Manufacture Nationale de Sèvres Furniture

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 ...

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...

Faceted porcelain vase in warm colours with bronze details. Signed M SEVRES France, CIRCA 1930.

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...

A Marvelous and Quite Large Pair of French 19th Century Ormolu Mounted Sevres Porcelain Jeweled Celeste Blue Ground Covered Vases with Four Main Panels. Each vase of baluster form w...

A 19th Century Sevres Porcelain Gilt Bronze Centerpiece Bowl on stand, Signed and Numbered 113 of 327 Measures 10" in width, 10" in depth and 9" in height with stand. 4" without stan...

A beautiful pair of late 19th century gilt bronze-mounted marble and Sèvres style pedestals Square marble tops above a columnar support with ...

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...

An important pair of Louis XIV Sèvres style vases, hand-decorated with cartouches of the king, his family and mistresses. The lids are moulded into crowns; wit moulded porcelain swag...

PRESENTING A STUNNING mid to late 19C French Japy Freres & Red/Magenta Sevres Porcelain Mantle Clock with Garniture Candlestick Ewers. The clock movement is by the famous Parisienne Clockmaker … ‘Japy Freres’ and the clock dial has the marks for “JAY” (short for Japy Freres) & “Paris” on the dial face. The clock mechanism and clock face/dial have matching serial numbers of “7225”. The movement also has the numbers: “5 – 2”. The clock face/dial also has the initials: “D.H.”. The gilt ormolu clock case is gilt spelter and is signed on the rear base, for having been made by “P.H. Mourey” of Paris, who worked with and for ‘Japy Freres’, towards the end of the 19th Century. The signature of ‘Mourey’ also bears the numbers “85” … probably for 1885, but could also be the serial number. Taking into account Mourey’s historical association with Japy, being late 19th Century, we are leaning heavily towards this being the date of manufacture i.e. 1885. The Clock has RARE red/magenta Sevres hand-painted porcelain paintings/additions, to include:- (i) a 2 handled and lidded urn on the crown with pointed flame finial, (ii) a pair of bulbous urns either side of the main body and clock face, (iii) the clock face and dial itself and (iv) a flat rectangular medallion on the front base. The crown urn and the base medallion both have similar themes, but different painted scenes, depicting French rural countryside scenes with cottages, rivers and bridges. The porcelain urns on the sides, likewise have hand-painted images of a young boy, in rustic period attire on the right and a young girl on the left. None of these paintings appear to be signed. The clock case has GLORIOUS detail to it, with scrolls, ribbons, vines, grapes and Corinthian columns. The clock sits on a custom made gilt wood and burgundy velvet plinth, that is original to the piece and was a common accent with ‘Japy Freres Clocks’, when originally retailed in their Paris shop. The rear of the clock is plain and the perspex/clear resin plate insert, is a new addition, but a nice addition, in that it allows one, to view the movement and pendulum works. The clock is an 8 day movement with a strike on the hour and half hour. The clock face has 2 winding holes … one for the pendulum movement and the other for the striking chime/ring. Unlike British clocks this clock does not have a long musical chime … it is a simple ‘single strike’ on the half hour. The red/magenta Sevres porcelain clock face/dial is in SUPERB condition. Roman numerals with gilt accents and a hand-painted circular wreath/bouquet of spring flowers on the center section. To complete the set, we have a matching pair of gilt ormolu spelter and hand-painted red/magenta Sevres porcelain Ewers … which can hold a single candle each. The porcelain urns on the central section, have hand-painted images of a young lady in rustic period attire … fishing on the riverbank on the right and a young man playing the flute in the countryside on the left. The front base medallions on each ewer have hand-painted wreaths/bouquets of spring flowers. The clock facing side of the porcelain urn on each Ewer, has a brass ormolu applique head, of the Greek god of wine-making, orchards and fruit, vegetation, fertility, festivity, insanity, ritual madness, religious ecstasy, and theatre, namely, Dionysus. The plinths are signed on the rear top left corner, and we think they read: “R.P. Unfaut”. They also bear the numbers “61” and “69”, Again, possibly for 1861 and 1869, but here we think it is more likely they are serial numbers, as it is highly unlikely that a matching pair were made 8 years apart! Whilst we cannot find any information on ‘R.P. Unfaut’, we can only guess that he/she/they worked with, or for, ‘Japy Freres’, as these ewers are unmistakably, a ‘superb’ match for the clock! The style, subject matter, gold banding and edging, around the paintings, are virtually ‘identical’ to the same decorations on the clock’s porcelain paintings. The Ewer on the left (with the boy playing the flute) appears to have a faded signature on the gold border of the painting towards the base and we think it is the signature of ‘Alexandre Evariste Fragonard’ …. one of the best known artists attached to Sevres in the mid 19th Century … meaning, that these Ewers were probably made circa 1845-50. The quality and detail to these 2 paintings is classic Fragonard! We are of the opinion, therefore that these garnitures, were made circa 35/40 years before the clock, as Mourey was prevalent with Japy around 1880 – 1900. The clock paintings are of a very similar, rustic ‘Fragonard Style’ subject matter and although unsigned, could possibly have been painted by a Sevres artist, to replicate the Fragonard paintings...

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

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

This vintage palace size French Sevres porcelain covered urn dates from the late 19th century. It is elaborately decorated & embellished with gilt bronze ornamentation. The covered u...

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...

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...

A beautiful and exceptionally high quality French early 19th century Louis XV st. Sèvres Porcelain and ormolu inkwell, signed Sèvres. The inkwell is raised by striking pierced scrolled foliate ormolu movements in a most decorative satin and burnished finished. At the center is the finely detailed Sèvres Porcelain tray...

This is a superb, royal blue figural decorated Sevres urn with a bronze base and gorgeous gilded details and of wonderful form. The urn dates to the 1900-1910s era and is in very goo...

Antique blue Sèvres porcelain centrepiece French, 1876 Height 24cm, diameter 33.5cm Produced by Sèvres, this refined porcelain centrepiece is a superb expression of the factory’s ce...

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...

Unusual pair of Sevres porcelain vases in medium blue ground with gilt decorations 1949-1950. Form Decoeur Number 25 - refer to image from archival catalogue page. Designed by Lenard - by refer to image from book on Sevres. Signed as photographed... Brown Sevres mark 49 / Red Sevres...

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 sensational French mid 19th century Louis XVI st. Biscuit de Sèvres and giltwood centerpiece. The statue is raised by a richly detailed square giltwood base with slightly curved sides. Each side are decorated scrolled acanthus leaves below a fine laurel band. The base supports a wonderful circular Biscuit de Sèvres garden gazebo...

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...

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 ...

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

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

Large and unusual 19th century French Sevres gilt bronze mounted covered urn / vase of tapering ovoid form in cobalt-blue ground. Bearded man with horns ...

A beautiful set of ceramic bookends, made by the French brand Sèvres, designed by Paul Milet. The bookends are images of poodles, very nice and expressive, made in the typical red co...

A fine and richly decorated French porcelain jardinière by the Sèvres manufactory, dating to the late 19th or early 20th century, distinguished by its opulent cobalt blue ground and ...

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. 2...

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

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

Opulent, 19th century handmade and painted square porcelain and ormolu gilt metal centerpiece features elaborately scrolling floral split handles, and a grapevine wreathed frame with egg and dart edges on cabriole legs. An idyllic pastoral scene is exquisitely painted in minute detail in the center and dramatically framed with a magnificent cobalt blue painted border with rich 24-karat gold trim and panels of hand painted, multicolored flowers. Measures approximately 15.5” wide x 12” deep x 7.25” high. Hallmarked in blue with the letter A...

This striking pair of 13-inch Sèvres Paul Millet vases features a deep Sang de Boeuf glaze, a rich oxblood red that complements the ornate ormolu mounts. Crafted in the early 20th ce...

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...

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...

Cobalt blue and gold with two cartouches on the lid each with a winged cherub and a dove signed E. Froger. Perforated bronze strap with handles which is attached to the bottom of the...

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...

An Art Deco large Sèvres ceramic box,1933 Large Sèvres Glazed ceramic box with stylized Art Deco floral decoration Shape created by Gensoli Designed by André Naudy Sèvres stamp unde...

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...

Rare Sevres, gilded bronze dish, platter, depicting a Charming and Angelical Scene, a Lady and a little angel in the countryside in the garden in the background, and garlands of flow...

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...

Gilt framed 19th century Sèvres bisque plaque depicting cupid and zodiac with cornelian cabochons and gilt bronze mounts. Sèvres bisque rondel medallion ...

Pair of covered vases in Sèvres porcelain, 19th century, Napoleon III period. A pair of Sèvres porcelain and gilt bronze covered vases with medallion, Napoleon III period, 19th cen...

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...

Pair of early 20th century Sèvres porcelain vases. A pair of early 20th century Sèvres porcelain vases, circa 1936, stamped Sèvres Manuf...

Very large Sèvres porcelain plaque by Pastier after Jean-Baptiste Greuze French, 1853 Frame: height 71cm, width 89cm, depth 9cm Plaque: hei...

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

A gorgeous hand-painted oval porceclain box with a highly decorated lid. This lovely Neoclassical Revival piece is created from porcelain, and features an oval shape, with a removabl...

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...

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

The Vincennes factory, the forerunner of the Sèvres factory, was founded in 1740 by workers who had transferred from the Chantilly factory. The Vincennes factory became royal in 1752...

A very fine French Sevres biscuit (Bisc) porcelain figure of a recumbent nude lady titled "Le Repos" after a model by Alfred Boucher (French, 1850-1934) Sensually depicting a young w...

Art Deco textured glaze ceramic vase by Paul Milet (1870-1950) for Sèvres. Phillipe Garner (1978) "The Encyclopedia of Decorative Arts 1890-1940". France, CIRCA 1930.

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

Pair of Sevres Pink Ground Gilt Metal Mounted Porcelain Lamps, late 19th century, each of ovoid form, with scrolled eagle head handles, the bodies painted with panels of cupid at pla...

A pair of amphorae Sevres hand-painted porcelain with champlevé glaze Origin France perfect condition. The Manufacture nationale de Sèvres is one of the most important and well-known European madame-de-pompadour porcelain...

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...

Signed/dated 1984 on bottom.

"Medallion of the king of France Louis XVIII, in sèvres biscuit". Beautiful Medallion of Louis XVIII in sèvres biscuit and gilded brass, restoration ...