The Philatelist
Indian States 9 min read

Cochin’s Royal Portrait Stamps, 1911–1949: Perkins Bacon, Madras and the Six “Rajas”

The six portrait families and why their numbers are not royal ordinals, the engraved portraits of 1911 by Perkins Bacon, proofs and a 1916 progress proof, the later Madras lithographs, and the late portraits.

Jaspreet Kaur

Updated September 21, 2026

Eight later ordinary values, two pies to three annas four pies, in the portrait family called Kerala Varma II in the specialist checklist.
In this article

Six portrait labels, not six royal numbers

Collectors often call the portrait groups the first to the sixth Raja. Luiz makes clear that this is collectors’ shorthand. The names and numerals below identify designs; they are not the historical numbering of Cochin’s rulers, and the issue periods do not give dates of accession or death.[4][17]

The two public albums consulted group the Kerala Varma I ordinary family under 1943; Luiz’s printed date of 1948 for it conflicts with them and is not followed. His date for the first Ravi Varma portrait reads 1944 on the original page. The register separates that right-facing design from the revised portrait introduced from 1946.[4][17][3]

FamilyPortrait nameOrdinary issues
FirstRama Varma I1911–1914
SecondRama Varma II1918–1923
ThirdRama Varma IIIEngraved, then lithographed, 1933–1941
FourthKerala Varma ICatalogue group of 1943
FifthRavi VarmaFirst portrait 1944–1946; revised portrait from 1946
SixthKerala Varma II1948–1949
Portrait families as named in the philatelic references; the periods are catalogue coverage, not reigns.[4][17][3]

The engraved portraits of 1911

In 1911 The Postage Stamp reported receiving the line-engraved portrait issue from Whitfield King & Co., on white wove paper watermarked with an umbrella, and recognised the portrait from the earlier one-anna fiscal. A period annual names Perkins Bacon of London and records perforations 13½ and 14. Whitfield King supplied the journal’s copies; neither report names the artist or the engraver.[29][30]

cochin gap adkins 68cochin gap adkins 69cochin gap adkins 88cochin gap adkins 70cochin gap adkins 71cochin gap adkins 72cochin gap adkins 73
The first portrait family: two, three, four and nine pies, one anna, one and a half annas and two annas. W. Michael Adkins, Cochin album, p. 3.[3]

A portrait before the finished stamp

A nine-pies progress proof described by Stanley Gibbons as of 1916 shows a stage before the Malayalam lettering was fully engraved. The photograph shows pencilled guides for the lettering around the design and a separate photograph of the ruler, which the catalogue calls the engraver’s model. It documents the design process, not an issued imperforate stamp.[21]

Nine-pies progress proof with the portrait photograph used as a model, attributed to 1916: a proof, not an issued stamp.
Nine-pies progress proof with the portrait photograph used as a model, attributed to 1916: a proof, not an issued stamp. Stanley Gibbons, sale 5930, 28 March 2022, lot 463.[21]

Grosvenor’s sale 120 lists an imperforate proof block mounted in a Perkins Bacon workbook, pairs of proofs in the issued colours, and a 2¼-anna die proof with a pencilled final date of 2 January 1933. These are different stages of production; the pencilled date belongs to that proof and leaves the date of issue open.[35]

Palmer’s survey of proofs includes stamp designs, a postcard die, a study of the head alone and a Foreign Bill revenue design: different objects, even when they share a portrait. A proof on unusual paper or in an unusual colour is not a missing regular issue.[51]

The second portrait

The eleven ordinary values of the second portrait family are shown together below. The two-pies surcharge on the same page uses the earlier portrait and belongs to its own family.[3]

cochin gap adkins 91cochin gap adkins 92cochin gap adkins 93cochin gap adkins 94cochin gap adkins 95cochin gap adkins 96cochin gap adkins 97cochin gap adkins 98cochin gap adkins 99cochin gap adkins 100cochin gap adkins 101cochin gap adkins 108
The second portrait family: two, four, six, eight, nine and ten pies, one anna, one and a half, two, two and a quarter (with a perfin) and three annas; and two pies on three pies on the earlier portrait. W. Michael Adkins, Cochin album, p. 4.[3]

From London to Madras

Gibbons Stamp Monthly names Associated Printers of Madras for the later issues. The State’s report for 1937–38 says that stamps and stamp papers came from England, except certain items made locally, and that orders for 1114–1117 M.E. had gone to an Indian firm it does not name. The Royal Philatelic Society London dates the liquidation of Perkins Bacon to 1935, while philatelic references continue the engraved issues to 1938; later studies place the change from Perkins Bacon to Associated Printers in 1938. Work orders are needed to match printing dates to the firm’s history and the later contract.[36][15][32][34]

Two other records name makers without settling the stamps. The 1911 Manual records an arrangement of 1908 with John Dickinson & Co. of London, after objections to making and selling stamps under one administration, but it speaks of the Darbar’s main stamp values in general and lists no Anchal stamps. The report of 1909–10, by contrast, says that Anchal cards and two-puthan Anchal stamps were among the items made locally that year, without naming the printer, method or plate.[50][56]

StageSupportedStill open
Early state sealTypographed, attributed to the Cochin Government; P. Orr & Sons credited with the dies in an exhibitA signed die, the purchase order and the engraver
Portraits of 1911Line-engraved, on wove umbrella-watermarked paper, by Perkins BaconThe artist; which gauge belongs to which stamp
Later portrait familiesEngraved issues, then lithographs associated with MadrasExact dates and the last British and first Madras jobs
Design, process and supplier: what the evidence supports.[25][27][29][30][36]

The late portraits, ordinary and official

Three set photographs raise two questions. A value can exist as an ordinary stamp and as an official with ON C G S without the two being one checklist entry, and the official series can include values the ordinary did not. Compare the later clean-shaven portrait with the earlier bearded revised portrait before trusting a catalogue’s ruler name: the auction calls the ordinary set’s sitter Ravi Varma, while the specialist sequence gives that design to Kerala Varma II, and the same auction calls the later official set Kerala Varma III. The disagreement is stated, and no royal numbering is inferred.[19][4]

Eight later ordinary values, two pies to three annas four pies, of the family the specialist checklist calls Kerala Varm
Eight later ordinary values, two pies to three annas four pies, of the family the specialist checklist calls Kerala Varma II (the auction’s SG 109–116, with the sitter named Ravi Varma). Burda Auction, Public Auction 74.[19]

The pictorials of 1949

The last issue was a pictorial pair, a two-anna Chinese Fishing Net and a two-and-a-quarter-anna Dutch Palace. One album page appears to reverse their values; the stamps themselves and independent auction descriptions give the Chinese Net as two annas and the Dutch Palace as two and a quarter. Donald B. Griffin cites a programme planned in 1947, of which only these two were issued in 1949; the notice of 1947 has not been seen, and the history of the proof sheets is unresolved.[6][7][8][9][53]

cochin 1949 chinese netcochin 1949 dutch palace
The pictorials of 1949: two annas Chinese Fishing Net and two and a quarter annas Dutch Palace. Via Wikimedia Commons (public domain).[8][9]

The order of 1910

Proceedings of 1910 reproduced by Luiz link the new portrait stamps with a reorganisation of the Anchal. Following the Diwan’s instructions of 4 February 1910, the Superintendent of Anchal (not named on the page) made proposals on 15 February for reorganisation, new stamps and revised rates, and the order of 10 July 1910, under Diwan Sir A. R. Banerji, called for a central likeness of the ruler with the State’s insignia, replacing the half, one and two puthen values with four pies, nine pies and one and a half annas stamps and envelopes. It records an administrative decision, not an artist or engraver.[4]

Two papers and two dies

For the second portrait, Trowbridge separates a crisp, coarser, unevenly thick white wove paper A from a softer, evenly thick white wove paper B. Impressions measure generally 23½ mm on paper A and 24 mm on paper B, the one anna smaller, which he explains by shrinkage of paper dampened for recess printing; a difference of width alone is not a new die. He records comb perforations 14 and 13½, paper A at 14 and paper B at either gauge depending on the value. His two-pie Type I has two oval, right-sloping Malayalam characters in the bottom line, Type II broader upright forms with the lettering re-engraved; on the one anna a two-curved character in Type I becomes a semicircle in Type II.[54]

More about the proofs

Palmer records die proofs of the first portrait, unwatermarked, in se-tenant pairs of two and three pies, four and nine pies, and two and three annas, which are proofs, not issued pairs. For the second portrait he lists a four-pies plate proof on paper with a (S)PECIAL watermark, an unfinished four-pies carmine die on thin card for postcards, and a two-annas Foreign Bill revenue die proof in several colours. Third-portrait proofs include a green head-only die proof on thin card, described as used on postcards. Couvreur adds a blue medallion of 41 mm, a reduced red medallion of 18 mm and an unfinished brown proof with the values missing and a manuscript date 5.12.32.[51][52]

The pictorial programme of 1947

Griffin, citing Antony Tavsons in India’s Stamp Journal of May 1947, p. 105, reports a planned issue of thirteen values, three portraits and ten pictorials: Secretariat 6 pies, Harbour 9 pies, Backwaters 1¼ annas, Tramway 1¾ annas, Chinese Net 2 annas, Dutch Palace 2¼ annas, Ram Mohan Palace 3 annas, Coconut Palms 3 annas 4 pies, Synagogue 6 annas 8 pies and Hill Palace 10 annas. Only the Chinese Net and the Dutch Palace were issued. His illustration of a ten-design sheet came from a friend’s photocopy whose pedigree he declined to judge, and his attribution of the pair to Nasik is a later assertion.[53]

Sources

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