10 CENTESIMI

 

As stated in the general introduction I will limit myself to list and represent (when I have available the images) only the basic color families, leaving out all the infinite catalogues shades that I list a at the end of the page just for knowledge and completeness (click here to go to this section now). I adopted the scheme used by most catalogues to divide the shades on the basis of the year of issue. In the "Going deep" section is explaned how to distinguish the compositions used during the different printing runs.
ATTENTION: the stamps here presented do have just an INDICATIVE value in relationship to the color shades: any system composed by scanner + monitor + video will give back colors even quite different from the ones I have chosen. For this reason the scans in this page CANNOT be used as absolute reference but only as approximate indication of the shades.

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We can group schematically the 10 cents shades as follows:
(NOTE: some color shades are present in different years, printed with different printing runs)

Shade	Used from	Composition	Image
Umber	January 1858	1st	Fig. 1
Purple brown	January 1859	1st	Fig. 2
Violet brown	March 1859	1st	Fig. 3
Yellowish brown	June 1859	1st	Fig. 4
Grays/cuttlefish brown	July 1859	1st	Fig. 5
Gray/black brown	October 1859	1st	Fig. 6
Chocolate brown	December 1859	1st	Fig. 7
Olive gray/gray olive	1860/1861	1st	Fig. 8
Brown/pale brown	January 1861	2nd	Fig. 9
Olive brown	January 1861	2nd	Fig. 10
Chocolate brown	July 1861	1st	Fig. 11
Chocolate brown	October 1861	2nd	Fig. 12
Red/bistre brown	March 1862	2nd	Fig. 13
Olive bistre	June 1862	2nd	Fig. 14
Olive yellow	June 1862	2nd	- - -
Brown/red orange	July 1862	2nd	Fig. 15
Yellow/orange ochre	September 1862	2nd	Fig. 16
Bistre	January 1863	2nd	Fig. 17

Fig. 1: umber shade, 1st comp. (defective printing is typical of this shade)	Fig. 2: purple brown shade, 1st comp.
(Back to the color-table)

 

Fig. 3: violet brown shade, 1st comp.	Fig. 4: yellowish brown shade, 1st comp.
(Back to the color-table)

 

Fig. 5: brown-cuttlefish gray shade, 1st comp.	Fig. 6: brown black shade, 1st comp.
(Back to the color-table)

 

Fig. 7: deep brown chocolate shade, 1st comp.	Fig. 8: olive gray shade, 1st comp.
(Back to the color-table)

 

Fig. 9: brown shade, 2nd comp.	Fig. 10: olive brown-gray shade, 2nd comp
(Back to the color-table)

 

Fig. 11: dark chocolate-brown shade, 1st comp.	Fig. 12: bright chocolate-brown shade, 2nd comp.
(Back to the color-table)

 

Fig. 13: reddish bistre brown shade, 2nd comp.	Fig. 14: olive bistre shade, 2nd comp.
(Back to the color-table)

 

Fig. 15: reddish orange shade, 2nd comp.	Fig. 16: ochre orange shade, 2nd comp.
(Back to the color-table)

Fig. 17: bistre shade, 2nd comp.
(Back to the color-table)

Catalogued color shades (as per Sassone, in branchets the composition)

Shades of 1858
Umber (I)
Bright umber (I)
Yellowish umber (I)
Dark umber (I)

Shades of 1859
Graysh brown (I)
Yellowish brown (I)
Violet brown (I)
Purple brown (I)
Pinkish pale brown cuttlefish gray (I)
Brownish gray (cuttlefish gray) (I)
Deep chocolate brown (I)

Shades of 1860
Olive brown gray (I)
Lilac brown (I)
Black brown (I)
Deep olive brown (I)
Gray brown (I)

Shades of 1861
Pale olive gray (I)
Dark olive gray (I)
Bright graysh green (I)
Deep olive gray (I)
Dull olive gray (I)
Very dark brownish olive (I)
Bright bistre gray (I)
Gray (I)
Dark chocolate brown (I)
Bright chocolate brown (I)
Dark bistre gray (I)
Olive brown gray (I)
Pale brown (I)
Dark chocolate brown (II)
Bright chocolate brown (II)
Olive brown (II)
Bright brown (II)
Reddish brown (II)
Bistre brown (II)
Brown (II)

Shades of 1862
Olive bistre (II)
Dark bistre olive (II)
Bright olive (II)
Yellow olive (II)
Yellowish bistre (II)
Ochre yellow (II)
Ochre orange (II)
Bistre orange (II)
Brownish orange (II)
Reddish orange (II)

Shades of 1863
Bistre (II)
Bright bistre (II)
Dark bistre (II)