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| Machin series ： ウィキペディア英語版 |
: ''"Machin head" redirects here. Not to be confused with Machine head.''The Machin series of postage stamps is the main definitive stamp series in the United Kingdom, used since 5 June 1967. It is the second series to figure the image of Elizabeth II, replacing the Wilding series.Designed by Arnold Machin, they consist simply of the sculpted profile of the Queen and a denomination, and are almost always in a single colour.After four decades of service, the series has encompassed almost all changes and innovations in British stamp printing. This has been encouraging an abundant specialised philatelic collectors' market and associated literature.Arnold Machin's 1964 effigy of the Queen was replaced on British coins in 1984 by an older-looking effigy by Raphael Maklouf. However, the effigy on British stamps has never been updated, and the last proposals to these ends were rejected by the Queen herself.== Genesis ==Since the accession of Elizabeth II in 1952, the definitive series figured a three-quarter photograph of the Queen by Dorothy Wilding. The same effigy had appeared on commemorative stamps too.The United Kingdom, as the first country to officially issue postage stamps in 1840, is excused by the Universal Postal Union from printing the country's name on its stamps and the royal effigy is the sole national mark. However, the Wilding design did not please some artists. In a letter of April 1961, Michael Goaman and Faith Jacques argued that it represented the Queen, but not the monarchy. They complained it embarrassed the commemorative stamps' designers because the photograph took up one third of the stamp's area and it imposed a perspective on a two-dimensional design.Letter kept in The British Postal Museum & Archive (POST 122/10703) ; quoted by Douglas Muir (2007). ''A Timeless Classic'', chapter 2, « A Portrait with problems », pages 15-17.Some new designs were discussed but concerns over the technical aspects (a photograph or a painting inspired by a photograph) delayed a full competition for artists until 1965. Postmaster General Tony Benn and artist David Gentleman failed in their attempts to have the royal head replaced by the name of the country ("Great Britain" or "U.K."), but were permitted to explore temporary solutions to the commemorative head problems. This would of course have removed the uniqueness of the United Kingdom in being the only producer of postage stamps not to have its country name on its stamps in honour of its origination of the adhesive postage stamp in 1840. In 1966 Gentleman created a small single-coloured profile from a coin by Mary Gillick. The project waited until the miniaturisation of the new definitive effigy that the Stamp Advisory Committee (SAC) had advised the Postmaster General on 13 January 1965 be chosen, from profiles and engraved images based on a photograph.The first essays were submitted by Andrew Restall and Arnold Machin with Harrison and Sons printers' assistance. They worked from photographs by Anthony Buckley, then from ones by Lord Snowdon, the Queen's brother-in-law. After essays by Harrisons printers to combine Buckley's pictures with standard definitive backgrounds, the SAC was not impressed by the results and decided to look at Lord Snowdon's work. Machin had just finished work on the new coin's effigy based on the photographer's pictures. The competition began with more artists officially invited during Summer 1965, but at a meeting on 26 January 1966, the SAC's members decided to let only Gentleman and Machin continue work on the design. Muir has indicated that no notes or transcriptions were kept of 1966 meetings. The sequence of historical events is based on analysis of subsistent artworks.Richard West, « Birth of an Icon », page 43.Arnold Machin's method was to sculpt a bas-relief in clay and moulds, which he reworked and corrected depending on what the SAC required. The printing essays were then done by Harrisons & Sons from photographs of the sculpture, completed with the additions and adornments by designer Machin. Quickly, he decided to simplify the effigy with just the Queen wearing a tiara and the four regional flower emblems, like the Wilding series. Yet these flowers were also dropped: Machin's design would eventually have only the Queen's profile and the value of the stamp.Richard West, « Birth of an Icon », pages 42-43. Photographs of Arnold Machin working on his sculpture and of the four main designs he prepared are reproduced in this article.In March 1966, the Stamp Advisory Committee decided to make new photographs of the Queen available to Gentleman and Machin. They were taken by John Hedgecoe on the following 22 June. Elizabeth II selected the pictures to be given to the artists and Gentleman continued work on the "photographic alternative" to Machin's sculpture. "Photographic alternative" is the title of this chapter in Muir's book.During the second period of 1966, Machin replaced the tiara with the George IV State Diadem on request of the SAC, the same diadem as was previously seen on the Penny Black. In the archives, this design is called "Diadem Head". The Queen asked for a corsage at the bottom of her sculpted neck. "Dressed Head" was the name of this new design in the archives. The final sculpture is a rectangle of plaster, 16 inches long and 14 inches wide, kept in a London-based British Postal Museum & Archive vault.Andrew Alderson et Tom Williams, « A new look for the first-class design », ''Sunday Telegraph'', 3 June 2007 ; (on the paper's website ) (retrieved 12 June 2007).The last adjustments to the final plaster image and to the lighting during photography created four effigies. They were unveiled to philatelists on the pre-decimal stamps, the first ones issued 5 June 1967.Richard West, « Birth of an Icon », page 44. Ces effigies sont numérotées de A à D.Concerning the original colours, Machin encouraged the use of a clearer effigy on a single-coloured background.Richard West, « Man behind the Machin », page 45. The 4 pence ("4d") was given a very dark brown, inspired by the Penny Black and requested by the Queen herself.Richard West, « Birth of an Icon », page 44. But the Post Office did not fully respect Machin's views and in the first years of the series would also issue bi-coloured stamps and clear-to-dark gradated backgrounds.
: ''"Machin head" redirects here. Not to be confused with Machine head.''
The Machin series of postage stamps is the main definitive stamp series in the United Kingdom, used since 5 June 1967. It is the second series to figure the image of Elizabeth II, replacing the Wilding series.
Designed by Arnold Machin, they consist simply of the sculpted profile of the Queen and a denomination, and are almost always in a single colour.
After four decades of service, the series has encompassed almost all changes and innovations in British stamp printing. This has been encouraging an abundant specialised philatelic collectors' market and associated literature.
Arnold Machin's 1964 effigy of the Queen was replaced on British coins in 1984 by an older-looking effigy by Raphael Maklouf. However, the effigy on British stamps has never been updated, and the last proposals to these ends were rejected by the Queen herself.
== Genesis ==
Since the accession of Elizabeth II in 1952, the definitive series figured a three-quarter photograph of the Queen by Dorothy Wilding. The same effigy had appeared on commemorative stamps too.〔The United Kingdom, as the first country to officially issue postage stamps in 1840, is excused by the Universal Postal Union from printing the country's name on its stamps and the royal effigy is the sole national mark.〕 However, the Wilding design did not please some artists. In a letter of April 1961, Michael Goaman and Faith Jacques argued that it represented the Queen, but not the monarchy. They complained it embarrassed the commemorative stamps' designers because the photograph took up one third of the stamp's area and it imposed a perspective on a two-dimensional design.〔Letter kept in The British Postal Museum & Archive (POST 122/10703) ; quoted by Douglas Muir (2007). ''A Timeless Classic'', chapter 2, « A Portrait with problems », pages 15-17.〕
Some new designs were discussed but concerns over the technical aspects (a photograph or a painting inspired by a photograph) delayed a full competition for artists until 1965. Postmaster General Tony Benn and artist David Gentleman failed in their attempts to have the royal head replaced by the name of the country ("Great Britain" or "U.K."), but were permitted to explore temporary solutions to the commemorative head problems. This would of course have removed the uniqueness of the United Kingdom in being the only producer of postage stamps not to have its country name on its stamps in honour of its origination of the adhesive postage stamp in 1840. In 1966 Gentleman created a small single-coloured profile from a coin by Mary Gillick. The project waited until the miniaturisation of the new definitive effigy that the Stamp Advisory Committee (SAC) had advised the Postmaster General on 13 January 1965 be chosen, from profiles and engraved images based on a photograph.
The first essays were submitted by Andrew Restall and Arnold Machin with Harrison and Sons printers' assistance. They worked from photographs by Anthony Buckley, then from ones by Lord Snowdon, the Queen's brother-in-law.〔 After essays by Harrisons printers to combine Buckley's pictures with standard definitive backgrounds, the SAC was not impressed by the results and decided to look at Lord Snowdon's work.〕 Machin had just finished work on the new coin's effigy based on the photographer's pictures. The competition began with more artists officially invited during Summer 1965, but at a meeting on 26 January 1966, the SAC's members decided to let only Gentleman and Machin continue work on the design.〔 Muir has indicated that no notes or transcriptions were kept of 1966 meetings. The sequence of historical events is based on analysis of subsistent artworks.〕〔Richard West, « Birth of an Icon », page 43.〕
Arnold Machin's method was to sculpt a bas-relief in clay and moulds, which he reworked and corrected depending on what the SAC required. The printing essays were then done by Harrisons & Sons from photographs of the sculpture, completed with the additions and adornments by designer Machin. Quickly, he decided to simplify the effigy with just the Queen wearing a tiara and the four regional flower emblems, like the Wilding series. Yet these flowers were also dropped: Machin's design would eventually have only the Queen's profile and the value of the stamp.〔Richard West, « Birth of an Icon », pages 42-43. Photographs of Arnold Machin working on his sculpture and of the four main designs he prepared are reproduced in this article.〕
In March 1966, the Stamp Advisory Committee decided to make new photographs of the Queen available to Gentleman and Machin. They were taken by John Hedgecoe on the following 22 June. Elizabeth II selected the pictures to be given to the artists and Gentleman continued work on the "photographic alternative" to Machin's sculpture.〔 "Photographic alternative" is the title of this chapter in Muir's book.〕
During the second period of 1966, Machin replaced the tiara with the George IV State Diadem on request of the SAC, the same diadem as was previously seen on the Penny Black.〔 In the archives, this design is called "Diadem Head".〕 The Queen asked for a corsage at the bottom of her sculpted neck.〔 "Dressed Head" was the name of this new design in the archives.〕 The final sculpture is a rectangle of plaster, 16 inches long and 14 inches wide, kept in a London-based British Postal Museum & Archive vault.〔Andrew Alderson et Tom Williams, « A new look for the first-class design », ''Sunday Telegraph'', 3 June 2007 ; (on the paper's website ) (retrieved 12 June 2007).〕
The last adjustments to the final plaster image and to the lighting during photography created four effigies. They were unveiled to philatelists on the pre-decimal stamps, the first ones issued 5 June 1967.〔Richard West, « Birth of an Icon », page 44. Ces effigies sont numérotées de A à D.〕
Concerning the original colours, Machin encouraged the use of a clearer effigy on a single-coloured background.〔Richard West, « Man behind the Machin », page 45.〕 The 4 pence ("4d") was given a very dark brown, inspired by the Penny Black and requested by the Queen herself.〔Richard West, « Birth of an Icon », page 44.〕 But the Post Office did not fully respect Machin's views and in the first years of the series would also issue bi-coloured stamps and clear-to-dark gradated backgrounds.
抄文引用元・出典: フリー百科事典『 Machin series of postage stamps is the main definitive stamp series in the United Kingdom, used since 5 June 1967. It is the second series to figure the image of Elizabeth II, replacing the Wilding series.Designed by Arnold Machin, they consist simply of the sculpted profile of the Queen and a denomination, and are almost always in a single colour.After four decades of service, the series has encompassed almost all changes and innovations in British stamp printing. This has been encouraging an abundant specialised philatelic collectors' market and associated literature.Arnold Machin's 1964 effigy of the Queen was replaced on British coins in 1984 by an older-looking effigy by Raphael Maklouf. However, the effigy on British stamps has never been updated, and the last proposals to these ends were rejected by the Queen herself.== Genesis ==Since the accession of Elizabeth II in 1952, the definitive series figured a three-quarter photograph of the Queen by Dorothy Wilding. The same effigy had appeared on commemorative stamps too.The United Kingdom, as the first country to officially issue postage stamps in 1840, is excused by the Universal Postal Union from printing the country's name on its stamps and the royal effigy is the sole national mark. However, the Wilding design did not please some artists. In a letter of April 1961, Michael Goaman and Faith Jacques argued that it represented the Queen, but not the monarchy. They complained it embarrassed the commemorative stamps' designers because the photograph took up one third of the stamp's area and it imposed a perspective on a two-dimensional design.Letter kept in The British Postal Museum & Archive (POST 122/10703) ; quoted by Douglas Muir (2007). ''A Timeless Classic'', chapter 2, « A Portrait with problems », pages 15-17.Some new designs were discussed but concerns over the technical aspects (a photograph or a painting inspired by a photograph) delayed a full competition for artists until 1965. Postmaster General Tony Benn and artist David Gentleman failed in their attempts to have the royal head replaced by the name of the country ("Great Britain" or "U.K."), but were permitted to explore temporary solutions to the commemorative head problems. This would of course have removed the uniqueness of the United Kingdom in being the only producer of postage stamps not to have its country name on its stamps in honour of its origination of the adhesive postage stamp in 1840. In 1966 Gentleman created a small single-coloured profile from a coin by Mary Gillick. The project waited until the miniaturisation of the new definitive effigy that the Stamp Advisory Committee (SAC) had advised the Postmaster General on 13 January 1965 be chosen, from profiles and engraved images based on a photograph.The first essays were submitted by Andrew Restall and Arnold Machin with Harrison and Sons printers' assistance. They worked from photographs by Anthony Buckley, then from ones by Lord Snowdon, the Queen's brother-in-law. After essays by Harrisons printers to combine Buckley's pictures with standard definitive backgrounds, the SAC was not impressed by the results and decided to look at Lord Snowdon's work. Machin had just finished work on the new coin's effigy based on the photographer's pictures. The competition began with more artists officially invited during Summer 1965, but at a meeting on 26 January 1966, the SAC's members decided to let only Gentleman and Machin continue work on the design. Muir has indicated that no notes or transcriptions were kept of 1966 meetings. The sequence of historical events is based on analysis of subsistent artworks.Richard West, « Birth of an Icon », page 43.Arnold Machin's method was to sculpt a bas-relief in clay and moulds, which he reworked and corrected depending on what the SAC required. The printing essays were then done by Harrisons & Sons from photographs of the sculpture, completed with the additions and adornments by designer Machin. Quickly, he decided to simplify the effigy with just the Queen wearing a tiara and the four regional flower emblems, like the Wilding series. Yet these flowers were also dropped: Machin's design would eventually have only the Queen's profile and the value of the stamp.Richard West, « Birth of an Icon », pages 42-43. Photographs of Arnold Machin working on his sculpture and of the four main designs he prepared are reproduced in this article.In March 1966, the Stamp Advisory Committee decided to make new photographs of the Queen available to Gentleman and Machin. They were taken by John Hedgecoe on the following 22 June. Elizabeth II selected the pictures to be given to the artists and Gentleman continued work on the "photographic alternative" to Machin's sculpture. "Photographic alternative" is the title of this chapter in Muir's book.During the second period of 1966, Machin replaced the tiara with the George IV State Diadem on request of the SAC, the same diadem as was previously seen on the Penny Black. In the archives, this design is called "Diadem Head". The Queen asked for a corsage at the bottom of her sculpted neck. "Dressed Head" was the name of this new design in the archives. The final sculpture is a rectangle of plaster, 16 inches long and 14 inches wide, kept in a London-based British Postal Museum & Archive vault.Andrew Alderson et Tom Williams, « A new look for the first-class design », ''Sunday Telegraph'', 3 June 2007 ; (on the paper's website ) (retrieved 12 June 2007).The last adjustments to the final plaster image and to the lighting during photography created four effigies. They were unveiled to philatelists on the pre-decimal stamps, the first ones issued 5 June 1967.Richard West, « Birth of an Icon », page 44. Ces effigies sont numérotées de A à D.Concerning the original colours, Machin encouraged the use of a clearer effigy on a single-coloured background.Richard West, « Man behind the Machin », page 45. The 4 pence ("4d") was given a very dark brown, inspired by the Penny Black and requested by the Queen herself.Richard West, « Birth of an Icon », page 44. But the Post Office did not fully respect Machin's views and in the first years of the series would also issue bi-coloured stamps and clear-to-dark gradated backgrounds.">ウィキペディア（Wikipedia）』
■Machin series of postage stamps is the main definitive stamp series in the United Kingdom, used since 5 June 1967. It is the second series to figure the image of Elizabeth II, replacing the Wilding series.Designed by Arnold Machin, they consist simply of the sculpted profile of the Queen and a denomination, and are almost always in a single colour.After four decades of service, the series has encompassed almost all changes and innovations in British stamp printing. This has been encouraging an abundant specialised philatelic collectors' market and associated literature.Arnold Machin's 1964 effigy of the Queen was replaced on British coins in 1984 by an older-looking effigy by Raphael Maklouf. However, the effigy on British stamps has never been updated, and the last proposals to these ends were rejected by the Queen herself.== Genesis ==Since the accession of Elizabeth II in 1952, the definitive series figured a three-quarter photograph of the Queen by Dorothy Wilding. The same effigy had appeared on commemorative stamps too.The United Kingdom, as the first country to officially issue postage stamps in 1840, is excused by the Universal Postal Union from printing the country's name on its stamps and the royal effigy is the sole national mark. However, the Wilding design did not please some artists. In a letter of April 1961, Michael Goaman and Faith Jacques argued that it represented the Queen, but not the monarchy. They complained it embarrassed the commemorative stamps' designers because the photograph took up one third of the stamp's area and it imposed a perspective on a two-dimensional design.Letter kept in The British Postal Museum & Archive (POST 122/10703) ; quoted by Douglas Muir (2007). ''A Timeless Classic'', chapter 2, « A Portrait with problems », pages 15-17.Some new designs were discussed but concerns over the technical aspects (a photograph or a painting inspired by a photograph) delayed a full competition for artists until 1965. Postmaster General Tony Benn and artist David Gentleman failed in their attempts to have the royal head replaced by the name of the country ("Great Britain" or "U.K."), but were permitted to explore temporary solutions to the commemorative head problems. This would of course have removed the uniqueness of the United Kingdom in being the only producer of postage stamps not to have its country name on its stamps in honour of its origination of the adhesive postage stamp in 1840. In 1966 Gentleman created a small single-coloured profile from a coin by Mary Gillick. The project waited until the miniaturisation of the new definitive effigy that the Stamp Advisory Committee (SAC) had advised the Postmaster General on 13 January 1965 be chosen, from profiles and engraved images based on a photograph.The first essays were submitted by Andrew Restall and Arnold Machin with Harrison and Sons printers' assistance. They worked from photographs by Anthony Buckley, then from ones by Lord Snowdon, the Queen's brother-in-law. After essays by Harrisons printers to combine Buckley's pictures with standard definitive backgrounds, the SAC was not impressed by the results and decided to look at Lord Snowdon's work. Machin had just finished work on the new coin's effigy based on the photographer's pictures. The competition began with more artists officially invited during Summer 1965, but at a meeting on 26 January 1966, the SAC's members decided to let only Gentleman and Machin continue work on the design. Muir has indicated that no notes or transcriptions were kept of 1966 meetings. The sequence of historical events is based on analysis of subsistent artworks.Richard West, « Birth of an Icon », page 43.Arnold Machin's method was to sculpt a bas-relief in clay and moulds, which he reworked and corrected depending on what the SAC required. The printing essays were then done by Harrisons & Sons from photographs of the sculpture, completed with the additions and adornments by designer Machin. Quickly, he decided to simplify the effigy with just the Queen wearing a tiara and the four regional flower emblems, like the Wilding series. Yet these flowers were also dropped: Machin's design would eventually have only the Queen's profile and the value of the stamp.Richard West, « Birth of an Icon », pages 42-43. Photographs of Arnold Machin working on his sculpture and of the four main designs he prepared are reproduced in this article.In March 1966, the Stamp Advisory Committee decided to make new photographs of the Queen available to Gentleman and Machin. They were taken by John Hedgecoe on the following 22 June. Elizabeth II selected the pictures to be given to the artists and Gentleman continued work on the "photographic alternative" to Machin's sculpture. "Photographic alternative" is the title of this chapter in Muir's book.During the second period of 1966, Machin replaced the tiara with the George IV State Diadem on request of the SAC, the same diadem as was previously seen on the Penny Black. In the archives, this design is called "Diadem Head". The Queen asked for a corsage at the bottom of her sculpted neck. "Dressed Head" was the name of this new design in the archives. The final sculpture is a rectangle of plaster, 16 inches long and 14 inches wide, kept in a London-based British Postal Museum & Archive vault.Andrew Alderson et Tom Williams, « A new look for the first-class design », ''Sunday Telegraph'', 3 June 2007 ; (on the paper's website ) (retrieved 12 June 2007).The last adjustments to the final plaster image and to the lighting during photography created four effigies. They were unveiled to philatelists on the pre-decimal stamps, the first ones issued 5 June 1967.Richard West, « Birth of an Icon », page 44. Ces effigies sont numérotées de A à D.Concerning the original colours, Machin encouraged the use of a clearer effigy on a single-coloured background.Richard West, « Man behind the Machin », page 45. The 4 pence ("4d") was given a very dark brown, inspired by the Penny Black and requested by the Queen herself.Richard West, « Birth of an Icon », page 44. But the Post Office did not fully respect Machin's views and in the first years of the series would also issue bi-coloured stamps and clear-to-dark gradated backgrounds.">ウィキペディアで「: ''"Machin head" redirects here. Not to be confused with Machine head.''The Machin series of postage stamps is the main definitive stamp series in the United Kingdom, used since 5 June 1967. It is the second series to figure the image of Elizabeth II, replacing the Wilding series.Designed by Arnold Machin, they consist simply of the sculpted profile of the Queen and a denomination, and are almost always in a single colour.After four decades of service, the series has encompassed almost all changes and innovations in British stamp printing. This has been encouraging an abundant specialised philatelic collectors' market and associated literature.Arnold Machin's 1964 effigy of the Queen was replaced on British coins in 1984 by an older-looking effigy by Raphael Maklouf. However, the effigy on British stamps has never been updated, and the last proposals to these ends were rejected by the Queen herself.== Genesis ==Since the accession of Elizabeth II in 1952, the definitive series figured a three-quarter photograph of the Queen by Dorothy Wilding. The same effigy had appeared on commemorative stamps too.The United Kingdom, as the first country to officially issue postage stamps in 1840, is excused by the Universal Postal Union from printing the country's name on its stamps and the royal effigy is the sole national mark. However, the Wilding design did not please some artists. In a letter of April 1961, Michael Goaman and Faith Jacques argued that it represented the Queen, but not the monarchy. They complained it embarrassed the commemorative stamps' designers because the photograph took up one third of the stamp's area and it imposed a perspective on a two-dimensional design.Letter kept in The British Postal Museum & Archive (POST 122/10703) ; quoted by Douglas Muir (2007). ''A Timeless Classic'', chapter 2, « A Portrait with problems », pages 15-17.Some new designs were discussed but concerns over the technical aspects (a photograph or a painting inspired by a photograph) delayed a full competition for artists until 1965. Postmaster General Tony Benn and artist David Gentleman failed in their attempts to have the royal head replaced by the name of the country ("Great Britain" or "U.K."), but were permitted to explore temporary solutions to the commemorative head problems. This would of course have removed the uniqueness of the United Kingdom in being the only producer of postage stamps not to have its country name on its stamps in honour of its origination of the adhesive postage stamp in 1840. In 1966 Gentleman created a small single-coloured profile from a coin by Mary Gillick. The project waited until the miniaturisation of the new definitive effigy that the Stamp Advisory Committee (SAC) had advised the Postmaster General on 13 January 1965 be chosen, from profiles and engraved images based on a photograph.The first essays were submitted by Andrew Restall and Arnold Machin with Harrison and Sons printers' assistance. They worked from photographs by Anthony Buckley, then from ones by Lord Snowdon, the Queen's brother-in-law. After essays by Harrisons printers to combine Buckley's pictures with standard definitive backgrounds, the SAC was not impressed by the results and decided to look at Lord Snowdon's work. Machin had just finished work on the new coin's effigy based on the photographer's pictures. The competition began with more artists officially invited during Summer 1965, but at a meeting on 26 January 1966, the SAC's members decided to let only Gentleman and Machin continue work on the design. Muir has indicated that no notes or transcriptions were kept of 1966 meetings. The sequence of historical events is based on analysis of subsistent artworks.Richard West, « Birth of an Icon », page 43.Arnold Machin's method was to sculpt a bas-relief in clay and moulds, which he reworked and corrected depending on what the SAC required. The printing essays were then done by Harrisons & Sons from photographs of the sculpture, completed with the additions and adornments by designer Machin. Quickly, he decided to simplify the effigy with just the Queen wearing a tiara and the four regional flower emblems, like the Wilding series. Yet these flowers were also dropped: Machin's design would eventually have only the Queen's profile and the value of the stamp.Richard West, « Birth of an Icon », pages 42-43. Photographs of Arnold Machin working on his sculpture and of the four main designs he prepared are reproduced in this article.In March 1966, the Stamp Advisory Committee decided to make new photographs of the Queen available to Gentleman and Machin. They were taken by John Hedgecoe on the following 22 June. Elizabeth II selected the pictures to be given to the artists and Gentleman continued work on the "photographic alternative" to Machin's sculpture. "Photographic alternative" is the title of this chapter in Muir's book.During the second period of 1966, Machin replaced the tiara with the George IV State Diadem on request of the SAC, the same diadem as was previously seen on the Penny Black. In the archives, this design is called "Diadem Head". The Queen asked for a corsage at the bottom of her sculpted neck. "Dressed Head" was the name of this new design in the archives. The final sculpture is a rectangle of plaster, 16 inches long and 14 inches wide, kept in a London-based British Postal Museum & Archive vault.Andrew Alderson et Tom Williams, « A new look for the first-class design », ''Sunday Telegraph'', 3 June 2007 ; (on the paper's website ) (retrieved 12 June 2007).The last adjustments to the final plaster image and to the lighting during photography created four effigies. They were unveiled to philatelists on the pre-decimal stamps, the first ones issued 5 June 1967.Richard West, « Birth of an Icon », page 44. Ces effigies sont numérotées de A à D.Concerning the original colours, Machin encouraged the use of a clearer effigy on a single-coloured background.Richard West, « Man behind the Machin », page 45. The 4 pence ("4d") was given a very dark brown, inspired by the Penny Black and requested by the Queen herself.Richard West, « Birth of an Icon », page 44. But the Post Office did not fully respect Machin's views and in the first years of the series would also issue bi-coloured stamps and clear-to-dark gradated backgrounds.」の詳細全文を読む
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