Half Doll Boudoir Novelties Catalog Page

Here is a wonderful page from a 1926 catalog showing interesting half doll novelties in a variety of types. These feature the "Colonial Dame" brand or style composition heads. Most of these that we have seen were made in France. The half dolls were mounted on strong wire frames, have wavy wigs in colors of white, blonde, auburn and black. They are dressed in high quality materials and fabrics made up of rayon and silk taffeta with ornamental passementerie trimmings, some metallic. The fabric colors were chosen to work best in the boudoir in shades of "old rose", "copen" which is a soft blue, "orchid" and "tan". I suspect the entire ensemble was made and imported from France.

Arpege by Lanvin c1927

Arpège by Lanvin, launched in 1927, is one of the house's most iconic perfumes, created by André Fraysse and Paul Vacher. Its name, "Arpège," is drawn from the musical term "arpeggio," a sequence of notes played in quick succession rather than simultaneously. This reference to music was a personal tribute from Jeanne Lanvin to her only daughter, Marie-Blanche, who was a talented pianist. The name "Arpège" originates from French, and it resonates with imagery of elegance, grace, and harmony—qualities that embody both music and the fragrance itself.

The word "Arpège" evokes a sense of movement and rhythm. In a musical context, an arpeggio is a fluid, ascending or descending cascade of notes, creating a sense of flow and beauty. Translating this into a scent, "Arpège" suggests a perfume that unfolds in layers, with notes that rise and intertwine, much like the notes of a musical composition. The fragrance would be interpreted as sophisticated, delicate, yet dynamic—a melody of floral and aldehydic notes that harmonize to form an intricate and balanced whole.

Women in the 1920s would have related to a perfume named "Arpège" as something sophisticated and refined, likely associating it with the elegance of the modern, artistic woman. The Roaring Twenties were marked by a period of social and cultural transformation, with women embracing new freedoms, from fashion to lifestyle. They were stepping into public life more prominently, and a fragrance like Arpège would have appealed to their desire for luxury and individuality. The name itself, with its musical connotations, would have attracted women who appreciated art and refinement, as music and culture were highly regarded during this period.

At the time of its launch, the perfume landscape was rich with innovation. Chanel No. 5, launched in 1921, had introduced aldehydic florals into the mainstream, setting a trend for modern, abstract fragrances. However, Arpège distinguished itself through its complex, highly layered structure, composed of over 60 natural ingredients. It was classified as a floral aldehyde, much like its contemporaries, but with a softer, more romantic floral heart, emphasizing jasmine, rose, and lily of the valley. The use of aldehydes added a sparkling brightness to the bouquet, making the scent feel modern yet timeless.

The era saw the rise of opulent, multi-faceted fragrances that mirrored the complexity of the evolving social landscape. While Arpège followed certain trends, such as the use of aldehydes and florals, it was unique for its depth and sophistication, reflecting Jeanne Lanvin’s dedication to craftsmanship and artistry. It was a fragrance that stood for luxury, grace, and emotional expression, much like the music its name was drawn from.

Silver Mounted Perfume Atomizers and Scent Bottles c1913 Advertisement

Cut glass and sterling silver mounted perfume atomizers and scent bottles shown in an advertisement from a 1913 William Whiteley, Ltd. catalog. Also shown are silver mounted smelling salts bottle and eau de cologne cases. The perfume atomizers are called "scent sprays" in this catalog page.

Aluminum Perfume Bottles c1896

Aluminum perfume bottles and powder puff boxes shown in an antique Victorian 1896 Busiest House In America publication.


You may think that aluminum was an unusual metal to make perfume bottles from, but, at one time, the metal was highly prized. In the mid 1880s, aluminum metal was exceedingly difficult to produce, which made pure aluminum more valuable than gold. So celebrated was the metal that bars of aluminum were exhibited at the Exposition Universelle of 1855. Napoleon III of France is reputed to held a banquet where the most honored guests were given aluminum utensils, while the others made do with gold. But by 1895, a new process was developed to produce aluminum more inexpensively and soon it became a more common metal used for the making of a variety of household goods, including vanity items.

Aluminum was touted as untarnishable.

Celluloid Perfume Bottles 1927 Advertisement

Celluloid Perfume Bottles shown in a 1927 Advertisement for N. Shure Co.