A Pair of Sevres Porcelain White Ground & 24K Gold vases w Lion Head Handles

Description

A Fine pair of Neoclassical/Empire white ground porcelain and 24K Gilt Decorated vases with Double Lion head Handles, produced by the Manufacture Nationale de Sèvres, each marked beneath the base with the factory’s red circular stamp bearing the inscription “MANUFACTURE NATIONALE / DORÉ / À SÈVRES.” The vases are constructed in two parts: a porcelain body joined to a concealed metal mounting beneath the foot rim, secured internally with a rod. The underside of one vase shows the remnants of a painted Green double L cypher with number "55", corresponding to the year 1855, further anchoring the date of production. The presence of the Sèvres factory mark, along with the extensive use of gilding and figural mounts, suggests manufacture under the auspices of official state commissions or high-level patronage. Each vase is composed in a baluster urn form, rising from a spreading circular foot that is slightly domed at the center. The base transitions smoothly into the rounded body, which swells gently outward before narrowing toward the shoulder. The neck flares to a broad, everted rim with a thickened lip. Both vases are flanked by a pair of upright handles in the form of lion heads with vertical extensions forming the full handle structure. The lion heads are modeled in full relief, cast and gilded in bronze with finely articulated manes and open mouths. These gilt bronze heads transition directly into the white porcelain handles, forming a unified composition in which the metal and ceramic are integrated. The transition between bronze and porcelain is achieved with a subtle sleeve-like collar at the base of each lion head, with white enamel dripping slightly over the gilding in controlled rivulets, reinforcing the visual connection between the two media. The porcelain is covered in an even white glaze of soft luster, presenting a clean ground throughout. The surface is unadorned except for a single gilt band encircling the base, a matching band at the lower neck, and a final gilt border around the rim. The glaze finish is consistent across both vases, with minimal firing irregularities. The white porcelain body is dense and finely potted, with smooth contours and precise curvature from foot to lip. The handles, while decorative, are structurally integral and exhibit seamless junctions with the vase wall. The gilded lion heads are anchored into the porcelain handles with minimal visual disturbance to the surrounding ceramic, indicating careful planning of the assembly. Each lion’s head displays detailed modeling of the mane, brow, and mouth, with pronounced anatomical features rendered in relief beneath a thick application of matte and burnished gilding. The open mouths of the lions are purely ornamental and do not serve as spouts or terminals. The lack of figural scenes or floral decoration situates this pair within the neoclassical tradition of restrained elegance favored in the Second Empire. The formal design, limited palette of white and gold, and prominent use of animal-head terminals are all consistent with earlier Empire prototypes revived by the Sèvres factory during the 1850s and 1860s. This stylistic continuity, along with the use of gilt bronze lion masks—reminiscent of similar mounts on ormolu-mounted hardstone vases—places these vessels within a lineage of state-sponsored decorative arts aligned with architectural and interior commissions of the period. Their manufacture during the reign of Napoleon III and their high technical finish suggest they were not standard commercial wares but rather works intended for formal presentation or state display. The vases combine sculptural relief and high-fired glaze to produce a unified and symmetrical form. The restrained surface treatment of the white ground allows the form and figural handles to become the primary focus, without reliance on elaborate painting or gilded ornamentation beyond the structural zones. The integration of cast gilt bronze heads directly into the porcelain handles reflects a level of collaboration between Sèvres modelers and bronziers. The lion heads are nearly identical from vase to vase, indicating use of a consistent model or mold, though minor variations exist in the casting and gilding consistent with 19th-century hand-finished bronze mounts. The presence of original felt pads beneath the bases indicates these vases were displayed on a hard surface, possibly on a stone mantle or pedestal, within a formal interior setting. This pair of vases exemplifies the technical and formal priorities of mid-19th-century Sèvres production, especially in the period following the restoration of imperial patronage under Napoleon III. The pairing of white porcelain bodies with applied figural bronze handles continues a decorative vocabulary drawn from antiquity and reinforced by classical revival aesthetics. The use of the lion as a motif aligns with contemporary symbolic programs of strength and vigilance often employed in state commissions. While no direct documentation links these specific pieces to an exhibition or ambassadorial gift, their factory markings, form, and materials place them among the highest-quality works produced at Sèvres during the 1850s.

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