Inlay Inkwells

19th Century gilt bronze and champlevé enameled inkstand with single well with hinge cover and pen rest. All raised up on bun feet. Dimensions H...

A fine quality Georgian III period silver plated inkstand by celebrated English silversmith Matthew Boulton, displaying all of the timeless eleganc...

An exquisite blend of elegance and functionality, this tortoiseshell double inkwell is a true collector's delight. With its stunning glass inkwells, brass accents, and convenient sto...

French Art Nouveau Inkwell by Pierre-Adrien Dalpayrat, France, circa 1890. A rare and exquisite Art Nouveau inkwell by renowned French ceramist Pierre-Adrien Dalpayrat (1844–1910). This finely crafted piece showcases Dalpayrat’s signature red copper-glazed stoneware, especially rich and luminous near the base. Elegantly mounted in pewter, the design exemplifies the organic flow and refined detail of the Art Nouveau period. Dimensions: Height: 3.54 in. (9 cm) Diameter: 5.12 in. (13 cm) Materials: Stoneware with pewter mount Condition: Excellent+++++, museum-quality preservation Markings: Incised signature "Dalpayrat 1500" under the base (see photo) This inkwell is a collectible example of French ceramic art at the turn of the century—perfect for collectors of Art Nouveau, 19th-century French ceramics, or the works of Dalpayrat. Adrien Dalpayrat (1844–1910): A Pioneer of French Ceramic Innovation Adrien Dalpayrat was a French ceramicist and researcher who played a key role in the revival of stoneware at the end of the 19th century. Born in 1844 in Limoges, Dalpayrat studied drawing and porcelain painting in his hometown before beginning his professional career at the Jules Vieillard faience factory in Bordeaux. There, he met his wife, Marie Tallerie, with whom he had two sons—Albert and Adolphe—who would later become his primary collaborators. Throughout his early career, Dalpayrat worked for several major ceramic manufacturers, including Ashwin (Valentine), Fouquet (Toulouse), François Blanc (Monaco), and Léon Sazerat (Limoges). In 1889, seeking greater independence, he moved to the Paris region and established his own studio in Bourg-la-Reine. Collaborations and Artistic Evolution Dalpayrat’s creative vision expanded through his collaboration with sculptor Alphonse Voisin-Delacroix. Together, they explored neo-Gothic and Palissy-inspired motifs, creating a remarkable ceramic bestiary. Following Voisin-Delacroix’s death in 1893, Dalpayrat partnered with Adèle Lesbros, which marked a shift in his work toward simpler, more refined vase forms influenced by Japonism. Japanese art had been introduced to France during the 1867 Universal Exhibition, but it wasn’t until the 1878 Exhibition, particularly through the ceremonial stoneware used in the Japanese tea ceremony, that Japonism truly captivated French artists. This influence led Dalpayrat to create vessels with organic, vegetal, and animal-inspired forms. Technical Mastery: The Secrets of Copper Red Among all the ceramists of his time who sought to replicate the elusive Chinese “sang de boeuf” (oxblood) glaze, Adrien Dalpayrat was arguably the most successful. He didn’t simply reproduce the legendary copper red—he transformed it. By manipulating glaze thickness, firing temperature, atmosphere, and copper oxide content, he developed a unique palette of flamed and mottled red glazes that became his signature: the renowned Dalpayrat red. He further enriched his pieces by introducing streaks and inclusions of turquoise, blue, green, and yellow—freeing the red glaze from monochromy and turning it into an expressive, living surface. His work pushed stoneware beyond function into expressive art, merging form and glaze in bold, sculptural harmony. Beyond Ceramics: Bronze Mounts and Architectural Works Dalpayrat also collaborated with renowned jewelers such as Ernest Cardeilhac and Keller to produce pieces mounted in gilt bronze, blending ceramics with decorative arts at the highest level. In an effort to make his work more accessible, he opened a second faience workshop focused on simpler, more affordable pieces inspired by Nevers and Rouen ware. However, this venture faced financial difficulties and closed by 1900. The main family studio followed in 1906 as the popularity of Art Nouveau declined. Dalpayrat then returned to Limoges, devoting his final years to painting and drawing until his death in 1910. Legacy and Recognition Despite financial struggles during his lifetime, Dalpayrat’s ceramics were widely acclaimed at major international exhibitions: Bronze medal, World's Columbian Exposition, Chicago (1893) Silver medal, Antwerp International Exhibition (1894) Gold medal, Exposition Universelle, Paris (1900) Today, his work is part of prestigious museum collections. In 2020, the Petit Palais in Paris acquired a large bird motif vase created in collaboration with Voisin-Delacroix, now on view in Room...

This is an early 20th century highly decorative French gilt bronze, malachite and faux malachite inkstand with dual inkwells. The base is a mix of faux malachite and malachite veneer...

19th Century Victorian Military Campaign Burr Walnut Brass Bound Writing Slope With A Tooled Black Leather Scriver Slope will include A Single Glass Inkwell A vintage pen S moder...

Stunning early Art Nouveau threaded iridescent art glass inkwell, circa 1900s. The piece features a gorgeous array of rainbow iridescence from pinks to ...

French Champlevé Enamel & Ormolu Letter Rack, Late 19th Century A richly ornamented French champlevé enamel and gilt bronze letter rack, dating to the late 19th century. This jewel-...

Victorian Military Campaign Burr Walnut Writing Slope With A Tooled Black Leather Skiver Slope will include A Single Glass Antique Inkwell A modern notepad A key with gold silk s...

Antique dark birds eye maple writing slope with brass M monogram plate on top with green felt lining and multiple interior storage compartments finishe...

Impressive Victorian writing slope or travel desk - attributed to the famous company of Thompson - from the period around 1800 - 1815 in the United Kingdom. This fantastic Captain’s campaign writing slope dates back to the Napoleonic wars. Well constructed out of solid mahogany with screwed down mount re-enforcements, brass banding, and inset carrying handles at each end, this outstanding travel desk box was designed to withstand the harsh maritime life at sea. The exterior of this Victorian travel box shows an attractive mahogany grain, beautiful colour, and a lovely pleasing patina. There are a couple of old indented scars to the lid along with the usual minor surface scratching, but these imperfections confer it an absolutely unique charme. The box has a tri-fold operation, opening to reveal a secondary smaller writing surface for quick use, then opening again to reveal the main slope fitted with a green felt writing surface which is in reasonable condition and compliments the original interior. When it is completely opened you have two storage compartments underneath. The original lock works smoothly with the original key. The original interior is nicely fitted out with a dark green leather drop-down section in the lid which features four memoire pockets. This section can additionally be lowered to reveal a document wallet...

This is a wonderful, large antique Victorian Egyptian revival inkstand by the Sheffield silversmith Henry Wilkinson & Co, Circa 1890 in date. It features a pair of cut glass detacha...