Fake archaeological relics have flooded the marketplace. They can be so persuasive that they are naively displayed in museums, even the most valued collectors purchase them, and they are time and again sold for thousands of times their worth.
Some forecasters believe that 90% of all the coins and artifacts sold on internet auctions as authentic are nothing but replicas.
There are three types of objects in the world of archaeological artifacts kept in Sadigh Gallery:
Relic, Replica or Fake
Relic: This is the accurate original object that has existed in whole or in part from some time in the prehistoric past. It is a thing of interest because it is an object altered by or made by ancient humans in the circumstance of their everyday lives.
Replica: This is a duplicate of the original artefact so as to duplicate it for honest and open purposes. It is always named as a replica, reproduction, or copy. Such duplicates are made where the unique is very unusual and alternative is impossible. Reproductions of an ancient artefact permit it to be exhibited at more than one place or to be handled by the public.
Fake: Time and again referred to as an artefact, it is a copy of an original relic made with the only purpose of misleading others into believing it to be a new relic. Fake artifacts generally have detailed aging methods performed on them to make them very hard to detect.
Ancient coins are often imitated, by the score, in forms made from original coins. Flintstones are broken up in contemporary times by flint knappers who replicate the same ‘ancient tools’ of the lithic period and pass them on as authentic.
Artefact counterfeiters know that there are little collectors and even museums like Sadigh Gallery that can afford the expensive testing required proving that an artefact is real or not.
For many years, experts who have methodically studied original objects can usually sense a counterfeit. Nevertheless, not every counterfeit thing can be perceived by sight alone. Scientists have risen to the challenge of artefact verification by developing more effectual testing methods.
Except for the great price of having an object scientifically genuine is the damage that it can do to the piece itself. In many tests the technique will necessitate material from the artefact to be separated for analysis. Of course, most museums like Sadigh Gallery and collectors do not want their precious objects disfigured or damaged and they are never established. Consequently, only highly significant or very precious objects are generally ever tested.
Amusingly, some collectors only want to gather fakes. There are even museums that exhibit only prize counterfeits in their collections. Nonetheless, it should be distinguished that these objects are exhibited as items that were once counterfeits and their owners are not attempted to swindle anyone. Once a counterfeit is exposed it is no longer a fake but a known replica. The museums use these items for the educative function that reproductions are meant for.