SOLD
500.00USDto R*******8+ buyer's premium (120.00)
This item SOLD at 2016 Dec 19 @ 11:01UTC-8 : PST/AKDT
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“Father Kino” Famous Hoax Ingots – a New Group
By Fred N. Holabird, 2011 , revised 2016
Two of the “Father Kino” ingots appeared in our November, 2011 sale. We received four more, different ingots of similar designs from another person this month. The popularity of the folklore surrounding these elaborate fakes makes them immensely marketable.
The four ingots are:
a. “Juan Cruz Ano de 1755 + v”, 7.79 troy ozs, 1.5 x 2.6”, 0.4” thick
b. “1701 Kino v + Sonora”, 4.99 troy ozs, 1.6” square, 0.4” thick
c. “+ V”, 5.18 troy, 2” diameter, 0.25” thick
d. “MM (cross) SS Juan Cruz 1755” (backwards “J”), 8.77 troy, 3.5” long, 1.2” wide, 0.4” thick
These ingots are very similar in design to the two listed in the 2011 article. It is perfectly clear that all six were made by the same person.
The story below, published in 2011, is reprinted here with some updates. It represents the same discussion that we’d have with these four ingots.
Estimate $1000-1500
Introduction
The Father Kino ingots are among the great hoaxes of twentieth century numismatics. First appearing in national media print in 1947, though allegedly discovered in the 1930’s, the ingots sparked a series of articles in various publications, such as the prestigious Arizona Highways Magazine. The ingots were reportedly discovered by Milton Rose in the 1930’s. No information regarding the “discovery” appears in the public sector until the 1940’s, after Rose put some of the bars on display at the Arizona Mining and Minerals Museum in Tucson in 1947, and a subsequent detailed article in Arizona Highways Magazine in 1948.
The story of Kino is interesting, but the underlying and even more significant “big picture” regarding the fabrication of counterfeit ingots cannot be ignored. Karl Moulton, in his book on John Ford and Paul Franklin, wrote a detailed account of his research findings that is remarkably telling in what it says and doesn’t say. My take on it is that these bars are the first of a series of fake ingots made specifically to deceive the public. They show similar characteristics to many of the questioned bars supposedly discovered years later, and the alleged date of the “discovery” of the Kino ingots and subsequent initial publication far predates any involvement in the “industry” by Ford and Franklin.
There remains a group of people, particularly treasure hunters, who still believe these ingots are original and legitimate.
The Father (Padre) Kino Story
Kino was born Eusebio Kino in northern Italy in August 1645. At the age of 18 he became so sick that he vowed if cured, he’d become a missionary for the Church. Highly schooled in science and math, Kino was chosen for a mission to New Spain, “the New World.” In 1678 he left for Genoa to go to the New World, but the group of Jesuits missed their boat, and, instead of taking the “next boats” which were slave boats designed to go to Africa to take slaves and then venture to the New World, it took them three years to get onboard another ship. Once ashore in the New World, Kino then made his way to Sonora, Mexico, then north into the Santa Cruz and Gila River regions in Arizona. He settled for a time in Baja California, drawing attention to the fact that California was NOT an island, as reported on all the maps, and they could travel north and east to the Gila region, the land of the Pima Indians.
In November, 1694 he “discovered” the giant ruins of a previous civilization at Casa Grande, reportedly the first account of the ruins by a white man. By the early 1700’s miners and other Spaniards complained that the Jesuits had control of all the good land in Pima Country, a conflict that lasted for years. The Arizona Highways article entitled “The Trail of Padre Kino” discussed how this educated man was on a mission to educate and Christianize the Indians of the Southwest, introducing cattle and farming techniques to the region. He was reportedly killed by Indians in 1711. The Pima and Apache were rival tribes, with the latter causing great difficulties to explorers and miners for more than a century.
Early mining in the remote areas of southern Arizona has been known since Spanish times, though it was limited to mostly prospecting. Reports of Kino and these early Spanish prospects were published by Emory from his 1846 explorations through the southwest and others in the early 19th century.
Near the junction (of the Gila and Colorado rivers), on the north side, are the remains of an old Spanish Church, built near the beginning of the 17th century, by the renowned missionary, Father Kino. The mission was eventually sacked by the Indians and the inhabitants all murdered or driven off. Reports of Spanish mining in the southern Arizona region were further researched by subsequent American exploring expeditions fueled by the California Gold Rush. One of the very early companies, the Sonora Exploring and Mining Co., reported to stockholders in 1857 that a theory was held that the proportion of silver contained in the ores increases as you advance towards the north. They further opined: The idea probably originated in the famous Bolas de Plata (Balls of Silver) of Arizona, in the beginning of the last century (c1700-1710), which was, and probably still is, believed in Europe to be one of those fables, with which mining countries always abound.
Treasure Hunting Rush Ensues
Reports of the discovery of these ingots in Arizona Highways fueled more treasure hunters. Whether it was looking for buried Spanish treasure or the Lost Dutchman mine, treasure hunters crawled the hills and mountains of remote and treacherous Arizona regions looking for the mysterious and elusive rumored riches. The argument for thee lost mines was not new: In fact, the Spanish were so intent on finding Quivera, the mythical city of gold, that they sent numerous expeditions into Mexico and America in search of the El Dorado. A young Paul Franklin, drawn to treasure hunting through friends he met during WWII, was an eager and gullible target for the hoaxers, and so were thousands of others. Franklin was given several photographs of the “discovery” of the ingots in the mid-1950’s, one reproduced here, kindly offered from the family. Franklin thought there were two batches of ingots- one real, and one fake. He felt the ingots with a white cast, an oxide or alkalai coating on some ingots indicated they were real or authentic. Unfortunately, that was not the case. Today, current scientific and advanced study lead to the conclusion that the ingots are fake.
New Evidence
Ernie Richards and Alan Craig’s book on Spanish ingots is perhaps the best telling evidence of their fabrication. Through time, particularly after WWII, treasure hunters and divers in Florida began to find silver coin and the occasional silver bar. Then Mel Fisher hit it big with the Atocha in 1985 using a technique that his men developed to help clean the sand from the bottom of the ocean and expose the heavy metals that sat on the original ground surface, or hardpan. Because of Fisher’s salvage innovations, divers began finding more and more bars, all from the mid 1500’s through the eighteenth century. Wrecks from Spanish treasure fleets from 1554 (San Estiban, etc), c1590’s (Power Plant wreck), 1622 (Atocha, etc), 1656 (Mimbres), 1660 (Jupiter), 1715 (Plate Fleet), 1733, 1766 (Duke of York) produced coins and ingots.
Craig & Richards’ study provides factual data and information on two hundred years of Spanish ingot production in the New World, 1554-1766, showing good consistency throughout, and in fact, shows the early methods and customs used that were later carried on by American assayers a century later. Not one single ingot has been found from the treasure fleets made in the style of the Kino ingots – the outward embossed letters and unusual shapes. I find it interesting that no one discussing the Kino ingots thought to compare the legitimate silver ingots found off the Florida and other East coast areas where wrecks of Spanish treasure fleets abound.
For decades, silver ingots from the Spanish treasure fleets were being found one at a time, but rarely were publicized, until Fisher’s gigantic discovery in the mid 1980’s of over 920 silver bars. The embossing on the Kino ingots was made from crude carving of letters into the ingot molds. Further, the ingots were small, and many of uniform size. The smallness was possibly due to the fakers intent that the bars be made in a manner for use in monetary circulation, something generally not seen in Spanish bars, and not more common until American ingot production. Some have a crude bullion punch on the reverse with a figure of what may be royalty, as a clever attempt to show some higher governmental authority.
Research by Dr. Gene Lyon, as well as that by Craig & Richards shows that any legitimate silver bar must have the King’s tax stamp to show the owner paid the quinto, or fifth tax. To not have the tax stamp indicates illegal contraband. While we now know from research that some silver processed in the Arizona region did not pay their quinto, the placement of a phony looking bullion punch on the reverse of one ingot inconsistent with the others belies the problem of the payment of the King’s quinto, and thus was a poor effort to try to legitimize the fakes. Additionally, as evidenced by the many contraband bars listed by Craig and Richards, these ingots would not contain the names of men in Kino’s group if they were contraband, nor would they show a sign of the Church (cross), or be dated. Many carry dates, such as 1697, 1707. Physically, the molds themselves are far too perfect, formed with vertical sides, showing no evidence of post-pour assay, a critical mistake. They are, in fact, wonderfully inventive artistic creations, but are not authentic Spanish realm silver bars.
When Moulton began his research into the Kino bars, a rather lengthy internet blog session was begun in August 2007, continuing for a solid month. Moulton diligently printed the blogs, which have perhaps more information on these bars that ever seen or read before. The trouble with blogs is that no one will write an article and stand behind their name. This renders interpretation of the blog as unsubstantiated information. Further, not one single blog offering detailed history cites any specific reference, which in the work of a professional researcher amounts to a fatal flaw. While it is reported that a man still owns most of the original hoard found more than 100 years ago, that person is not forthcoming, and serious questions arise as to the validity of any of the reports. Yet they are interesting, nonetheless.
These bars.
The two bars are inscribed as follows:
A) Larger bar: DeVargas/ 1707/ MM (pic Spanish Cross)/ Sonora. NO markings on the sides, reverse with bullion punched “Conquistado”. Weight 348.2 grams, 143 x 93 x 22mm. The color is off and not consistent with pure silver or a high silver content. No assay chips or place for assay. Uniform thickness. Letters embossed. Density: 11.83
B) Smaller bar: SS/ V/ M/ (pic Cross of Christ)/ 1697. No markings on the Father Kino Ingots from Sonora, Mexico, sides, or reverse. Weight 226.6 grams, 156 x 53 x 22.5 mm. The color is off and not consistent with pure silver or a high silver content. No assay chips or place for assay. Uniform thickness. Letters embossed. Density: 12.1
It was reported to Moulton that the Kino bars were 60% silver and 40% gold. On this basis, I had these two Kino bars analyzed using a Scanning Electron Microscope (SEM/EDS)and through xray fluorescence. Both methods are subject to a margin of error, as neither are true bullion assays, which would have required metal to be removed from the ingots. I had each bar analyzed at three different spots, one place on the front, one on the back, and one along the sides. There was excellent homogeneity in the data for each bar for the three sample localities. The results are the following:
Small bar Large Bar Comparison 1 Comparison 2
Gold none none none none
Silver 65.6% 58.2% 56% 56%
Zinc 13.5% 15.5% 17% 17%
Copper 13.6% 20.5% 22% 22%
Tin 6.9% 5.1% 5% 5%
Iron 0.09% 0.19% none none
Titanium 0.28% none none none
Lead none 0.47% none none
When a mining geologist or geochemist looks at these results, there is an immediate anomaly, perhaps not visible to others. Different precious metal ore deposits are formed in different ways, as are minerals and their natural associations. Often, there is metallic zoning associated with many ore deposits, though this zoning may take place in anything from tens of feet to thousands of feet. Every ore deposit is different, but there are characteristics that allow geologists to group some of these deposits into categories. This “grouping” if you will, allows for further in-depth study, analysis, and comparison to other ore deposits that ultimately forms the platforms we use to explore and look for more ore anywhere in the world.
There are also many different kinds of ore deposits that can contain the associated minerals and the ores that contain them. The discussion of the geochemistry of differing ore deposits is beyond the scope of this paper, but it is necessary to bring some of that data to bear in this discussion so that you can see where I am going. Also coming into play are the metallurgical processes used in reducing or smelting the original ores. Not all metals are routinely retained in the original dore, for a number of reasons. The discussion of this is also beyond the scope of this paper.
The silver-copper-zinc-tin alloy present in these ingots can be natural, though the smelting of the original ore and associated minerals in their natural form to render a dore product such as present in these ingots is problematic. The occurrence of Tin in the Kino ingots is a striking anomaly. It becomes difficult to image an ore deposit containing these four metals as the major metals occurring in their natural state. While I cannot think of an example, and a search of mining geologic literature failed to locate any such deposit, I always keep an open mind. But the formation processes of these minerals and ores is different, as is their mode of occurrence. The mere appearance of the tin in these ingots suggests that the ingots are a man-made constructed alloy using tin as a hardening agent. It appears to be a relatively new alloy used for brazing in particular, which would harden hi-tech metal pipe joints making the joints more stable and long lasting. In a literature search of historic alloys, I was unable to locate a natural or manmade alloy of this nature until after 1940 or so. One of the standard texts of silver alloys, Silver in Industry, has no such alloy, though it certainly could have been invented by that time. In fact of further note, the occurrence of tin in a natural silver-copper-zinc dore is entirely unreported, as far as I can find. In a search of alloys on the internet, two alloys were easily found with similarities to the Kino bars. They are listed on the charts as comparison 1 and 2. These manmade constructed alloys are a modern metallurgic creation. The occurrence of these metals in this association is not natural.
The question of tin in silver deposits begs discussion. Silver tin minerals are almost non-existent. Only a few are known, listed in Dana’s Text of Mineralogy. Stannite (copper, iron zinc, tin, no silver), Canfieldite silver tin sulfide), Teallite (lead tin sulfide) are the only related minerals listed in the classic text. All are found in Bolivia, though some of these are also found in places such as Freiberg. None of these minerals carry the characteristics of the contents of the dore in these Kino ingots. Silver and tin districts occur near each other only in Bolivia, where a rare association of silver and tin are known in a manner not seen elsewhere in the world. The ores of southern Arizona and northern Mexico do not appear to contain these Silver tin copper zinc elemental associations. But the Copper-zinc association in the Kino dore defies the natural mineral association even at Bolivian deposits. The question is then posed “is this dore the combined dore (comingled) from two different distinct types of silver ore deposits” (one of which is unique to Bolivia) and if so, is the only possible source Bolivia?
Common sense destroys any such argument about comingled ores. In the seventeenth century, silver was used solely for monetary purposes. The addition of tin to a dore made it infinitely more difficult to put the silver into a useable form – money. Thus there was no purpose, need or economic interest in combining these metals. It simply would have been easier to keep them separate.
Other Independent Analytics of Kino Bars
I was unable to find information on whether anyone had ever tested the Kino bars, either for silver/gold or density. Regardless of testing, a simple measurement of density could be made without the need, or in addition to, an expensive lab test. Accordingly, each of these two bars was carefully measured and density calculated (density is the weight in grams divided by the volume in cubic centimeters). The density of silver is 10.49. The density of these two bars exceeds that, and thus must be an alloy. For the density of the bars to be higher than silver, a metal or metals must have been added to the melt to increase density. This is usually only done for hardening purposes in a manner similar to how steel has been strengthened through time, and also in a manner used by the Mint with gold, by the addition of copper to cause less wear to coins. Because they scratch easily with a paperclip, yet possess a positive to the “ring” test, there is the appearance of a high silver content, perhaps with the addition of some hardening metal, which could be any number of industrial alloys. Little can be surmised from the density differences of the two, since we only have a data base of two specimens for comparison.
Conclusion
The Kino ingots were placed into the American marketplace more than six decades ago amidst a cloud of uncertainty and questions. Their origin has carefully been kept secret, letting rumors fly in the wake of clever stories, most rendered without a shred of proof. The men or man who made them carefully placed them into the numismatic world. Over time, other suspicious precious metal ingots were also placed into the numismatic world. The place of origin of many of these questionable or fake ingots was Arizona. The men responsible continued to improve their techniques and place more bad ingots into circulation. The Kino ingots seen and tested here are, in all probability and currently beyond the possibility of reasonable doubt, fake. The chemistry of the ingots underlies this fact, given that the association of the specific metals contained herein are not natural. It is further emphasized by the direct tie of this specific alloy to a man made, constructed metal alloy used in modern times, thought to be developed after about 1940. These two bars were clearly made in a manner to look like silver, feel like silver, and weigh like silver. They were thus made to deceive.
State: City: Date: FHWAC#: 42264
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Infinite |
24% |
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December 2016 Auction
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23. RETURN POLICY: All items are guaranteed to be authentic unless otherwise noted. If authenticity is challenged, please call our office for assistance. You may return any piece that was significantly inaccurately described by calling our office within 15 days of receipt of item(s) and notifying us of the error and reason for return. We do not refund postage or insurance. We have attempted to describe the items and their condition accurately. If no condition is given, assume average. Please call us if you require a more specific condition report. Any items that are returned must be returned in the exact, unaltered condition. NGC certified tokens that are returned must be original, unaltered NGC holders. Any tokens removed from the original NGC/NCS certification holders or items returned in an altered condition are deemed not returnable under any circumstances. When we receive your bids we will assume you have read the description in the catalog, viewed the image of the item, have contacted us regarding any questions you may have on any lot and/or have previewed the lot in person. Therefore, returns are only accepted if prior approval is given by Holabird’s Western Americana Collections.
24. This sale is being held under the laws of the State of Nevada, without reference to choice of law rules.
25. HWAC shall not be held responsible for any problem due to the bidders failure to follow the rules, terms and conditions of this sale, or any failure to bid due to the loss of the online auction process provided by any of the online auction networks; or missed bids, changed bids or cancelled due the bidders failure to follow the proper bidding procedure outlined herein.
26. By placing a bid or otherwise participating in the auction, Bidder accepts these Terms and Conditions, and specifically agrees to the dispute resolution provided herein.
27. HWAC shall not be responsible for consequential damages, incidental damages, compensatory damages, or any other damages arising or claimed to be arising from the auction on any lot. Bidder’s sole remedy for any proven act or omission shall be rescission of sale and refund of the amount paid by Bidder.
28. Any claim, dispute, or controversy in connection with, relating to and/or arising out of the Auction, participation in the Auction, award of lots, damages of claims to lots, descriptions, condition reports, provenance, estimates, return and warranty rights, any interpretation of these Terms and Conditions, any alleged verbal modification of these Terms and Conditions and/or any purported settlement shall be exclusively heard by, and the parties consent to exclusive in personal jurisdiction of, the Superior Court of Washoe County, Nevada. THE PARTIES EXPRESSLY WAIVE ANY RIGHT TO TRIAL BY JURY. Any claim must be brought within one (1) year of the auction from which the claim arose or the claim is waived. In every case, the prevailing party shall be entitled to an award of its attorney’s fees and costs.