Stamped pottery developed through the La Tène period in several disparate regions of Europe from Portugal to Romania. Owing to its uneven distribution, this pottery raises the issue of scales of integration in the surprising diversity within the unity of the Celtic world. La Tène art is often approached as a unitary phenomenon simply from the consideration of prestige objects, attributing to the elites the responsibility for maintaining coherence in La Tène visual repertory. The study of the deployment of stamping as a technique for conveying standardised images at the continental scale allows the (re)production of these codes to be approached within regional assemblages. Analysis of the practice of stamping on pottery within temperate Europe and the Iberian Peninsula shows that it developed suddenly at a variety of local scales during the 5th century BC, and thereafter evolved in sometimes converging, and sometimes diverging patterns across its different production areas. The evolving patterns in this artistic production seem to have been triggered by major social changes, thus explaining their contemporaneous appearance across the continent.