Queen Isabella II
10-Cuartos – Black
|
Gooding #2UF1 Lithographed in dark
rose on modern white paper. The 'RE' of 'CORREOS' is broad and lower than the
other letters. A great exaggeration.
|
||
|
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)
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
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).
|
Comments and Feedback Always Welcome .... Please Email
Return to Home Page