The Manual - G.A. Pettigiani - 2010

[Rein]

The 10 cent Rivadavia chestnut-brown type IV in reel-fed typography - Servicio Oficial


Sometimes the "Servicio Oficial" had been printed in offset-litho sometimes in typography. Pettigiani does not mention anything about it, although A. Fredy Yedro did mention these printing methods in his articles....

Types of paper:

TI 2 with Servicio Oficial in typography - 12mm





Bear in mind that this is NOT a rayado, the horizontal "lines" are due to the density of 30/16 - lower number of horizontal weave lines per centimeter that causes our eyes to "see" such lines.... The wire, weave is still symmetrical!

to be continued ....

[Rein]

NB

even though a sophisticated scanning has been used - 2400 dpi - the letters of the watermark are not obvious to be seen whether the AЯ is normal or inverted.


to be continued ....

[Rein]

Comparing the orthogonal watermarks with 30/16 density and symmetrical wire and the 30/20 density with asymmetrical wire:

Watch the densities!

TI 2 at the left and TI 5 at the right:





At the left some 50 horizontal lines, at the right some 60 lines!

to be continued ...

[Rein]

The 10 cent Rivadavia chestnut-brown type A in offset-litho

As I have pointed out earlier the 10c has 3 [three] types NOT 2 [two]! This fact had not been discovered until last year! It took 55 years! Apparently Pettigiani had not been aware of these 3 types either...

Types of paper and their first use [according to Pettigiani] and their relative scarceness:

MI 3 July 1942 "R" for both
MI 4 May 1942 "c" for both
MI 5 1949 "c" for both; also exist with "trama difusa"
RR 2 "M" May 1949 "c" for both
SF 1 June 1946 "c" for both


The Zárate papers have type C!

* "M" = direction of paper parallel to the long side of the stamp; "m" parallel to the short side of the stamp.

to be continued ....

[Rein]

The 10 cent Rivadavia chestnut-brown type A in offset-litho - Servicio Oficial


Sometimes the "Servicio Oficial" had been printed in offset-litho sometimes in typography. Pettigiani does not mention anything about it, although A. Fredy Yedro did mention these printing methods in his articles....

Types of paper:

MI 3 with Servicio Oficial in offset-litho - 12mm
MI 4 with Servicio Oficial in offset-litho - 12mm
MI 4 with Servicio Oficial in typography - 12mm
MI 5 with Servicio Oficial in offset-litho - 12mm
RR 1 with Servicio Oficial in offset-litho - 12mm
SF 1 with Servicio Oficial in offset-litho - 12mm
SF 2 with Servicio Oficial in offset-litho - 12mm
SF 3 with Servicio Oficial in offset-litho - 12mm


to be continued ....

[Rein]

Just to remind us of the 3 different types of the 10c Rivadavia chestnut-brown in offset-litho.

The original offset-litho with type A, with the rounded collar - in the blue rectangle, the right vertical brown outline is of the same thickness everywhere:



the revised type with the pointed collar - as it turns out now, this point was not the only revision, type B - in the blue rectangle the right vertical brown outline is a lot thicker and NOT indented, the top diagonal line is unbroken:



the newly discovered type C that has the collar of type A, but in the detail shown here below is quite different and resembles type B a lot - in the blue rectangle the right vertical brown outline is a lot thicker and indented, the top diagonal line is always broken!




Type A:



Type B:



type A:



type B:



Have a good look at the short leg of the "A" in type B!

to be continued ....

[Rein]

The 10 cent Rivadavia chestnut-brown type B in offset-litho

Types of paper and their first use [according to Pettigiani] and their relative scarceness:

MI 4 1951 "R" for Pettigiani - highly unlikely to have a 'Tela' still in 1951! Probably a malidentified MI 5!
MI 5 1951 "c" for both; also exist with "trama difusa" (1954)
RR 2 "M" August 1948 "c" for both
ZA 1 1953 "c" for both
ZA 2 1955 "R" for both
ZA 3 1957 "c" for both

* "M" = direction of paper parallel to the long side of the stamp; "m" parallel to the short side of the stamp.

to be continued ....

[Rein]

The 10 cent Rivadavia chestnut-brown type B in offset-litho - Servicio Oficial


Sometimes the "Servicio Oficial" had been printed in offset-litho sometimes in typography. Pettigiani does not mention anything about it, although A. Fredy Yedro did mention these printing methods in his articles....

Types of paper:

MI 4 with Servicio Oficial in offset-litho - 12mm
MI 5 with Servicio Oficial in offset-litho - 12mm
RR 1 ???? A 1942 paper coming out in 1949????
RR 2 with Servicio Oficial in offset-litho - 12mm

to be continued ....

[Rein]

The 10 cent Rivadavia chestnut-brown type C in offset-litho

Types of paper and their first use [according to Pettigiani] and their relative scarceness:

ZA 1 1955 "c" for both
ZA 2 1954/55 "c" for Bardi, "R" for Pettigiani
ZA 3 1958 "c" for both

to be continued ....

[Rein]

The 10 cent Rivadavia chestnut-brown type C in offset-litho - Servicio Oficial


Sometimes the "Servicio Oficial" had been printed in offset-litho sometimes in typography. Pettigiani does not mention anything about it, although A. Fredy Yedro did mention these printing methods in his articles....

Types of paper:

ZA 1 with Servicio Oficial in offset-litho - 12mm
ZA 2 with Servicio Oficial in offset-litho - 12mm
ZA 3 with Servicio Oficial in offset-litho - 12mm

to be continued ....

[Rein]

The Chapter on varieties, plate flaws and retouches is quite interesting. But although in the introduction to this chapter the root block of 5x5 had been mentioned, no attempt had been made to assign certain entries in the listings to such root block.

In this Foro we have displayed quite a lot of characteristics as probable candidates for the root block. Both for the 1/2c Belgrano, the 1c Sarmiento, ....., the 20c Toro, the 25 c Labrador, the 30c Lanas, the 40c Azucar, the 50c Petroleo,etc....
In the Pettigiani listings we may even find some of the characteristics mentioned in the Foro like the 1/2c Belgrano with the blot under the "G" and the dot after "MAR" of the 50c Petroleo.

That the root block for the large sized was 5x2 might even have been mentioned, but no.... With the 30c Lanas having the break of the line next to "30c" in the positions 2,4, 6, 8, 10 and 52, 54, 56, 58, 60 did NOT ring a bell.









Two of the mentioned flaws in Pettigiani belong to the root block of the 50c!



to be continued ....

[Rein]

The accent grave on the "V" Pettigiani mentions for positions 1, 6, 21, 26, 41, 46, 61, 66, 81 and 86! Obvious that it has to be a root block of 5x2!



to be continued ....

[Rein]

One of the best chapters in the Pettigiani book is the one about the sheet layouts and the margin characteristics.

The small sized stamps in offset-litho have a printing sheet of 400 - 2 panes of 20x10 on top of each other; the larger sized stamps have sheets of 10x10. The reel-fed typography stamps have a circumference of 22 stamps - 2 panes of 10x10 with a bridge of 1 stamp height.

The exceptions are for the booklet sheets of the 5c Moreno in typography and the 20c Toro of 1942.

The 20c had a sheet of 19x8 stamp fields -> 152 stamps. In order to have a countable number of stamps [150] in a sheet, 2 positions [1 and 21] were filled up by an oval.

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The offset-litho panes of 20x10 had two ornamented margins, the typography sheets had barred horizontal margins with pane numbers in the first and sixth column - a "1" in the bottom margins of pane 1 and "2" in the top margin of pane 2.

Most interesting is the use of inscriptions referring to the types of printing presses.

Cremayer No 2 is to be found on:

10c Rivadavia chestnut-brown in offset-litho type A on MI 5 and RR 2 [1949]
20c Torito in offset-litho on ZA 1

The reference to the "dry offset-litho" or letterset can be found in the inscription "Hueco-Maq." for the following:

1/2c in offset-litho SF 1 [1949]
1c in offset-litho SF 1
2c in offset-litho SF 1 [1948] and RR 2 [1951]
10c in offset-litho type A RR 2
10c in offset-litho type B SF 1, MI 5 and RR 2

not in the 5c San Martin what could have been expected due to the special reference to this type of printing method in Klass 1970!

The 5c San Martin has a "9.50." in the left margin for the new type that was introduced in 1950 and had a break in the right hand stairs. The numbers probably refer to the month: September 1950 when that plate got introduced.

This is awfully good to know now where to look for evidence in the stamps themselves for this letterset or indirect typography!

to be continued ...

[Rein]

The chapter on the stamp booklets is another interesting item. Basically two types were issued:

$ 1 with 20 stamps of 5c Moreno in typography
$ 2 with 40 stamps of 5c Moreno in typography

The separate booklets demanded each a special lay-out of the printing sheet.

In the postings of Nestór Pavan on this subject viewtopic.php?f=43&t=2720

we find the illustrations from DeLuca [1939, pages 722, 723]:

Resulting in booklet panes of 4x2 using 5 panes to make up a booklet of $ 2:



Resulting in booklet panes of 5x2 using 2 panes to make up a booklet of $ 1:



Strangely enough Belgrano is referred to instead of Moreno

Both booklet lay-outs had been printed on MI 7 [mate lustroso], TI 1 [1st production of coated paper] and TI 2 [3rd production of coated paper]. Due to the tête-bêche arrangement for the $ 1 booklets both the normal position and the inverted position of the watermark shall occur!

In the value by value listings Pettigiani refers to 3 types of paper for the booklets [ judging by tête-bêche or bridge] whereas in the Booklet Chapter only 2 papers seem to have been used: MI 7 and TI 2!

to be continued ....