CF Monroe Dresser Boxes

In this guide, I will present the various lines of Charles Fabian Monroe's opalware hinged dresser boxes, a favorite of mine. CF Monroe's factory located in Meriden, Connecticut. The opalware was manufactured, the end of the Victorian period and into the Edwardian era around 1892 to 1916. 

CF Monroe opened his first shop back in 1880, mainly dealing in imported glassware, undoubtedly from both France and Bohemia at the time. He was also the head designer for Meriden Glass Co., often going abroad to discover methods of decoration from many years earlier. By 1882, he operated a glass decorating studio assisted by local artists. Monroe's firm was known to have employed the top decorators in the area, chosen for their talent and proficiency.  

He advertised first rate decorative glass, oil paintings and a high quality art line of bric-a-brac objects. The public was delighted with his wares and as a result, the Monroe opalware was a success and peaked around 1890. This prompted Monroe to expand his line. Most of the CF Monroe opalware examples are divided into three main categories: “Wave Crest, Ware” “Nakara,” and “Kelva.” 

Leading Business Men of New Haven County, by William Hale Beckford, 1887:

"CF Monroe Opal Glass Decorating Works, 49 State Street, Meriden. The tendency of our age toward the cultivation of æsthetic taste has of late years been so marked as to combine the ornamental with the useful in every practicable manner, and art has attained a high degree of perfection in beautifying a large proportion of the articles entering into the furnishing of homes and places of business. In the decoration of glassware, mantels, lamp shades, etc., a wide field of usefulness has been opened up to designers and painters, and the business has attained such proportions as to place it among the important of our industries. 

A wonderfully successful house in this line is that of Mr. C.F. Monroe, No 49 State street, Meriden, which, in a general sense and especially as supplementing the principal manufacturing interests of the city, has attained a prestige and prominence exclusively its own. Mr Monroe was for fourteen years engaged as a designer in some of the leading glass works and lamp manufactories in Boston and Connecticut, and is an artist of exceptional ability. During the past six years his genius and skill has been brought into requisition by the extensive lamp manufacturers and kindred industries of Meriden, and for five years he has conducted the most complete opal glass decorating works in New England. 

His establishment is desirably located for his purposes, the premises comprising three floors of the large building No 49 State street, and the extensive business he has developed necessitates the employment of sixteen painters and designers, some of whom are recognized masters of their art, and are from the leading glass factories of Bohemia. 

The work executed in this establishment comprises the designing and decorating of work to match rooms, on glass shades, lamps, vases, plaques, tiles for mantels and paneling, portraits, figures and landscape painting on china, etc., and many other fancy art novelties, and orders for the highest type of art work every description are executed in the most satisfactory manner at short notice. 

Special shapes and designs in decorated glass for silverware and brass goods manufactured to be used in combination with their goods. A very elegant assortment of lamp shades and table salt spills, etc., in the most beautiful designs,is to be found here Mr Monroe is a native of Providence, RI, and has been eminently successful in the profession to which he has devoted the best energies of his life." 

Monroe's firm purchased undecorated glass blanks from American glass factories, among them: Rodefer Glass Co, of Bel Air, Ohio; and Washington-Pairpoint.. 

Rodefer Glass was originally named National Glass Works which was established in 1869 in Bellaire, OH. The glassworks failed in 1877 and was purchased and operated by the Rodefer Brothers, Albert, Thornton and John, until 1898 when two of the brothers sold their share in the company which left Thornton the sole owner. Thornton Rodefer passed away in 1910 and his son CM Rodefer assumed ownership. Under his control, the company thrived into the 1920s and an additional plant was erected close to the original. The Rodefer family merged with Gleason and became known as the Rodefer-Gleason Glass Co. The company continued operation until 1982. Rodefer's glass works mainly produced a variety of blown and pressed items which they sold to other companies. Advertisements of the period stated that they offered "blown and pressed specialties in private moulds." From the 1890s until 1910, Rodefer supplied their opal glass blanks to be decorated at CF Monroe's decorating studio.

In 1894, the Mount Washington Glass Co. was acquired by the Pairpoint Glass Co., both of New Bedford, Mass. This merger combined Mount Washington's significant expertise in glass with Pairpoint's additional metalworking skills. Pairpoint supplied Monroe with their opaque, milky opalescent glassware molded in a variety of forms. 

The Monroe lines were not just confined domestic glass, as he was still importing blanks from France which would eventually be decorated in his studio. These undecorated objects were purchased in small quantities from unknown European manufacturers. I believe that the majority of these were the unmolded, plain round boxes and not the ornately molded shapes supplied by Pairpoint. the French imported pieces were decorated in the style of antique Sevres china. 

The blanks were of a milky to creamy white opaque glass which he dubbed "Wave Crest Ware", and patented in 1892. The majority of the glass blanks were blown in full size molds, although it is reported that some have been found without mold marks. Early boxes are round in shape, while others were square shaped with rounded corners. One of the more popular shapes was a swirl pattern known as the "Helmschmied Swirl" also known as the "Erie Twist". Other boxes had Baroque shell designs, rococo scrolling, fluting, ribbing, and a puffy mold affectionately called "Egg Crate" for its similarity. Each piece was beautifully decorated with gold and enamels. 

Prior to painted decoration, Monroe's opalware glass blanks were were treated with a hydrofluoric acid bath, which rendered their lustrous surfaces mattified. Blanks which were not given the acid bath retained their glossy surfaces but their painted effects were mattified. Most blanks were given subdued background colors of black, lavender, ivory, pink, blue, green, apricot, yellow, rose, and royal blue. These enamels were then fired in a kiln which burned off the wax.

The main decoration was either transfer printed or hand painted with acid-reduced enamels, primarily in soft, delicate hues so favored by the Victorians. Once painted, the blanks were fired again. If raised enamel, gold coin enamel and gilding were applied, they required a third firing to fix them to the glass. The boxes featured an array of decorative motifs - flora, fauna and the delicate tracery of foliate motifs, seascapes and landscapes, figural cherub, Kate Greenaway style children, pastoral scenes of courting couples, and portraits of famous women such as Queen Louise. Other designs incorporated raised enamel dots and beading in intricate geometric patterns. 

Collectors have noticed that the decor was not of a commercial nature, but very similar to the earlier Mt Washington Glass Co's fine artistic work. Nothing was of an amateur hand, each item was decorated with precision and great care.  Albert Revi, editor of Spinning Wheel Magazine and numerous books on American glass stated: "While the Mt Washington Glass Co, New Bedford, Mass,. did not recognize or participate in Art Nouveau, one of its sister companies, the CF Monroe Co in Meriden, Conn., went full swing into introduction of fine art glass to the beauty-hungry public."

History of New Haven County, Connecticut, by John L. Rockey, 1892:

"CF Monroe's Decorating Works date their origin from 1882, when he began at Meriden on a small scale, extending his business until large works are occupied. The present plant, at the Waterbury depot, was built in the summer of 1888. It is a large frame, 2 stories high. In it are employed from 30 to 50 people, many of them being artists of high skill, and all having more than ordinary intelligence. Every of work is decorated, the paintings embracing designs from nature, landscapes, portraits and figures. The art novelties show the degree of skill in design and execution, many being the conception of Mr Monroe, who is a master in this art, and this establish is regarded as one of the leading decorating works in New England." 

Monroe's company offered hundreds of types of glass articles for utilitarian use. Most of the wares were made for ladies' boudoir use and included cologne and perfume atomizer bottles, jewel caskets, puff (powder) boxes, hair receivers, smaller jars meant for face creams, rouge or patches, glove boxes, pin trays and other related items. For the gentleman, other boxes were used as cigar humidors and collar and cuffs. 

Small boxes measured 3" diameter and stood 2" tall.

Larger boxes measured 7" diameter and stood about 4.75" tall.

American Druggist and Pharmaceutical Record - Volume 33, 1898:

"Wave Crest Ware. The CF Monroe Co. Meriden, Conn. have introduced a line of goods which is strikingly novel, and which will undoubtedly prove very salable. These goods comprise articles intended for wedding and holiday trade, such as puff, jewel and glass boxes, cigar sets, etc. Some idea of the artistic character of this ware is conveyed in the accompanying illustration. Copies of their beautiful catalogue containing prices and illustrated descriptions of this ware can be obtained by addressing the company as above. The bonbon tray illustrated herewith is a specimen of the work of the CF Monroe Co. It is made in opal, decorated in the most artistic manner, the grounds being of different tints and the decorations varied according to the designer's fancy. These particular trays are trimmed in gold plate, and are very attractive in every respect. The catalogue sent out by this firm to applicants mentioning this journal when writing them is one of the most beautiful and attractive pieces of work that we have yet seen, and a copy should be in the hands of every one of our readers. The cover in particular is unique and artistic in effect."  

The Jewelers' Circular and Horological Review - Volume 37, 1898:

"New Productions in Wave Crest Ware. As articles suitable for presentation purposes, the beautiful productions in Wave Crest ware of the CF Monroe Co. are perhaps unsurpassed in popularity by any lines of this character which come in to the jewelry trade. This season more than ever before the line of this company shown at their New York salesrooms, 38 Murray St., contains almost every article appropriate as gifts to both sexes that can be manufactured in this ware. Among these are many pieces like the bell here illustrated, whisk broom holders, etc., that are now made in Wave Crest for the first time. The greatest assortments among the presents for men are to be seen in the cigar and tobacco jars, ash receivers and like articles, while for the fair sex are jewel cases, glove boxe,s handkerchief boxes, ring trays and a host of small knick-knacks and ornaments dear to the feminine heart." 

Practical Druggist and Pharmaceutical Review of Reviews, 1898:

"The Wave Crest Ware is made only by the CF Monroe Co Meriden Conn. It is a new line of very novel and attractive articles for holiday and wedding presents. This illustration will give an idea as to the style, but it is better to write for their special P.D. catalogue, a large handsome book full of beautiful illustrations with prices from which they make an extra large discount, so that the goods can be easily retailed at less than the catalogue rates. If you do not wish to put in a line of these novelties for the coming holidays, by all means get their catalogue and a sample of the ware, so that you can show it to prospective buyers and take their orders for future delivery." 

The Pharmaceutical Era - Volume 21, 1899:

"The CF Monroe Co. of Meriden, Conn., now occupy as their New York salesroom the large store at No 28 Barclay street, where their Wave Crest ware for 1899 can be seen."

Geyer's Stationer.,1900:

"The demand for the popular Wave Crest Ware has been so great that the factory of CF Monroe Co. at Meriden, Conn. has proved very much too small. The capacity of the plant is being enlarged four fold. Work on the new buildings is being pushed as rapidly as possible and every thing will be in shape to fill all orders in time for the Holiday trade." 

Glass & Pottery World - Volume 10, 1902

"JJ Knoblaugh, representing CF Monroe Co of Meriden, Conn., is at the Palmer House with a full line of rich cut glass, Wave Crest ware, wedding and holiday novelties...The line of Wave Crest ware shows some of the most artistic hand painted goods on the market and the figures and faces are the work of an artist in every sense of the term. In certain of these figures the faces are especially fine, the expression being seldom equalled in goods of this character. These goods are shown in the Wave Crest gems, jewel boxes, vases, fern dishes, clocks and a number of novelties. Mr Knoblaugh arrived on the 11th inst and will remain about ten days then start on his Western trip. He has been covering this territory for three years and is well known to the trade." 

The Jewelers' Circular - Volume 79, Issue 2, 1919:

"CF MONROE IS MOURNED. Former Cut Glass Manufacturer Passes Away at His Home in Meriden, Conn. Nov 20, Chas. Fabyan Monroe for many years a leading cut glass manufacturer of this city, died at his home, 37 Parker Ave N., last evening following two months' illness of typhoid fever. He was 64 years old and had been a resident of Meriden for 40 years. He leaves a widow, two nieces: Mrs AB Squire, of New Haven, and Miss Marian Taft, of the same city, and two nephews: Walter G Taft of New York, and George A Taft, of Providence, RI. 

Mr Monroe was born in Providence and when quite young moved to New Bedford, Mass. From that city he came here about 40 years ago as a flint glass expert and then opened an art decorating room on W Main St, which he continued until he outgrew his quarters and moved to a more commodious location on State St. It was at this time that he designed the Wave Crest ware. 

Later Mr Monroe built a factory on W Main St., near Waterbury station with the cooperation of the late Horace C Wilcox. The CF Monroe Co., was the mainstay of the West Side and employed during the height of its prosperity about 200 hands. When the company ceased its activities, Mr Monroe turned his interest to other things and became the head of the decorating department of the Edward Miller & Co's plant. 

He was not only a skilled mechanic and manufacturer, but was an artist of real ability. He was an enthusiastic yachtsman and interested in all kinds of sport. Funeral services will be held this morning at 10 o clock at the home." 

 

After decoration, the boxes were fitted with gilt brass, bronze, Britannia metal, or silver plated hinged frames and some are propped up on ornate rococo feet. The metal frames were attached with plaster of Paris. Their interiors were fitted with padded silk linings in gentle shades of gold, rose pink, pale blue or gray, when intended to be used as jewel caskets, other boxes were not lined with silk as they were intended for use as powder or cream boxes.

Although in use since 1892, Monroe trademarked his Wave Crest line in 1898, followed by the highly artistic Nakara and Kelva lines which focused on elaborate painted decoration in the Art Nouveau fashion. Wavecrest was decorated in soft, pastel shades and the glass blanks had highly embossed details, which were sometimes gilded. It resembled fine imported bisque articles, in white and delicate tints, artistically decorated with muted flowers and figures. In fact, early mentions of it mistake it for porcelain.

House Furnishing Review - Volume 2, 1893:

"A VERY pretty variety of porcelain [sic], called the Wave Crest ware has been patented by C. F. Monroe & Co. , of Meriden, Conn., This is something entirely new and attractive." 

The Nakara line, introduced around 1900, was defined by its matte surfaces, deeper colors, unusual shapes, and accents of raised and beaded gilt embellishments. The Kelva line, introduced around 1904, is more exotic in my opinion. It featured pastel florals against a batik-like mottled background which was applied via daubing either with a rag or sea sponge.

Dating guide:

• Wave Crest - 1898 to 1916
• Nakara - 1900 to 1916
• Kelva 1904 to 1916.

When the CF Monroe factory closed its doors in 1916, the building and equipment were bought by Edward Miller and Co. Many of the Monroe decorators went to work for the new firm, taking their own brand of decorative knowledge with them. Some of the artists, trained at CF Monroe went on to work for the Handel Lamp Company, reverse painting the glass shades.

Some pieces are signed. Wave Crest might bear any of three marks: "Trademark Wave Crest" in black, a red banner mark or paper label "Wave Crest Ware Patented Oct 4, 1892." Kelva and Nakara are marked as such. Pieces marked "CFM" may turn up as well. However, the CF Monroe trademarks including Wavecrest, Nakara and Kelva are not always present on the boxes. Collectors should familiarize themselves with the distinctive shapes and decoration of these boxes so they can be recognized even if found unmarked.

Gallery of Wave Crest Ware:

Gallery of Nakara Ware:

Gallery of Kelva Ware:

Naj Oleari by Naj Oleari c1988

 Naj Oleari by Naj Oleari: launched in 1988 in association with EuroItalia. 

Naj Oleari is an Italian brand known for its fashion and fragrance lines. The collaboration with EuroItalia likely refers to their partnership for producing fragrances. EuroItalia is a renowned Italian fragrance company known for creating and distributing perfumes for various brands.

Rudross Manchester

Launched in 2023, Rudross Manchester is a newly born, Manchester, England-based niche perfumery brand. Rudross was"inspired by modernity and by moments that are created here and now...Inspired by modern youth trends, Rudross created a brand that reflects the diversity of the modern person in perfume compositions."

Electrique by Max Factor c1954

 In the early 1950s, the world was emerging from the constraints of wartime austerity and diving into an era characterized by optimism, innovation, and a keen fascination with modern technology. The post-World War II period was marked by rapid advancements in various fields, including fashion, entertainment, and consumer goods. The cultural climate was vibrant, with a strong emphasis on modernity and progress. Women were increasingly embracing new roles in society and were looking for products that reflected their aspirations and the spirit of the times.

Max Factor, a renowned name in cosmetics and perfumes, chose the name "Electrique" for its 1954 perfume, reflecting the era's fascination with electrical advancements and the excitement surrounding new technologies. The word "Electrique" means "electric" in French, and it was often associated with the dynamic, electrifying changes happening across various domains—be it in the realm of fashion, home appliances, or entertainment. In this context, "Electrique" would evoke a sense of modernity and cutting-edge innovation.

For women of the 1950s, a perfume named "Electrique" would resonate strongly with the zeitgeist of the time. It suggests a fragrance that is not only sophisticated but also embodies the excitement and energy of the new era. The term "Electrique" would evoke images of bright city lights, technological progress, and a sense of avant-garde elegance. Women would likely be drawn to a perfume with such a name because it reflects a sense of empowerment and embraces the forward-thinking spirit of the era.

ELECTRIQUE by MAX Factor brilliant new fragrance... beautifully gift-packaged! Scintillating Idea: give her the fragrance that kindles the night with excitement.

Champagne by Yves Saint Laurent c1993

 Champagne by Yves Saint Laurent: launched in 1993.

Coalport Porcelain Jeweled Ball Perfume Bottles

Established in 1795 in Coalport, Shropshire, England, Coalport quickly emerged as one of the foremost producers of fine porcelain during the late 18th and early 19th centuries. Renowned for its exceptional craftsmanship, Coalport's creations were celebrated for their intricate designs, which often featured hand-painted floral motifs, landscapes, and elaborate decorative patterns.

A significant achievement of the Coalport firm was its pioneering development of "bone china," a type of porcelain that incorporated bone ash. This innovation resulted in a porcelain with remarkable translucency and strength, distinguishing it from other ceramics of the era.

Coalport's excellence in porcelain craftsmanship did not go unnoticed, earning the firm royal patronage. They were appointed as official porcelain manufacturers to the British Royal Family, serving Queen Victoria and various members of the aristocracy.

Despite its rich and storied history, Coalport, like many traditional pottery firms, encountered challenges in the 20th century due to shifting tastes and economic changes. Nevertheless, the legacy of Coalport continues to be celebrated by collectors and enthusiasts around the world.

While Coalport's history is vast and fascinating, there is already a wealth of information available online and in books. Rather than delving into the entire history, it is often more effective to focus on specific aspects or questions that capture your interest.

In 1780, John Rose, a skilled artisan trained at the Caughley porcelain works, embarked on an ambitious venture by establishing a small porcelain factory in Jackfield, near the Severn River. This initial endeavor laid the groundwork for what would become one of England's most distinguished porcelain manufacturers. A decade later, in 1790, Rose relocated his growing enterprise to Coalport, a mere mile downriver, where he would eventually purchase the Caughley factory in 1799. This strategic move not only expanded his operations but also positioned Coalport as a prominent player in the porcelain industry.

John Rose's background at Caughley undoubtedly played a crucial role in the success of his new venture. The expertise and techniques he acquired there allowed him to produce high-quality porcelain that quickly gained a reputation for excellence. The acquisition of the Caughley factory further solidified Coalport's standing, merging the legacy of Caughley with the innovation of Coalport. Rose's leadership and vision led to the continued prosperity of the business, even after his death in 1841, when his nephew took the reins.

The transition of Coalport to the hands of a company in 1875 marked a new chapter in its history. The Coalport China Company, which continued operations on the original site, navigated the challenges of the late 19th century, a period marked by industrialization and changing consumer tastes. Despite these shifts, Coalport maintained its reputation for producing fine porcelain, a testament to the enduring appeal of its craftsmanship and design.

A notable aspect of Coalport's operations was its production of whiteware, much of which was sold in London to decorators from across England. Coalport's commitment to imitating the rich ground colors of Sèvres porcelain demonstrated its dedication to maintaining high standards of quality and artistry. This focus on replicating the elegance of European styles helped cement Coalport's place in the annals of fine porcelain, ensuring its legacy continues to be celebrated by collectors and enthusiasts worldwide.

In its early years, Coalport closely followed the patterns and decorations established by the Caughley porcelain works, ensuring a seamless transition as John Rose expanded his operations. However, as the company grew, Coalport ventured into more ambitious endeavors, producing exquisite reproductions of porcelain from some of Europe's most prestigious firms, including Sèvres, Derby, Meissen, Dresden, and Chelsea. These reproductions were not merely inspired by the originals; they were meticulously crafted copies, including vases, cabinet pieces, and tableware, often replicating even the original makers' marks with astonishing accuracy.

To achieve this level of precision, Coalport employed highly skilled painters from renowned pottery centers such as Worcester, Derby, and Staffordshire. Their expertise allowed Coalport to create pieces so convincingly similar to the originals that even seasoned collectors were sometimes deceived into believing they were acquiring authentic antique porcelain. This ability to replicate both the artistry and the authenticity of the marks from these iconic European manufacturers is a testament to the extraordinary craftsmanship that defined Coalport's production.

While the fact that Coalport's pieces could pass for originals might be seen as a form of deception, it also highlights the company's commitment to meeting the high standards set by its European counterparts. By doing so, Coalport not only catered to a market eager for the beauty and elegance of prestigious porcelain but also democratized access to such luxury, offering finely crafted pieces to a broader audience.

These reproductions allowed Coalport to carve out a unique niche in the porcelain industry, blending reverence for traditional European styles with their own distinct craftsmanship. The legacy of these reproductions endures, as they remain highly valued by collectors, not only for their beauty but also for the remarkable skill with which they were created.

In the latter half of the 19th century, Coalport manufacturers expanded their artistic repertoire by introducing a technique known as "jewelling." This innovative method involved the precise application of small beads of colored enamel, most commonly in turquoise, onto a gold ground. The jewelling technique created a striking decorative effect, adding a layer of opulence and texture to Coalport's already renowned porcelain pieces.

The origins of jewelling are often credited to the Worcester porcelain factory, which is believed to have first developed and introduced this technique in the mid-1860s. However, Coalport played a crucial role in refining and popularizing jewelling, integrating it into their wide range of porcelain products. The use of turquoise enamel became particularly iconic, imbuing tea wares, tableware, and ornamental pieces with a distinctive and luxurious aesthetic.

Coalport's jewelling was not merely decorative but a testament to the company's commitment to precision and artistry. The intricate beads of enamel were meticulously applied, often in conjunction with raised gold decorations, creating a rich, layered design that appealed to the most discerning of tastes. This combination of jewelling and gold decoration exemplified Coalport's dedication to craftsmanship and attention to detail, ensuring that each piece was both beautiful and unique.

These elaborately embellished wares quickly became sought after, both in Britain and internationally. Collectors and consumers alike were drawn to the exquisite beauty and sophistication of Coalport's jewelled porcelain, further solidifying the company's reputation as a leader in fine porcelain manufacturing. The enduring appeal of these pieces speaks to Coalport's innovative spirit and their ability to elevate traditional porcelain art into something truly extraordinary.

The jewelled pieces produced by Coalport during this period exemplify the company's remarkable ability to adapt to evolving tastes while preserving their reputation for crafting exquisite and luxurious porcelain wares. These intricately decorated items reflect Coalport's keen awareness of the shifting preferences of their clientele, particularly during an era when opulence and intricate detailing were highly valued. Today, these pieces are not only treasured for their aesthetic appeal but also for their historical significance, making them highly prized by collectors.

This article focuses on a specific category of Coalport's specialized products: the ball-shaped perfume (or scent) bottles with hinged caps, adorned with tiny turquoise enameled dots, known as "jewels." These bottles are a striking example of Coalport's expertise in creating jewelled porcelain in the Sèvres style. The porcelain itself is often lavishly covered or accented with gold enamel, further enhanced by richly detailed, raised gold borders, and elaborate enamel rococo scrolling. This combination of jewelling and intricate gold work results in a luxurious and visually captivating design that showcases the height of Coalport's artistic achievements.

One of the most enchanting features of these perfume bottles is the use of multicolored enamel cabochons, which are designed to mimic the appearance of precious and semiprecious gems such as opals, moonstones, and agate. This careful attention to detail adds an additional layer of sophistication and opulence to the pieces, elevating them from mere decorative objects to works of art. These cabochons not only enhance the visual appeal of the bottles but also reflect the innovative spirit of Coalport, as they sought to create items that were as unique as they were beautiful.

The ball-shaped perfume bottles with jewelled decorations are a testament to Coalport's ability to blend traditional porcelain techniques with innovative design elements, resulting in creations that continue to captivate and inspire admiration. Their enduring appeal underscores the lasting impact of Coalport's contributions to the world of fine porcelain, as these pieces remain a cherished part of the legacy they left behind.

Coalport's dedication to craftsmanship and innovation is epitomized in their intricate and decorative perfume bottles. These bottles, adorned with painstakingly applied jewels and elaborate enamel work, were not merely functional items but were also treasured as works of art. Collectors and connoisseurs of the time would have highly prized these exquisite creations for their unparalleled beauty and artistic merit. The meticulous attention to detail and the luxurious materials used in their production reflect Coalport's unwavering commitment to producing objects of the highest quality.

The influence of the Sèvres style is prominently displayed in the design and decoration of these perfume bottles, showcasing Coalport's ability to emulate and reinterpret the refined aesthetics of one of Europe's most renowned porcelain manufacturers. By incorporating elements of Sèvres' elegance and sophistication, Coalport succeeded in creating pieces that not only rivaled but also redefined the standards of luxury porcelain. The jewelled perfume bottles, with their rich ornamentation and elaborate designs, serve as a testament to Coalport's ability to blend traditional European influences with their own distinct craftsmanship.

It is fascinating to consider how these perfume bottles, while serving a practical purpose, also functioned as decorative objects that captured the essence of luxury and elegance in their time. The dual nature of these pieces—both functional and ornamental—allowed them to be appreciated not only for their utility but also as symbols of status and refinement. Coalport's jewelled bottles embody the height of 19th-century decorative art, where beauty and practicality were seamlessly intertwined.

In 1892, the Pottery Gazette praised Coalport's work, noting that their "ornamentation is exceedingly rich, and is shown on a great variety of fancy shapes.... The imitations of jewelled setting is very perfect, particularly the topaz and pearl." This recognition highlights the exceptional quality of Coalport's craftsmanship and the high regard in which their products were held. The jewelled settings, especially those mimicking precious stones like topaz and pearl, were executed with such precision that they could easily be mistaken for the real thing.

Coalport's use of reserved panels (or windows) on their porcelain, where ground colors were paired with a variety of decorative motifs, further exemplifies their artistic versatility. These panels often featured naturalistic floral motifs, garlands, lacy festoons, wreaths, birds, scenic landscapes in the manner of Watteau, as well as portraits and figures. Each piece was a canvas for Coalport's artisans, who employed a wide array of colors and designs to create visually stunning and diverse works.

The ground colors used on these pieces were equally varied and richly hued, encompassing shades such as Mazarin blue, bleu de roi (Sèvres' turquoise), Rose Pompadour (sometimes incorrectly called rose du Barry), claret, salmon, teal, crimson lake, apple green, sky blue (also known as turquoise or celeste), gray, buff, Swansea blue, a bright canary yellow, mauve, magenta, maroon, Sardinian green, and café au lait, among others. These colors, combined with the intricate jewelling and detailed ornamentation, resulted in perfume bottles that were not only functional but also masterpieces of decorative art.

Chats on English China by Arthur Hayden, 1904: "A maroon ground introduced by Walker from Nantgarw about 1822 The deep mazarine blue of Derby reproduced at Coalport is quite equal to Derby pieces in tone. The rich ground colours of old Sèvres porcelain were copied with great success at Coalport particularly the turquoise blue and the rose du Barri."

Arthur Hayden's "Chats on English China" and the Pottery Gazette provide rich, detailed descriptions that vividly illustrate Coalport's exceptional mastery in ornamentation and their diverse decorative techniques and ground colors. These historical accounts highlight the remarkable skill and artistic range that set Coalport apart as a leading porcelain manufacturer.

The Pottery Gazette’s accolades for Coalport’s rich ornamentation and their flawless imitations of jewelled settings underscore the company's commitment to quality and precision. The ability to replicate the appearance of precious stones like topaz and pearl with such realism reflects Coalport's expertise in creating luxurious decorative effects that were both visually stunning and technically sophisticated.

Hayden’s reference to the maroon ground introduced by Walker from Nantgarw around 1822, and the deep mazarine blue of Derby, which Coalport successfully reproduced, further exemplifies the firm's commitment to excellence in color replication. These achievements were not mere imitations but were executed with a level of skill that equaled, if not surpassed, the originals. Coalport's ability to faithfully recreate the rich ground colors of old Sèvres porcelain, particularly the turquoise blue and the rose du Barri, is a testament to their meticulous craftsmanship and deep understanding of color.

The versatility of Coalport's designs is evident in their wide range of decorations, including naturalistic floral motifs, garlands, scenic landscapes, and portraits. By drawing inspiration from various sources, Coalport was able to produce pieces that appealed to a diverse clientele, each piece reflecting the artistic trends and tastes of the time. This adaptability ensured that Coalport remained relevant and in demand, offering something for every collector and connoisseur.

The extensive palette of ground colors used by Coalport, from Mazarin blue to Sardinian green, highlights the company's commitment to innovation and experimentation. The successful reproduction of rich ground colors from esteemed manufacturers such as Derby and Sèvres not only demonstrated Coalport's technical prowess but also solidified their reputation as a leader in the porcelain industry. These colors were not simply background elements but were integral to the overall aesthetic, enhancing the intricate designs and elevating the visual impact of each piece.

Together, these descriptions from Hayden and the Pottery Gazette offer valuable insights into the craftsmanship, creativity, and technical mastery that distinguished Coalport during the late 19th and early 20th centuries. Their ability to combine tradition with innovation allowed them to create porcelain that was not only beautiful but also enduringly significant in the history of decorative arts.

The China Decorator - Volumes 10-11, 1891:

"The Coalport enamelers may be quite as skillful - nay, much more so - than those of the Coalport ateliers, but their work is intended to make a greater show and attract more attention than that of the Coalport artists. Turquoise is their great material for exhibition. The article to be enameled is first covered with gold, fired, and nicely burnished. Then the enamel is laid on the graduated dots (to make it plain to the reader) from large to small in perfect sizes and pattern. Small articles for cabinets and ornament as tiny bon-bon boxes, jewel cases, scent bottles, etc., and on very small articles sometimes shows several hundred dots of enamel. Cups and saucers are also decorated in the same fashion, and such articles being from $8 or $10 each to $50 in retail shops. 

Besides a very elaborate employment of turquoise blue enamel, they also use enamels, imitating pearls and other translucent gems. With opals particularly they are very successful. The center of the article or space to be decorated first has a gold design in imitation of jewelry work, sometimes with raised paste, oftener flat. After firing and slightly polishing, the enamels are laid on for the second firing. 

The method of work is kept as great a secret as possible, and the imitation of opals, which is accomplished with a combination of transparent and semi-opaque enamels, is really marvelous. Since imitating jewels with glass has become so successful and popular, it is possible that these so called enamel opals are in reality glass jewels. It would be quite possible to make one appear quite like the other without detection, but the artists and manufacturers say the work is enameling, and there is no reason why they should misrepresent facts." 

The detailed account from The China Decorator (Volumes 10-11, 1891) provides a fascinating glimpse into the meticulous and highly skilled work of Coalport's enamelers during this period. The publication contrasts the work of the Coalport enamelers with that of other ateliers, noting that while Coalport's work might be more showy and designed to attract attention, it nonetheless demonstrates an extraordinary level of craftsmanship. This is especially evident in the use of turquoise enamel, which became a signature element in Coalport's decorative repertoire.

The process described for applying the turquoise enamel is both intricate and methodical. The piece to be enameled is first covered with gold, which is fired and burnished to a high sheen. Then, the enamel is applied in graduated dots, carefully sized and arranged to create a harmonious pattern. This level of precision is particularly impressive when considering the scale of the objects being decorated—tiny bon-bon boxes, jewel cases, and scent bottles—where several hundred enamel dots might be applied to a single piece. Even cups and saucers were decorated in this elaborate fashion, commanding prices that reflected the labor and skill involved, ranging from $8 to $50 in retail shops of the time.

Beyond turquoise, Coalport's enamelers also employed other colored enamels to imitate precious and semi-precious gems. Their work with opals is particularly noteworthy, with the artisans achieving remarkable success in replicating the appearance of these translucent gems. The method for creating these enamel opals was kept a closely guarded secret, involving a combination of transparent and semi-opaque enamels that, when fired, produced an effect almost indistinguishable from real opals. This technique was so effective that it raised questions about whether the so-called enamel opals might actually be glass jewels. However, the Coalport artists and manufacturers insisted that the work was indeed enameling, maintaining a level of transparency and integrity in their craft.

The article sheds light on the innovative techniques and artistic ingenuity that characterized Coalport's production during the late 19th century. The combination of gold and enamel, particularly in the creation of jewel-like effects, underscores Coalport's dedication to producing luxurious and visually striking porcelain. The secrecy surrounding their methods further adds to the mystique and allure of Coalport's work, making their pieces not only objects of beauty but also of intrigue. These intricate and jewel-like decorations highlight the exceptional skill of Coalport’s artisans and their ability to push the boundaries of what was possible in porcelain decoration during this era.

Table Talk - Volume 8, 1893:

"A new departure is the "Chalcedony," still Coalport, but with a new blue for grounding and a perfect imitation of moss-agate, introduced with all the shadings and beauty of the real stones. Lovely plates, the centre pieces, miniatures, copied from the portraits of Reynolds and Gainesborough, again the café noir cups and saucers, the grounding the brown of the coffee berry with decorations of bright gold - the inside of cup entirely burnished gold. This delicate, exquisite porcelain seems adapted to fancy pieces for gift and cabinet purposes and the dressing tables of the fair women of many countries are beautiful with its graceful, dainty presentations."

The British Trade Journal - Volume 31, 1893

"The Coalport China Company - Rarely have more beautiful or costly pieces of china been sent to any exhibition than those forwarded to Chicago by the Coalport Company. Plates, vases, and trinket boxes comprise the greater part of this magnificent display. A specialty is the chalcedony decoration, which reproduces the hues of the agate, and there is a lovely Sèvres glaze on the ware, and the precious stone appears to have been inlaid. Two graceful vases a present for Princess Christian are adorned with this scheme." 

The Book of the Fair, Hubert Howe Bancroft · 1894

"A specialty of the Coalport China company's exhibits is its reproduction in chalcedony of the hues of agate, as may be seen in two of its vases intended for Princess Christiana."

The references from Table Talk (1893), The British Trade Journal (1893), and The Book of the Fair (1894) collectively paint a vivid picture of Coalport’s innovative and luxurious contributions to porcelain artistry during the late 19th century. These publications highlight Coalport's introduction of the "Chalcedony" decoration, a significant departure from their previous styles, showcasing the company's continual evolution and adaptability in the decorative arts.

The "Chalcedony" technique, as described in Table Talk, is particularly notable for its ability to perfectly imitate the natural beauty of moss-agate. This innovation involved a new blue ground that added depth and richness to the porcelain, creating a stunning visual effect that closely resembled the complex shadings and patterns found in real agate stones. The delicate, intricate craftsmanship of Coalport’s chalcedony pieces made them ideal for use as cabinet pieces, gifts, and ornamental items, particularly on the dressing tables of fashionable women. The combination of exquisite miniatures, often copied from portraits by renowned artists like Reynolds and Gainsborough, with café noir cups and saucers featuring brown coffee berry grounds and burnished gold interiors, exemplifies Coalport's mastery in blending utility with artistic beauty.

The British Trade Journal emphasizes the impact of Coalport's chalcedony decoration at international exhibitions, particularly at the Chicago World's Fair. The journal describes the magnificent display of plates, vases, and trinket boxes, all adorned with the chalcedony decoration that mimicked the hues of agate so convincingly that it appeared as if the precious stone had been inlaid into the porcelain. The inclusion of a lovely Sèvres glaze added to the allure, enhancing the richness and elegance of these pieces. The journal also notes the creation of two graceful vases, specially crafted as a gift for Princess Christian, adorned with this innovative decoration, highlighting the prestige and high regard in which Coalport's work was held.

Similarly, The Book of the Fair reiterates Coalport's specialty in reproducing the hues of agate in chalcedony, particularly noting the significance of the vases intended for Princess Christian. This further underscores the importance of this technique in Coalport’s repertoire and its appeal to an elite audience.

Together, these descriptions offer a comprehensive view of Coalport’s ability to innovate within the traditional boundaries of porcelain making, introducing new techniques and designs that captured the imagination of both collectors and the broader public. The chalcedony decoration, with its perfect imitation of natural stones and luxurious finishes, stands as a testament to Coalport’s commitment to excellence and its ongoing influence in the decorative arts of the time.

The British Trade Journal - Volume 31,

"The Coalport China Company, in addition to a number of new goods in their first-class artistic ornamental wares, are making many novelties in useful ware, but all elegant in shape and rich in decoration. Some of their new decorations, introduced for exhibition at Chicago, will be seen this season in many of their productions for home purposes. The latest novelty they have, the "Chalcedony," is perfectly unique. It is a splendid imitation in china of "moss agate," and is most artistically introduced into almost every useful article made by the firm, dessert plates, teas, scent bottles, plaques, wall pockets, and even teacups and saucers, are all shown with this realistic imitation agate, introduced with fine effect."

The British Trade Journal offers a compelling insight into Coalport China Company's innovative approach during the late 19th century, particularly in the context of their "Chalcedony" decoration. This unique and novel technique, which debuted at the Chicago World's Fair, represents a significant evolution in Coalport's repertoire, combining both artistic excellence and practical application.

Coalport's "Chalcedony" decoration is described as a splendid imitation of "moss agate," a technique that was not merely limited to ornamental pieces but was also applied to a wide range of functional wares. The realistic portrayal of agate in porcelain demonstrated Coalport's mastery in marrying utility with aesthetic sophistication, ensuring that even everyday items could be elevated to objects of art. This versatility is evident in the wide array of items adorned with the chalcedony technique, from dessert plates and teacups to scent bottles and wall pockets. Each piece was crafted with the same attention to detail, allowing the rich, natural beauty of agate to be appreciated across various forms.

The Journal highlights how this realistic imitation of agate was introduced with fine effect into Coalport's first-class artistic ornamental wares, demonstrating the company's ability to innovate while maintaining their commitment to elegance and luxury. The use of chalcedony in such a broad spectrum of products also reflects Coalport's strategy of expanding their market appeal by offering high-quality, artistically decorated items for both exhibition and everyday use.

Overall, the introduction of the "Chalcedony" technique marks a significant milestone in Coalport's history, showcasing their ability to push the boundaries of porcelain design while remaining true to their tradition of excellence. The fact that these novelties were not only displayed at prestigious exhibitions but also made available for home purposes underscores Coalport's influence in setting trends and catering to the evolving tastes of consumers during that era.

Gallery of Scent Bottles:

Coalport's participation in the 1893 World's Columbian Exposition in Chicago was a significant milestone for the company, showcasing their elaborate and meticulously crafted porcelain wares to a global audience. The display included a range of intricately jeweled pieces that captured the attention of visitors and judges alike. The gold medal awarded to Coalport not only recognized the excellence of their work but also brought international acclaim, enhancing the company's reputation as a leading porcelain manufacturer.

The elaborately jeweled examples featured at the exposition were likely reminiscent of the ball-shaped perfume bottles described earlier—pieces adorned with tiny turquoise enameled dots or beads, enriched with gold enamel, and highlighted with raised gold borders. These pieces were further embellished with multicolored enamel cabochons that mimicked precious and semiprecious gems, adding to their luxurious and eye-catching appeal. Such intricate details would have made these pieces stand out at the exposition, reflecting Coalport's commitment to both artistry and craftsmanship.

Winning a gold medal at such a prestigious event provided Coalport with a platform to demonstrate their skill and creativity on an international stage. The success at the World's Columbian Exposition not only bolstered their prestige but also likely increased their visibility and sales in the global market. The exposition was a key opportunity for artistic exchange and innovation, and Coalport's ability to stand out among numerous exhibitors highlights the exceptional quality and allure of their porcelain wares.

The recognition garnered at the exposition would have been a significant boost to Coalport’s reputation, reinforcing their status as a premier manufacturer of fine porcelain. The dazzling and opulent designs showcased would have captivated attendees and further established Coalport's legacy in the world of decorative arts.

Marks Found on Coalport Perfume Bottles:

The Coalport Crown Mark shown below was used by the company during the late 19th and early 20th centuries, specifically from approximately 1891 to 1919. Marks like these are crucial for identifying and dating Coalport porcelain pieces, as they provide valuable information about the manufacturer and the time period in which the piece was produced.

The Crown Mark typically features a crown atop a banner or ribbon, often bearing the name "Coalport" or initials representing the company. These marks were usually stamped or painted onto the base of the porcelain pieces.

By studying the variations and characteristics of these marks, collectors and enthusiasts can determine the age and authenticity of Coalport porcelain items, helping to preserve and appreciate the rich history and craftsmanship associated with this renowned pottery firm.

 

Folie Douce by Parfums Gres c1997

"Folie Douce" by Parfums Grès is a captivating fragrance that was introduced in 1997. Sophie Labbé, renowned for her olfactory expertise, collaborated with Nathalie Lorson to craft this enchanting scent. The name itself, "Folie Douce," suggests a blend of whimsy and sweetness, which perfectly captures the essence of the fragrance. With its unique combination of notes, it has undoubtedly left a lasting impression on perfume enthusiasts since its launch.

Bourrasque by Le Galion c1937

In 1937, the world was grappling with the lingering effects of the Great Depression, a time marked by economic hardship and uncertainty. Despite the prevailing hardships, the era also held a romanticized view of love, often depicted in literature, art, and cinema as a refuge from the harsh realities of the time. Films of the period often explored themes of romantic love as a means of escapism, offering audiences a temporary respite from their everyday struggles.

Against this backdrop, Le Galion chose the name "Bourrasque" for their perfume. The word "Bourrasque" in French means a gust of wind or a squall, typically associated with sudden, intense bursts of weather. This name evokes a sense of drama, unpredictability, and a touch of wildness, characteristics that could metaphorically apply to both love and the spirit of the times.

"Bourrasque" would make a compelling name for a perfume because it suggests passion, intensity, and perhaps a hint of danger or adventure. In the context of the 1930s, women might have been drawn to such a name as it promised excitement and allure, qualities that contrasted with the economic and social constraints of the era.

Women of the time period would likely respond positively to a perfume called "Bourrasque" as it would evoke feelings of romance, intrigue, and a sense of living life to the fullest despite adversity. The name itself conjures images of windswept landscapes, tempestuous emotions, and the thrill of being swept off one's feet by love or adventure.

The uniqueness of the name "Bourrasque" lies in its evocative power and its ability to transport the imagination. It suggests a narrative of passion and spontaneity, appealing to those seeking a fragrance that embodies both elegance and a touch of daring. For consumers in the 1930s, "Bourrasque" would have been interpreted as a symbol of resilience and hope, encapsulating the spirit of embracing life's storms with grace and allure.