Manufacture Nationale de Sèvres Furniture

Ormolu Mounted From our Ceramics collection, we are delighted to offer a pair of French Sevres boat-shaped porcelain dishes with original ormolu mounts. The serving dishes beautifully decorated with a frieze of vibrant green undulating foliate garlands interspersed with mosaic style classical romanesque cartouches and birds. The inside decorated with gilt scrollwork embellishments with a six point start to the centre. The porcelain raised on four scrolling legs draped with garlands of fruiting vine. The porcelain bearing the Louis Philippe interlaced L's Sevres mark, the Chateau de Fontainebleau mark, incised marks for the original serves blank manufacturing along with initials and finally the painted initials WB. The dishes dated to the first half of the 19th century 1839/1840 respectively. The ormolu mounts stamped to the base CHER. Château de Fontainebleau (also known as the Palace of Fontainebleau) is located southeast of Paris and is one of the largest French royal châteaux. The medieval castle served as a residence for the French monarchs from Louis VII...

Massive 19th Century Sèvres Porcelain 'Labors of Cupid' Circular Tray France, 1870s, with blue painted interlaced 'L's' underglaze mark This massive 19th-century Sèvres porcelain 'L...

A monumental and rare pair of 19th century French dore bronze mounted Sèvres Celeste blue porcelain cachepots. These cache pots are extremely rare to fi...

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

Pair of Porcelain and Dorè Bronze Vases Sèvres Circa 1845 With porcelain vessels in the iconic Sèvres cobalt blue, encased in lavish doré bronze armatures, this pair of Louis XVI-style urns epitomizes the masterful craftsmanship and refined beauty of the famed porcelain manufactory. Each urn is adorned with three finely chased caryatid figures joined by floral garlands, resting upon a reticulated circular gilt bronze base. Since its founding in the 18th century, the Sèvres porcelain manufactory has been synonymous with the finest porcelain wares. Established under the patronage of Louis XV and Madame de Pompadour, the firm quickly became the official royal porcelain producer. Throughout the 19th century, Sèvres expanded its repertoire, designing distinct vase forms that ranged from neoclassical grandeur to Gothic delicacy. These exceptional urns pay homage to Pierre Gouthière, one of the most renowned bronze artists of the preceding century. Appointed gilder to King Louis XV in 1767, Gouthière revolutionized metalwork, pioneering a gilding technique that achieved an exquisite matte finish. Similar caryatid figures appear on vases once owned by the Duke of Talleyrand, while similar mermaid motifs—prevalent in Gouthière’s work—can be found on a serpentine marble vase in the Louvre. These vases embody the grandeur of Louis XVI-style ornamentation, blending rich materials with impeccable detail. Each: 19 3/4 high x 13" diameter Marked under bronze Sèvres Louis Philippe...

A striking and very high quality French 19th century Louis XVI st. cobalt blue Sèvres porcelain and ormolu lamp. The lamp is raised by a square ormolu base with elegant and unique fi...

An outstanding quality antique gilded bronze & Sevres porcelain French 3 piece, 8 day clock garniture with candelabra, by Brocot & Delettrez, Paris, circa 1870. The clock with an 'egg' shaped urn made of cobalt blue Sevres porcelain with a hand-painted panel with a neo-classical beauty and a cupid, the rear is painted with gilt birds & floral decoration. The urn with gilt bronze handles to the sides held in the mouths of lion's masks, the clock below also with sumptuously decorated with gilded cobalt porcelain panels, the clock dial with black Roman numerals & is finely painted with two horses and a chariot with a putti falling out of the chariot. The clock has two winding arbors one for the 8 day time wind the other for a chime, the clock chimes the hours on a soft delicate sounding bell, the clock is in full working order and was recently professionally cleaned. The clock is complemented with a pair of gilt bronze & cobalt blue Sevres porcelain four branch vasiform candelabras, decorated with oval panels to the front with putti & Neoclassical maidens, the back panels finely painted with birds, each candelabra is in two sections and raised on gilt bronze bases with corbel brackets & acanthus leaf feet. The bronze casting is very likely by the Barbedienne Foundry in Paris, as the quality is outstanding, the clock is stamped "BD" for Achille Brocot (1817-1878) and Jean-Baptiste Delettrez (1816-1887), they were two of the most important French clock makers of the mid to late 19th century, please see some biography below. The clock is mechanically & cosmetically in excellent condition, and was recently overhauled by a clock-smith, the porcelain & ormolu are also in excellent condition, one of the very best investment quality gilt-bronze & Sevres porcelain clock garnitures by the top French makers of the period, circa 1870. This garniture will be professionally crated for shipping. Delettrez and Achille Brocot, son of the respected clockmaker Louis-Gabriel Brocot, established the clockmaking company "Brocot et Delettrez" in Paris on 20 October 1851, with premises at 62 Rue Charlot Paris. Jean-Baptiste Delettrez worked alongside Achille Brocot for several years and their clock movements are considered to be the most effective made during the late 19th century. Their specialty was a range of clocks based on the innovations of Brocot père and his other son Antoine, but generally of Achille's greatly advanced original design, some having a unique single-arm double-wheel escapement, some having a temperature-compensated pendulum, some having two dials, one of which showed the time and the other which showed a calendar and often other information such as phases of the moon, times of sunrise & sunset in Paris, etc. The firm was awarded a 1st class prize at the Paris World Exposition of 1857 for a commercial clock...

A Beautiful Pair of Late 19th Century Gilt Bronze and Champlevé Enamel Mounted White Sèvres Style Vases Gilt bronze tops above a long neck with raised gold designs. The painted fron...

Late 19th century gilt bronze and turquoise Sèvres porcelain 'Jeweled' three-piece clock set The clock surmounted by a covered urn, the c...

A beautiful pair of hand-painted Charles X Sèvres porcelain vases, painted in classical blue, with fleur-de-lis on the neck, gilded handles and pearl decoration. The front scenes dep...

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 is a stunning royal blue Sevres signed bronze ormolu mounted compote or centerpiece. The piece is absolutely gorgeous with figural maidens and wonderful floral designs and a mas...

Vintage French Sèvres Porcelain Soup Tureen and Platter by Le Tallec, Paris This exquisite French porcelain soup tureen and platter is a stunning example of mid-century craftsmanship...

Sevres chunky crystal ashtray. Large heavy thick cushion carved Sevres crystal ashtray / vide poche with markings for Sevres crystal at base. Fr...

An exceptional & monumental pair of antique Sevres style porcelain & ormolu handpainted lidded urns, circa 1860. Each urn having a cobalt ...

"Cup in 19th century Sèvres porcelain, Napoleon III period." Gilt bronze and Sèvres porcelain bowl, 19th century, Napoleon III period. h: 12.5cm, w: 32.5cm, d: 27cm

A pair of highly important and rare antique French Napoleonic gilt bronze mounted, cobalt blue, double handled, Royal Napoleonic Sèvres style porcela...

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...

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...

Sèvres was the royal factory of Louis XV and Louis XVI, Kings of France from 1715-1793. The Sèvres factory was known to have the best painters and gilders in 18th-century France. This stunning Sèvres 18th...

A breathtaking example of French artistry, this Antique Sèvres Bleu Céleste Porcelain Jewelry Casket epitomizes opulence and refinement. Crafted in...

Pair of Sèvres porcelain covered vases, Napoleon III period. A pair of 19th century Sèvres painted, enamelled and gilt porcelain covered vases with gilt bronze mounts, Napoleon III ...

Sevres Creamware Figures Emblematic of Four Seasons, Modeled after/by Bachelier  France, 19th Century  Three are marked with the interlaced L mark, one is numbered 260, and two have ...

A pair of Sèvres porcelain covered vases, 19th century, Napoleon III period. A pair of Napoleon III period covered vases in Sèvres porcelain, enamelled and gilded, gilt bronze mount...

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 stunning French gilt bronze table inkwell tray or desk tray, adorned with exquisite Sèvres soft paste porcelain inset plaques. These hand-painted plaques showcase exceptional craft...

A beautiful antique decorative pink porcelain Sèvres Style urn with a hand-painted background of a guitar musician and his lady. A Serenata scene. In the back a lake scene with a ca...

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...

An Incredible and Very Rare Pair of 18th Century Sevres Porcelain Faux Porphyry Vases with Blue Script Sevres R.F. Marks. Each features a classic form with flared necks and bulbous ...

A very impressive late 19th century gilt bronze mounted cobalt blue Sèvres style porcelain three piece garniture. The impressive...

An exceptional and rare Sèvres Porcelain cabinet teacup and saucer each hand painted with birds within a landscape in coloured enamels and set...

This small but elegant Sèvres porcelain vase boasts an impressive provenance, being part of the 'Camaïeu Carmin' service originally made in 1757 for Louis XV for his Château de Fonta...

This French Sèvres-style porcelain plate from the 19th century is set in a gilt bronze mount, ormolu that features a Rococo base, rim and two handles with stylized foliage and C-scro...

A very fine set of twelve (12) French Sevres pink ground porcelain painted and jeweled plates. Each with a gold and pink border with a central painti...

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! #...

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

An Incredible and Quite Rare Pair Of Sevres Porcelain Cobalt-Blue Ground Vases Adélaïde, 2eme Grandeur; 1843-1849, green printed S.49 lozenge for 1849 to the underside of each socle,...

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...

Fantastic Art Deco vase in gilt decor over rich turquoise ground. Form designed by Emile Decoeur (1876-1953) Decoration possibly designed by Suzanne Lalique-Haviland or Emile-Jacques...

A SEVRES (HARD PASTE) BISCUIT FIGURE OF 'JEAN DE LA FONTAINE' FROM THE SERIES OF 'LES GRANDS HOMMES' circa 1784, INCISED L R 7 TO BASE AT FRONT Modelled by Pierre Julien (1731-180...

Signed/dated 1984 on bottom.

Sevres porcelain box octagonal format Hand painted and signed on its base perfect condition Origin France Circa 1900 its mount is gilded bronze.

Early 20th century Art Nouveau enameled and gilt blue Sèvres porcelain vase by Paul Milet, France By: Paul Milet, Manufacture Nationale de Sèvres Material: porcelain, ceramic, ename...

Manufacture Nationale De Sevres (French, founded 1740), after Princess Marie-Christine d' Orleans (French, 1813-1839). "Princess Marie d’Orléans was the youngest daughter of the Fr...

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....

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 ...

Three Sevres Gilt Heightened Porcelain Cabinet Plates, Mid 19th Century. With scalloped edges, gilt heightened and cobalt border, each with female farmers to the center and signed 'C...

Hand-painted ceramic egg-shaped box by SEVRES ORIGIN France PERIOD Mid twentieth century BRAND SEVRES manufacture MODEL Egg-shaped box w...

A 19th century Napoleon III bronze mounted marquetry jardiniere, or planter, with inlaid veneer of kingwood. Decorated with two hand-painted Se`vres porcelain medallions, one with a ...

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

Pair of Sèvres porcelain and gilt bronze cassolettes in the Empire style, 19th century, Napoleon III period. Pair of 19th century cassolettes...

Important Sèvres porcelain box, 19th century, Napoleon III period. A 19th century box, Napoleon III period, in Sèvres porcelain, enamelled and gilded, brass mount, decorated with a...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Each circular bowl with putti jard...

Decorate a mantel or a console with this important pair of porcelain and bronze Sèvres urns. Created in Paris, France, circa 1870, each impressive vase sits on a square bronze base w...

Set of 12 Sèvres porcelain plates with hand-painted pastoral scenes French, c. 1864 Plates: Height 3cm, diameter 23cm Case: Height 10cm, width 76cm, depth 52cm Originating from the...

Pair of Antique French 'Sevres' porcelain lidded pot pourri and gilded bronze lidded urns, 1804-1809. The urns having a rich red ground with gilded panels, the domed lids with gilded bronze eagle...

Soup bowl, remarkably hand painted flowers decor with delicate and vibrant colors, elaborate gilded pattern throughout Marked and dated Sèvres, 1834. Measures: Bowl 12.5 x 7.5 cm...

These bronze-mounted Sèvres porcelain urns are monumental in both size and quality and feature the renowned manufactory’s signature deep cobalt blue glaz...