled on a printing press. It was used only on the 1¢ stamp and the precancel was either in red or black.
Plates
#156 was issued with the following plate #'s
2, 13, 16, 26, 125-128, 142-147, 156-160, 181-182, 229-230, 294-295, 298-301, 307-308
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's statue of him