Hermes (Greek stamp)

The drawing of the mock-up, the engraving of the dies as well as the manufacturing of the typographic plates of the first seven values have been realised between July 1860 and September 1861 by the Chief Engraver of the Paris Mint: Désiré-Albert Barre (1818–1878).[6]

For the creation of the first Greek stamp, Désiré-Albert Barre was inspired by the two first stamp types of France designed from 1848,[7] by his father, Jacques-Jean Barre : the "République" and "Présidence" types or "Cérès" and "Napoléon".

Désiré-Albert Barre started by engraving the necessary dies for the manufacturing of the typographic plates. As an engraver and to validate his work, he printed four types of die-proofs, two types of progressive die-proofs and two types of final die-proofs.[8]

Then he manufactured also the seven typographic plates of the first seven values of the "large Hermes head", using the method developed in 1858/1859: the "direct striking in the coining press" method.[9]

To determine the choice of the inks and the papers and as well to calibrate the printing press, Désiré-Albert Barre realized, with the printer Ernest Meyer,[10] about a hundred of different types of plate-proofs and imprimaturs for all the values.[11]

• 
  The matrix of the original
  medallion die (détail)
• 
  Progressive die-proof
  (détail)
• 
  Final die-proof without values, in blue
• 
  The unique 1 lepton numbered final die-proof
• 
  20 lepta plate-proof
  Triple printing
• 
  80 lepta imprimatur with
  the inscription of the printer Ernest Meyer

The first type of the Greek stamps with the Hermes effigy, the head profile turned to the right is issued on October 1, according to the Julian calendar, still in usage at that time in Greece, or October 13, 1861, according to the Gregorian calendar adopted by the majority of the European countries in 1582, to the exception of the orthodox ones. Greece finally adopted the Gregorian calendar in 1923.

The first type of the Greek stamp is named "large Hermes head" in order to differentiate it from the following one, issued in 1886, and named "small Hermes head".[13]

The seven values issued in October 1861 have been printed in Paris by the printer Ernest Meyer, on sheets of 150 stamps (10 X 15). These seven values are the 1 lepton, 2, 5, 10, 20, 40 & 80 lepta:

• 
  1 lepton
• 
  2 lepta
• 
  5 lepta
• 
  10 lepta
• 
  20 lepta
• 
  40 lepta
• 
  80 lepta

The Paris issues are easily recognisable by the extreme finesse of their printing on satin papers, lightly tinted, of a very good quality.

The shading lines of the cheek and the nape are thin and discontinued. In particular, the wavy lines and the points in the spandrels are clearly visible and printed with an extreme finesse.

Finally, only the 10 lepta carry "control numbers" on its back. These numbers are 8 mm high, when all the following ones, printed in Athens on any value, will be 6.5 mm high.

Quantities printed in Paris in 1861:[14]

• 1861 - The first seven denominations, 10 lepta with control numbers (Scott 1–7).
• 1876 - 30 and 60 lepta (Scott 49–50). Issued to harmonize international postal rates with those of the Union Genérale des Postes (later Universal Postal Union), which Greece joined in 1875.

Then, and as soon as in November 1861, the printings have been done in Athens from the same seven typographic plates sent, by Désiré-Albert Barre to the Greek postal administration during the summer 1861.

Printing after printing, the technical improvement of the Greek printers, as well as the fouling of the typographic plates can be seen.

The printing of the control numbers at the back of the stamps is becoming a constant, except for the two smallest values, the 1 lepton, brown, and the 2 lepta, bistre. All further printings took place in Athens and the stamps remained in use until the introduction of the Small Hermes heads in 1886-1888.[15]

The printings were done "on demand", and the colour shades evolved within a very broad spectrum.

As well, several different quality of papers have been used during the Athens period of printing (from 1861 to 1882). Hence, it exists a very large diversity of "large Hermes head" stamp printings. The most advanced studies on the subject: Pemberton, Groom, Dorning Beckton, Brunel, Nicolaïdès, de Smeth, Kohl Handbuck, Constantinidès, Bellas, Coundouros, Basel..., are describing them in details.

The classification of Yvert et Tellier, resumed and completed by Orestis Vlastos in the Vlastos catalogues[16] and by Michael Tseriotis in the Hellas/Karamitsos catalogues,[17] allow us to go through them:

20 lepta of the first Athens printing with "quadrillé" background and without "control numbers"

The stocks of stamps received from Paris became empty very quickly, in particular in the main post offices (Athens, Piraeus, Syros or Patras...), though starting the month of November 1861, the Greek postal administration was obliged to start to use the typographic plates received from Paris, in order to print its own first sheets of stamps.

The Greek workers were far to have the level of experience of the French ones who were used to printing methods since several generations... Thus, the result was disappointing, the background of the medallion was not uniform anymore, the Hermes head was very often circled by a whitish halo and the four spandrels were also often "unclear". The shadow lines of the cheek and the nape are now continued and thicker than on the Paris printings.

Nevertheless, these stamps, printed with various methods ("hard printing", au blanchet, with mixed technics...)[18] are, for those printed with the "hard printing" method, without any "foulage", have a strong character, due to the density of the used inks, and to their contrast. So, they are as popular and studied, as the Paris printings.

Some of them are perfectly printed and are as fine as the Paris printings when some others are really coarse, it's the reason why the catalogues are classifying them in two categories the fine and the coarse printings.

As for all the Athens printings, these various issues identification is only possible, for sure, by using the "control numbers" at the back of the stamps that are mandatory for a correct classification.

For the first Athens printings, the "control numbers" are used for the first time, so they are perfectly clear and well printed with the downstrokes and the upstrokes really distinct and very finely printed.

As well, the "control number" "5" of the 5 lepta value is different from the one which will be used for all the following Athens printings up to 1880.

The famous 20 lepta without "control figures", with the "quadrillé" or solid background (Yvert/Vlastos n° 9 & Karamitsos n° 8), are belonging to these printings.

The issue is usually called "Athens "provisoire" ("temporary") issue". Indeed, one can believe that these stamps, due to the poor quality of their printing for some of them, were plate-proofs done by the Greek printers to initiate themselves to these new technics... But the stamps demand was so strong that the Greek postal administration decided to use them for regular postal service anyway... for the joy of the future philatelists.

The printing of the first Athens printings is ending in April 1862.

Starting May 1862, the Greek printers stopped totally the usage of the hard printing method ("tirage à sec"), and used another one, (named the soft printing method or "au blanchet") much more easier to put in place.

In order to increase the contrast between the dark and the light parts of the printing, a blanket was inserted below the sheet to be printed and the typographic plate. This method allowed to get much better overall results without however reaching the quality of the first Athens fine printings or obviously, the one of the Paris printings... This method was giving a strong "foulage" to the stamps, in particular at the shadow lines of the neck, with, very often, a relief ("foulage") visible on the back of the stamp.

At the beginning of these printings (1862/1863), the shadow lines of the cheek are continued and straight before becoming ticker after...

The "control numbers" are fine but lighter than on the first Athens printings.

In 1868, the printings are becoming pale and dull, and without contrast, but the impression is fine.

For a long period of time, one believed that it was due to the cleaning of the typographic plates as the named of these printings is referring to. In fact, it is not the case at all, as the typographic plates have been cleaned only in 1870. This pale/dull aspect is coming from the usage of a new blanket ("blanchet") much thicker as demonstrated by Louis Basel.[19]

The "control numbers" are becoming thicker and are not as fine as on the previous printings...

The "control numbers" errors are very frequent in particular, the "1" inverted for the 10 lepta or the "2" inverted for the 20 lepta as well as the "0" inverted for the two values.

In 1870, the Greek postal administration has received a new printing press from Germany.

The German worker(s) who came in Athens to install this new machine have also done a new "mise en train" and have printed, using the hard method ("à sec"), sheets of the two most used values: (1 lepton for the newspapers and 20 lepta for the domestic letters, up to 15 grams).

The result was once more, very disappointing: the impression was fine but, the shadow lines of the cheek are very short, in particular for the 1 lepton which is named "the shaved" by the collectors.

For the 20 lepta, the spandrels are whiten and the head is quite often circled by a whitish halo. The "control numbers" are milky-blue or deep-blue and always clear by are becoming even more thicker...

40 lepta "Solférino" of the so-called "inferior quality papers" printings

From the beginning of the 1870s years, the supply of the papers from France has been stopped due to the Franco-Prussian war. The Greek mint started to use papers from unknown provenance of relative good quality but with half-transparent and regular "clouds" visible by transparency on the light.

The usage of the "blanchet" was substituted to the hard printing method of the previous issue and will continue to be used for all the following issues up to the end of the printings, in 1882.

The shadow lines of the cheek and the nape of the neck of the Hermes head are long and uniform but thicker than on the previous issues.

The "control numbers" of this issue are clear, well printed and darker than the previous issues, but they are also heavier due to the usage of the same printing plate since ten years.

The most famous stamp of the "large Hermes head" collection is a variety of this issue: this is the 40 lepta of the same shade as the "control numbers" of the typical stamp of this same value.

A unique sheet has been printed and only 13 items have survived, as far as we know today (Yvert n° 22Ba, Karamitsos n° 36a).

One names it the "Solferino" in reference to the famous bloody battle of 1859, eponym, between the Franco-Serb troupes and the Austrian army.

Starting the end of 1871, the papers used are of less and less good quality. They are very thin, almost transparent and "fragile" (the front drawing is visible from the back) and in the light by transparency, they are showing a mesh/tram of regular holes.

The "control numbers" are again even thicker... Here again, many errors are found.

As these papers were absorbing the ink more than the previous ones, many shades variations are existing, and some of them are quite surprising and are more numerous than on the previous issues.

60 lepta of the Paris printing (1876)

In 1875, following Greece entrance to the Union Générale des Postes (U.G.P.), ancestor of the Universal Postal Union (U.P.U.), the Greek postal administration launched two new values (30 & 60 Lepta ).

From the same die used in 1861 to build the typographic plates of the first seven values, Désiré-Albert Barre has created the plates for the 30 lepta (brown) and the 60 lepta (green) necessary for the international mail.

Unlike the seven first typographic plates realised in 1861 with the "direct striking in the coining press" method, these two new plates have been manufactured, under the supervision of Désiré-Albert Barre, with the "Galvanoplasty-type" method, by the company: Charles-Dierrey, 6 & 12, rue Notre-Dame-des-Champs in Paris.[14][20]

These two values have been printed the printer J. Claye & Cie, 7, rue Saint Benoît, in Paris.

As the Paris printings of 1861, this printing is very fine. These two new values do not have any "control number" on their back.

Like in 1861, after a first printing of the two values, done in Paris, all the following ones have been done in Athens with the same typographic plates sent from Paris.[21]

Quantities printed in Paris (1876):[14]

The last printings done from 1875 to 1882 are remarkable by their paper of cream colour, very easily recognisable by looking at the back of the stamp.

The typographic plates have not been cleaned for several years, the printing is more and more heavy.

After fifteen years of usage, the "control numbers" plates is giving very thick figures without any distinction between the downstrokes and the upstrokes.

A very large number of "control numbers" errors is existing in this issue. The "control numbers" are disappearing in 1880 for the last two issues.

Due to the fouling of the typographic plates, stamps, printed at the late 1870s/beginning 1880s, can be found with very coarse printing.

Comparison of two 1 Lepton printed from the same typographic plate:

• The first one is from the Paris printings (1861),
• The second one is from one of the printings on cream papers of the late 1870s

The difference is due to the fouling of the typographic plate...

1 lepton of the Paris printings (1861)

1 lepton of one of the printings on cream paper (late 1870s)

Around the end of the 1870s or at the beginning of the 1880s, the plates are finally cleaned and are printing stamps with an outstanding finesse. The papers are the same as the previous issue but without any "control number" at the back of the stamp.

In 1882, the change de colours of the stamps for the domestic rate (20 lepta) and the international rate (30 lepta) is becoming mandatory in order to comply to the U.P.U. (Union Postale Universelle) new rules.

The 20 lepta are pink (aniline) and red (carmine), the 30 lepta is blue.

These stamps do not have "control number" on their back.

The nine values of the "large Hermes head" have been printed from the same nine typographic plates (one per value) during more than twenty years (from 1861 to 1882).

If the final printing is dated in 1882, the stamps of the "large Hermes head" stayed in circulation up to 1886 and were then replaced by the new type of stamp: the "small Hermes head".

In August & September 1861 the printing plates were transferred to Athens[14] and subsequent printings were made there, at the National Printing Office.

The same plates remained in use up to 1882, resulting in a number of varieties due to plates becoming worn and then cleaned, changes in the exact method of printing and using several different kinds of paper.

Classification of Athens printings is not always easy and there are substantial differences between the various catalogues and specialized publications. Generally the following scheme is accepted, while most experts expand it further with more categories, especially for the period 1861–1862.

The Scott catalogue numbers are given for each issue.[22]

• 1861–1862 - Provisional prints (coarse and fine prints) (Scott 8–15)
• 1862–1867 - Consecutive Athens prints[23] (Scott 16–22)
• 1868–1869 & 1873 for the 80 lepta - Cleaned plates issues (Scott 23–29)
• 1870 - Special 1 lepton and 20 lepta issues known as "shaved"(Scott 30–31)
• 1871–1872 - Prints on paper of inferior quality (Scott 32–37)
• 1872–1876 - Meshed paper prints(Scott 38–42)
• 1876 - Paris issue of 30 and 60 lepta
• 1876–1877 - Athens prints of 30 and 60 lepta (Scott 51–52)
• 1875–1880 - Prints on yellowish or cream paper (Scott 43–48)
• 1880–1882 - Prints on yellowish or cream paper, without control numbers (Scott 53–58)
• 1882 - Change of colors prints of 20 & 30 lepta

• 1 lepton - brown, without control numbers
• 2 lepta - bistre, without control numbers
• 5 lepta - green, emerald or light green
• 10 lepta - yellowish orange, often on light blue paper
• 20 lepta - various shades of blue, also aniline rose and carmine in the 1880–1886 issues
• 30 lepta - olive brown, ultramarine after 1880
• 40 lepta - violet, often on light blue paper, lilac-brown, grey-flesh
• 60 lepta - blue-green
• 80 lepta - carmine, carmine rose

In September 1900, due to the shipment delay of the new issue of the "flying Hermes" by the English printer J.P. Segg & C°, the Greek postal administration decided to reuse the old stocks on the anterior issues, including those of the "large Hermes head"

(these overprints also exist on the "Olympic 1896" and on the "small Hermes head" issues).

They are overprinted "AM", in black, for "Αξια Μεταλλικη" ("Metal Value") and with values in drachms.

The usage of these stamps was reserved to the postal parcels and to postal orders ("mandats") and were paid in "gold drachm".

They are really very rare on non-philatelic documents.

Série surchargée, valeurs métalliques, non dentelée et dentelée

In October 1900, another issue was launched but that time for common usage, the values are in lepta and drachm.

Série surchargée, usage courant,
non dentelée

Série surchargée, usage courant, dentelée

It exists a very large number of variety of these surcharges, such as those of the: "narrow 0", "large 0", "small space", "large space".[24]

All these overprint issues have been removed from the selling on June 30, 1901 when the "flying Hermes" issue has been finally shipped from London.

The majority of the "large Hermes head" has also the facial value printed on the back of the stamp:

• The 10 lepta of the Paris printing (numbers of 8 mm high),
• The 5, 10, 20, 40 & 80 lepta of all the Athens printings, to the exception of the last two ones (numbers of 6.5 mm high).

Not any single official document has been found so far allowing us to understand the exact purpose of these numbers. Several hypotheses are possible: limitation of falsification of the stamps or, easier control of the production of the stamps... This second hypothesis is considered by the specialists of the "large Hermes head" stamp as the most probable. This is the reason why these figures are commonly called "control numbers". The unique writing comment existing, to this date, about these "control numbers" is the one that can be found in the post scriptum of a letter of Désiré-Albert Barre written to the Greek administration for the second shipment of the stamps and plates to Athens on September 11, 1861. In that letter the French Chief Engraver is writing: "The 10 lepta stamps, the last produced, carry on their back the printed value: 10 lepta in large sized numbers. I believed that it was necessary to apply this innovation to these stamps, this idea came to me late and which appears to offer some great advantages.".[26]

A very large number of "control numbers" errors has been identified:.[27]

• One or the two digit(s) inverted,
• Digits swapped each other,
• Uneven digits,
• Double digit(s),
• Large space between the two digits,
• Displaced digit(s),
• Digits printed on the front of the stamp,
• ...

The number of the different types of errors, without of their combination, is very important and exists for all the printings. New "control numbers" errors are still regularly discovered by philatelists.[28]

It could easily justify a specialised collection by itself!

These are all the referenced "control numbers" errors of the 10 lepta of the Paris printing, as well as their position on the sheet of 150 stamps:

• 
  Regular
  "control numbers"
• 
  1 Inverted
  (Position 86)
• 
  0 Inverted
  (Positions 4 & 88)
• 
  Full "control numbers" Inverted
  (called "Piraeus error")
• 
  Open 1
  (Position 14)
• 
  Open 0
  (Position 16)
• 
  Uneven
  "control numbers"
  (Positions 88 & 127)

This is just a sample of some "control numbers" errors that can be found in the Athens printings:

• 
  5 lepta
  Double 5
• 
  10 lepta
  1 instead of 10
• 
  10 lepta
  Double 10
• 
  20 lepta
  Uneven
  "control numbers"
• 
  20 lepta
  Large space
• 
  20 lepta
  2 instead of 20
• 
  40 lepta
  Double 40
• 
  40 lepta
  2 corrected with 4

Starting with the Paris printing, in 1861, plate flaws are found, coming from small imperfections of some of the "clichés" of the typographic plates.[31] · [32] · [33] · [34] · [35]

Some of these plate flaws are native and have appeared during the manufacturing process of the plates[36] (see the first three illustrations below), and some others are appearing, coming either from wrong manipulations (see the last three illustrations, below), or from a dirtying of the plates (ink spots), during the life of the plates. In this last case they could also disappear after the cleaning of the plates (see the two 1 lepton below).

This is just a sample of some plate flaws that can be found on the "large Hermes head" stamps:

• 
  Plate flaw of the
  narrow circle
  (5 lepta - Position 51)
• 
  Plate flaw of the
  Greek touching the circle
  (10 lepta - Position 107)
• 
  Plate flaw of the
  hook to the Greek
  (40 lepta - Position 67)
• 
  Plate flaw of the
  spot to the neck
  (1 lepton - Position 44)
• 
  Plate flaw of the
  spot to the nape
  (1 lepton - Position 55)
• 
  Plate flaw of the
  Hermes with the pipe
  (30 lepta - Position 10)

The plate flaws exist for all the values of all the printings and their number is very important. Here again, a specific collection is totally justifiable.

The stamps have been the target of forgers, including Erasmo Oneglia[37] and A. Alisaffi.[38] As all the classical stamps, the "large Hermes head" have been counterfeited and that as early as the 1860s.

It exists a large number of fakes done during the 19th century and during the first part of the 20th century.[39]

This is just a sample of some forgeries/fakes of the "large Hermes head" stamps:

• 
  Fake of the Spiro brothers in Hamburg (1860s)
• 
  Fake called "Poor sad Hermes" of Spiro brothers (1860s)
• 
  Fake of Alissafi of Constantinopolis (1900s)
• 
  Fake of Fournier (1910s)
• 
  Fake of Oneglia (1920s)
• 
  Fake of a die-proof
  Detail - (1970s)
• 
  Fake of Imperato, called "Genoa fake" (1950s)
• 
  Fake of Jean de Spérati (1930s)

All the printings of the plate-proofs and the stamps of "large Hermes head" have the first wavy line broken at their base in the north-west spandrel.[40]

It's also the case for the tenth wavy line of the same spandrel (see the illustration below).

How to recognise a genuine "large Hermes head"?

These breaks are coming from a problem that happened to the final die or to a service die during either the process of:

• Striking, or,
• Hardening.

Indeed, these breaks are not appearing on the progressive and final proofs (to the exception of the only numeral proof known today and which have been realised at the end of the process).[41]

It exists the same type of "small problems" on some French classical stamps build in the middle of the 19th century, in the same French Mint, under the responsibility of the Chief Engravers: Jacques-Jean Barre , then his son, Désiré-Albert Barre, who has also realised the dies and the typographic plates of the "large Hermes head" of Greece.

The existence or the absence of these two breaks are warrantying if the "large Hermes head" stamp is genuine or not in almost all the cases....[42]

Only the Jean de Sperati fakes, which have been realised with a photo-lythography method, and which are then a picture of an original stamp, are presenting these two same breaks at the same places...

In 1875, at the same time of the 30 & 60 lepta stamps order, the Greek postal administration asked to Désiré-Albert Barre to realize the necessary equipment to print the first postal stationery (carte-correspondence) of the Kingdom.

For the realization of the die of the effigy of the stamp of the postal stationery, the Chief-Engraver took the same medallion-die used, in 1861, to create the large Hermes head stamps and engraved a new framework (see the illustrations of the pre-project and the mock-up, below).

Like for the 30 & 60 lepta stamps, the Chief-Engraver supervised the company: Charles-Dierrey, 6 & 12, rue Notre-Dame-des-Champs in Paris, on the manufacturing of the postal stationery typographic plate, composed of 24 pure copper "clichés", by using a galvanic method.

And like for the 30 & 60 lepta stamps, the sheets were printed in typography on Bristol paper, by the company: J. Claye & Cie, 7, rue Saint Benoît, in Paris, on April 13 & 14, 1876.

5.000, or 8.000, sheets of 24 postal stationaries (cartes-correspondence) with 15 lepta value have been printed. The documents exchanged between Désiré-Albert Barre and the Greek government, are indeed contradictories regarding the exact quantity ordered: 5.000 or 8.000 sheets (?)...

• 
  The pre-project
  of the postal stationery
• 
  The mock-up
  of the postal stationery
• 
  Die-proof
  of the postal stationery
• 
  Postal stationery
  (Carte-correspondence)
  of Paris printing (1876) type II

It exists two types of the 1876 Paris printing postal stationery:[44]

• The type I: The horizontal line under "Carte-correspondance" is of 14,5 mm length, and,
• The type II: The horizontal line under "Carte-correspondance" is of 16,0 mm length.

After the stock depletion of the Paris printing, a second emission, of the 15 lepta value and in blue, has been printed in Athens in 1878.

As for the stamps of 1861 and 1876, the printings done in Athens are coarser than the ones of the Paris printing.

Here also, it exists two types with the same characteristics of those of the Paris printing.

At the same time as the printing of the values of the 25, lepta, 50 lepta and of the 1 drachme of the small Hermes head (see below), the Greek postal administration asked the "Atelier du timbre" of Malines in Belgium to print the postal stationaries of the values of 5 & 10 lepta in blue, red and grey-green colors.

Due to the extensive use of the 10 lepta value, double postal stationeries of this value have been also printed.

Starting 1890, the Greek postal administration printed in Athens the postal stationeries of the values of 5 & 10 lepta in blue, black and red colors.

The same plates than the ones of the first Athens printings were used. The printings are even coarser than the first Athens printing of 1878.

The first printing has been done at the "atelier du timbre" in Malines,[46] in Belgium. The first three denominations (25 lepta, 50 lepta and 1 drachma) were issued on April 1. The remaining denominations (1 lepton, 2, 5, 10, 20 and 40 lepta) were issued on February 1, 1888.

Value and colour of the nine values of the Belgium printings of the "small Hermes head":

The consecutive printings have been done in Athens and are sub-divided in two main periods:

• The 1st period, from March 1889 to March 1891, with two types of paper, and,
• the 2nd period, from March 1891 to April 1896, with two other types of paper.

In 1901, a fourth representation of Hermes is appearing on the post-stamps of the Kingdom of Greece. The utilised figure that time is a statue from the sculptor of the 16th century, Jean Boulogne, or Giovanni da Bologna or, Giambologna: the "flying Hermes". This fourteen values issue, perforated in three different types (a, b et c) has been realised by the English printer J. P. Segg & C° in London.

• 
  "Flying Hermes" - Type a
• 
  "Flying Hermes" - Type b
• 
  "Flying Hermes" - Type c

Value and colour of the fourteen values of the "flying Hermes" set:

Hermes, métallic value - 50 lepta, blue

In 1902, the Greek postal administration issued a set of five stamps with the same effigy, perforated 13 & ½, for the payment in medal money (golden drachma) for the international parcels shipment with the mention AM for "Αξια Μεταλλιχη" for "Metal Value". These stamps have been printed in England by Perkins Bacon & C°.

The five values are:

• Le 5 lepta, orange,
• Le 25 lepta, green,
• Le 50 lepta, blue,
• Le 1 drachm, red, and,
• Le 2 drachms, brown.

The 50 lepta, red is a "non-émis".

This set was issued for the international mailing, in particular for the parcels and the postal orders ("mandats"), but will be also used for the common usage. The complete sheet was counting one hundred stamps.

In 1911, a new set, with various effigies of the God Hermes, was issued. The stamps are perforated in zigzag (13 X 13 & ¼). This new set is initially, in 1911, printed by using the line-engraving technic ("taille douce"), then reissued in 1919, still in line-engraving, and then again in 1919/1923 but that time in lithography, and finally, still in lithography in 1926 (Vienna emission) . All these issues have been overprinted in many cases up to 1920:[47]

• in 1912/1913: overprinted ΕΛΛΗΝΙΚΙ ΔΙΟΙΚΗΣΙΣ, with black and red inks, reading-up and reading-down,
• in 1912/1913: overprinted ΛΗΜΝΟΣ, with black and red inks, et,
• in 1916: overprinted ΕΤ for Ελληνικά Ταχυδομεία (Hellenic posts), with black and red inks.

Value, colour and type of the sixteen stamps of common usage set, printed in "taille douce" in 1911 :

• 
  Hermes, type a
• 
  Iris
• 
  Hermes, type b
• 
  Hermes, type c
• 
  Hermes, type AA