Scent Bottles: Opaline Glass

During the Second Empire, French glass manufacturers excelled in crafting scent bottles from opaline glass, a material distinguished by its opaque or subtly translucent appearance. Opaline glass, which can be found in a captivating array of colors such as apple green, turquoise blue, rose pink, jet black, soft lavender, and sunny yellow, is a testament to the era's artistic innovation.

The process of creating opaline glass involves adding tin oxide or calcified bone ash to the glass mixture, which imparts its distinctive opalescent quality. This technique results in a glass that is not only beautiful but also has a unique, soft luminosity. Unlike common milk glass, opaline glass displays a "fiery sunset glow" when held up to the light, a hallmark of its vintage appeal.

This iridescent effect enhances the opaline glass’s charm, making each piece a radiant example of craftsmanship from the Second Empire. The shimmering quality of opaline glass adds depth and warmth, making these scent bottles not just functional objects, but also treasured pieces of decorative art.

The opaline glass used for scent bottles during the Second Empire is distinguished by its substantial weight and high lead content, classifying it as "demi-crystal" or semi-crystal. This type of glass is noted for its considerable density and clarity, which are attributes derived from its rich lead composition.

The design and manufacturing techniques of demi-crystal glass were profoundly influenced by several key historical styles. The elegant simplicity of 16th-century Venetian milk glass, with its soft, milky translucence, provided a foundational aesthetic. Additionally, the advancements made by Bohemian color chemists, who developed innovative methods to infuse vibrant hues into glass, played a significant role in shaping the opaline style. English white glass from 18th-century Bristol further contributed to the development of this luxurious material.

In the 1840s and 1850s, the Richardson factory at Stourbridge in England became renowned for its opaline glass, which was celebrated for its exceptional quality and artistry. Richardson’s contributions to demi-crystal glass exemplify the period's fascination with opalescence and refined craftsmanship, making their creations highly sought after and influential in the evolution of opaline glass artistry.

During the early 19th century, French glassmakers engaged in a fierce competition with their Bohemian counterparts to innovate and perfect the art of opaline glass. Between 1810 and 1835, they experimented with a range of ingredients and techniques to achieve a vibrant spectrum of colors in opaline glass, reflecting their commitment to both aesthetic refinement and technical advancement.

The process of tinting opaline glass involved a variety of methods, yet the fundamental principles were consistent with those used for clear glass. By incorporating specific colorants into the opaline glass mixture, artisans were able to produce a dazzling array of hues. The same pigments and additives employed in the coloration of clear glass were also effective in opaline, allowing for the creation of shades that ranged from delicate pastels to rich, vivid tones.

The resulting opaline glass was distinguished by its unique translucency and depth of color, which set it apart in both the French and international glass markets. This period of experimentation and refinement not only advanced the technical capabilities of glassmaking but also cemented opaline glass's reputation as a sophisticated and versatile medium for decorative objects.

Identifying a specific manufacturer of antique opaline glass can be challenging, as many pieces from this era lack branding or signatures. Nevertheless, the most exquisite examples of French opaline glass, which reached their zenith between 1840 and 1870, can be attributed to prestigious factories such as Baccarat, Saint-Gobain, and Saint-Louis.

Baccarat was pivotal in popularizing opaline glass, with the term "opaline" first emerging around 1823 in their production. Their pieces from this period are highly sought after for their exceptional quality and craftsmanship. Saint-Louis, another renowned producer, referred to their opaline creations as "pâte-de-riz," a term that highlights their distinct approach to the material.

The Choisy-le-Roi glassworks, beginning in 1838, also made significant contributions to the opaline glass industry. Their production of opaline glass is celebrated for its refined elegance and innovative techniques. Each of these manufacturers played a crucial role in shaping the legacy of opaline glass, contributing to its enduring appeal and historical significance.

It's important to note that genuine opaline glass was exclusively produced in France. However, you may encounter Italian glass labeled as "opaline véritable," a term used to denote its resemblance to true opaline glass. This Italian variant was crafted primarily during the early 1900s and continued to be produced through the mid-century.

Italian opaline glass of this period was predominantly used for functional items such as smoking sets, including cigarette boxes and ashtrays. While it shares the opaline aesthetic with its French counterparts, Italian opaline glass is distinct in its application and manufacturing context. The Italian pieces, though elegant and often stylish, typically differ in quality and craftsmanship from the celebrated French opaline glass, which remains highly prized by collectors and enthusiasts.

In January 1824, the Journal des Dames et des Modes noted a trend among New Year’s gifts, stating, “On a donné aux dames, en cadeau de Jour de l’An, beaucoup de cristaux colorés en blanc laiteux dit opale; en rose dit hortensia, en bleu dit turquoise…” [“The ladies were given a lot of colored crystals as New Year’s gifts in milky white known as opal, in pink known as hydrangea, in blue known as turquoise…”] (S. Faniel, Le Dix-Neuvième Siècle Français, Paris, 1957, p.126). This observation highlights the popularity and elegance of opaline glass, which was celebrated for its diverse color palette and luxurious appeal. The mention of these distinct colors reflects the opaline glass's ability to captivate and charm, making it a favored choice for exquisite and thoughtful gifts during this period.

Scent Bottles:

By as early as 1820, French opaline glass was being crafted into exquisite shapes such as urns, scent flacons, and jewel caskets. These pieces were often blown into wooden molds, showcasing intricate designs and, in some cases, adorned with rococo ormolu mounts that added a touch of opulence. A defining characteristic of opaline glass is its hand-blown craftsmanship. Each piece typically bears a rough or finely cut and fire-polished pontil scar on the bottom, a mark of its artisanal creation. Unlike mass-produced glass, opaline does not exhibit seams, and its decoration is never achieved through machine engraving. Instead, every engraving and etching is meticulously executed by skilled artisans, ensuring that each piece is unique and rich in detail. This artisanal touch underscores the elegance and refinement of opaline glass, distinguishing it from other types of glassware.

The opaque opaline glass bottles were often adorned with elaborate decorations, including gilding, enameling, and intricate metal filigree work. The designs on these bottles varied widely, featuring motifs such as animals, figures, flowers, fruit, baskets, scenic landscapes, foliate scrolls, latticework, and geometric patterns.

Many of these bottles were equipped with decorative collars that included chains, allowing them to be suspended either from a finger or attached to a chatelaine at the waist. This practical feature combined with aesthetic appeal added a touch of elegance and convenience.

Luxurious examples of these bottles were embellished with bronze ormolu, gold, or silver mounts, rims, hinges, and holders. They often featured adornments of precious and semi-precious gemstones, such as rubies, garnets, sapphires, emeralds, amethysts, coral, turquoise, onyx, and diamonds. More affordable versions might include simulants of these gemstones, crafted from cut glass or matching opaline cabochons, and were typically fitted with brass or pewter metalwork. This careful attention to detail in both decoration and material underscored the craftsmanship and opulence associated with opaline glass bottles.

Yellow Opalines:

The spectrum of yellow hues in opaline glass was achieved through a range of innovative techniques and materials. A striking canary yellow, introduced in 1810, was achieved through the incorporation of antimony, producing a vivid and distinctive shade. Another method involved the use of uranium sesquioxide, which imparts a fluorescent yellow glow to the glass. Additionally, lead oxide was employed to create a more subtle, pale yellow, while silver oxide was applied as a surface pigment to yield a permanent yellow stain.

In Bohemia and Germany, the unique yellow shades resulting from uranium were referred to as Uran-ochre and Uran-glimmer. These terms highlighted the region's distinctive approach to glass coloration, showcasing the diverse and evolving techniques employed to enhance the aesthetic appeal of opaline glass during this period.

Blue Opalines:

In the early 19th century, the captivating sky blue shade was initially perfected in Bohemia before being adopted by renowned French glassmakers Baccarat and St. Louis. By 1825, these manufacturers introduced a similar hue known as bleu turquoise, which became a defining color for opaline glass. Between 1845 and 1850, the use of ultramarine blue—derived from lapis lazuli—was prevalent, resulting in striking cobalt blue shades. Variations in cobalt proportions allowed for a spectrum of deep blue, indigo, purple blue, and standard blue hues. Additionally, the vivid peacock blue, known for its vibrant intensity, was achieved through the use of copper.

In a notable innovation, Baccarat produced bi-color opaline glass featuring a combination of white and blue in 1850, showcasing their ability to blend colors creatively and enhance the visual appeal of their glassware. This experimentation underscored the dynamic evolution of opaline glass and its continuous adaptation to new aesthetic trends.

Pink & Purple Opalines:

Purple opaline glass, a rare and exquisite variant, began to appear in limited quantities around 1828 at the Parisian factory of Bercy and at Choisy-le-Roi, located just outside the capital. While small amounts of cobalt can impart a purple tint to glass, it was primarily the addition of manganese that achieved the highly sought-after lavender and violet shades. Manganese's subtle hues created a delicate and extremely rare form of purple opaline, known for its soft, ethereal quality.

Rose opaline, another striking variety, emerged with the inclusion of manganese, producing a gentle, rose-tinted glass. When combined with Purple of Cassius—a pigment formed from the reaction of gold salts with tin(II) chloride—mauve-tinged rose opaline was created. This pigment, in smaller amounts, provided a pink hue to the glass, while in larger quantities, it was used to achieve a rich red color, such as that found in cranberry glass.

Among the rarest of shades was a translucent mauve, known as pigeon de gorge or "pigeon throat," which was also referred to as rose hortensia or hydrangea. This unique color, produced by adding particles of gold and pewter to liquid lead crystal, was exceptionally rare and ceased production after 1840. The distinctive pink hue resulted from the intricate blending of these elements, which contributed to its scarcity and remarkable beauty.

Green Opalines:

Green opaline glass showcased a spectrum of captivating hues, reflecting both the craftsmanship and innovation of its time. Between 1825 and 1830, shades such as almond green and sea green were produced, each bringing a distinct, subtle charm to the glass. These early greens were followed by more pronounced leaf green tones in subsequent years, illustrating the evolution of color techniques in opaline glass production.

Two particularly enchanting green variations emerged: apple green and deep emerald. Apple green, with its fresh and lively appearance, was created through specific formulations of chromium or copper. The deep emerald shade, on the other hand, was achieved through the use of chromium oxide, which imparts a rich, luxurious depth to the glass. For a more subdued, sea-water tint, ferrous oxide was utilized, giving the glass a gentle, muted green reminiscent of ocean hues.

These greens, ranging from the delicate to the intense, were crafted through meticulous adjustments of various colorants, highlighting the skill and creativity involved in the art of opaline glassmaking.

White Opalines:

In 1822, the glassmaking industry witnessed a captivating innovation with the introduction of opalescent glass known as boules de savon or "soap bubbles." This unique glass displayed delicate, iridescent rainbow hues, reminiscent of the shifting colors seen in soap bubbles. The opalescent effect was achieved through specific formulations that often included tin, lime, or arsenic, or utilized native minerals such as fluorite or cryolite, which were imported in substantial quantities from Greenland during that era.

The following year, in 1823, the opaline glass repertoire expanded with the introduction of blanc laiteux, translating to "milky water." This shade featured a soft, translucent appearance akin to milk, providing a gentle, ethereal quality to the glass that complemented the existing palette.

By 1844, the introduction of alabastre, or alabaster, marked a shift towards a satin-finished, greyish-white glass with a distinctive coarse texture. This new finish offered a refined, understated elegance, enhancing the versatility and appeal of opaline glass in decorative and functional applications.