Nysis by Agra c1919

Nysis by Agra Parfumeur: launched in 1919. Nysis was a line that included perfume, toilet water, cold cream, talc, face powder, vanishing cream, and soap.

The packaging is emblazoned with a wonderful Egyptian style woman's head wit long black hair.  Themes featuring any sort of Egyptomania was very popular during the 1920s. You can see from the advertisements below that the Egyptian theme was carried out by showing some Egyptian maidens to the upper right side of the ads. These were from a 1920 issue of Cosmopolitan.

Nysis has been discontinued since the 1920s. The products are very collectible, with the perfume and toilet water the most expensive and rare, while the face powder and the talcum tin are common.

 

Half Doll Lamps with Mirrors c1920s

While browsing half dolls on the internet, I came across some very interesting examples. I enjoy half dolls that have a little more going for them than just being the handle to a brush or topping a pincushion or perfume bottle. These are gorgeous and may be dubbed the Spanish Dancer type.


Half Doll #1:
Amazing Half doll most likely of German origin. She is of the highest quality. She has her original silk dress that has some minor damage. Her wire frame served once a light bulb and was electrified to be a lamp. She no longer has her electrical components. The doll stands almost 11" tall. The original beveled mirror measures 6.5 x 4.5". Handmade French ribbonwork and metallic passementerie decorate the mirror. This doll has had one of her arms broken, and is not in her original pose.

all photos shown above are from ebay seller gypsy 5961.

Half Doll #2:

Lovely vintage 1920s half doll with original wire frame, clothing and mirror. Figure looks exactly the one shown in the previous photos.

all photos from icollector

Here is the same doll without a costume, wire lamp frame or mirror. She has finely detailed facial features and piano fingers. She is depicted in a very graceful pose with both arms modeled away from her body, 

wearing a light puce bodice, beaded necklace, dangling earrings and bangle bracelets on each arm . She has glossy black hair pulled to the back in a low chignon, her  large brown eyes are delicately outlined in black. 

She is a of a large size measuring 5 1/4" high (13 cm) and 6 1/" (16.5 cm) across. 

Marked on the back with impressed model number 6359. 

photos from ebay seller olwright1

Les Parfums Amiot

Amiot et Cie of 68 rue de Rivoli, Paris, was established in 1862, company sold fragrances, cosmetics and toiletries. Later known as Les Parfums Amiot.

Le Debut by Richard Hudnut c1927

In 1927, Richard Hudnut introduced four new blends of perfumes called Le Debut.

Blue Waltz by Joubert c1920

Blue Waltz, this endearing perfume from the past was created by either Joubert et Cie or Jolind Inc. around 1920.

Andre Jollivet and Laitance de Hareng Perfume Bottles

Originally Posted on March 11, 2010 at 11:45 PM  on my original Cleopatra's Boudoir site.

Just after World War I, French glass designer Andre Jollivet embarked on an exploration of innovative finishes for perfume bottles. His quest led him to experiment with a substance known as "essence d'orient," a pearlized tincture initially developed in 1680 by French artist M. Jacquin. This unique material is crafted from guanine crystallites derived from the scales of bleak or herring fish, combined with natural oils from the fish themselves.

The production process for essence d'orient is remarkably labor-intensive, requiring approximately one hundred tons of herring to yield just one ton of scales, which in turn produces a mere pound of the pearlized essence. Originally used to simulate Oriental pearls on glass beads in jewelry making, this iridescent coating caught Jollivet's attention for its potential in enhancing perfume bottle designs.

Jollivet envisioned applying this lustrous finish to perfume bottles, transforming their appearance into something distinct and luxurious. To bring his vision to life, he collaborated with the Nesle Normandeuse Glassworks, renowned for their expertise in glass craftsmanship. Through meticulous refinement of the essence d'orient substance, Jollivet succeeded in developing a new, durable, and highly realistic pearlized finish, known as "laitance de hareng" (herring roe).

Thus, Andre Jollivet not only revitalized the use of essence d'orient but also pioneered its application in creating elegant and captivating presentations for perfume bottles, marking a significant innovation in the realm of glass design and perfume packaging.

The exquisite pearlized finish developed by Andre Jollivet found widespread adoption among perfume companies in France during its era. Leading brands like Volnay, Rochambeau, Isabey, Pleville, Parfums de Marcy, and others embraced variations of these bottles for their fragrance presentations. Each company adapted the finish to enhance the allure and elegance of their perfume offerings, showcasing the versatility and aesthetic appeal of the laitance de hareng finish.

One particularly notable use of this finish was in the presentation of the perfume Perlinette by Volnay. This fragrance presentation stood out as a testament to the influence and appeal of Jollivet's innovative pearlized finish. The use of such a sophisticated and realistic finish like laitance de hareng likely inspired the creation of Perlinette's bottle design, contributing to its distinctive charm and visual appeal in the competitive perfume market of the time.

Rochambeau made a significant splash in 1926 with the introduction of their Perles de France presentation, which featured a trio of small, round, pearlized bottles housed in a sleek black leatherette case. This elegant ensemble highlighted Rochambeau's commitment to blending sophistication with innovation in perfume packaging. A few years later, in 1929, a lesser-known company named Ota followed suit with a similar presentation for their fragrances Lilas and Violette, further exemplifying the trend towards using pearlized finishes to enhance perfume presentations.

Another standout in this trend was Parfums de Marcy, which achieved acclaim for their Trompe l'Oeil presentation called "Le Collier Miraculeux." Introduced in 1927, this presentation featured a box containing bottles shaped like pearls in graduated sizes, ingeniously mimicking the appearance of a genuine pearl necklace. Designed by Paul Heymann, this creation by Parfums de Marcy exemplified creativity and artistry in perfume packaging, setting a new standard in the industry.

The inspiration behind Parfums de Marcy's innovative presentation can be traced back to Delettrez's "String of Pearls" presentation for Parfum XXIII in 1923. Remarkably similar in design, Delettrez's creation likely served as a direct influence for Parfums de Marcy, underscoring the interconnected nature of trends and innovations in perfume packaging during this period of heightened creativity and competition among fragrance houses.

In 1925, Isabey unveiled the exquisite "Le Collier de Isabey" presentation, a testament to their artistry and innovation in perfume packaging. This ensemble featured six perfume bottles shaped like pearls, arranged to emulate a pearl necklace within a demi-lune presentation case. The meticulous design and attention to detail not only highlighted Isabey's commitment to elegance but also earned the company a prestigious gold medal at the Exposition Internationale des Arts Decoratifs et Industriels Modernes.

Isabey further showcased their creativity by utilizing these small, round pearl-shaped bottles for their individual fragrances. Among them were celebrated scents such as Ambre de Carthage, Chypre Celtique, Bleu de Chine, Violette, Gardenia, and Chypre, each benefiting from the allure and sophistication imparted by the pearlized packaging. This innovative approach not only enhanced the visual appeal of Isabey's perfumes but also solidified their reputation as a leader in the art of perfume presentation during the early 20th century.

Since 1919, Volnay has distinguished itself by introducing a range of perfumes housed in pearlized bottles, showcasing their commitment to both aesthetic elegance and olfactory excellence. Among their notable offerings were fragrances with evocative names like Lilas, Rosee de Bois, Perlerette, Perlinette, Iris Neige, and Firefly. These perfumes were presented in bottles of various shapes, including simple cylinders, upside-down cone shapes, and both large and small globular pearl bottles. This variety in bottle design mirrored the creative approaches of contemporaries such as Elliot Brothers, who also utilized pearlized bottles for their perfume Boronia during the 1920s.

Volnay's decision to employ pearlized bottles not only enhanced the visual appeal of their perfumes but also underscored their commitment to innovation in fragrance packaging. This strategy aligned with broader trends in the perfume industry during the early 20th century, where packaging became increasingly intertwined with the branding and presentation of luxury scents. By incorporating diverse bottle shapes and a pearlized finish, Volnay and similar companies aimed to captivate consumers with both the allure of their scents and the elegance of their packaging choices.

In 1938, Varva unveiled a trompe l’oeil perfume bottle designed to resemble a pearl ring, housed in an elaborate presentation box. The bottle itself was made of pearlized glass and cleverly positioned upside-down within a silver-tone Bakelite ring setting. This unique design was embellished with two faux baguette diamonds, adding to its luxurious appearance. The base of the box was covered in fuchsia velveteen, enhancing the overall aesthetic and ensuring a striking presentation for the perfume. Varva's creation not only showcased their ingenuity in perfume packaging but also highlighted their attention to detail and commitment to offering a unique and visually appealing product.

For a comprehensive view of exquisite perfume bottles in vibrant illustrations, I recommend exploring "Masterpieces of the Perfume Industry" and "The Art of Perfume," authored by Christie Mayer Lefkowith. These books provide a detailed exploration of the artistic and historical significance of perfume bottles, offering readers a visual feast of beauty and craftsmanship within the fragrance industry.

It is essential to exercise caution when handling pearlized bottles, as their delicate finish, although initially designed to be resilient, can become fragile over time. After several decades, typically around 70 to 80 years, the pearlized coating can be easily damaged or removed by cleaning or rough handling. Once the finish is lost, it is irreparable and cannot be restored to its original state. Therefore, it is advisable to handle these bottles with utmost care and avoid any actions that could potentially compromise their delicate surface.

Evans Atarmist & Ronsons Perfu-mist Perfume Atomizers c1930s

Starting in the early 1930s, Evans, famous for their compacts and Ronson, famous for their lighters, brought out curious perfume flacons, both were similar and having the shape of a cigarette lighter, but sprayed perfume instead. Quite unique and daring for the time when it was still a little unladylike to smoke.


The Evans Atarmist came in two sizes, the larger one was meant to sit upon your vanity, whilst the smaller size was meant to be carried in your purse or pocket.


Ronson's Perfu-Mist also came in two sizes, one for the pocket or purse and one dubbed the Boudoir model, which was a large size and featured a handle.


Popular decorative motifs were engine turned designs, tooled leather, studded with jewels or marcasites, mother of pearl, goldtone metal or chromium plated finishes and French enamel. Some models were made of sterling silver.


Here are three pages from  May & Malone Co. catalog from1931 illustrating the various Atarmists and sets from their current line.

photos from ebay seller gdawg