| THE EPISTOLARIAN |

One of my favorite elements of antique wax seals, and something I am deeply committed to reviving, is Iconosigillism, a term I have coined to describe the language of symbols within seals. It refers to the personal and intellectual meanings an image carries beyond its physical form, meanings that are consciously chosen, understood, and activated through use.

In modern times, seals are rarely made with this level of symbolic intention, though historically it was central to their magic. Today, seals are often chosen simply because they are beautiful. When an image once carried meaning, that symbolism is now frequently lost to both maker and collector. As a result, the tradition of seals as vessels of personal meaning has faded.

Iconosigillism restores that lost dimension. Each design is considered not only for how it looks, but for what it signifies.

Take the peony. Aesthetically, it is lush and romantic. Symbolically, it represents a particular kind of beauty, one that is powerful and inwardly held, abundant without exhibition, and willing to bloom even under the weight of the gaze.

Or consider the anchor. Long a nautical image, it is also a symbol of hope. In Hebrews 6:19 we read, “We have this hope as an anchor for the soul, firm and secure.” For me, the anchor carries a personal meaning as well. It speaks to the comfort of feeling held in place. The love I have for my husband feels anchoring, and there is a hopefulness in that steadiness. When one’s home life feels safe, hopefulness follows naturally.

The difference between traditional symbolism and Iconosigillism rests on three points. It is specific to the wax seal as a medium. It is personally chosen, shaped by enduring motifs but not fixed by external authority. And meaning is activated through physical intention when pressing.

This week, the Peony seal launched (a handful remain), and today the Antoinette penny becomes available. For the Antoinette penny, I am offering twenty-four initially, with the remainder released approximately ten days later.

The heads side reads “Au Milieu des Fleurs,” meaning “Among the flowers.” This design is inspired by two portraits of Marie Antoinette in which she holds a floral bouquet with the same hand position and composition. For me, this image represents the bucolic ideal of pastoral living, softness paired with sovereignty.

The tails side features a bow inspired by a diamond bodice ornament I saw at the Marie Antoinette exhibition at the Victoria and Albert Museum in London. I added flowing strands of ribbon to give it a more celebratory feeling. Bows are symbols of beautiful ties and adornment.

I invite you to contemplate what this imagery means to you.

In this way, Iconosigillism moves beyond decoration. The seal becomes a vessel of intention, a form of personal iconography shaped through ritual use. Meaning is not ornamental here; it is lived, pressed, and passed on. 

Color of the Week: Antoinette

This beautiful light pink color is named after the famous French queen Marie Antoinette, who is often remembered for her decadence and over-indulgence. However, I see her more sympathetically, as a young mother caught up in the political turmoil of a foreign court.

With love,

Kathryn