The most important French porcelain factory was founded in 1740 in the royal chateau of Vincennes. In 1756 it was transferred to Sèvres, the other side of Paris, and shortly after was bought by Louis XV. The support and protection of the king and his mistress, Madame de Pompadour, enabled it to secure the best artists, sculptors, designers and chemists. Sèvres porcelain soon became the most sought after in Europe. The royal manufactory at Sèvres specialised in luxury porcelains, many of which were destined for the French court. Each year it displayed its newest models in the king's apartments at Versailles. The factory was very responsive to changes in fashion and introduced many innovations in design and decoration. Its products were admired throughout Europe and its style was widely imitated. During the French Revolution, which brought about a disastrous drop in sales of luxury porcelain, the factory was Nationalised and began producing patriotic wares.

During the Consulate and Empire period (1802-15) Napoleon I continued the French royal patronage of the Sèvres manufactory and commissioned large numbers of very expensive works from it for himself, and as presents to further his reputation and diplomacy. This was a revived and lucrative period for the arts industries in France, although the export trade was reduced, due to political conflict, a wealthy French bourgeoisie society emerged which expanded the domestic market for manufacturers like Sèvres. Luxury was once again acceptable and Napoleon commissioned works of art and complete interiors for his Imperial palaces.

The imagery of the Imperial regime was characterised by strong Neo-classical styles, drawing parallels with Napoleon’s rule and the power of ancient Rome. Military imagery such as the classical laurel wreathes (honour and victory), are combined on this cup and saucer with the opulence of cornucopia or horns of plenty. The butterfly (here a Marsh Fritillary butterfly Euphydryas aurinia) symbolises both Psyche and the soul and was a recurrent motif on Imperial commissioned decorative arts. The Sèvres factory had produced tablewares with similar butterfly motifs from c.1803. An earlier vase design with butterflies, executed in a similar manner, has been attributed to Alexandre-Théodore Brongniart (1739-1813), architect and father of Alexandre Brongniart (1770-1847) Director of the Sèvres factory who was a devoted naturalist, studying fossils and insects. It is possible that the Director encouraged the use of such motifs in the designs. In 1809 Sèvres delivered a large dessert service, the ‘Marly Rouge’ service, again with central butterfly motifs, to the Chateau Fontainebleau for Napoleon’s use.