The Postmaster of Canada, Sir William Mulock, being one of the many distinguished visitors to this country during the Coronation festivities, took the opportunity afforded by his visit of approaching the Prince of Wales, and of meeting His Royal Highness's suggestions and advice in the preparation of a new die for the Canadian stamps. The Prince, with his characteristic energy and courtesy, cheerfully undertook the task, and it will be seen from our illustration with absolute and conspicuous success. H. R. H. wisely decided, in the first instance, that it is advisable to have some continuity of design in succeeding issues, and therefore adopted the frame and groundwork of the then current stamps as a basis. In selecting a portrait of His Majesty the Prince decided to rely upon a photograph giving a true likeness of the King as we know him, in lieu of an idealised representation by an artist. The photograph eventually chosen, with the full approval of His Majesty, was one taken shortly before the Coronation.
The likeness is undoubtedly what is termed a speaking one, and with the addition of the Coronation robes represents as faithful and as pleasing a picture of the King, at the time of his accession to the throne, as it is possible to find. The introduction of the Tudor crowns in the upper angles, which was another of the Prince's innovations, obviates the difficulty that has so often made “the head that wears a crown” lie “uneasy” on a postage stamp. These emblems of sovereignty, taken in conjunction with the Canadian maple leaves in the lower angles, completes a design that for harmony, boldness and simplicity has assuredly not been excelled by any hitherto issued stamps of the British Empire. It is palpable, on analysing the stamp, (1) that the attractiveness of the design has in no way been allowed to militate against its utility, for the country of origin and denomination are clearly expressed; (2) that the boldness of the design has not been detracted from (as is so often the case) by superfluous ornamentation, and that the design has been artistically balanced by the introduction of the right-sized portrait and the proper treatment of light and shade.
These stamps were, of course, printed from line-engraved plates like those of the preceding issues, and the same sheet arrangement of 100 stamps in ten rows of ten each was followed. The marginal imprint shown on the top margin of each sheet is like that shown on the Queen's head sheets and the plates for each value were numbered from 1 upwards. Mr. Howes records the following plates as having been used up to December, 1910:—
1 cent—Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 13, 14, 18, 19, 22, 24, 25, 34, 47, 48, 51, 52, 55, 58.
2 cents—Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 35, 36, 37, 38, 39, 40, 47, 53, 54, 55, 56, 57, 58, 59, 62, 63, 67, 68, 69, 70, 71, 72, 73, 74, 78.
5 cents—Nos. 1, 2.
7 cents—No. 1.
10 cents—Nos. 1, 2.
It is very possible other plates were used for most denominations before the King George stamps were issued in 1912. The colors were very similar to those employed for the corresponding values of the Queen's head series except as regards the 7c, which was printed in a darker and more pleasing shade.