Decorative Objects

Yellow and pink crystal box with cut engravings embellished with brass detail made with the artisan lost wax technique with patinated silver finish. E...

21-st century hand carved turquoise crystal bowl with metal parts in lost wax in golden bronze. This centrepiece is a limited edition, we have o...

A very large and unusual 19th century French Louis XVI style dore bronze mounted Sevres cobalt blue ground box signed Sarat. This box is truly a masterpiece. Sevres boxes...

Porcelain box with cut engravings embellished with brass detail made with the artisan lost wax technique with patinated golden finish. Each object is handcrafted and the care for eve...

Bronze sculpture with green and dark brown patina image of a young woman embracing a lamb, signed by Ary Bitter, on a green black marble stand. Ary Bitter (1883–1973) was a French artist, best known for his animal sculptures. He was a designer, painter, and sculptor in various mediums including plaster, stone, terracotta and bronze. His work was also produced in biscuit by the Sèvres factory. Ary Jean Léon Bitter was born in Marseille in 1883. In 1895 he enrolled at the Marseille Beaux Arts and was taught by Émile Aldebert...

A pair of vase -Sèvres Manufacture Nationale de Sèvres France, Sèvres, 1986. Unique pieces Pair of oval-roll-shape porcelain vases, each presents a unique decor of fine crysta...

A rare antique French gilt bronze and silver Sevres porcelain casket finely painted with neoclassical figures on two round and two rectangular ...

21st Century hand carved clear crystal and golden bronze bowl. This bowl is finely chiseled lost wax castings and hand ground crystal. On request to customer can modificate the color of crystal: pink, amber, amethist etc and we can change also the metal finishing: french gold, burnished...

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

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....

21st century hand carved clear crystal and silver bronze candelabra. This candelabra is finely chiseled lost wax castings and hand-grounded glass. This Candelabra has got 6-flames. O...

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

21st century potiche in white veined marble with finely chiseled lost wax castings. On request to customer can modificate the color of marble: pink, amber, brown, green, etc .and we ...

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 ...

21st Century hand carved clear crystal and golden bronze potiche. This potiche is finely chiseled lost wax castings and hand ground crystal. On request to customer can modificate the...

Amber and green crystal box with cut engravings embellished with brass detail made with the artisan lost wax technique with patinated silver finish. Each object is handcrafted and th...

21st century hand carved clear crystal and golden bronze centrepiece. This Centrepiece has got the porcelain base with pure gold decorations and hand-grounded crystal. On request to...

Lovely biscuit porcelain bust of a young girl, named Louise Brongniart. The bust is marked on the back with 'Houdon' and the Sevres mark. Biscuit por...

Hand-carved clear crystal box with Panther made with the artisan lost wax technique with patinated gold finish. This box has got a oval shape. Each object is handcrafted and the care...

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

"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

21-st Century hand carved turquoise crystal bowl with metal parts in lost wax in silver bronze. This centrepiece is a limited edition, we have o...

21st century hand carved clear crystal and golden bronze vase. This vase is finely chiseled lost wax castings and hand-grounded crystal. On request to customer can modificate the col...

21-st century hand carved turquoise crystal bowl with metal parts in lost wax in golden bronze. This centrepiece is a limited edition, we have o...

21st Century hand carved clear crystal and golden bronze vase. This vase is finely chiseled lost wax castings and hand-grounded crystal. On request to customer can modificate the col...

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...

21st century white veined marble and golden bronze candelabra. This candelabra is finely chiseled lost wax castings. This Candelabra has got 5-flames. On request to customer can modi...

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...

21-st century hand carved black and clear crystal vase with the frame in lost wax bronze. This vase is a limited edition, we have only a few pieces. It's particular hand-carved and t...

21-st century hand carved amber crystal centrepiece with silver925 frame (gr 140) . This centrepiece is a limited edition, we have only a few pieces. It's particular hand -carved an...

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...

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...

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

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

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...

Signed/dated 1984 on bottom.

This is a pair of Sevres hand painted porcelain turquoise lidded urns. Both of them are depicting in the front a sea shore fishermen scenes. In one, a group of fishermen are preparing a sailboat and in the other one, they are pulling the net. The back are adorned with some gilt fishing tools and baskets with foliages. Both scenes are golden framed with scrolls of acanthus and flowers beside them. Gilt white concave long oval shaped rings alternated with gilt foliages and shamrocks decorate the necks of the urns. The same pattern are repeated in the lids, but no white color in the center. The bell shaped lids ended with pinecones finials. A mix of scrolls and Greek keys serve as handles. The round bases are also decorated with gilt foliages. The Sevres hallmark appears in the lids and below the bases. One of the urn’s painting...

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

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...

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...

French porcelain, Sevres, and bronze planter from the 19th century Sevres porcelain planter in an off-white tone with bronze base, handles and details. Hand painted with the artist's...

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! #...

Sevres Ceramica chest Rococo style 19th century 1870 hand painted origin France Perfect unrestored condition natural wear. The Manufacture nationale de Sèvres is one of the most important and well-known European madame-de-pompadour porcelain...

important Pair of Sevres porcelain urns, each featuring a porcelain body and foot mounted on a gilt bronze base and adorned with gilt bronze, foliage form trimmings and handles. Each...

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 ...

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...

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...

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

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

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

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...

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

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

Pure gold decoration porcelain box with Frog in brass made with the artisan lost wax technique with patinated gold finish. Each object is handcrafted and the care for every detail makes each item unique in its kind. The style of this box is a modern reinterpretation of an object from the second half of the 18th century in France. Also Oggetti d'Arte will follow with the same passion the request of the most qualified studies of interio architecture from around the world, helping them in achievement of their most ambitious projects. This box, at the customer's request, can be made with different metal finishes and with different crystal colors so that it can be inserted in the best possible way within your furniture. This box is included in Animal Box...

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...

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...

Pair of French porcelain wine coolers sevres, circa 1776. Painted by Etienne Evans and gilded by Francois Baudouin.