William Humphrys was born in Dublin in 1794. At a young age he moved to America. Aparently, he was originally called Humphreys but changed his name when he went to the USA. He was taught the art of engraving by George Murray of Murray, Draper. Humphrys' work in the USA consisted mainly of engraved illustrations for annuals and poetry books, as well as details of banknotes.
One of those engravings was a portrait of President George Washington. Originally meant for banknote production, the printers Rawdon, Wright & Hatch, who owned the master die, used it for the 1854 New York Postmaster Provisional stamp as well. The engraving, when used on banknotes, had a flaw consisting of a line from the corner of the mouth to the chin. This flaw was corrected on the stamp die, but on early printings, evidence of the correction can still be noted. On a stock certificate of the Ohio & Missouri Mining Co, the full engraving, rasthetr than the cropped versions used on bankotes and stamps, can be seen.
In 1822, Humphreys returned to Great Britain.
The original portrait of Queen Victoria, engraved by Frederick Heath, had been used for all British stamps ever since 1840. After time, it was found that the features became more and more indistinct. It was therefore decided in 1854 to deepen the lines in the die, which would result in sharper impressions. William Humphrys was asked to perform this job. The authorities did not want to tamper with the original die, so a new die was laid out which Humphrys could work on. The new die was approved on 11 November 1854.
Humphrys succeeded remarkably well in retouching the portrait in such a way that at first sight no differences would be perceived. More detailed study does show up differences of course, mainly in the shading of the eyelid, the curve of the nostril and in the shading of the band round the hair behind the ear.
Although New Zealand had set their sights on John Carmichael from New South Wales to engrave their first definitives, that plan fell through because Carmichael was engaged in work for New South Wales and instead it was Humphrys who engraved the Chalon portrait for the country's first definitives of 1855. To be precise it is a die made by Humphrys for banknotes which was used for the New Zealand Chalon stamps. Humphrys' portrait appeared on the Bank of British North America banknotes, the Union Bank of Australia £1 banknotes for Christchurch New Zealand, issued in 1859, and for Wellington New Zealand, issued in 1880.
The original Chalon die by Humphrys was used in 1940 for a cinderella promoting the Stamp Centenary Exhibition.
The work Humphrys was doing for New South Wales was an engraving for their 1854 definitives, which has since become known as the Garter Type definitive. It is often regarded as the best example of his craftsmanship.
The design of the 1856 St. Helena stamp was of tall proportions, resembling Humphrys' 1855 series for South Australia, but with greater elegance and clarity (Stamp Magazine June 2013).
Although the Stanley Gibbons catalogues credit Charles Henry Jeens with the engraving of Grenada's first definitive of 1861, many philatelic heavyweights, such as L.N. & M. Williams, Bertram Poole and John Easton, actually think it was William Humphrys (Stamp Magazine October 2011).
William Humphrys passed away in 1865.
You will find William Humphrys' database HERE.
One of those engravings was a portrait of President George Washington. Originally meant for banknote production, the printers Rawdon, Wright & Hatch, who owned the master die, used it for the 1854 New York Postmaster Provisional stamp as well. The engraving, when used on banknotes, had a flaw consisting of a line from the corner of the mouth to the chin. This flaw was corrected on the stamp die, but on early printings, evidence of the correction can still be noted. On a stock certificate of the Ohio & Missouri Mining Co, the full engraving, rasthetr than the cropped versions used on bankotes and stamps, can be seen.
In 1822, Humphreys returned to Great Britain.
Humphrys succeeded remarkably well in retouching the portrait in such a way that at first sight no differences would be perceived. More detailed study does show up differences of course, mainly in the shading of the eyelid, the curve of the nostril and in the shading of the band round the hair behind the ear.
Although New Zealand had set their sights on John Carmichael from New South Wales to engrave their first definitives, that plan fell through because Carmichael was engaged in work for New South Wales and instead it was Humphrys who engraved the Chalon portrait for the country's first definitives of 1855. To be precise it is a die made by Humphrys for banknotes which was used for the New Zealand Chalon stamps. Humphrys' portrait appeared on the Bank of British North America banknotes, the Union Bank of Australia £1 banknotes for Christchurch New Zealand, issued in 1859, and for Wellington New Zealand, issued in 1880.
The original Chalon die by Humphrys was used in 1940 for a cinderella promoting the Stamp Centenary Exhibition.
The design of the 1856 St. Helena stamp was of tall proportions, resembling Humphrys' 1855 series for South Australia, but with greater elegance and clarity (Stamp Magazine June 2013).
Although the Stanley Gibbons catalogues credit Charles Henry Jeens with the engraving of Grenada's first definitive of 1861, many philatelic heavyweights, such as L.N. & M. Williams, Bertram Poole and John Easton, actually think it was William Humphrys (Stamp Magazine October 2011).
William Humphrys passed away in 1865.
You will find William Humphrys' database HERE.
I suspect that "banknotes from the Bank of Western Australia" is repeating a likely error in an earlier reference. For an updated survey, see for instance https://hartstamps.blogspot.com/2019/04/what-about-perkins-bacon-co-bank-notes.html
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