Manufacture Nationale de Sèvres Furniture

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...

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...

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

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...

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...

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...

Signed/dated 1984 on bottom.

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...

This impressive pair of monumental antique porcelain vases is a testament to the opulence of French craftsmanship in the style reminiscent of Sèvres porcelain, dating back to around ...

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

A fine quality 19th century French Sevres porcelain and gilded ormolu clock garniture. Having a very impressive pair of five branch candelabra each...

This exquisite 18th Century French Ormolu Mounted Sevres Porcelain Centerpiece painted and decorated by Jean-Jacques Pierre, adorned with enchanting early 1800's ormolu dragon handle...

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...

An Exceptional Pair of Late 19th Century Gilt Bronze Mounted Onyx and Sèvres Style Pedestals Square onyx top above a columnar support painted w...

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

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

This Art Deco era porcelain torchiere table lamp was designed by Paul Milet (1870-1950) for Sèvres and comes complete with its original glass diffuser shade. The body of the lamp has been finished in a rich azure/sapphire jewel...

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...

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

Form and function converge in this exceptional Louis XV-style bureau plat graced with eight elegant Sèvres Porcelain plaques. Framing these delightful, hand painted floral and fowl-themed plaques is a network of exquisite gilt bronze. Supporting the leather-topped table are graceful cabriole legs, a hallmark of fine Louis XV taste, that are crowned by gilt bronze caryatids and terminate in gilt bronze mounts. What makes this desk even more stunning is the inclusion of three concealed drawers that are opened only by the spring-loaded secret release mechanisms located underneath. The first porcelain mounted furnishings appeared sometime in the mid-18th century in the shops of the foremost Parisian art dealers. These furnishings successfully, and quite beautifully, married renowned Sèvres Porcelain with fine furniture to create a new segment of the decorative arts that appealed greatly to the aristocracy, especially women. The Duchesse de Mazarin, Comtesse du Barry, Marie-Antoinette and the Grand Duchess Maria...

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...

This exceptionally rare set of sixteen Sèvres portrait medallions captures the illustrious history of one of the world’s most powerful monarchies—the French Crown. Exquisitely crafte...

A pair of 19th century Napoleon III period Sèvres porcelain vases. A pair of 19th century Napoleon III period Sèvres porcelain vases with gilt bronze and cloisonné mounts. H: 30.5cm...

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

Sèvres Double Handled Cup, Cover and Stand, 1791 Sèvres is the most prominent name in French Porcelain, but it was not the first. Porcelain had been manufactured in France to suppl...

A most unique and monumentally scaled French 19th century Belle Epoque Period Louis XV st. Ormolu and Sévres porcelain vanity mirror. This stunning electrified vanity mirror is rais...

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

Very rare night lamp in porcelain showing a fish. Around 1930's Signed with stamp of Manufacture Nationale de Sèvres The most famous porcelain factory in the world One little defau...

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 ...

French Sevres painted ram's head bronze mounted lidded vase. This wonderfully detailed vase has been professionally cleaned on a revolving base with fine doré bronze mounts. Artist a...

A 19th Century Sevres Porcelain Turquoise Blue Ground Gilt Garniture Set w/ Figural Scenes. A three-piece garniture set comprising a mantel clock and a pair of matching candlesticks....

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...

A very rare Ormolu Sèvres Porcelain Gilt Bronze Candlesticks Candelabra with a hand painted scene by François Boucher. ‘P . F . Boucher’ original mark o...

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...

Pair of porcelain vases, French, 19th century, mark for Sevres Hand painted porcelain with very refined floral design. The flower painted in free style reflects the high artistic ach...

Antique Rococo style porcelain centrepiece by Sèvres French, 1876 Height 24cm, diameter 33.5cm Crafted in 1876 by Sèvres, this exceptional centrepiece is adorned with brilliant hand...

A 19th century French Sèvres biscuit porcelain figurine of a couple seated in the garden. The gentleman is feeding grapes to the lady, whose l...

Pair of candelabras in gilded bronze and blue Sèvres porcelain dating from the end of the 19th century. Vases adorned with branches of roses and different flowers (a few pistils miss...

Incredible SEVRES france Art Deco porcelain cobalt blue and gold 1930.

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...

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

A teapot from early Sevres production (around 1780), obtained as a blank, and decorated in Thomas Martin Randall's workshop in the Sevres style. I addition to his skill in painting, ...

A monumental ormolu-mounted painted wood and Sèvres Porcelain guéridon. with porcelain portrait plaques of women of the court in the surround. Origin: Paris, France Date: 19th centu...

A good quality French, 19th century pink sevres porcelain and gilded ormolu clock set. Having a classical urn to the top, an eight day chiming movement. A romantic scene painted to t...

Porcelain figure group of Venus coronation and muses Samson after the style of Sevres, hand painted pastel colors, beautifully detailed artwork 19th century, French Marked Sevres Di...

A stunning and very high quality French 19th century Louis XVI St. ormolu and Sevres porcelain centerpiece. The centerpiece is raised by an elegant ormolu base with fine foliate feet, beautiful richly chased frolicking lovebirds and a striking fluted socle shaped pedestal support adorned with superb swaging berried laurel garlands tied with ribbons and flanked by charming winged cherubs amidst scrolled acanthus leaves. The exceptional oblong shaped cobalt blue Sèvres porcelain bowl...

Large Sevres porcelain gravy boat enhanced with fine gold ; fine early 19th century production, Restauration period (Empire style, Restauration production). Sevres Manufacture signat...

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...

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 ...

This is a superb, incredibly well done, figural painted urn by Sevres. Signed C. Rochette, this beautiful urn has masterful workmanship and beautiful bronze ormolu and an old Dore' ...

Heading : 18th Century Sevres 1st Size Trembleuse Cup and Saucer Date : Late 18th Century c1790 Marks : Interlaced L mark in blue. Incised OO mark on b...

Very beautiful porcelain vase by Manufacture Nationale de Sèvres Most famous porcelain factory in the world. Vase signed by Marcel Prunier Dated 1955 This is a rare piece located in...

A rare and decorative set of twelve Sèvres Azure blue plates in their original leather fitted case. French, circa 1840. Each plate with Sèvres mark to the reverse and Château des Tuileries. This rare set of Sèvres...

White round Sèvres box rococo style perfect condition origin France, circa 1900.

Blue vase in enameled ceramic Signed under the base "Sevres, Made in France".

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

An unusual antique French iridescent Sèvres Porcelain and ormolu-mounted oval shaped centerpiece, the light jade green iridescent color Sèvres Porcelain painted with a beautiful scen...

Gaston Le Bourgeois (1880 - circa 1956) 1928, ostrich sculpture made of stoneware from "Manufacture Nationale de Sèvres" This item was produced only 5 times from 1928 to 1930! Mon...