Stamp Seal, France, Second Half of the 19th Century

Large lidded vase with a gadrooned wall with acanthus leaves and pine node. Marbre griotte and gilt bronze.

Column out of sandstone with a Corinthian capital and fluted shaft, the base is decorated with scrollwork ornament. Very beautiful natural patina.

A Napoleon III armchair on s-shaped legs with a curved frame. The high, rounded backrest as well as the seat and armrests are upholstered. The golden patinated frame is decorated wit...

Large lidded chest with brass and copper fittings and leather cover as well as side handles.

Red marble casket with pyramidal lid and fitted brass vessels. Light bumps.

Symmetrically designed, mirrored wall application made of fire-gilded bronze. The movingly designed frame with rocailles, shells and clasp decoration as well as harvesting tools and ...

A 19th Century Dutch silver seal wax stamp A Dutch silver seal wax stamp from the 19th century. A seal stamp showing the Coat of Arms with a crowned shield divided into three sections. The stamp dates before 1893. The stamp is hallmarked with the dolphin in triangle, used between 1893-1906 for non-guaranteed native objects (gilde hallmark). Afterwards marked again later in the 20th century with ZII for the silver purity 833/1000. Signets or called cachets, wax seal stamps, are stamps that were worn on a silver watch chain...

Mould with Nasrid plasterwork motif. Granada, second half of the 19th century. Plaster. It has slight flaws on the edges. Measurements: 28 x 41 x 2 m. Following the Mudéjar tradition of working plaster as a decorative material, this plaster mould...

19th century rock crystal seal French, 19th century Measures: Height 6.5cm, diameter 3cm Crafted from rock crystal, this wonderful antiq...

Chinese bone stamp, 18th-19th century Measures: H. 7 W. 10 cm H. 2.7 W. 3.9 in.

Inkwell Calamelli workshop (attr.). Faenza, second half of the 16th century Height 4.33 in; length 8.07 in; depth 2.95 in (11 cm; 20.5 cm; 7.5 cm) Weight: 0.800 lb (363 g) State of conservation: some chipping to the top of the mask around the mouth. Handle glued, without any restorations; minor chips in some raised areas. This object has the shape of a foot wearing Greek-style footwear, as can be seen in some raised areas. The foot is anatomically modeled with bare toes, while the ankle is partially covered by the footwear. On the heel, there is a small circular handle to support the object. The mouth of the container is shaped like a mask. The interior, completely enameled, suggests that the piece was intended to be used as an inkwell or to contain some other liquid. The base, however, is not enamelled. The painted decoration, scant and brief, consists of rapid cobalt blue shading between the toes of the foot, with more precise emphasis on the nails. It is accompanied by yellow citrine accents to enhance the forms. The mask is painted with the tip of the brush, to accentuate the tense nature of the eyes and to accentuate their outline. Thin strokes of yellow-orange line the interior of the mouth. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. This artwork finds parallels in similar objects all characterized by this refined style and produced in the city of Faenza and other Italian centers starting from the mid-16th century. The closest comparable example in majolica is a foot acquired by the British Museum in 2011 (inv. 2011, 8008.1). This was previously published by Carmen Ravanelli Guidotti in 1996 and later by Dora Thornton in 2016 during the conference on Renaissance ceramics...

"Nice inkwell of the 19th century with its two ink receptacles and the stamp holder" Inkwell, Napoleon III period, gilt bronze and glass, 19th century, with its two ink receptacle...