Queen Isabella II













February 1, 1854

10-Cuartos – Black


Gooding #2UF1

Crude forgery in black not of any distinguishable type in the sheet of forty. Letters and numbers on top label are even and large. Virtually no space between the ‘Y’ and ‘1854 and ‘55’. The value ‘10’ between ‘FRANCO’ and ‘Cs’ does not appear to exist. There are no coronets on the crown, which is formed by two diagonal lines, the top one slightly wavy. Known used with circle of dots cancellation.



10-Cuartos – Carmine


Gooding #2F1
Bartels #C2.1 and C3.1

Senf Brothers Forgery. Lithographed in dark rose on modern white paper. The 'RE' of 'CORREOS' is broad and lower than the other letters. A great exaggeration.


Gooding #2F2
Bartels #C2.2 and C3.2; Earee (Page 207)

Engelhardt Fohl Forgery. Roughly engraved on thick, very hard buff wove paper. The coils of the hair are so shaded as to appear like two wide double plaits, instead of four narrow single ones. There are only seven horizontal lines in the three of the spandrels, and six in the one in the left lower corner. The period after the '10' is a little nearer the 'C' than to the '10'. The 'C' of 'FRANCO' has a thick end to its tail, which resembles a 'G' The color is pale carmine, unlike the pale red of some of the genuine issues. (Same die as Gooding #1F1, #4F2 and #5F1)


Gooding #2F3
BPA-Sperati (Page 133)

Jean de Sperati Forgery. The sheet position copied is the thirty-third stamp (third stamp in the seventh row). The central stroke of the 'F' in 'FRANCO' is very weak and is represented by little more than a dot and the 'R' is taller than the other letters. There is a white dot in the right side of the '0' in '10'. The frame line half way up on the right is extended. Die Proofs are known in black and in color, as well as unused and used reproductions in carmine. The forgery also exists in black. Some copies are known with a 'Sperati Reproduction' handstamp on the reverse.

Gooding #2F3A
Printed in Black

Gooding #2F3B
Printed in Carmine

(Genuine Stamp)

(Sperati Forgery)


Gooding #2F4

Issued in shades of carmine and orange and printed on thin paper. The horizontal line of '5' in '1854' is very short, as with the first '5' in '55'. The middle horizontal line in 'F' of 'FRANCO' is broken, appearing as a dot instead of a joined line.


Gooding #2F5

Issued in orange and printed on thin paper. The 'Y' is thick and the top lines slope giving the appearance of a 'U'. The '1' in '10 Cs' is thick and slopes to the right and almost touches the '0'. There are no periods after '10' and 'C'.


Gooding #2F6

Issued in red and printed on thick yellowish paper. The 'C' of 'CORREOS' touches the borders on the left and top frame line. The '4' of '1854' is lower than the other numbers. The second horizontal line in 'F' of 'FRANCO' is broken, appearing as a dot instead of a line. Similarly, there is a break in the top loop of the 'C' of 'FRANCO'.


Gooding #2F7

Issued in carmine on thick yellowish paper. The '4' of '1854' is larger than the other numerals. There is no period after '10' of '10 Cs'.


Gooding #2F8

Lithographed in pale rose, much the color of the genuine. The figures '185' of the date are all barely half of the height of 'CORREOS Y', and the '4' is still smaller; so that the whole date seems to be sloping down to the right, instead of level. The 'S' of 'Cs' is like a '5' and a considerable distance from the 'C'. The trefoil-ornaments on the coronet are very small, and only two of them show the ring in the center. The coils of hair at the back of the head are extremely faint and indistinct; there appears to be three of them (Same die as Gooding #1F6).


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