А откуда "не пионеры" знают - в 4 в. до н.э. был вырезан штемпель, или в 18 в н.э.?

Перебили мою ставку...что поделать, конечно штука интересная, но не настолько, чтобы платить за нее более 200ЕУР. Фуфло того не стОит 

Ну вот - и эту тему на ФАЦ снесли...во народ, как дети, ей-богу...

Немного о самом Питере Розе и технологии: http://www.coinbooks.org/esylum_v07n05a14.html
People who prepare copies often do not use traditional
  minting technology, but adapt the technology they know
  best.   This makes it difficult to unravel how the
  copies were made.  What I think Rosa did was to make
  a cast of the original coin using dental alginate.  He
  then used the dental alginate to make a metal positive
  copy.  The positive copy was used to make one to one
  transfer dies.  He would touch up the die by hand.
  One method he used was to strike each side of the coin
  individually, out of sheets of lead; he would trim off
  the scissel and solder together the two remaining
  pieces.  The lead would then be covered over with a
  metallic paint.  Later he would cover the lead with a
  thin sheet of silver, so the obverse would appear to
  be a silver coin, but one would see it was lead when
  one turned it over.  Note that Rosa's method results
  in coins that have elements of both a cast and a
  struck copy; one of those instances where the old
  joke, "the obverse is cast but the reverse is struck,"
  is true.  It is possible, however, that the Rosa
  pieces that show this treatment date from the 1980s,
  when he sold uniface pieces because the numismatic
  press would no longer accept his advertisements for
  two sided copies; the uniface pieces were then
  soldered together by subsequent owners.  An odd thing
  about the Rosa dies is that they are much larger than
  the coins they struck; the coin is a small incuse
  portion in the center of the die. Rosa had access to a
  Janvier lathe that allowed him to blow up and reduce
  designs: thus he could create multiples and fractions
  of coins where only one denomination was known.  He
  also had some method of creating a collar die, because
  the reeding I have seen on his territorial gold coins
  (notably a Kellogg $20) is excellent.  Wayne Sayles
  told me of another example of Rosa's ability to apply
  designs to the edge: he has seen Rosa copies of
  British Museum coins where Rosa provided a lettered
  edge giving the BMC number of the original.

Да я коряво просто написал: на ФАЦ снесли тему про фуфельный штемпель.
А вот полюбопытствуйте: добавил в сравнительную таблицу два образца из БД Джо "Dr. Ilya Prokopov's Fake Ancient Coin Reports"
(крайние справа).