Sevres porcelain vase

Sevres porcelain vase DEFAULT

French Sevres Porcelain Vases

19th Century Pair of French Sevrès Porcelain Vases, 1820s
Pair of French vases in Sevres porcelain, early mid-19th century, stamped at the bottom with the Sevres symbol. In a red color and pure gold ornaments, the two paintings depict two w...

Antique 1820s French Charles X Porcelain

Sevres Light Yellow and Gold Porcelain Vase
Signed/dated 1984 on bottom.

Late 20th Century French Art Deco Vases

Palatial French Ormolu-Mounted Sevres Porcelain Hand-Painted Vase and Cover
A palatial french ormolu-mounted Sevres Porcelain hand-painted vase and cover, circa 1838. This monumental Sevres porcelain vase stands 56" high, and is beautifully hand-painted w...

Antique 19th Century French Napoleon III Vases

19th Century French Sevres Pair of Porcelain Bronze Covered Vases
The dark blue background of the porcelain vases stand on a gilded carved octagonal pedestal. The base is decorated with gilt scrolls of acanthus leaves and foliage. The front center ...

Antique 19th Century French Louis XV Vases

Fine Pair of Sèvres-style Napoleonic Porcelain Vases
A fine pair of Sèvres-style napoleonic gilt bronze mounted cobalt-blue ground porcelain vases. Signed by the artist 'H. Desprez Sevres'. Each vase is of inverted ovoid form fin...

Antique 19th Century French Empire Revival Vases

Porcelain and Gilt Bronze Vase Signed Sèvres, France, Late 19th Century
Located in Buenos Aires, Buenos Aires
Porcelain and gilt bronze vase signed Sèvres, France, late 19th century.

Antique Late 19th Century French Neoclassical Vases

Large 19th Century French Sèvres Hand Painted Bronze Mounted Porcelain Vase
This monumental Louis XVI Sèvres vase was created in Paris, France, circa 1860. Standing on a bronze base, the tall porcelain vessel features a hand painted romantic scene in the man...

Antique Mid-19th Century French Louis XVI Vases

18th Century France Louis Philippe Pair of Vases Sévre Porcelain Blue Gold, 1840
Pair of French flower vases, stamped under the base with Sévres brand, finely hand painted and in one color. Very intense blue, mercury-gilded bronzes with the original gilding, also...

Antique 1840s French Louis Philippe Porcelain

Very Large Antique French Sevres Style Porcelain Vase
By Manufacture Nationale de Sèvres
This fantastic vase is the work of J. Pascault, a famed porcelain artist of the late 19th century who specialised in the production of Sevres-style pieces. It is beautifully executed...

Antique Late 19th Century French Rococo Vases

Porcelain and Gilt Bronze Vase Signed Sèvres, Painted by Collot, France
Located in Buenos Aires, Buenos Aires
Porcelain and gilt bronze vase signed Sèvres, painted by Collot, France, late 19th century.

Antique Late 19th Century French Rococo Vases

Pair of Vases Sèvres, Manufacture de Sèvres, 1986
Located in Saint-Ouen, FR
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...

20th Century French Beaux Arts Vases

Fine Quality Pair of French Sevres Style Porcelain Vases
By Manufacture Nationale de Sèvres
Located in Brighton, Sussex
A fine quality pair of 19th century French 'Sevres' style vases, having gilded ormolu mounts, a twisted, fluted, ribbed form with turquoise border and floral decoration. We can arra...

Antique 19th Century French Vases

Pair of Gilt Bronze Mounted Porcelain Vases in Manner of Sèvres
This Sèvres style porcelain vases in this pair are mounted with gilt bronze. The overall design scheme is exceptionally ornate, the bronze casting and the painted porcelain betraying...

Antique 19th Century French Louis XV Vases

Pair of Sèvres Blue Rococo Style Porcelain and Gilt Bronze Vases
Standing at nearly one metre tall, this large pair of Sèvres style vases—dark, cobalt blue ground with Rococo style motifs and scrolling forms all over—would make a wonderful decorat...

20th Century French Louis XV Vases

French Sevres Attributed Porcelain Vase with Ormolu Bronze Mounts
By Manufacture Nationale de Sèvres
Located in Hamilton, Ontario
Beautiful 19th century French Sevres attributed ormolu bronze-mounted porcelain vase. The porcelain vase features an all-over mossy green glaze with a round cartouche at the front an...

Antique 19th Century French Vases

Rare Pair of Antique French Golden Porcelain Sèvres Vases
By Manufacture Nationale de Sèvres
Located in Alessandria, Piemonte
Rare pair of Sèvres golden vases, beginning 19th century, original without bronze - Hand painted - Also told "krater vases" - The manufacture of Sèvres is one of the most famous po...

Antique Early 19th Century French Charles X Vases

Pair 19th Century French Sevres Style Porcelain Vases
By Manufacture Nationale de Sèvres
Located in Brighton, Sussex
A good quality pair of late 19th century French Sevres style porcelain vases, each with classical gilded ormolu mask handles to either side, cobalt blue ground with gilded decoration...

Antique Late 19th Century French Louis XVI Vases

Sevres Porcelain and Silver Flower Vase, France, circa 1870
By Manufacture Nationale de Sèvres
Located in Buenos Aires, Buenos Aires
Sevres porcelain and silver flower vase, France, circa 1870.

Antique Late 19th Century French Rococo Vases

Monumental Sèvres Porcelain Blue Lapis Vase
By Manufacture Nationale de Sèvres
A monumental palace size Sèvres Porcelain blue lapis painted vase. Beautifully hand-painted to imitate natural Lapis Lazuli stone. Hand-painted in Royal Cobalt blue color with white ...

Antique Mid-19th Century French Louis XVI Porcelain


Manufacture nationale de Sèvres

Coordinates: 48°49′43″N2°13′21″E / 48.82861°N 2.22250°E / 48.82861; 2.22250

The Manufacture nationale de Sèvres is one of the principal European porcelain factories. It is located in Sèvres, Hauts-de-Seine, France. It is the continuation of Vincennes porcelain, founded in 1740, which moved to Sèvres in 1756. It has been owned by the French crown or government since 1759, and has always maintained the highest standards of quality. Almost immediately, it replaced Meissen porcelain as the standard-setter among European porcelain factories, retaining this position until at least the 19th century.

Its production is still largely based on the creation of contemporary objects today. It became part of the Cité de la céramique in 2010 with the Musée national de céramique, and since 2012 with the Musée national Adrien Dubouché in Limoges.



Elephant vase with candleholders, c. 1760

In 1740, the Manufacture de Vincennes was founded, thanks to the support of Louis XV and his mistress Madame de Pompadour, in order to compete with factories such as Chantilly in France and Meissen in Germany.[1] In 1756, the manufactury was moved to a building in Sèvres, built at the initiative of Madame de Pompadour, near her château de Bellevue.

130 metres long and four storeys high, the building was erected between 1753 and 1756 by the architect Laurent Lindet on the site of a farm called "de la Guyarde." There was a central pavilion surmounted by a pediment with a clock from the old royal glass-makers on the fourth level, with two long wings terminating in corner pavilions at each end. In front of the pavilion was a "public" courtyard, enclosed by a wrought-iron fence. This front area was decorated twice a month in order to hold parties for visitors.

The ground floor of the building contained clay reserves, books and storerooms of raw materials. The first floor contained the workshops of the moulders, plasterers, sculptors, engravers and the ovens. On the second floor were the sculptors, turners, repairers and packers. Finally, the painters, gilders and makers of animals and figures worked in the loft

Jean-Claude Chambellan Duplessis served as artistic director of the Vincennes porcelain manufactory and its successor at Sèvres from 1748 to his death in 1774. The manufactory was bought by the King in 1759, although Madame de Pompadour was allowed effective free rein to oversee it. A period of superb quality in both design and production followed, creating much of the enduring reputation of French porcelain. The light-hearted Rococo was given a more serious air, often by restricting it to the painting, rather than the porcelain shape.[2]

Development of hard-paste porcelain[edit]

Hard-paste porcelain plate from a set of 8 pieces, with the monogram (in Roman letters) "PP" for Paul I of Russia(Pavel Petrovitch), 1773.
Detail of palace urn by Sèvres

Initially, the manufactory produced soft-paste porcelain. In 1768, the Bordeaux chemist, Vilaris and his friend Jean-Baptiste Darnet discovered the first deposit of kaolin on French soil at Saint-Yrieix-la-Perche to the south of Limoges. On 13 February 1771, the Comte de Thy de Milly of the Royal Academy of Sciences sent the academy a report on the creation of Hard-paste porcelain. This report was published in 1777 in volume 7 of the encyclopedia, Art de la porcelaine. This work derived from his observations of the different manufacturies of Germany, especially Meissen. "Up to this time, the manufacturies of France - Sèvres not excepted - have only produced glass porcelain, which only has some qualities of the real thing...".[3]

Hard-paste porcelain began to be manufactured in Sèvres after 1770, but soft-paste was also continued, only finally being dropped in 1804.[4] Vincennes had made a certain amount of painted plaques that were sold to furniture-makers to be inset in furniture, but at Sèvres these became a significant part of production.[5] Figures were almost entirely in unglazed biscuit porcelain, an "invention" of Vincennes.[6]

Louis-Simon Boizot was director between 1774 and 1800. Even before the French Revolution, the initially severe style of Neoclassicism had begun to turn grandiose and ornate in goods for the courts of the Ancien Régime. This trend deepened with the rise of Napoleon, which followed a difficult period for French porcelain factories. The Empire style was marked by lavish gilding, strong colours, and references to military conquests; Napoleon's ultimately unsuccessful expedition to Egypt sparked a fashion for "Neo-Egyptian" wares.

In 1800 Napoleon, as Minister of the Interior, appointed Alexandre Brongniart director at Sèvres; he was to stay 47 years, making many changes. The factory concentrated on tableware and larger decorative pieces such as vases and table centrepieces, much of it for the government to use or give as diplomatic presents.[7]

The Empire style grew more elaborate and ostentatious as the century continued, developing most aspects of "Victorian" taste in a French style. Under the Second Empire from 1852-70, there was a revival of Louis XVI style at Sèvres, often more heavily painted and gilded. Many of the old moulds which the factory had kept were used again.[8]Henri Victor Regnault became director in 1854.

In 1875, the manufactory was transferred to buildings which had been specially built by the French state next to the Parc de Saint-Cloud. It is still on this site today, classed as a Monument historique, but still in operation.

Sèvres turned to a more diluted version of Japonisme after 1870, and in 1897, a new artistic director, A. Sandier, introduced new Art Nouveau styles, followed about a decade later by styles leading to Art Deco.[9]

In 1920, the Treaty of Sèvres, the peace treaty between the Ottoman Empire and Allies at the end of World War I, was signed at the factory.

Women at the royal manufactory[edit]

At the Manufacture de Vincennes, in 1748, a "floristry" composed of twenty young girls was established under the direction of Madame Gravant. It continued its activities until 1753, when women were banned from the factory. In 1756 Sèvres employed two hundred male workers.

"... The few women who continued to work at Vincennes and then at Sèvres, after this [the floristry], henceforth worked from home, picking up the wares, taking them home and bringing them back each day, despite the risk of breaking the delicate objects which they painted and burnished.".[10]

Production of porcelain[edit]

Removing the mould pieces from a vase.

The factory retains a huge collection of moulds, going back to its beginning, and mixes the production of old and new shapes. Slipcasting is the main technique for "hollow" wares like vases.

The kaolin was brought, traditionally, from Saint-Yrieix near Limoges. Nowadays there are many sources. The glaze, applied as enamel over the kaolin paste after firing is made mainly of Marcognac pegmatite, mixed with feldspath and quart.[11]

The blue of Sèvres is a characteristic colour of the manufactory. It is made from a cobalt oxide which is incorporated into the glaze.

19th century kilns[edit]

Two-storey Sèvres kiln, 1864

The ceramicist Ambroise Milet was Director of the Paste Kilns and Chief of Manufacture at the manufactury before he left it in 1883 at the age of 53. One of the key tasks of Ambroise Milet was the construction of six great Anagama kilns in 1877. These kilns are today classed as French monuments historiques.

The kilns consist of a cylindrical body separated into three levels. The lowest is called the "first laboratoire" and is 2.6 m in diameter and 3 m tall. The middle level is called the "second laboratoire" and is 2.6 metres in diameter and 2 metres high. The top level is the 2-metre-high chimney cone. The firebox is an opening at the bottom of the first laboratoire, 1 metre high, 0.58 metres wide and 0.29 metres deep.[12] In the vault between the first and second laboratoires, is a large flue at the centre and 9 small ones around the edge. These flues serve to guide the flames and release the heated gas. Grills, called "flue-guards" are arranged to divide the flames. At the base of the second laboratoire, a little fire box helps to increase the temperature further. The oven contains four fireboxes for distributing the heat effectively.

Only birch wood is used to heat the oven. Its strong and quick combustion is uniform, its flames are long and it releases few cinders. Only this wood can bring the oven to the high temperatures required (800 °C in the small fires, nearly 1300 °C in the main one. The logs of wood are 73 cm long. The oven can fire biscuit porcelain in 15–16 hours and glass or glazed porcelain in 11–12 hours. One firing requires 25 cubic metres of wood, which is burnt over 48 hours using a specialised technique in order to raise the temperature. The oven then takes between fifteen and twenty days to cool down. The wall which blocks the oven door is dismantled in order to empty the oven. A hundred pieces are fired at once, depending on their exact size.

The firing process gives the incomparable enamel quality to the porcelain which cannot be obtained by other techniques. The cause of this is the high uniformity of heat in the oven and the extremely gradual cooling process. Among other things, these ovens are uniquely capable of producing large pieces, which Sèvres has made a specialty.

The last large firing with wood took place in October 2006. Nearly 180 pieces were produced for l'Epreuve du Feu ("the trial by flame"), the name of the exhibition which these pieces were displayed in at the Parisian gallery of the manufactury, before they were dispersed. The opening of the oven, as it began to burn, was broadcast live on television. The next firing will be announced on the official website of the manufactury.

Aside from these exceptional firings, the manufactory uses electric ovens for all contemporary production.

Manufactury today[edit]

Tea cups from the Litron service, produced by a "white oven" bearing the mark of the manufactory.

Until 2009, the Manufacture nationale de Sèvres was a 'Service à compétence nationale' (national service) administered by the French ministry of culture and communication.

As a result of a decree of 26 December 2009, from 1 January 2010, the manufactory formed the public organisation Sèvres - Cité de la céramique, (Sèvres - Ceramic City), along with the Musée national de la céramique.[13] On 1 May 2012, the Musée national de la porcelaine Adrien-Dubouché was also made part of this public organisation, whose name was changed to Cité de la céramique - Sèvres et Limoges.[14]

Since becoming a public organisation, its mission, in accordance with its origins in 1740, is to produce ceramic works of art using artisanal techniques, including both reproductions of old models and contemporary creations. It produces items both for state needs and commercial sale, and is charged with promoting technological and artistic research in ceramics. Its work is concentrated on the upmarket pieces, maintaining a high quality of artisanry, while neglecting industrial scale mass production.

The creations of the manufactory are displayed in only two galleries: one in Sèvres and the other in the heart of Paris, in the 1st arrondissement, between the Louvre and the Comédie-Française. The manufactory also organises numerous exhibitions around the world and participates in a number of contemporary art festivals.

Notable artists[edit]

Due to its reputation for excellence and its prestige, the manufactory has always attracted some of the best ceramists. Among the best known are:


  • Sèvres sucrier and cover - sugar pot, Bouret shape - c. 1770

  • The Toilet of Madame: Hard-paste porcelain, marble, ormolu base, 1775, a domestic scene from upper-class life.

  • Tureen by Jacques-François Micaud (1732/1735-1811), national Gallery of Victoria, Australia.

  • Vases made for Louis XVI, 1778-82.

  • Pieces of a service "with decoration rich in colours and rich in gold" produced by the manufactory for Queen Marie Antoinette in 1784.

  • Figure of Venus crowning Beauty (Louvre, end of the 18th century)

  • Empire style cup with silver handle from a breakfast service

  • One of a pair of vases, 1809

See also[edit]


  1. ^Sèvres Porcelain Manufactory | People | Collection of Smithsonian Cooper-Hewitt, National Design Museum
  2. ^Battie, 108-109
  3. ^« Jusqu'à cette époque, on n’avait fait dans les manufactures de porcelaine établies en France, sans excepter celle de Sèvres, que des porcelaines vitreuses, qui n’avaient aucune des qualités réelles…. », Art de la porcelaine page 147
  4. ^Battie, 109
  5. ^Battie, 110
  6. ^Battie, 108
  7. ^Battie, 155
  8. ^Battie, 156
  9. ^Battie, 156
  10. ^Bleu de Sèvres (1759-1769), Jean-Paul Desprat, ed. du Seuil, Paris, juin 2006
  11. ^D'Albis A, La verseuse du Déjeuner égyptien de la duchesse de Montebello, étapes d'une fabrication, L'objet d'art, mars 2008 No. 36, p 29-9
  12. ^Page 469 Volume two - Second edition -Traité des arts céramiques, ou des poteries, considérées dans leur histoire by Alexandre Brongniart, Louis-Alphonse Savétat - Chez Béchet jeune, libraire éditeur 22 Rue Monsieur-le -prince à Paris - janvier 184 - Archive of the Ashmolean museum library - accessed on Google Books
  13. ^Décret n° 2009-1643 du 24 décembre 2009 portant création de l’Établissement public Sèvres - Cité de la céramique.
  14. ^Décret n° 2012-462 du 6 avril 2012 relatif à l'établissement public Cité de la céramique – Sèvres et Limoges.
  15. ^[1]
  16. ^Gobelet litron et soucoupe in The Fitzwilliam MuseumArchived 2014-05-29 at the Wayback Machine
  17. ^Jardinière in The British Museum


  • Battie, David, ed., Sotheby's Concise Encyclopedia of Porcelain, 1990, Conran Octopus. ISBN 1850292515
  • Georges Lechevallier-Chevignard, La Manufacture de porcelaine de Sèvres : histoire, organisation, ateliers, musée céramique, répertoire des marques et monogrammes d'artistes, Paris, le Livre d'histoire, 2013, Online at [2]
  • Tamara Préaud et Guilhem Scherf (ed.), La manufacture des lumières. La sculpture à Sèvres de Louis XV à la Révolution, [Exhibition Catalogue], Éditions Faton, 2015, ISBN 978-287844-206-9
  • Zarucchi, Jeanne Morgan, "The Shepherdess' Progress: From Favart to Boucher to Sèvres," Konsthistorisk tidskrift (Journal of Art History), Vol. 85, No. 2 (2016), pp. 141-58.

External links[edit]

  1. 75 inch wide baby gate
  2. Shark tail clipart
  3. Tate langdon song

The Ingalls Library Rare Book Collection includes a small, but exquisitely printed, group of books on Sèvres porcelain. Founded in 1740 as the Vincennes Porcelain Factory, the company moved to Sèvres, France, in 1756 and produced both soft-paste and hard-paste porcelain. As the official porcelain manufacturer to the crown, the company designed objects for use by the royal family and other aristocrats.

The patronage of Madame de Pompadour, Louis XV's mistress, contributed to the success of the company. She encouraged artists of the time, including Francois Boucher and the French Neoclassical sculptor Augustin Pajou to become involved with the factory. Typical figures and flowers and other decorative objects from the manufactory are illustrated in Emile Bourgeois' two-volume set Le Biscuit de Sèvres au XVIIIe Sièle.

The Sèvres Porcelain Factory produced some of the most exquisitely designed and decorated porcelain ever made. In addition to dinner services, the company produced figures and extravagantly decorated vases embellished with three-dimensional designs. The company also introduced unique colors including rose Pompadour and bleu de roi. Among the most beautifully illustrated books in the Ingalls Library's Rare Book Collection is Edouard Garnier's La Porcelaine Tendre de Sèvres.

The French Revolution and the ensuing chaos found the Sèvres Porcelain Factory in a precarious state; under the direction of Alexandre Brogniart (director 1800-1847) the industry revived. Three plates from Brogniart's sumptuously illustrated book Description Méthodique du Museé Céramique de la Manufacture Royale de Porcelaine attest to the elegance and refinement of Sèvres porcelain.

The company's success in the 19th century ebbed-and-flowed due to economic conditions and changing artistic tastes. In 1876, the sculptor Albert-Ernest Carrier-Belleuse was appointed artistic director; however, in the late 1880s, the company faced problems due to the combination of Carrier-Belleuse's death in 1887 and the lackluster reception of Sèvres porcelain at the 1889 Exposition Universelle in Paris.

By 1900 new designs were introduced and the company's porcelain was well-received at the 1900 Exposition Universelle in Paris. The company flourished again until World War I halted production of fine porcelain.

Between the two World Wars, the company was managed by a succession of directors, including Alexandre Sandier (1896-1916) and Georges Lechevallier-Chevignard (1920-1938). Two plates from the Sandier/Lechevallier-Chevignard volume Les Carton de la Manufacture Nationale de Sèvres... illustrate the delicate floral compositions used to decorate Sèvres dinner services.

The company continues to receive commissions and produces both traditional and contemporary porcelain. Sèvres porcelain, both old and new, holds an esteemed place in the history of porcelain manufacture and collecting.

Masterclass Sèvres Porcelain, with Dame Rosalind Savill


Vase sevres porcelain


Behind the scenes at France's Sèvres ceramics workshop


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