The Rivadavia that vanished into thin air

[Rein]

Tony:
Aunque este mensaje es un poco tardío debo hacer algun comentario respecto a las composiciones del Rivadavia tipo 1 y 2, por lo que he escrito hace pocos díss. Yo dije que tantos las planchas del 10c rojo y el 5c Moreno estaban compuestas en base a un grupo raíz de 10 sellos. Debo rectficarme pues tengo una fracción de plancha del Rivadavia tipo 2 sobrecargado M.H. qque no responde a la composición del grupo raíz.
En efecto, y me estoy refiriendo a los Rivadavias rojos tipo I y II impresos en máquina plana, la fracción de plancha que Ud, ilustra y tiene una barra de 6 líneas orizontales en el borde inferior, efectivamente tiene la composición del grupo raíz de 10 sellos, pero el tipo II, que tiene una barra de color sólido en el borde inferior no responde a esa premisa, pues hasta ahora me ha sido imposible en contrar variedades repetitivas en posiciones simétricas en la plancha como la que Ud. menciona.
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Saludos
Merlo

José,

I told you -see postings above - that the 10c Rivadavia red [and chestnut] in reel-fed [Goebel] have a combination of 2 base types [type II -rf, type III-rf] that can show up anywhere in the sheet - NO systematical repetition as all separate stamps [in a printing sheet] have somehow been formed as a duplication of the base types with various additional characteristics!

saludos, Rein

[Rein]

As I have written in my critical postings on Pettigiani's book I do NOT believe in the 10c Rivadavia chestnut-brown in typography on the so-called mate lustroso paper....

This type of paper was introduced in 1940 for the 5c Moreno in typography and probably for the Airmail definitives and some commemoratives. No other stamp value in the PyR I series was issued on mate lustroso UNLESS we believe Leopoldo Tenorio Casal and we start digging our papel Holandés for it!

What we CAN find is the 10c Rivadavia on coated paper just like the 5c Moreno. It is refered to by Darió BArdi as TI 1.







The contrasting 5c and 10c with the 20c and the 4c!



see the wide teeth originating from the comb perforator in line with the Goebel typography rotative press!









Type III - see the blue circles - of the 10c and also type III for the 5c [dot under "E")



As Shakespeare wrote 400 years ago in The Tempest, in 1610:

Prospero: These our actors, as I foretold you, were all spirits and are melted into air, into thin air