An endless series!

Following the death of Prince Regent Leopold, the throne in Bavaria was succeeded by King Ludwig III, Leopold's son. From March 30, 1914, stamps bearing the likeness of this king were issued. The stamps were designed by Professor Walther Firle based on photographs taken by Graimer. He had been preceded by two other designers, but the designs of these two (Professor Otto Hupp and Professor Peter Halm) had been rejected. Photos by Graimer? This name was indeed mentioned in the special Michel catalogue, but during my search in the Nuremberg archives in 1999, I did not come across this name. I did, however, find an image of a painting created by Professor Firle featuring the portrait of the king. I also encountered other names, such as that of Oswald Kresse, who is said to have designed the oval border of the portrait—and thus the country name and the value denominations. However, in the official announcement of the publication of the series dated March 7, 1914, only the name of Professor Walther Firle is mentioned. The stamps were printed in the letterpress of the firm Friedrich Bruckmann AG, where a cylinder intaglio press was installed in 1904. This press, which had cylinders 75 cm wide, originally came from John Wood in Ramsbottom near Manchester (Great Britain) as a single-colour press. A proof print was made with the value of 2½ Pfennig, a value that did not appear in the final series. The first stamps were produced on this press using rotary intaglio printing. The series consisted of three different designs in three different sizes. The ten low values ​​in Pfennig in a small size. I am showing only a few values ​​from the series. The 1, 2, and 3 Mark in a medium size. The 5, 10, and 20 Mark in large format. In 1914 and 1915, beautiful white paper was used, but this was no longer available later due to wartime conditions. The later paper is much greyer. Therefore, in collecting circles, there is talk of a peace print (only perforated stamps) and a war print (both perforated and unperforated stamps). Thus, a clear distinction can already be made here between two variants—actually three, if one counts the unperforated stamps as a variant. But the war had even more in store. First, a change in the colors of some stamps. And one with an overprint of 2½ Pfennig. Several new values ​​were also added: 2 Pfennig, 7½ Pfennig, and 15 Pfennig. This took place from 1916 to 1918. Naturally, both perforated and unperforated. The war also caused the Kingdom of Bavaria to cease to exist. It became a republic. All remaining stocks of stamps were overprinted with: Volksstaat Bayern. They were issued starting March 1, 1919. I will show a few examples of these. Both perforated and unperforated. It did not stop with this overprint, for from August 6, 1919, all stamps were provided with a new overprint: Freistaat Bayern, naturally again both perforated and imperforate. I am showing only a few examples of this as well. On August 25, 1919, another series of three stamps with overprints was issued, a 5 pence surcharge intended for war victims. Two overprints on one stamp. Enough overprints? No, because the brown 1 Mark stamp was reprinted in three different colors and overprinted with new values, 1,25 Mark, 1,50 Mark, and 2,50 Mark and… yes, both perforated and unperforated. Was this simpler than making three new stamps with the new values? And if you would still like even more variants? Then add stamp booklets number 7, 8, and 9, or the individual parts thereof. Also available unperforated… Or those with a perforated letter E from the Eisenbahn, the Bavarian Railways. Or with company perforations, like BASF. And the stamps from the series? There are large quantities of them, so there are plenty of opportunities for detective work. You can go on almost endlessly with variations. Much further than the average catalog or pre-printed album indicates. Isn't that nice?