French Decorative Bowls

Made in 19th Century France, this wide pan is handmade from brass and iron. The sizeable surface has certainly seen its share of kitchen work through the years, the time touched pati...

A brass pot from 19th century France. Totally handmade, this pot features a beautiful oxidized patina layering the original polished finish. These artisanally crafted pots were made with care and detail, along with high quality materials produced locally through sustainable methods. Whether you're intrigued by the rustic materials and techniques used by craftspeople of the past, or searching for a story to inspire your space. This brass pot calls to mind embers in a stone hearth...

Made in turn of the century France, copper pots were known as the perfect vessels for jam-making. A wide basin offers ample volume for cooking down fresh berries and autumnal fruit, ...

This is a Lalique frosted crystal “ Pivoine Peonies “ large round bowl centerpiece. It depicts a relief of frosted wide and long peonies flowers in two sides of the round bowl. Below...

This is a Lalique Crystal Champs- Elysses medium size oval bowl vase. It depicts multiple horse chestnut leaves arranged around a circular center base. Below the base, it is the acid...

Step into a mesmerizing culinary journey with this 19th-century French marble mortar, gracefully adorned with the passage of time. Lovingly weathered by decades of exposure to the el...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Origi...

A very good quality Baccarat crystal lidded candy dish or mustard bowl. This serving piece is in perfect condition, still has the original sticker...

Signed crystal vessel by Manufacture de Cristal de Sèvres, France 1970s Mint condition in its original box + certificate Signed on the bottom This piece will ship from France and...

Beautiful antique serving bowl. Glas with bordure made of brass.

A gorgeous antique marble mortar sourced in France. We love the cream hue, subtle pink veining and stately nature of this timeless beauty. It would look fabulous styled on a tabletop...

Ceramic Ashtray/Bowl "Galet" by Georges Jouve, France, 1950s

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...

With their generous shapes, these large containers in ash or walnut will be perfect for serving as empty pockets. Designed by OROS, they were filmed b...

A Wonderful French Gilt Dore Bronze & Diamond Cut Crystal Oval Basket Centerpiece Bowl With Pierced Movable Handle, In The Manner Of Baccarat

Bowl "Art Deco - Modernist" made in hammered silver plated metal by Jean Desprès. Engraved signature under the base. Great condition.  height: 11,...

Mid-century decorative platter (circa 1960s) by Albert Thiry (1932-2009). A whitened glaze encircles a deeply engraved sunflower motif (with face) in brown and highlighted by forest ...

Le Tallec for Tiffany & Company Private Stock Organic Leaf Form Porcelain Dish

A rare and large bowl série La Gauloise circa 1950 by accolay

A beautiful French 1960's faience woven ceramic bowl, handcrafted with braided design intense typical of ceramic artist Pichon’s work executed in mi...

Askett Pair of stoneware ceramic bowls by Askett Realised in La Borne Circa 1970 Original good condition height 8 cm Large 15 cm

In centuries past this object would be a ubiquitous sight of everyday life, today it is a charming oddity with a history to tell. Its rich dark color communicates a sense of commerce...

A elegant, c.1860-80, Old Paris porcelain fruit compote. Fully reticulated. Acorn & leaf motifs in raised gilding. 9 7/8" dia., 7 3/4" h. Whit...

Graphic, heavy solid bronze catchall. France circa 1970's. In the style of Ado Chale. This piece will ship from France and can be returned to either Fr...

Ceramic Bowl by Robert Deblander, France, 1970s

Glazed ceramic footed bowl with pearly white interior by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 11’ x 7.4’ inches.

A large Accolay French ceramic dish with palest of chartreuse green heavily crackled glaze. This dish has an undulating organic rim edge. An atypical color for Accolay makes this d...

A set of cast iron swiveling trays created in France circa 1900. These three identical metal organizers communicate a sense of refinement and age, thro...

Mid-Century Modern cut crystal ashtray with faceted design. The ashtray is predominantly round in form but has eight sides creating prisms of light. Heavy in weight and fitted with t...

Stunning French bronze tazza with wine & Bacchus theme, by Ferdinand LEVILLAIN (1837-1905). Every time we find an antique of this extraordinary quality and beauty we wonder what p...

Intuitive Archaisme Table Tray by Cedric Breisacher Dimension: D 60 x W 30 x H 7 cm Materials: Sycamore. Finish: Natural wax-oiled. Designer-sculptor, Cedric Breisacher has an atypi...

Glazed ceramic bowl with pearly white interior by Gisèle Buthod Garçon. Raku fired. Artist monogram et signature under the base. Circa 1980-1990. H : 4.3’ x 7.5’ inches.

Burgundy glazed ceramic cup by Gisèle Buthod Garçon. Raku fired.Artist monogram under the base. Circa 1980-1990. H : 3.9’ x 10’ inches.

Green and blue glazed ceramic bowl with metallic highlights by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 4.3’ x 6.7’ inches.

Grey/brown glazed ceramic cup by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 3.5’ x 8.5’ inches.

Glazed ceramic bowl with pearly white interior by Gisèle Buthod Garçon. Raku fired. Artist monogram and signature under the base. Circa 1980-1990. H : 8.3’ x 9.8’ inches.

Crafted from Breccia Marble, the nupe bowl is adorned with beautiful brass details. This attractive bowl will enhance your dining table as a center piece or fruit bowl. Designed by Luca Erba...

Pink glazed ceramic bowl by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 3.9’ x 6.7’ inches.

White/grey and pearly beige glazed ceramic bowl by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 4.3’ x 6.7’ inches.

A Lalique Nemours Bowl, Designed 1929 Additional information: Date : Designed 1929. Marcilhac 404 Origin : Wingen sur Moder, France Bowl Features : ...

Bowl on tray in glazed ceramic with pearly white interior by Gisèle Buthod Garçon. Raku fired. Artist monogram and signature under the base. Circa 1980-1990. H : 5.1’ x 10.2’ x 10.2...

Green and red glazed ceramic cup by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 2.9’ x 8.3’ inches.

Bowl on tray in glazed ceramic with pearly white interior by Gisèle Buthod Garçon. Raku fired. Artist monogram and signature under the base. Circa 1980-1990. H : 5.1’ x 11.2’ x 8....

Golden glazed ceramic cup with metallic highlights by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 2.7’ x 7.9’ inches.

Antique handmade wooden trough or bowl, 19th century. This is a rare antique handmade wooden trough or bowl, which can be used for decoration or as a (fruit) bowl or magazine holder...

René Lalique, Honfleur bowl in art glass. In good condition with minor signs of use. 1960/70s. Signed Lalique France. dimensions: D 27,0 x 5,0 cm.

This is a French midcentury, dish, bowl, or Vide-Poche, free form, with it's old patina. This is coming from south of France, with it's French Rivieria accents. This was a time when ...

Design company Collection Particulière presents meaningful furniture and objects with bold, clean shapes. Imbued with a soft elegance, each piece breathes new life into the space it ...

This is a Lalique Crystal Champs- Elysses medium size oval bowl vase. It depicts multiple horse chestnut leaves arranged around a circular center base. Below the base, it is the acid...

This late 19th century marble mortar is made from a single block of black marble. Large in size, this piece was once used with its accompanying pestle by a pharmacist to grind herbs for medicinal purposes, it can now serve as a planter, bowl, or vase and is conducive to both indoor and outdoor use. It would also make an impressive kitchen accessory...

Lovely and rare small alabaster mortar, France, circa 1750-1850. Weathered but good condition.

Christofle, Paris, France. Small modernist bowl with a bird on top. Plated silver. Mid-20th Century. Marked. Perfect condition. Dimensions: L 12.5 x D 6.8 x H 2.0 cm.

The scale of this papermache’ bowl is unusual and spectacular. The color, stitching and scale make this an object d’ art. Three pieces available.

Georges Jouve Soleil Bowl, Black glazed earthenware. Incised artist's cipher to the underside. France, circa 1950 It can hang on the wall.

A very nice small crystal free form sculptural bowl / candy dish by Baccarat, circa 1990s. The piece is in excellent condition with no visible imperfections and has great clarity. Si...

A spectacular Art Deco style crystal fruit dish, from the legendary French Daum cristallerie. Constructed in an undulating Freeform design, this wonderful, heavy, vintage piece is in...

French Faience Tureen attributed to Desvres Circa 1900. Inspired by Rouen manufacture. Signed Arromanches.

Large midcentury French Mosaic Ceramic Bowl Gerbino Vallauris. Diameter / 12 inches.