
Shine a flashlight at a very low angle and slowly circle the impression. Genuine struck marks compress fibers deeply, creating shadowed valleys with soft, oxidized edges. Overstruck marks show doubled rims and disrupted finish islands. Transfers sit proud or level, casting odd, brittle silhouettes. Photograph from multiple angles with a scale card, so comparisons remain objective later. Gentle chalk or talc dusting, carefully vacuumed, can reveal contours without harm when used sparingly and only on stable, sealed surfaces.

Under UV, shellac gently warms while certain modern adhesives, decal carriers, and retouched areas glow assertively. If a mark was added after finishing, the fluorescence often breaks across letters or pools inconsistently. If a finish flowed over a mark long ago, the glow tends to be continuous, following age and wear. Compare a control area nearby. Document with exposure-locked photos, and remember that UV offers patterns, not verdicts; combine results with tactile, optical, and contextual evidence before forming conclusions.

At 10x to 20x magnification, genuine ink stamps usually show feathering into open pores, while dry-transfer or toner methods sit powdery on top, bridging over pores unnaturally. Branded marks reveal minute char gradients radiating from the hottest strokes. Metal punch stamping crushes earlywood more than latewood, forming minute fractures along annual rings. Look for letter serifs with rounded age, not granular crumbling that reads as freshly cut. Consistency across the entire impression matters; sharpness that dies suddenly can signal tampering.
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