Manufacture Nationale de Sèvres Decorative Objects

Sevres porcelain romantic scene box napoleon III style Origin france hand painted 19th century circa 1890 with no stamp perfect condition.

A stunning and extremely high quality French 19th century Louis XVI st. Belle Époque period Sèvres porcelain and ormolu lidded urn signed Sèvres. The cobalt blue urn is raised by an ...

Sevres Blue Ground Baluster Vase and Cover, late 19th century, painted with a courting couple and cupid within a romantic landscape, signed "Maxant", with elaborate gilded borders, S...

Sevres Ormolu-Mounted Covered Vase of impressive size depicting cupid and two cherubs in a lush and colorful garden on both sides. The glazed painting applied bursts with bright and ...

Very beautiful porcelain vase by Manufacture Nationale de Sèvres Most famous porcelain factory in the world. Vase signed by Andre Plantard Dated 1963 This is a rare piece located in...

French Victorian monumental turquoise Sevres porcelain vase with cupids in relief on round pedestal base (signed JOSEPH CHERET)

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Small 19th century Napoleon III period Sèvres porcelain box. A Napoleon III period small box, 19th century, in Sèvres blue porcelain, enamelled and gilded, with a gallant scene on t...

A Sèvres style porcelain covered bowl, 19th century, Napoleon III period. A Sèvres style porcelain covered bowl decorated with a gallant scene, gilt bronze mounting, 19th century, N...

A cobalt blue porcelain mounted ormolu vase from Sèvres with gilded bronze stands, decorated with Rococo gold enamel florals and polychrome floral swirls, gallant decoration in the c...

sevres box circa 1900 perfect state cobalt blue with gold hand painted origin france. The Manufacture nationale de Sèvres is one of the most important and w...

With its delightful painted representations of the four seasons and bacchanalian scenes, this ‘bleu celeste’ garniture demonstrates the technical excellence of Sevres factory porcelain. On top of this, the porcelain vases are beautifully decorated with gilt bronze (ormolu) mounts, expertly cast by Henri Picard, the manufacturer and gilder to Emperor Napoleon III. This garniture is comprised of a central jardinière and a pair of flanking vases. The jardinière features a wide porcelain body, which is topped by a gilt bronze guilloche-patterned neck. This is fitted with two geometric handles, which terminate in cherubs masks. The jardinière body is finely decorated with a continuous painting of putti playing together in a woodland setting. One putti holds the pinecone-tipped staff carried by followers of Bacchus (or Dionysus), the god of wine and ecstasy. Several putti ride on a goat, led on a harness by other putti. This painting is edged with jewelled and parcel gilt decoration, set against a bright ‘bleu celeste’ ground. The jardinière stands on a shaped gilt bronze stem, its top encircled by a band of stiff leaves, its middle by a laurel wreath, and its foot by beading. The jardinière is placed on a square gilt bronze plinth, which is decorated with grape-form finials, hung draperies and foliate motifs, and is set on four beaded toupie feet. The pair of vases are similar to the jardinière in their design. They feature ovoid ‘bleu celeste’ porcelain bodies, which are decorated with continuous paintings of the four seasons, within gilt and jewelled frames. Winter is depicted in a scene showing putti huddled together on a sleigh in a snowy landscape, and autumn by cherubs reaping crops with a sickle. Spring is shown by cherubs wearing flower wreaths and dancing while holding garlands, and summer by putti picking grapes and drinking wine. The vases’ bodies are topped by pointed gilt and jewelled ‘bleu celeste’ porcelain lids, crowned by gilt bronze grape finials. Like the jardinière, the vases are fitted with gilt bronze cherub...

Sevres porcelain and silver flower vase, France, circa 1870.

A stunning and extremely high quality French 19th century Louis XVI st. Belle Époque period Sèvres porcelain and ormolu lidded urn signed Sèvres. The cobalt blue urn is raised by an ...

This rare Renaissance Revival garniture, consisting of a clock and pair of boxes in form of chalices with hinged bonnets, is richly decorated with numerous hand-painted medallions with portraits of medieval French...

France, mid-19th century, Sevres, gilt bronze base, two stylized swans, carrying a leaf-shaped porcelain bowl, stylized leaf handles on the sides, painting of a cupid on the mirror, ...

A fine example of sevres biscuit porcelain showing an allegorical group of three classically draped young figures, two embracing; all standing beside the clock case which is surmount...

This beautiful urn (or vase) was crafted in 1875 by the famous Sèvres Porcelain Manufactory. The urn exhibits the fine detailing and gilding that Sèvres Porcelain was renowned for in the 18th and 19th century. The inside of the urn is signed, ‘S.73’, ‘DECORE A SEVRES/ RF/ 75’. The conical porcelain urn has been painted a speckled royal blue colour and decorated with parcel gilt, navy floral motifs. The body is ornamented around its base with stylised leaf forms, and its centre features a large painting of a flower. Navy porcelain...

A Pair of Late 19th Century Bronze Mounted Sèvres Style Iridescent Vases Each of elongated baluster form, finely painted romantic scene , the reverse a river scene with a castle in ...

With its exquisite paintings of putti playing sports in Arcadian landscapes, this ‘bleu celeste’ garniture demonstrates the exceptional beauty and high-quality craftsmanship of Sevre...

Porcelain and gilt bronze vase signed Sèvres, painted by Lucat, France, late 19th century.

A large pair of ormolu-mounted Se`vres Porcelain Bleu Celeste '1867 Exhibition' vases and covers (‘Vase Paris de Milieu Garnis’), ‘l’Abreuvoir’ and ‘Le Retour’ De Champs’ 1860, one ...

A monumental and important 19th century French sevres porcelain ormolu-mounted two-handle campana form centerpiece/vase. This is a truly Sevres...

These pieces are dual-purpose — they serve as decorative urns, and they transform into candlestick candelabras with candleholders. The urns feature intricately sculpted gilt bronze ...

Monumental 19th century Sèvres Neoclassical-style vase with mauve ground French, c. 1878 Height 152cm, width 72cm, depth 66cm This remarkable Sèvres vase, dating back to 1878, was ...

Hand painted porcelain, gilt-bronze mount (ormolu) This French Sèvres porcelain centrepiece dates from 1771 and is set in a gilt-bronze mo...

This very beautiful pair of ovoid and covered vases was made of Sèvres porcelaine and mounted in gilt bronze. The two vases depicts a painted decor b...

This fine pair of circa 1850s Sevres urns is signed by the artist Baston. The covered urns are beautifully hand painted & depict romantic scenes of courtshi...

A beautiful pair of 19th century French Louis XVI style Sevres cobalt blue and ormolu-mounted vases with rams heads and wreaths. The porcelain body is beautifully painted with the signature Sevres Royal cobalt blue. The square shaped base is decorated with ormolu acanthus leaves and ribbon wreaths beautifully hand chizzeled and detailed ormolu work. These vases can easily be turned into a fabulous pair of...

French “Manufacture de Porcelain de Sevres” and Victor Paillard (French 1805-1886), mid to late 19th century. Pair of blue ground floral decorated porcelain urns, painted by Charles ...

This beautiful pair of covered vases made of porcelain originally comes from the Manufacture of Sèvres where the white pieces were bought in 1869, decorated then mounted in gilt bron...

A stunning and extremely decorative true pair of French 19th century Louis XVI st. Sèvres porcelain and ormolu lidded urns. Each urn is raised by a square ormolu base with concave corners, decorated with fitted decorative interlocking designs and a fine wrap around beaded band. The beautifully shaped vase displays a lovely lightly curved design decorated with exceptional wonderfully executed hand painted floral designs and striking gold tooled patterns. At the center is a circular reserve with a charming finely detailed cherub holding flowers amidst a ribbon flanked by beautiful cornucopias and lovely foliate designs set on a striking gold tooled background. Impressive scrolled acanthus leaf ormolu handles lead up each side with unique berries and lovely beaded trim centering the elegantly curved neck with a most decorative mottled and beaded wrap around band at the rim. Above is the stunning crown shaped removable lid with additional lovely gold tooled foliate designs and a majestic floral finial above. Also finished inside and all original gilt throughout. André Rivaud...

The “Persian bottle vase” model, created at the Sèvres manufactory in 1874 based on a Persian metal prototype, exists in several versions that vary in c...

Exquisite pair of lapis blue porcelain and brass garnitures by Sevres of France, circa late 1800s. The set is in very good antique condition with no chips or cracks. Gorgeous pair! #...

Massive lapis lazuki elephants sculpture from Greece, circa 1990s. The piece is well detailed, nicely veined and has an absolutely stunning pallet of blue shades. The entire sculpt...

A beautiful and most elegant pair of French 19th century Louis XVI St. Sèvres porcelain and ormolu câche pot vases. Each stunning vase is raised on an ormolu base with concave corner...

A magnificent and large pair of 19th century French Royal cobalt blue Sèvres Porcelain and bronze mounted covered vases. Each panel is bea...

A gorgeous and very unusual 19th century French dore bronze mounted Sevres white porcelain three-piece clock and three-light candelabra garniture set. The Lyre shaped clock and cande...

An impressive and large scale pair of French 19th century Louis XVI st. Sèvres Porcelain and Ormolu candelabras. The richly decorated pair of seven arm candelabras are supported by f...

IMPORTANT CUT-OUT BOX, SÈVRES 18th Century Sèvres. Polychrome and gold decoration with reserves with landscape and figures. Rims and clasp in relief bronz...

A monumental palace size Sèvres Porcelain blue lapis painted vase. Beautifully hand-painted to imitate natural Lapis Lazuli stone. Hand-painted in R...

French crystal candlesticks from Cristal de Sèvres, 1970s, set of 2. Both are hand-made candlesticks in turned blown glass, in transparent color and gilded chromed metal. Very much in the style of the French glass creations of Baccarat, Daum Cristal...

A pair of large 19th century French Sevres ormolu-mounted and painted vases. Each in baluster form with large ormolu mounts. The body finely painted depicting a typical landscape....

This late 19th-century French Sevres urn is a stunning example of exquisite craftsmanship, featuring intricate bronze ormolu mounts and rich hand-pai...

Sèvres porcelain box, 19th century, Napoleon III period. A 19th century Napoleon III period Sèvres porcelain box, Chateau des Tuilleries, gilt brass mounting. H: 12cm, W: 25cm, D: ...

A beautiful stoneware bowl with amazing glaze. Made by Tyra Lundgren. Executed during the artist's time spent at Sèvres, between 1934-1939. Excellent condition. Impressed with artist's name and maker's marks. Tyra Lundgren (1897-1979) was one of the most multifaceted artists and modernists of the twentieth century. She was a painter, drawer, sculptor, ceramist, glass- and textile designer, as well as an author and an art critic. She was the first woman who designed glass for Paolo Venini at Murano in Venice and she also served as the artistic leader at Arabia in Helsinki at a time when men tended to hold those kinds of positions. Tyra Lundgren grew up in Djursholm, near Stockholm. Her parents were John Petter Lundgren, professor at Veterinärinstitutet (institute of veterinary sciences) in Stockholm, and Edith Lundgren née Åberg, who was a housewife and raised their six children. The bourgeois home also comprised a nanny and a female cook. The family were very socially active, travelled often, and enjoyed the outdoor lifestyle. Tyra Lundgren’s schooling began at Djursholm coeducational school, where her teachers included Natanael and Elsa Beskow and Alice Tegnér. Her school friends included Greta Knutson-Tzara, Stellan Mörner, and Ingrid Rydbeck-Zuhr. Tyra Lundgren knew from the time she was five years old that she wanted to be an artist. She first became aware of the profession through Axel Fahlcrantz, who rented a studio on the plot of land where she lived with her family. In 1913 she began to attend Högre konstindustriella skolan (HKS, now known as Konstfack, college of arts, crafts and design) where she studied decorative art as well as handicrafts in various forms until 1917. One of her fellow students and friends there was Estrid Ericson, who later founded Svenskt Tenn AB in 1924. Whilst attending HKS Tyra Lundgren also took painting lessons at the Althin school of painting. In 1917 she was accepted as a candidate at the Royal Swedish Academy of Fine Arts where, apart from breaks during which she undertook studies abroad, she remained until 1922. She spent a couple of months taking lessons from Anton Hanak in Vienna and from 1920–1923 she was a student of André Lhote in Paris. Tyra Lundgren was primarily active in four countries: Sweden, Finland, France, and Italy. She spent much of her professional life travelling and considered herself to be a European. Greece and Mexico also formed important centres in her artistic life, as did the USA. She had an extensive social network which included focal individuals within twentieth century-European and American artistic and cultural circles. Tyra Lundgren’s main artistic motifs were birds, fish, and people which she depicted through different techniques and materials. Her artistic expression involved a variety of different directions and styles. She was a pioneer of the 1920s Swedish Grace style, the name of which had been coined by the art critic Morton Shand at the Stockholm Exhibition of 1930. This was a Swedish Art Deco style, characterised by elegance and traditional art which contrasted with the current artistic ideals of functionalism. Tyra Lundgren made her debut at a group exhibition held at Kungliga Akademien för de fria konsterna in 1921. She went on to show her work at various exhibitions throughout the 1920s. After that period she only very rarely exhibited her paintings. Tyra Lundgren’s painted output can be divided into different periods or stylistic directions. The first of these, and the most extensive, was her post-Cubist period which began in 1920 on her arrival in Paris. Her paintings from this time and right up to the mid-1930s typically comprise portraits, self-portraits, live-model painting, still-lifes, interiors, and landscapes in the Cubist style. Many of the great number of self-portraits she painted were produced in the New Objective style, displaying broad variation in terms of clothes, poses and techniques. Two of these – Huvud med vit duk and Självporträtt both from 1921 – can be seen at Moderna Museet in Stockholm, although the majority of these works are at Gotlands Museum. Tyra Lundgren’s second artistic period comprises the years of 1927 to 1929 and is characterised by the New Objective style inspired by medieval techniques and materials (Giotto, Piero della Francesca). Her motifs were still-lifes and landscapes. At this point she was living in Rome and was close to the circle involved in the Valori plastici: rivista d’arte art journal. This period saw a breakthrough in her development as a painter. From the 1950s through the 1970s her work can almost be described as belonging to the Concrete style. Using light pastel colours her paintings sought light in a sometimes non-figurative expression, but often depicting abstract bird-shapes or other nature-inspired imagery. Her paintings from this period are outsized and display powerful colours, in yellows, reds, and blues. Tyra Lundgren maintained a constant production of drawings, both in terms of individual artworks and sketches for patterns and designs. She also produced the illustrations for her book Fagert i Fide. Årstiderna på en gammal gotlandsgård, published in 1961. During her early years she also produced advertising illustrations. She spent the final years of her life primarily working with lithographs which were printed at Galleri Prisma and depicted images of doves, swallows, magpies and crows. Tyra Lundgren is meanwhile best known for her work as a ceramist and in this sphere she was one of Sweden’s leading exponents. She worked in the porcelain industry as a designer and as an artisan and ceramic sculptor. Her first job was at St Eriks Lervarufabrik in Uppsala from 1922–1924, she then worked at Arabia from 1924–1937, and at Rörstrand and Lidköping Porslinsfabrik. She was the artistic leader at Arabia ahead of the 1930 Stockholm Exhibition and she exhibited her work at the World’s Fairs. During the 1934–1938 period she was connected to the Manufacture nationale de Sèvres porcelain factory in Paris. Tyra Lundgren was a pioneer when it came to giving ceramic art a public space in Sweden. She produced around 20 outsized reliefs in stoneware, so-called monumental reliefs. One of these is Märkeskvinnor, from 1947, for the former girls’ school at Bohusgatan in Stockholm. From the 1940s onwards Tyra Lundgren produced sculptural objects in Chamotte clay and stoneware, with various glazings. Her small birds are well-known and popular with many. When her ceramic efforts became too much for her during the 1970s she then produced models for sculptures in bronze. There are six of these in various places around the globe, including Solfågel in Almedalen, Visby. Tyra Lundgren began to work as a glassware designer at Moser in Karlsbad in 1922 where she designed new table services and modernised older ones. She also worked freelance for Riihimäki factory in Finland during the 1924–1929 period. From 1934 to 1938 she was employed by Kosta glass factory where she mainly designed thick-walled bowls and vases, engraved with classical motifs. She was introduced to the glassmaker Paolo Venini at Murano during the Triennale di Milano of 1936 and they began a collaboration that lasted into the 1950s. As part of this collaboration Tyra Lundgren became the first woman to design glassware and, in conjunction with the glassblower Arturo Biasutto, she developed new techniques of glass production. Her motifs at this point were birds, fish, snail-shaped designs and leaf-patterned bowls using traditional techniques as well as in new designs. It was during this time that she created the so-called tissue-shaped bowls and it remains unclear as to who specifically came up with the design but Tyra Lundgren claimed it was of her making. Tyra Lundgren was active as textile designer for Licium (now HV Licium), the sacred textiles...

One of the most exquisitely designed and painted Art Deco pieces we have ever seen, this flaring vase by Anne Marie Fontaine for Sevres features a flaring, trumpet-form upper section...

A very fine & large pair of 19th century antique French Sevres Porcelain, ormolu and champleve enamel, handpainted ewers, signed "C. Rochette", circa 1890. Each ewer having a finely cast & gilded bronze rococo handle, each neck is decorated with exquisite champleve enamel. Each ewer having a dark blue porcelain baluster shaped body, with two oval hand-painted reserves each with a courting couple signed "C. Rochette", both reserves are surrounded with lavish gilding & at the base of each painted panel are the Sevres interlaced L's. To the rear are corresponding panels also finely handpainted with landscape scenes, the ewers are raised on champleve socle bases and with onyx plinths below. Condition of both ewers is excellent, a very beautiful pair of exqusite late 19th century Sevres ewers...

A finely rendered Sevres porcelain covered urn with bronze mounts, decorated overall in a colorful floral design with gilded details, the lid wi...

This exquisite Royal Blue Sevres Compote Centerpiece exemplifies the luxury and refinement of 19th-century French porcelain artistry combined with the e...

Stunning midcentury clear crystal sculptural centerpiece from the 1950s-1960s by Sevres France. This crystal piece is absolutely beautiful in its organ...

This exquisite early 20th-century Sevres of Paris urn is a masterpiece of porcelain artistry, embodying the elegance and craftsmanship that the Sevres factory is renowned for. Featur...

Sevres porcelain chest romantic scene (Lux) signed Lux 19th century crica 1900.

This is a very old gilt and pale pink background urn depicting a continuous hand-painted scene of a lady sitting in a pastoral landscape holding her fan and observing nature. In the ...

We kindly invite you to read the full description, as we aim to provide detailed technical and historical information to ensure the authenticity of our pieces. Elegant and distinctiv...

Porcelain and gilt bronze vase signed Sèvres, painted by Collot, France, late 19th century.

Stunning and Rare Large 18thc French Louis XV Marked Sevres Porcelain Covered Urn/ Vase Ammon-Ra. Pristine condition. Vibrant beautiful coloring. Mark 1758-59. Estate find from the S...

Elegant pair of Sèvres-style porcelain vases, crafted in France circa 1900, Napoleon III These vases are finely hand-painted with detailed gallant scenes on the front and landscapes ...

A small French Sevres porcelain hand painted box with hinged lid. The vibrant color with gilt accents depicting 18th Century Style Fencers with a cobalt blue border. Marked on bott...