Parfumerie Brecher

Parfumerie Brecher, founded by Paul Brecher in Pontoise around 1910, underwent a significant change in ownership after 1918 when Jacques Ernest Mazurier took over. Mazurier relocated the company to 10 Boulevard Bonne Nouvelle in Paris. Under Mazurier's ownership, the perfumes were labeled as 'Aux Perfumeries Reunites'.

The company had affiliations with Benoit and Marquis de Elorza, indicating its network and possibly collaborations within the perfume industry during that era.

The perfumes of Brecher:

• 1911 Mon Bouquet (Quintessence)
• 1911 Royal Delices
• 1911 Le Trefle Russe
• 1911 Muguet
• 1911 Violette Pure
• 1924 Sous la Charmille
• 1925 Œillet
• 1925 Chypre
• 1925 Doux Réve
• 1925 Le Temp des Fleurs
• 1925 Le Vrai Narcisse
• 1925 Mes Fleurettes
• 1925 Bouquet a Ma Mie
• 1925 Eternel Parfum
• 1925 Amour en Folie
• 1925 Le Baiser
• 1925 Noces d'Argent
• 1925 Tabac Jaune
• 1927 Bonjour Paris
• 1927 Fumee Bleue
• 1927 Soir de Lune
• 1927 Narcisse
• 1927 Jasmin
• 1928 Ambre Nouveau
• 1928 Adorez Moi
• 1929 Lolita
• 1929 Soir de Noel
• 1930 En Promenade
• 1930 L'An
• 1920s Fidele a Toi

Bottles:

Mon Bouquet:

The perfume bottle used for Mon Bouquet is designed with a round shape that includes serrated edges, which add a distinctive touch of elegance and craftsmanship. This combination of smoothness with detailed serrations suggests a blend of artistic design and functional beauty, typical of the attention given to luxury items during the early 20th century.

In terms of practicality, the bottle is noted for its ability to fit snugly into a leather carrying case. This feature not only enhances its portability but also underscores a consideration for protecting the bottle's delicate contents and maintaining its aesthetic appeal while on the move.

The label on the bottle further enhances its allure. Described as a polychrome paper label, it showcases the exquisite elegance of Edwardian typography. This period was known for its elaborate and artistic approach to design, particularly in typography, where ornate fonts and decorative elements were commonly used to signify luxury and sophistication.

Together, these elements—the bottle's unique shape with serrated edges, its practical leather carrying case, and the ornate Edwardian typography of the label—create a comprehensive picture of Mon Bouquet as not just a perfume, but as a meticulously designed and crafted luxury item from the early 20th century Parisian perfumery scene.

Soir de Noel:

"Soir de Noël" translates to "Christmas Eve" in French. It evokes a specific moment of the holiday season characterized by warmth, elegance, and perhaps a touch of magic. Naming a perfume "Soir de Noël" suggests a fragrance designed to capture the essence of this special evening, typically associated with festivities, gatherings, and a sense of nostalgia.

Using such a name for a perfume can evoke a range of emotions and associations that align with the theme of Christmas Eve: it could signify a rich, warm fragrance with notes that evoke cozy firesides, spices, winter florals, or even the crispness of a winter evening air. The name also appeals to consumers looking for scents that evoke holiday memories or create a special atmosphere during festive occasions.

Similarly, "Nuit de Noël" by Parfums Caron, translating to "Christmas Night," follows a similar theme. It suggests a fragrance designed to evoke the atmosphere and emotions associated with Christmas night—perhaps more focused on the quiet beauty, intimacy, or deeper, more mysterious aspects of the holiday season compared to the anticipation and warmth of Christmas Eve.

Both names, "Soir de Noël" and "Nuit de Noël," leverage the cultural and emotional resonance of Christmas in their respective perfumes, appealing to consumers seeking fragrances that evoke the spirit of the holiday season in different nuanced ways.

The bottle designed for Soir de Noel is crafted from black glass, distinguishing it with an air of elegance and sophistication. Its distinctive features include abstract motifs adorned with thick enamel in aqua, white, and gold. This intricate decoration not only enhances its visual appeal but also suggests a luxurious and artistic touch characteristic of high-end perfumery.

Matching the bottle's lavish design, the stopper is similarly adorned with enamel in aqua, white, and gold, maintaining a cohesive aesthetic throughout the piece. The back side of the bottle remains undecorated, contrasting with the elaborate front motifs, and is complemented by a paper label that likely provides essential information about the perfume.

The overall presentation of the bottle is housed in a box reminiscent of a Japanese inro case, a traditional container used for small objects. This choice of packaging adds a cultural and artistic layer to the perfume's presentation, further enhancing its allure. To complete its luxurious appeal, the box is adorned with a silk tassel, adding a tactile and decorative element.

Interestingly, the design of the bottle for Soir de Noel bears a striking resemblance to the bottle used for Shari by Langlois, indicating either a shared design influence or perhaps a deliberate homage within the perfume industry's aesthetic trends during that period. This parallel underscores the significance of design continuity and artistic inspiration in the creation and marketing of luxury perfumes.

Soir de Lune:

"Soir de Lune" translates to "Evening of the Moon" in French. This name suggests a poetic and romantic theme, evoking an atmosphere of serenity and beauty under the moonlight. Naming a perfume "Soir de Lune" aims to capture the essence of a tranquil evening scene, possibly hinting at a fragrance designed for nighttime wear or one that embodies a sense of mystery and elegance associated with moonlit nights.

The choice of such a name for a perfume aligns with the artistry and storytelling often associated with fine fragrances. It seeks to evoke a specific mood or ambiance that resonates with consumers who appreciate perfumes not only for their scent but also for the emotions and memories they evoke.

In the context of Brecher's perfume, "Soir de Lune," presented in a cobalt blue glass flacon designed by Julien Viard and manufactured by Depinoix, the name likely complements the luxurious and artistic presentation of the bottle and packaging. The cobalt blue glass and intricate design details described—such as the Gothic arches, floral motifs, and silver patina—suggest a perfume that embodies sophistication and refinement, fitting for an evening affair or special occasion.

Overall, "Soir de Lune" as a perfume name aims to evoke a sense of romance, elegance, and the enchanting beauty of a moonlit evening, appealing to those who seek fragrances that transcend mere scent to create an immersive sensory experience.

the same bottle was found in a box by Cotigny

Mes Fleurettes:

The perfume bottle for "Mes Fleurettes," designed by Julien Viard for Brecher around 1920, features a clear glass bottle adorned with exquisite details typical of the era.

The bottle stands approximately 3.5 inches tall and is crafted from clear glass, allowing the contents to be visible, which was a common practice to showcase the color and clarity of the perfume. The stopper, described as figural enameled glass, suggests a decorative element that enhances the bottle's aesthetic appeal. Enameled glass stoppers were often intricately designed, adding a touch of luxury and artistry to the perfume presentation.

To further enhance its elegance, "Mes Fleurettes" is adorned with a gilt label. Gilt labels were used to add a luxurious touch to perfume bottles, often featuring gold or metallic accents that complemented the overall design and appealed to consumers looking for high-quality, aesthetically pleasing products.

Overall, the design by Julien Viard for Brecher reflects the craftsmanship and attention to detail typical of early 20th-century perfume bottles. It combines clear glass to showcase the perfume, a decorative enameled stopper, and a gilt label to create a visually striking and luxurious presentation. This combination not only served to protect and preserve the perfume but also to elevate it as a desirable item for discerning consumers of the time.

Sous la Charmille:

"Sous la Charmille," which translates to "Under the Arbor" or "Under the Hazel Grove" in French, is a name that exudes a sense of poetic and natural beauty. This choice of name for a perfume evokes imagery of being surrounded by leafy greenery, perhaps under a rustic arbor or amidst a serene hazel grove. Such imagery suggests a fragrance designed to capture the essence of a tranquil and picturesque outdoor setting, resonating with themes of natural beauty and serenity.

The name "Sous la Charmille" is particularly fitting for a perfume because it taps into emotional and sensory associations linked with nature. It conjures feelings of calmness, freshness, and the rejuvenating experience of being immersed in a verdant landscape. Perfume names are often chosen not just for their linguistic appeal but also for their ability to evoke specific emotions and atmospheres. "Sous la Charmille" accomplishes this by appealing to consumers who seek fragrances that transport them to idyllic, natural settings, offering a sensory escape through scent.

In addition to its evocative name, the design of the bottle by Julien Viard and manufactured by Depinoix further enhances the thematic connection of "Sous la Charmille." Described as squatty and bulbous, tapering to a small neck and featuring a flattened blossom-form stopper, the bottle is adorned with enameled leaves in shades of green and brown. This decoration not only complements the perfume's name but also visually represents the lush foliage and natural elements evoked by the fragrance. The bottle's design thus becomes an integral part of the perfume's storytelling, enhancing its allure as a sensory and aesthetic experience.

Overall, "Sous la Charmille" stands out as an appropriate and evocative name for a perfume due to its ability to conjure a romanticized vision of nature and tranquility. It merges poetic expression with sensory appeal, inviting consumers to connect emotionally with the fragrance's thematic inspiration of being under a verdant arbor or hazel grove, encapsulated beautifully in both its name and its meticulously designed bottle.

La Parfumerie Moderne, 1926:

"One could say the same about the elegant design brought to light by a young company [Pafumerie Brecher]. "Sous la Charmille" is the name of the perfume. The crystal bottle perfectly evokes the charm of a bower with its large, deeply cut squares, frosted on the surface all around. Fifteen of these squares are visible, with four adorned with flowering branches. The cap, too, features notches and facets to harmonize with the bottle. A tinted silk ribbon gently ties them together, giving the whole an appearance of youth and freshness that the perfume is sure to convey to its users.

There is nothing more graceful than the round box that encloses this creation. The bower is beautifully adorned at the top with leaves and berries of a trailing vine, while the bottom features small white flowers with five petals amid clumps of grass. What a lovely gift to give; even without the bower, it's enough to be enchanted."

 

Fidele a Toi:

The name "Fidèle à Toi" translates to "Faithful to You" in French, suggesting loyalty and devotion, particularly in a romantic or sentimental context. Naming a perfume "Fidèle à Toi" implies a fragrance designed to evoke emotions of fidelity, commitment, and affection, appealing to those who seek perfumes that embody these qualities.

The choice of a dog motif to decorate the bottle for "Fidèle à Toi" is intriguing and aligns with the theme of loyalty conveyed by the perfume's name. The bottle, shaped like a dog and reminiscent of the cartoon character Bonzo created by George Studdy, reinforces the theme of faithfulness and loyalty. Bonzo, popular in the 1920s and 1930s, was a beloved cartoon dog known for its endearing and loyal character traits, making it a fitting symbol to adorn a perfume bottle named "Fidèle à Toi."

The frosted glass bottle, standing 3 inches high with a dog-shaped head and solid frosted glass cap marked "Bonzo," captures the essence of this character. The inner glass stopper and the real leather collar complete with brass studs, buckle, and metal dog tag further enhance the bottle's thematic presentation. The gold-colored metal tag prominently displays the perfume's name alongside "Brecher" and "Paris France," underscoring its origin and luxury appeal.

Despite the occasional absence of its leather collar and label when found today, the dog motif and specifically Bonzo's depiction serve to visually communicate the perfume's theme of fidelity and loyalty. This artistic choice not only adds a whimsical and nostalgic charm to the bottle but also aligns with the emotional narrative that "Fidèle à Toi" seeks to evoke—a fragrance that embodies loyalty and devotion, encapsulated in a uniquely designed perfume bottle.

Solid Perfumes:

Galalith, also known as "milk stone," is a type of synthetic plastic-like material that was popular in the early 20th century, particularly in the 1920s and 1930s. It was created from casein, a milk protein, and formaldehyde. The process of producing galalith involved curdling milk to obtain casein, which was then mixed with formaldehyde and pressed into molds. After hardening, galalith could be shaped and dyed in various colors, resembling natural materials like ivory, horn, or tortoiseshell.

In the context of Parfumerie Brecher's solid perfume vials starting in 1929, galalith was chosen for its versatility and aesthetic appeal. These vials were not only functional containers for solid perfumes but were also objects of beauty, often vibrantly decorated with hand-painted details. The use of galalith allowed for intricate designs and artistic expression, making each container unique and visually striking.

The line of solid perfumes offered by Parfumerie Brecher, including scents like Amour de Folie, Jasmin, Narcisse, Chypre, Lilas, Rose, Violette, and possibly others, benefited from the elegant presentation provided by the galalith vials. Each scent likely had its own distinct container, decorated to reflect the fragrance's character and appeal to consumers looking for both quality perfume and exquisite craftsmanship.

Overall, galalith played a significant role in the design and presentation of Parfumerie Brecher's solid perfume vials, contributing to their allure as collectible items that combined practicality with artistic elegance.