Here’s how I actually identify a stamp on my desk, start to finish, without drama or mystique.
1) Start with what you can see
Good light. Clean hands. A simple 10× loupe. I look for three quick anchors:
- Country name or language. “Correo,” “Postes,” “Deutsche” narrow the hunt fast.
- Face value and currency. Centesimi, kopeks, pfennig, cents. Era hint.
- Design elements. Monarch’s portrait, coat of arms, landmarks, overprints.
I jot a two-line note: “Likely Italy, 1920s. 25 centesimi, King Victor Emmanuel III.” Notes keep me honest when variants show up.
2) Check paper and watermark
I slide the stamp face down in a black watermark tray and add a couple drops of watermark fluid. Most beginners skip this and mis-ID look-alikes. No fluid? Use bright backlighting, but fluid is safer and faster. Watermark shapes can flip a common stamp into a scarcer listing.
3) Measure perforations correctly
I use a simple comb gauge. Seat the teeth, don’t “match by vibe.” You need a number like Perf 11 or Perf 11×10½, not “kinda spiky.” Many classic series exist in multiple perf sets; this step is decisive.
4) Color and shade, not guesswork
Colors fade. Album toning lies. I compare to a known reference piece or a printed color guide under daylight LED. If a catalog lists “carmine” and “deep carmine,” I’ll write what I truly see and add a question mark if uncertain. Better a cautious ID than wishful thinking.
5) Printing method tells stories
Run the loupe over the ink:
- Line-engraved/intaglio: You’ll see raised ink ridges and crisp lines.
- Lithography: Flat, dotty, sometimes slightly blurry edges.
- Typography/letterpress: Slight halo or “squeeze” at letter edges.
Many “Type I vs Type II” differences are just about how the design was made.
6) Postmarks and condition matter to value
A crystal-clear town cancel can be a plus. A smeared killer that removes the nose of a monarch is not. I note: centering, margins, pulled/short perfs, thins, creases, foxing, and any hinge remnants. Identification is incomplete without condition.
7) Now I open the catalog
Order is important: I never start with the book. Once I’ve got country, era, watermark, perf, and printing method, the catalog is quick confirmation, not a maze. Any of the big ones work (Michel, Scott, Stanley Gibbons, Yvert). I match:
- Design number and denomination
- Watermark code
- Perforation variety
- Color listing
Then I pencil the catalog number on a small slip in the stock page, not on the stamp.
8) Common traps I learned the hard way
- Trimmed perfs: Edges look too clean or one side is imperf while others are perf. Red flag.
- Reperfed edges: Uneven tooth depth under loupe. Gauge doesn’t seat cleanly.
- Cleaned or “removed” cancels: UV light shows disturbance. Paper looks washed.
- Regummed backs: Gum too glossy on a classic issue, or floods over perf tips.
- Reprints and “facsimiles”: Often cheaper paper, softer detail, wrong watermark.
If I suspect a forgery or valuable variety, I set it aside for expertization. No shame in “needs certificate.”
9) My five-tool starter kit
- 10× loupe
- Watermark tray + fluid
- Perforation gauge
- Soft-tip stamp tongs
- UV lamp (shortwave if you collect modern fluorescence)
Optional but helpful: a small scale, a good daylight lamp, and a notebook that actually gets used.
10) A quick real-world example
A small green “1d” with a king’s profile lands in my pile. Likely Great Britain, early 20th century.
- Watermark: Script “GvR” detected in fluid.
- Perf: 15×14 with the gauge.
- Printing: Recess-printed, line detail in hair and wreath clear.
- Condition: Light circular date stamp, decent centering, one short perf at lower right.
Catalog check confirms the issue against watermark and perf. I file it with a slip: “GB 1d, KGV, wmk type X, Perf 15×14, CDS, short perf.” Ten minutes, done, no guesswork.
11) When to stop and ask for help
- Value hinges on a tiny type difference you can’t see confidently.
- Overprint looks uneven or off-center in a suspicious way.
- Shade drives a big price jump but your lighting is poor.
At that point I post clear scans in a forum or consult a local club. Two extra eyes beat one stubborn loupe.
12) Make identification a habit, not a hurdle
I sort new finds into three trays: Easy IDs, Needs tools, Needs opinion. This keeps momentum. I also tag stock pages by project: “Watermarks to check,” “Perfs to measure,” “UV tonight.” Small systems turn a messy shoebox into a quiet evening with good results.
Bottom line: Identify the physical facts first. Let the catalog confirm, not confuse. Use your loupe more than your gut. With a handful of tools and a repeatable flow, philatelic identification becomes the most relaxing part of the hobby.
