Sorting Out Swiss Classical Dues

This may help collectors to identify multiple varieties of the Swiss Classical Dues listed in Zumstein Spezial catalog. Finding rarities is still possible in this area if you know these stamps. Scott catalog is completely inadequate here; Michel Spezial does a better job but Zumstein Spezial is required to really know what you have.

I've been studying Swiss classical dues for years, so I can give a short description of how I usually sort them out (it may save you a lot of time).

Zumsteins' catalog values are from the fantasy land, of course — that is, as catalog editors themselves explain, they are for faultless, ideally centered, socked-on-the-nose (in the case of used ones) stamps delivered on demand (not offered for sale in lots).

There are no major perforation varieties in these issues, the Swiss were using the same perforation machine throughout the 19th century period and well into 20th century. There are some minor perforation mishaps (blind perfs, etc.) but I never looked out for those, only keep them when I chance upon them.

There are two varieties of the "cross within oval" pseudo-watermark, wide (type I) and narrow (type II). I usually measure the width of the oval, as it is very visible if there are no heavy hinge remnants. First issues (blue and blue-green) were with the wide (type I) watermark; in the following issues the width of the watermark varies, and it can help with the identification of the time period of issue. The latest classical Swiss dues were with the new "multiple crosses" watermark.

Almost all Swiss classical dues can have 2 frame positions: normal frame ("N" suffix in Zumstein) or inverted ("K" suffix in Zumstein).

In the first blue issues (without the break in the corner triangle, type I) normal frame (N) hes a narrower space between the circle and the rectangular frame above, while inverted frame (K) has wider space above. These issues are further sorted out by frame color shades, which usually can be pure blue, ultramarine blue or pure ultrimarine; there are also bright shades in some cases. Many color shades of this issue are of transitional characted, and are being lumped together into the cheapest "bluish ultramarine to pale ultramarine" category, though they can be very different in appearance. The central digit can be dark blue, blue or light (lighter than the frame) blue. Stamps with light blue digits are more valuable.

In the second blue issue the frame position is easily recognized by the break in the corner triangle (type II). In normal frame (N) stamps this break is in the upper right corner, in inverted frame (K) stamps it's in the lower left corner. Shade varieties run approximately the same range as in the first issue.

The third (last) blue issue with the break in the corner triangle (type II) has blue and red threads in the paper (Faserpapier). These are more or less rare in normal frame (N) state, and stamps from this issue with the inverted frame (K) are rather extremely rare (I still don't have most of those).

The next issue is blue-green. Again, normal frame (N) stamps from this issue are difficult but possible, while those with inverted frames (K) are extremely rare.

The following yellow green, green, olive green, olive, and browinsh olive issues are of multitude of shades, depending on the time period of issue. The color of the red/carmine/vermillion central digit also helps to identify the issue. Almost all of these are of Type II (with the break in the corner triangle), and almost all of them can exist in both frame positions (N or K). There was a transition from wide watermark (I) to the narrow one (II); therefore, watermark also helps to identify the time period of issue. There was, however, one single stamp of Type I (without the break in the corner trangle) per sheet during the whole "green with "cross in the oval" watermark" period. Swiss collectors are crazy about finding these, and they cost enormous amounts of money.

Last "olive/brownish olive" issues with watermark "multiple crosses" still can have one of 2 frame positions, and several color shades.

Dates on postmarks, if readable, can be of big help when you are in doubt about the shade. When you have enough of these stamps, shades become quite distincts and recognizable. Note that in Zumstein's descriptions of color shades "satt" means "saturated" or "deep", while "fahl" means "pale": important when sorting out the early yellow green/green shades. Borders of the recangular frame are decorated with a hatchwork. This hatchwork can be blurred (wet print) or distinct (dry print), which also helps in identification.

So, the basic identification steps are:
1. Blue, blue-green, or green/olive?
2. Is there a break in the corner triangle? (Type I or Type II?)
3. If blue of Type II, are there blue and red threads in the paper?
4. What is the watermark? (Wide oval (I), narrow ovel (II) or multiple crosses?)
5. What is the color shade? (Date on the postmark also helps)
6. What is the frame position? (Normal (N) or inverted (K)?)

There can be, of course, further varieties (color shades of the central digit, double stars, inclined digits, breaks in the frame, etc.). I don't look out for those specifically, though I keep them if I encounter them occasionally.

Wow! And I thought Norway posthorns were complicated... This takes things to another level altogether. Thanks for the excellent summary, and I bow to your greater knowledge. A small decision tree or flow chart is the logical next step.

Norway posthorns are complicated. I am still not 100% sure about some of those 10 øre red ones.

But their shades are mostly recognizable, unlike in early Finland issues, where Facit-listed shades and printings make me put aside my tweezers and magnifier, wipe my brow, and stare into nothingness...