Coin collections and coin hoards from Bulgaria Volume VI of the Coin Forgery Series

COIN FORGERIES AND REPLICAS 2007 Ilya Prokopov

Sofia 2007

Copyright 2007 by Provias Ltd., Sofia Author 2007 Ilya Prokopov Photographs and layout 2007 Simeon Prokopov Publisher: Provias Ltd. Tel.+359 886 743243 www.sp-p.net E-mail: monipro@sp-p.net

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FOREWORD
With every passing day it becomes more and more difficult to track the flow of counterfeit ancient and medieval coins that appear on the market. However, it is even harder to precisely document these fakes. The dishonest producers and dealers already noted the danger for themselves caused by the activities of internet forums, antiforgery groups and publications on this theme. The feeling of impunity was gradually substituted by higher caution. For example, for me it is already hard to see fakes offered on the local market. Frauds have realized the new situation and now they do not offer coins in the country they were produced, but directly export them to the end clients in Western Europe and North Amerika. Besides, the quantity and range of coins made is growing constantly and greatly troubles the processes of detecting and forewarning. It is now not in the potential of separate scholars without a serious coordination to cope with this matter. It is not necessary to repeat my words about the quality of the forgeries. There is a specific tendency observed. There are two clearly distinguished flows of fakes. The first are almost impossible to detect and they easily infiltrate into the market. The rest are comparatively easier to detect not only by specialists, but also by collectors with some experience. The reason is that it is very attractive to earn easy money with few efforts and many people with low morality and small abilities moved to this business of counterfeiting. Their production is a result of bad preparation and obvious lack of talent. However, on the other hand, the talented ones belonging to the first group receive
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an even better opportunity to market their forgeries. Authenticators, meeting every day low quality production, instinctively lose some of their sense and surrounded by lots of bad fakes they could easily make a mistake. I have no idea how the different forums or committees intend to handle the growing danger caused by this coin forgery wave, but for me - I chose the way of monitoring and periodic publications regarding fakes for the general public. Everything that I find and that is not published will be included in my next books. From now on I will avoid the catalogue description of coins which I now consider as unnecessary, except the cases when it is essential to clear any questions raised about a specific coin.

Sofia, December 2007

Ilya Prokopov

NB
This book is number 6 of the coin forgery series and the first one distributed in a digital form only. This sign means that the image is quality enough to zoom over 400% in your Adobe Reader program. The rest of the photos were made under urgent conditions which have resulted in their lower quality. As a whole, we have tried to present the best possible images.
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CATAL O G U E
GREEK COINS
AEGINA 1. AR Stater, 10,591 g The metal is crumbly and porous. Its color is more grey than the pure silver used in the original staters of this town. The incuse square here is divided into 6 even zones, and in the originals of the same type they are 5 uneven zones. Sea or land tortoise is situated in a hollow which has ideal proportions and angle. Made by modern machines. Studio Unknown

PAMPHYLIA, ASPENDOS Coins 2-4 are precise copies of 3 different silver staters. They are made very realistic and could mislead even experienced numismatists. In all specimens, however, there is a difference in the color tones and density. The obverses were patinated simultaneously and have the same tones and density. When the artificial patina has dried, the forger has turned all coins to apply the patina on the reverse. Then he did not guess the he should leave one for sample. He has worked using his memory and the effect is a lighter and much thinner patina. If only one of the coins is observed, this could be hard to notice. Fortunately, I could see them together and was able to orientate. On all of them there are traces of plasticine and plaster which makes me think that they were also used for taking prints and probably there are more forgeries with these pairs of coin dies. Studio: unknown 2. AR Stater

3. AR Stater

4. AR Stater

ILLYRIA, DYRRHACHION 5. AR Drachm, 2,283 g The coin is a comparatively good cast. The print is taken from a genuine coin. A remaining part of the found metal that is not well cleared can be noticed. Probably forgers have decided to leave it unfinished. In this state it is a good examination specimen for beginners. "South West -2" Studio.

LETE 6. Stater,around 7 g A bungled execution with an impossible concave square. The metal has been recently cast and is not patinated. In the silver alloy used for the cast there is probably a small percentage of gold. Studio: unknown

THASOS 7.AR Stater, 5,709 g Obv. Naked ithyphallic satyr, carrying in his arms a struggling nymph on r. Rev. Rough quadripartite incuse square. The coin is an accurate copy made by a print of an original coin. The metal is more greyish than usual. On the surface there are knots and caverns as a result of the casting that can be seen with a naked eye. The coin is aged and covered with artificial patina. Cast. "Pernik Studio"

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8. AR Stater, 9,029 g Galvanoplastic copy. Like the previous coin this one is also a precise copy made by a print of a genuine coin. However, this specimen is not cast, but pressed with a thick galvanoplastic (electrogalvanic) cover applied on it. In the production process there have appeared some slight deformations on the nymph's nose and lips, and the Silen eye is blurred. The image contours are also blurred and the transition to the low relief is unnaturally smooth. On the reverse around the concave square there are traces of galvanoplastics - the metal is very light and clearly differs from the rest of the surface. Studio Unknown

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9. AR Tetradrahm, 15,050 g Cast. The coin is a cast of a genuine Thasos tetradrachm. It has all signs, typical for the previous number 7. "Pernik"Studio

DAMASTION 10. AR Drachm, 14/16 mm; 2,221 g Naive, amateur work. A very bad cast, easy to detect.

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PSEUDO HOARD (16 coins) HISTIAIA Coins from no.11 to 26 are a fragment of one much bigger pseudo hoard of silver tetrobols. The coins shown here are casts from genuine coins. I have already written about this very popular forgery type in two of the previous books 1. These 16 coins shown below are additionally processed. They are covered with a not very well made artificial dark patina. It is necessary to compare the coin dies with the already published forgeries to avoid any possible mistakes.

11. AR Tetrobol

Similar 12. AR Tetrobol Cast.

1. Prokopov, I., R. Manov. Forgery studios and their coins. Sofia 2005, nos. 104-108; Prokopov, I. Coin forgeries and replicas 2006. Sofia 2007, p. 51-73. 13

Similar 13. AR Tetrobol

Similar 14. AR Tetrobol

Similar 15. AR Tetrobol

Similar 16. AR Tetrobol

Similar 17. AR Tetrobol

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Similar 18. AR Tetrobol

Similar 19. AR Tetrobol

Similar 20. AR Tetrobol

Similar 21. AR Tetrobol

Similar 22. AR Tetrobol

15

Similar 23. AR Tetrobol

Similar 24. AR Tetrobol

Similar 25. AR Tetrobol

Similar 26. AR Tetrobol

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APOLLONIA PONTIKA The 5 coins shown below are a part of the inexhaustible "Black Sea Hoard". They are silver struck by the classical technology. It is necessary to observe the coin dies and whenever needed to compare them.

27. AR Drachm, 12/13 mm; 3,328 g "Varna-1 Studio"

28. AR Drachm, 13/13 mm; 3,154 g "Varna-1 Studio"

29. AR Drachm, 13/13 mm; 3,308 g "Varna-1 Studio"

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30. AR Drachm, 12/12 mm; 3,190 g "Varna-1 Studio"

31. AR Drachm, 13/13 mm; 3,239 g "Varna-1 Studio"

32. AR Drachm, 12/12 mm; 3,279 g This is a low quality fake, cast of metal that is used in the dental laboratories. On the edge there are big knots. The metal color is grayish and the artificial patina cannot conceal it. The print is taken from a coin forgery struck by Varna-1 Studio.

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PANTIKAPAION 33. EL Stater Everyone who has ever held a real electron stater of Cyzicus in his hands will immediately feel the difference in the metal nuances, as well as the unusual roughness of the surface. Besides, there are clear signs that the coin was struck on a hydraulic or mechanic press. The easiest way to note this is when observing the high points of the incused square. There is an odd structure of the wall as it can be seen on the detail. This is the effect of the gradual and slower pressing of the steel die on the cold coin core. The metal is furrowed in horizontal levels. This does not happen with the original coins when the core is well heated and the coin is struck only with a single hard hammer hit. Then the side wall of the concave square is smooth and has no marks from matrix skidding. Otherwise, this electron stater is a good one and could mislead somebody. "Dimitrovgrad" Studio?

ISTROS, THRACE 34.AR Stater, 5,568 g This is a copy cast from a metal used in the dental laboratories. On the edge there are obvious knots. On the reverse, at the inscription the surface height is uneven and the letters base level remains low. This effect appears when the print is not made well. The metal color is greyish and the artificial patina cannot hide it. The print is taken from a struck fake coin struck by Varna-1 Studio.

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BYZANTION 35. AR Tetradrahm, 33/32 mm; 16,365 g This is a not very high quality cast, an exact copy of a genuine Byzantion tetradrachm of Lysimachos type. To hide knots, pearls and other defects on the surface, a very thick artificial patina is plastered by the producer. I have seen several identical fakes of this die combination processed in the same way. "South West -2" Studio.

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FIRST MACEDONIAN REGION 36. AR Tetradrachm, 31/31 mm; 15,397 g A cast from a genuine First Macedonian region tetradrachm. The coin is not processed additionally and all defects are clearly seen. However, I have seen another specimen with dense patina that looked much more realistic. "South West -2" Studio.

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MACEDONIAN KINGS
PHILIP II 37. AV 1/4 Stater, 11/11 mm; 2,154 g; 6h The coin is cast and is produced from gold that does not correspond to the original. Probably it is a coin used in the 19th c. with a higher Cu content. Spots of green patina that have come up on the face surface can be easily seen. Lots of small pearls can be seen - traces of the cast. There are also marks of a rather flimsy dark brown patina. On the reverse the matrix is displaced and as a result the border dots are erased. Trident "Sofia GP Studio"

38. AV 1/2 Stater, 4,350 g This coin is a relatively good cast. To conceal the knots and metal remains, the edge is well hammered and as a result a sharp edge has appeared. Still, one can see traces of knots. On the reverse, the edge of the lion's protome is also hammered additionally. "Sofia GP Studio"

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39. AR Tetradrachm, 13,298; 11h Silver alloy cast made by a print of a genuine coin. At the time when the the print was made and during the casting process the sharpness and the normal relief of the border dost have been lost. Besides, on the obverse there are several large spills of metal (Note: not concave like a knot, but the opposite-bulged.). Similar ones, though smaller, can be seen on the reverse, but besides this, there are knots as well. "Pernik" Studio.

40. AR Tetradrachm A silver alloy cast with poor production quality. The surface was not processed in order to imitate aging and artificial patina was not applied. Be aware for the coin dies because, with a thick patina, this one can cause problems.

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41. AR Tetradrachm2 This is an already published coin, but the image then was not clear enough.

42. AR Tetradrachm A well produced silver coin - a copy of a genuine tetradrachm. At close examination the pearls of the cast could be seen - for example, on the Zeus beard. At some places there are deformations - Zeus eyes and lips. The material has not filled completely the horse head on the reverse. Studio Unknown.

2. Prokopov, I., K. Kissyov, E. Paunov. Modern Counterfeits of Ancient Greek and Roman Coins from Bulgaria, Sofia 2003, p. 41, no. 96 24

43. AR Tetradrachm, A well made silver coin - a copy of a genuine tetradrachm, East celtic imitation. The surface is very well processed after the casting. It is covered with thick, but not dark patina which hides the minimal defects. It could mislead a beginner so it is a good idea to compare the coin dies. "Sofia OA Studio"

44. AR Tetradrachm, Similar as no. 43 "Sofia OA Studio"

45. AR Tetradrachm, Similar as no. 43 "Sofia OA Studio"

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46. AR Tetradrachm, 12,897 g A low quality silver alloy cast. In spite of the attempt for applying patina - the defects are easily noticed. "Pernik" Studio

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The group of the coins from no.47 to no.56 are silver cast with one obverse and two reverse dies. This is an amateur attempt to imitate an entire coin finding. They were produced in the 80ies of 20 c. in Sofia in order to be replaced for genuine coins from different collections. They all are from "Sofia ZP" Studio (authors term).

47. AR Tetradrachm Cast.

48. AR Tetradrachm Cast.

49. AR Tetradrachm Cast.

50. AR Tetradrachm Cast.

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51. AR Tetradrachm Cast.

52. AR Tetradrachm Cast.

53. AR Tetradrachm Cast.

54. AR Tetradrachm Cast.

55. AR Tetradrachm Cast.

56. AR Tetradrachm Cast.

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ALEXANDER III 57. AR Tetradrachm, 16,190 g; 5h A low quality cast of a silvery-grey alloy. In spite of the attempt for aging by rubbing it with a metal brush, the defects like knots and pearls are clearly seen. "Pernik" Studio

58. AR Tetradrachm A well made silver coin - copy of a genuine tetradrachm. The surface is processed very well after casting. It is covered with thick, but not dark patina which hides some minimal defects. It could mislead beginner numismatists so it is necessary to compare the coin dies. "Sofia OA Studio"

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59. AR Drachm, Made of 2 halfs that have been cast separately and then additionally glued together. When carefully examined the defects can be seen as well as the spot on the edge where the two parts are joined.

60. AR Drachm, This is an ineffective attempt to cast a drachm with a print taken from a genuine coin. Usually, counterfeiters destroy such specimens to avoid suspicions. The coin is confiscated together with some other higher quality specimens and was granted to a museum. They all are a product of the quoted studio. "Sofia ZP Studio"

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61. AR Drachm, The coin has the same origin. Here the counterfeiters haven't succeeded to cut the surplus metal remains and to erase their traces on the edge. "Sofia ZP Studio"

PSEUDO HOARD (8 COINS) PHILIP II - CELTIC IMITATION AR Tetradrachms. All coins from no.62 to no.69 are cast from prints of genuine coins of an authentic coin hoard and do not differ at all, except the metal which is greyer and softer then silver. Another hint for recognizing them gives us the sound they produce when dropped, which is dull and without jingle. "Novi Pazar" Studio 62. AR Tetradrachm, 25/23 mm; 13,726 g "Novi Pazar" Studio

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63. AR Tetradrachm, 25,5/24,5 mm; 12,537 g "Novi Pazar" Studio

64. AR Tetradrachm, 25/24,5 mm; 12,851 g "Novi Pazar" Studio

65. AR Tetradrachm, 25,5/24,5 mm; 12,851 g "Novi Pazar" Studio

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ALEXANDER III Obv. Head of Heracles with lion's skin r. Rev. Zeus enthroned l. 66. AR Tetradrachm, 25/24,5 mm; 16,632 g "Novi Pazar" Studio

67. AR Tetradrachm, 25/24,5 mm; 16,349 g "Novi Pazar" Studio

68. AR Tetradrachm, 26/26 mm; 17,126 g "Novi Pazar" Studio

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69. AR Tetradrachm, 24,5 /24,5 mm; 17,126 g "Novi Pazar" Studio

THRACIAN KINGS
LYZIMACHOS 70. AR Tetradrachm, 13,839 Cast. A low quality coin. It was cast with silver as the print comes from a genuine coin. There are lots of knots and it is easy to be recognized. "Pernik" Studio

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71. AR Tetradrachm The notes for the previous no.70 are valid fot this one as well. Here the quality is better and a careful observation is needed to avoid mistakes. "Pernik" Studio

SADALAS 72. AE Made of brass alloy, not bronze. Cut with steel matrixes. It is additionally aged and partially covered with artificial patina and grayishwhite silicate particles. Studio Unknown

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ROMAN REPUBLIC
PSEUDO HOARD OF ROMAN REPUBLIC DENARII All coins (no.73 to no.80) are casts taken from genuine coins of a real hoard. The casts are of the "pressed" type, with small knots. After pressing they are put into an electrolyte bath and are silver-plated but not entirely. Under magnification one can see the porous mass of a base metal, which is not well covered. Thousands of coins of this type were produced. They can be easily recognized as they are made of a softer material which is also easier to melt. They can be even treated with a pocket lighter if possible. C.PVLCHER 73. AR Denarius "Novi Pazar" Studio

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L.TITVRI L.F SABINVS 74. AR Denarius "Novi Pazar" Studio

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L.PROCILI F 76. AR Denarius "Novi Pazar" Studio

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L.IVLI BVRSIO 75. AR Denarius "Novi Pazar" Studio

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C.POSTVMI T. 77. AR Denarius "Novi Pazar" Studio

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L.FVRI CN F BROCCHI 78. AR Denarius "Novi Pazar" Studio

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T.CARISIVS IIIVIR 79. AR Denarius "Novi Pazar" Studio

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MN.ACILIVS IIIVIR (B. Acilia) 80. AR Denarius A new coin by "Lipanoff" Studio

CAESAR 81. AR Denarius Cast of a base metal, made from a print of a genuine coin that has been in circulation for a long period and marked on the obverse. The cast is silver plated by the means of galvanoplasty. The metal texture is similar everywhere - at the low and the high relief. The small pearls and roughnesses, even at the bottom of the control marks, result of the cast, can be seen. The relief is low and blurred, details are lost. The contour line of Aenes and Anchises figures is unnatural because in the process of making the print there was some skidding and excessive material was taken from the plasticine or silicone. "Novi Pazar" Studio

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BRUTUS 82. AR Denarius Cast, "pressed" type with small knots. It is covered with artificial black patina glued to the coin. "Novi Pazar" Studio

MARK ANTONY 83. AR Denariusius, 21/20 mm; 3,537 g; 11h Obv. ANTONI AVGVR COS DES ITER ET TERT. Bust of Antony r. Rev. IMP TERTIO III VIR R P C. Armenian tiara, bow and arrow in saltire in background. Cast, "pressed" type made from a print of a genuine coin that has been in circulation for a long period and besides it has been burnt. Small pearls around Anthony's nose can be seen. The relief is low and blurred, details are lost, especially the letters of the inscription. The metal is greyer than silver and is very crumbly. There are large cracks reaching the core center - something unusual for the coins of that epoche, produced of silver with high purity. Studio Unknown

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ROMAN EMPIRE
TIBERIUS 84. AR Denarius A primitive work. Without additional masking it is very easy to recognize. There are knots and cast defects. A piece of metal is taken from the edge. "South West 2" Studio

85. AR Denarius A base metal cast made by a print of a genuine coin. The cast is coated with silver by galvanoplasty. The metal texture is similar everywhere - both low and high relief. There are knots, small pearls and roughness as a result of the casting and on the obverse image there is a big defect - lowering of part of the surface at the upper lip and nostril. There is an attempt for making an artificial patina. "Pernik" Studio

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86. AR Denarius A base metal cast made by a print of a genuine coin. The cast is covered with silver by galvanoplastic method. The metal texture is similar in both low and high relief and wear marks are lost. There are knots, small pearls and roughness as a result of the cast. The obverse image has several defects - a big knot at the mouth and the whole zone at the bust base has a bad silver coating. The padding for the galvanoplasty is low quality. "Pernik" Studio

87. AR Denarius A comparatively good pressing. The matrix is taken from a genuine coin of Tiberius. The metal is greyer than normal. There are some knots, the relief is not high enough, and there are also core cracks that are not typical for the originals. The area around the mouth, nose and eyes is not well filled with metal and the surface there is unnatural. The ear is deformed because of the overdone pressing of the obverse matrix. "Novi Pazar" Studio

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AGRIPPINA SENIOR 88. AE Sestertius When looking at the coin from its edge, it is like a lens. This is a result of the production method. When struck, only one side of the coin can be bulged, but the other one must be slightly concave. The surface is rough, with lots of knots and pearls, partially hidden under an artificial patina. A very weak point on this coin, helping us to detect it as a fake, are the inscriptions on the obverse. They are uneven and blurred, and the highest part is not thick enough or the opposite - the material is more than necessary. This can be seen when one compares the inscription beginning with the letters just over Agripina head. The edge is also unnatural for a sestertius. This is a cast coin. Print taken from a genuine one, but probably because of the poor quality it was not processed further. "Sofia MB" Studio

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CALIGULA (WITH AGRIPPINA) 89. AR Denarius Silver struck coin. It has all signs of the style and work of the "Studio Lipanoff" masters.

CLAUDIUS 90. AR Denarius The coin surface is uneven, with small pearls and knots. Occasionaly the metal has not filled the matrix well. This can be observed at the obverse inscription and at the emperor's lower lip. Also there are pearls and unevenness at the emperor's cheek-bone and neck. On the reverse some of the border dots are not fully filled with metal and also there is a deformation of Victory's bust. Studio Unknown

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91. AR Denarius, 3,076 g Silver cast. Poor work. The defects are again knots and pearls, unskillfully hidden with mechanic hits and scratches. Yet, larger knots can be seen clearly. Easy to detect. Studio Unknown.

92. AR Denarius, 3,650 g Silver struck coin. It has all signs of the "Studio Lipanoff" style.

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NERO 93. AR Denarius Grey metal cast. Afterwards it has been additionally silver plated. Part of this silver coating has fallen. Some rough areas and knots are easily visible. Studio Unknown

GALBA 94. AV Aureus, 7,2 g Typical forgery made with the technology "cast pressing". There are many marks of additional processings of the matrix. There are some marks from tools. This can be observed on the emperor's neck and head on the obverse, as well as at the high areas of most letters. To a certain extent the artificial patina resembles the original, but still it is obvious that it is concentrated at thicker spots which are contrast at their otlines and do not gradate like the original. The print is taken from Slavey aureus. Studio Unknown

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VITELLIUS 95. AR Denarius This coin has all typical signs of a coin struck by "Lipanoff" Studio3, however here the coin was produced by taking a print from a genuine one, then cast and finally a galvanic covering was made. On the obverse at the emperor's eyebrow there is a big defect - two caverns. The letters are badly printed in general.

VESPASIAN 96. AR Denarius, 3,255 g Cast, "pressed" type. The print is taken from a genuine coin. At some spots the matrix is not well filled, there are signs of "missed" material - at the emperor's lips, under his ear, as well as at some letters. "Novi Pazar" Studio

3. Prokopov, I. Contemporary Coin Engravers and Coin Masters from Bulgaria, "Lipanoff" Studio. Sofia 2004, no. 30 51

97. AR Denarius A base metal cast. It is silver coated by the galvanoplastic method. There is a specific uneven surface, a result of the casting and the galvanoplastic covering. On the obverse there is glued artificial patina. "Novi Pazar" Studio

98. AR Denarius A base metal cast silver coated by the same method of galvanoplasty. Again, uneven surface - result of the casting and galvanoplastic covering. There is a defect on the obverse caused by a bad padding and another one - on the right side of the bust base caused by the bad galvanoplasty. As a whole, the obverse is concave because of the harder pressure when making the print. This resulted into a higher rim that displaced the border of dots. Studio Unknown

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99. AR Denarius A base metal cast, silver coated by the galvanoplastic method. Rough surface as above. On both sides there are small pearls and knots. On the obverse there is a defect in the emperor's eye. Letters of the inscription have all signs of a badly taken print. Studio Unknown

100. AR Denarius A base metal cast, silver coated by the galvanoplastic method. Again, the surface is specifically uneven. On the obverse, behind emperor's head and at his chin there are large defects because of the poorly made print. Studio Unknown

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101. AR Denarius, 3,308 g A cast of a metal alloy that is greyer than silver. The print is taken from a genuine coin. Some matrix displacement can be noticed, as well as incomplete relief filling. On the reverse periphery there are some caverns, as a result of the insufficient material. Studio Unknown

DOMITIAN 102. AR Denarius 4 Silver cast. The print is taken from a "Lipanoff" Studio coin. There is a big defect on the obverse. Studio Unknown

4. Alan Van Arsdale. Roman Coin Forgery. 2005, Pl. 130, no. 266; Prokopov, I. Contemporary Coin Engravers and Coin Masters from Bulgaria. "Lipanoff" Studio, no. 37. 54

NERVA 103. AR Denarius, negative This coin half allows us to see one of the technologies used for making a fake coin of 2 separate cast parts. They are glued and the edge is processed in such a way that the seam cannot be noticed. Studio Unknown

104. AR Denarius Cast, "pressed" type coin. The print is taken from a genuine coin. The image relief is not filled quite well and this can be seen on the high points - the emperor's face. There are small knots on the surface. "Novi Pazar" Studio

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105. AR Denarius, 3,083 g Cast, "pressed" type coin. Made from a genuine coin print. The quality of work is poor, there are lots of defects - knots, caverns (in the field), some empty spaces (missing metal in the letters), deformations and cracks (on Nerva's face). Obviously the metal has started to cool which resulted in some big rifts on the reverse. Studio Unknown

106. AE As Bronze alloy cast. The print is taken from a genuine coin. The surface is covered with an artificial green patina under which some pearls and knots, results of the casting, can be seen. Studio Unknown

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TRAJAN 107. AR Denarius Cast coin, cold pressing type with additional silver coating by the galvanoplastic method. The print has shifted and this resulted in obvious defects. Studio Unknown

108. AR Denarius A common material cast from a genuine coin. Silver coated by the galvanoplastic method. Because of the poor print quality the low relief is not dense. Behind the emperor's back the field is uneven, in the first part of the inscription there are damaged letters. There is blurring and missing border dots. On the reverse there are also small pearls and uneven surface on the silver coating. "Novi Pazar" Studio

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109. AR Denarius A base metal cast, silver coated by the galvanoplastic method. There is some blurring and missing border of dots. On the surface there are small pearls and uneven surface on the silver coating. On the obverse at the bust down right there is a serious defect - bad silver coating because of the low quality galvanopolasty padding. A similar, but smaller defect can be seen on the reverse in the core centre next to the figure. Studio Unknown

110. AR Denarius A base metal cast made from a genuine coin print. The original one has been in circulation for a long period. The print quality is quite low and images have lost many details. The cast is silver coated by means of galvanoplasty. The metal texture is similar at both low and high points, without any traces of wearing. The pearls and uneven surface caused by the casting process can be seen. The relief is low and blurred, details are lost. Studio Unknown

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111. AR Denarius A base metal cast made from a print of a genuine coin that has been in circulation for a long period. The print quality is quite low and images have lost many details. The cast is silver coated by means of galvanoplasty. The small pearls and uneven surface caused by the casting process are visible. There are several apparent defects around the emperor's mouth. Studio Unknown

112. AR Denarius A base metal cast made from a genuine coin print. The print quality is quite low and images have lost many details. The cast is silver coated by means of galvanoplasty. Again, small pearls and uneven surface caused by the casting process can be seen. There is an obvious defect on the emperor's chin a print skidding as well as low quality galvanic coating at the neck. On both sides an artificial patina is glued to the surface. Studio Unknown

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113. AR Denarius, 3,361 g A pressed coin. The print is made from a genuine coin, but there is a deformation (for ex. on emperor's face - eyebrows, nose and mouth) and uneven density. The metal structure is grey and fragile. There has been a thin silver coating but it has started to fall and the grey surface has shown. Studio Unknown

HADRIAN 114. AR Denarius The coin has all signs of a cast, "pressed" type. The print is taken from a genuine coin. On the paraffin positive there are some traces from tools. The metal alloy has a grey color. Well preserved silver coating. "Novi Pazar" Studio

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115. AR Denarius This coin has all typical signs of a coin struck by Studio"Lipanoff"5, however it was actually made from a print of the coin in question, then cast and galvanoplastically covered. The coating itself is very badly produced, the surface is uneven with superfluous metal accumulation which forms pearls and zones with a porous structure. Studio Unknown

ANTONINUS PIUS 116. AV Aureus (Foure) The coin is pressed and then coated in electrolyte bath with a thick gold layer. The pressing itself is a foure type. A plastic and soft filling is coated in foil and this is how the pressing is done. It is also possible that it has been made being cold, without extreme core heating. This can be seen under the gold coating. In the field, especially on the reverse, there are bumps and the images have smooth contours, without the typical contrast. The print is most probably taken from a silver denarii. Studio Unknown

5. Prokopov, I. Contemporary Coin Engravers and Coin Masters from Bulgaria, "Lipanoff" Studio. Sofia 2004, no. 49. The obverse is published, but in combination with another reverse. 61

117. AR Denarius, 3,017 g The coin has all signs typical for a cast, "pressed" type. The print is taken from a genuine coin. The metal alloy has a grey color, the silver coating is well preserved. "Novi Pazar" Studio

118. AR Denarius Similar to the previous but the quality is much lower. This is definitely an unsuccessful attempt. The print is taken from a genuine coin. The metal alloy has a grey color. Lots of defects can be noticed easily, as well as an unskillful attempt to additionally finish the paraffin positive. This coin is easy to be detected but it is advisable to pay attention for other more successful examples of the same coin die. "Novi Pazar" Studio

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119. AR Denarius All remarks about the previous coin are also valid for this one. "Novi Pazar" Studio

FAUSTINA SENIOR 120. AR Denarius Similar. Again, all remarks about no.118 are valid here as well. "Novi Pazar" Studio

121. AR Denarius A base metal cast made from a print of a genuine coin. The cast is silver coated by means of galvanoplasty. The big cuts that the original coin has had, have been copied on this one and were covered with new silver, which is obvious. Because of a badly taken print there is a bulge in the low points of the reverse. This is why letters remained in small concaves. On the reverse a part of the image is lost - the upper part of the scepter and the hand holding it. Studio Unknown

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122. AE Sestertius At a first glance, a pleasant coin. Implies the association of a souvenir . The metal is brass, not bronze. The relief is low and very unusual for a Roman sestertius. If observed carefully, many defects will be seen. The artificial patina is too constant and has a strange color. Studio Unknown

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MARCUS AURELIUS 123. AR Denarius Silver cast, additionally intensively processed with acid to conceal the casting traces. The surface has a granular structure, a typical result of acid processing. The artificial patina mixed with silicate materials is glued on top. "Novi Pazar" Studio

124. AR Denarius A base metal cast, silver coated by means of galvanoplasty. Both sides are concave because of the stronger than required pressing when the print was made. This resulted in a higher rim that displaced or blurred the border dots. There is an additional correction applied on the eye and the mustache. The eye pupil is split. There are knots and uneven surface. Studio Unknown

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125. AR Denarius A base metal cast, silver coated by means of galvanoplasty. Again, there are knots and bumps on the surface. Some letters and parts of the images on the reverse are not well filled with metal and look flat and unreal. The coin is covered with rough artificial dark patina that was glued on it. Studio Unknown

126. AE Pautalia, Thrace A cast coin. The prototype was copied from a genuine coin, but the image has had a bad relief and the paraffin positive was additionally processed by an amateur. The result was a low quality and schematized image. To mask the coin, it was treated with acids and other aggressive agents at high temperature. Then, an artificial patina was produced and applied on several layers. Studio Unknown

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LUCILLA 127. AV Aureus, 7.28 g Cast, "pressed type" coin. Its matrix however was not well prepared. There are obvious traces of pearls and uneven surface in the low relief. There are also many defects as the most obvious are at Lucilla's eye, nose and eyebrows. Studio Unknown

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CLODIUS ALBINUS 128. AR Denarius Cast, "pressed" type made of a metal alloy with greyish color. The edge has very sharp unusual sides. There is no additional silver coating. Looks like Lipanoff style.

SEPTIMIUS SEVERUS 129. AV Avreus, 19/18 mm; 6,822 g Gold minted. We have seen similar pair of coin dies but struck from silver. Published 6. "Lipanoff" Studio

6. Prokopov, I. Contemporary Coin Engravers and Coin Masters from Bulgaria, "Lipanoff" Studio. Sofia 2004, no. 72 68

130. AR Denarius, 1,840 Cast, "pressed type". The matrix pressure on the soft material has been too strong and it resulted in high edge, especially on the reverse. "Novi Pazar" Studio

IULIA DOMNA 131. AR Denarius This one has all signs of a coin struck by "Lipanoff" Studio7, but it is a copy made by a print from the Lipanoff coin, then cast and coated with galvanic covering. The surface is uneven and covered with pearls, at some areas it even changes to porous structure. Lipanoff have made an error when engraving the reverse inscription. Instead of VENVS it is written VEMVS.

7. Prokopov, I. Contemporary Coin Engravers and Coin Masters from Bulgaria, "Lipanoff" Studio. Sofia 2004, but in other coin dies combination. The obverse was published under no.no. 72,76, and the reverse - no. 64. 69

132. AR Denarius Cast, "pressed" type made of a metal alloy with greyish color. The whole surface is dotted with small pearls and knots. 8

133. AE Sestertius A new "Lipanoff" Studio coin. Struck from a brass alloy. There are no traces from any attempts to be additionally processed for aging or for applying an artificial patina.

PLAUTILLA 134. AR Denarius A silver coin struck by a steel matrix. Everything in its style distinguishes it from the original coin. For example, the Plautilla portrait, the hairstyling, the inscription, they all bespeak of an unsuccessful engraver's attempt. Studio Unknown
8. The coin was detected as a forgery also by Paul-Francis Jacquier. A similar specimen is published: Prokopov, I. K. Kissyov, E. Paunov. Modern Counterfeits of Ancient Greek and Roman Coins from Bulgaria, Sofia 2003, p. 58, no. 143. 70

PESCENNIUS NIGER 135. AR Denarius The coin is a "cold pressed" type, additionally, but not fully, coated with silver. The caverns under the silver can be clearly seen. The print was taken from a genuine worn coin. There is a rough artificial patina over the silver coating, mixed with silicate materials. Obviously it was glued. "Novi Pazar" Studio

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DIDIUS JULIANUS 136. AR Denarius, 3,649 g The coin is struck by steel matrixes. It has all signs of "Lipanoff" Studio. There are no attempts for aging.

SEVERUS ALEXANDER 137. AR Denarius, 3,339 g Struck by steel matrixes. A new variant of "Lipanoff" Studio. The obverse is already known but here it is in combination with another reverse.9 No attempts for aging.

9. Prokopov, I. Contemporary Coin Engravers and Coin Masters from Bulgaria, "Lipanoff" Studio. Sofia 2004, no. 103 72

MAXIMINUS "THRAX" 138. AV Avreus, 19/18 mm; 6,712 g Struck by steel matrixes. A new variant of "Lipanoff" Studio. The same coin, struck from silver though, has been already published.10

139. AR Denarius, 3,226 g Struck by steel matrixes. A new variant of "Lipanoff" Studio. The obverse and reverse are already published but in combinations with other coin dies.11 No attempts for aging have been made.

10. Prokopov, I. Contemporary Coin Engravers and Coin Masters from Bulgaria, "Lipanoff" Studio. Sofia 2004, no. 106 11. Ibid. Obv. no. 107, rev. no.106. 73

140. AR Denarius, 3,391 g Struck by steel matrixes. A new variant of "Lipanoff" Studio. The obverse is already known but here it is combined with another reverse.12 There have been some attempts to age the coin and cover it with artificial patina.

141. AR Denarius The coin has all typical signs of a coin struck by "Lipanoff" Studio13, but it is a copy made by a print from the Lipanoff coin, then cast and coated with galvanic cover. The surface is uneven and covered with pearls. Studio Unknown.

12. Prokopov, I. Contemporary Coin Engravers and Coin Masters from Bulgaria, "Lipanoff" Studio. Sofia 2004, no. 105 13. Ibid., no. 105. 74

GORDIAN III, HADRIANOPOLIS 142. AE Provintial coin, 25/25 mm, 10,456 g Cast coin, many knots and caverns, especially on the coin edge. The print was taken from a genuine coin. "Novi Pazar" Studio

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FLORIAN 143. AE Medallion, 35/35 mm; 26,696 g; 12h A coin of the MONETA AVG type, rough cast. The matrix was manually finished. The portrait reproduction is quite crude and has changed Florian's face. Besides, the inscriptions are rough and do not correspond to the original. Studio Unknown

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DIOCLETIAN 144. AV Aureus, 5,290 g; 6h The coin was struck by the classical method - from gold with steel matrixes. The core was preliminarily cast and shaped. The engraver has tried to follow the original matrix, but did not manage very well. Stylistically this coin differs too much from the original and is easily recognized as a fake. Photos taken under artificial and natural light. Studio Haskovo?

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CONSTANTINE 145. AV Medallion Struck by a hydraulic press with steel matrixes. The engraver has tried to follow the original matrix, but did not manage very well. Stylistically this could be clearly seen on both sides of the coin. Because the metal core was pressed when it was already cold, there are clear marks on the surface-the specific furrows on the low relief. Studio Unknown

146. AV Solidus, 4,261 g A brass alloy cast, additionally gold plated. The print was taken from a genuine solidus of Arcadius. The fake is easy to detect. Studio Unknown

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SELECTED BIBLIOGRAPHY
1. Bernardi, G. Dangerous Counterfeits of Roman Aurei: In Bulletin on Counterfeits Vol.2, No.4, December 1977 published by International Bureau for the Suppression of Counterfeit Coins (IBSCC of the IAPN) 2. Bernardi, G. Dangerous Counterfeits of Roman Aurei, II: In Bulletin on Counterfeits Vol.3, No. 4, Winter 1978 published by International Bureau for the Suppression of Counterfeit Coins (IBSCC of the IAPN) 3. Coin Forgery Discussion List (CFDL) archives, a yahoo internet egroup, diverse authors 4. Demettiradi, B.C., "Slavey: the truth behind the legend", The Celator 13, Jan. 1999, no.1,20-25. 5. Dimitrov, D., I.Prokopov, B. Kolev, Modern Forgeries of Greek and Roman Coins. Sofia, K&K Publishers 1997, 72 pp. illus. 6. Forum Ancient Coins - Fakes Report page 7. Goldsborough, Reid. Alexander the Great Ancient and Modern Fakes 8. Goldsborough, Reid. New York Hoard Counterfeits of Apollonia Pontika Drachms 9. Goldsborough, Reid. Parion Hemidrachms, Imitations, and Forgeries 10. Larson, Charles M. Numismatic Forgery 2004 11. Marinescu, C. A., "Modern Imitations of Ancient Coins from Bulgaria", Minerva 9, no. 5 (Sept.-Oct.), London 1998, 46-48. 12. Prokopov, I. K. Kissyov, E. Paunov. Modern Counterfeits of Ancient Greek and Roman Coins from Bulgaria, Sofia 2003. 13. Prokopov, I. Contemporary Coin Engravers and Coin Masters from Bulgaria, "Lipanoff" Studio. Sofia 2004 14. Prokopov, I. E. Paunov. Cast Forgeries of Classical Coins from Bulgaria, Sofia 2004 15. Prokopov, I. R. Manov, Forgery studios and their coins. Sofia 2005. 16. Prokopov, I. Coin Forgeries and Replicas 2006. Sofia 2007. 17. Puetz, B. "The Slavey Interview" (2 parts), The Celator 14, April 2000, no.4, 18-24; May, 31-33. 18. Sayles, W.G. Classical Deception. Counterfeits, Forgeries and Reproductions of Ancient coins. Iola, WI, Krause Publications: 2001 (esp.61-65, 87-89). 19. Van Arsdale, A. Roman Coin Forgery. 2005

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