Salon de la Parfumerie at the Palais de Glace 1927

Palais de Glace

Théâtre du Rond-Point is a theatre in Paris, located at 2bis avenue Franklin-D.-Roosevelt, 8th arrondissement. The theatre began with an 1838 project of architect Jacques Ignace Hittorff for a rotunda in the Champs Elysees. Inaugurated in 1839, this structure was integrated with other Hittorff buildings for the Exposition Universelle (1855) and destroyed the following year. A new replacement panorama, Le Panorama National, was designed by architect Gabriel Davioud at the corner of the Avenue d'Antin (now Avenue Franklin D. Roosevelt) and the Champs-Élysées.

In December 1893, the rotunda became the Palais de Glace (Ice Palace), one of the most popular attractions of Belle Époque Paris. It was here that the first Salon de Parfumerie was held from the 12th to the 15th of June 1927. This was an exhibition of popular perfume companies of the period.

This was noted in Perfumery and Essential Oil Record, Volume 18, 1927: 

"Revue des Marques" (43, Avenue Gambetta, Paris) are preparing an exhibition of perfumery, soap and allied industries in the Palais de Glace in the Champs - Elysées, Paris, from June 1 - 15."

Chemist and Druggist, The Newsweekly for Pharmacy, Volume 106, 1927:

"The “Salon de la Parfumerie" in the Palais de Glace, in the Champs Elysées, was opened by the Minister of Commerce on June 1. This new venture organized by the "Revue des Marques de la Parfumerie" is quite a pretty little show of French perfumery, just big enough to be worth the entrance fee, yet small enough to enable the usual "exhibition headache" to be avoided. I have seen a certain number of perfumery courts at international and other exhibitions, but cannot remember any where the stands, while remaining so thoroughly individual, were grouped in a more harmonious whole of such pleasing aspect."

Perfumery and Essential Oil Record, Volume 18, 1927:

"At the Perfumery Exhibition held in the Palais de Glace, Paris, recently, the prime material houses were represented , among others, by - Pilar Freres, Grasse; J. Mero & Boyveau, Grasse; Progil; Th. Mulhlethaler (S.A.), Nyon; Establissments Antoine Chiris; L. Givaudan & Cie; Parosa, Issy-les-Moulineaux; Schmoller & Bompard (S.A.), Grasse; Fabriques de Laires, Issy-les-Moulineaux; Polak & Schwarz, Zaandam; P. Robertet & Cie, Grasse; and Lautier Fils, Grasse."

 

Revue des Marques de la Parfumerie et de la Savonnerie, 1927:

"In our last issue, we let our readers know the general lines of what this event would be; the ground floor of the Palais de Glace will be reserved for made-up Perfumery; on the first floor the ancillary industries will be divided between 40 stands or locations, the entire exhibition was designed by Mr. Raguenet and Mr. Maillard, graduate architects of the government, whose good taste had already manifested in the realization of the class 23 at the Exhibition of Decorative and Modern Industrial Arts. The Exhibition will be open to the public from June 1 to 15, every day, from 2 a.m. to 7 a.m. Entrances will be chargeable. The opening will take place on May 31 at 3 o'clock in the afternoon; this opening will be done by invitation only. The doors will be closed at 7 am to reopen at 10 am in the evening for a gala benefiting the Union of the War Blind. During the duration of the fair, each day different kinds of attractions will be presented to visitors in a specially equipped lounge. The invitations and cards will be strictly personal and withdrawn if they were loaned or transferred."

Let's Meet the Exhibitors:

Exhibitors included, click on the following links to see my articles or blog site on them:

Antoine de Paris, Cheramy, Bourjois, Corday, Coudray, Dorin, D'Orsay, Ganna Walska, Godet, Marcel Guerlain, Houbigant, Isabey, LT Piver, Lubin, Lydes, Malaceine, Marquis, Molinard, Mury, Nilde, Parfumerie Ninon, Rigaud, Robj, Roger et Gallet, Rosine, Societe Francaise de Produits de Beaute, Vigny and Ybry.

Of this list of companies only a few are still in business today, click on the following links to find their current website: Bourjois, Coudray, Dorin, D'Orsay, Guerlain, Houbigant, Isabey, LT Piver, Lubin, Malaceine, Molinard, Rigaud, Roger et Gallet, and Rosine.

What I found very curious was the lack of other prolific perfumers in Europe and United States such as Guerlain, Caron, Coty, Lanvin, Chanel, Elizabeth Arden, Ed Pinaud, Worth, Babani, Lentheric, Gabilla, Prince Matchabelli, Molyneux, Myrurgia, Ciro, Richard Hudnut, Dubarry, Forvil, Fontanis, Yardley and Grenoville.

Antoine de Paris:

Antoine de Paris was a famous hairdresser who introduced the popular ‘La Garçonne’ (urchin cut) of Flapper fame. Established by the Polish Antek Cierplikowski, known as Monsieur Antoine (born 1884) at 5 rue Cambon, Paris in the early 1920’s. By 1912, Antoine was bobbing women's hair in his Paris salon where the walls were hung with paintings by his friend Modigliani. After founding his famous Paris salon, Monsieur Antoine opened a salon at Saks Fifth Avenue in New York in 1924 which became the most fashionable hair salon in America. Antoine catered to the very rich and celebrities, including actresses, nobility, royalty, haute couturiers and socialites. Antoine opened his new salon, “The Glass House,” in Paris in 1927 with a fashionable “White Ball.” By 1962, there were 86 “Antoine” beauty salons in the United States from which Antoine collected a royalty on sales. The salons, only one to a city, were housed inside the upscale department stores such as Neiman Marcus, Saks Fifth Avenue, and JW Robinson.

The company also produced a range of cosmetics, toiletries and fragrances, each product's branding was designed by Sara Lipska. Sophisticated color combination of classic hues of black, white and gold, with the occasional pops of color corresponded with the Art Deco style found inside his salons. 

To learn more on Monsieur Antoine, you can read his 1945 autobiography simply titled Antoine by Antoine Cierplikowski.

Antoine's stand at the 1927 Salon de la Parfumerie (Palais de Glace). Fur rug and pleated-organdy-fabric ceiling. Madame Lipska (1882-1989), designer.

Les Parfums de Corday:

Next to Antoine's booth was the firm of Corday. Corday undoubtedly would have had shelves and tables showing off their popular fragrances of the fruity floral Femme du Jour and oriental Kai Sang in their black glass bottles, the luxurious water fountain shaped bottle for Jet. In the Antoine photo above, we see to the left, Corday's booth with the Baccarat flacons for Orchidee Bleue. 

Corday may have shown other perfumes such as the novelty bottles for Blanchette, the hot house flowers contained in Serre Fleurie and the strange scent of Toodleoo inside the egg bottle being hatched by the jaunty wooden bird. Their centerpiece is shown in the photo below, the Lucien Gaillard designed bottles holding Toujours Moi, the foundation of which originally started life as the favored incense used in the famous Notre Dame cathedral in France. 

I cannot fully tell from the photo below but Corday may have also exhibited their Jovoy brand of fragrances at the expo. These would have included the floral perfume Allez...Hop! housed in the cute Dalmatian puppy bottle, the floral Hallo Coco in a bright parrot bottle perched inside his gilded cage, the oriental fragrance Severem in the dromedary bottle complete with a Bedouin riding on the back, and the stunning example of Art Deco, Gardez-Moi in the black Baccarat crystal cat bottle.

Lubin:

Next to Corday, we see the booth for Lubin, a perfumery first established in 1798. Lubin had considerable success in the 1800s, and became the favorite supplier of most European royal courts. He was appointed Perfumer to Princess Pauline Borghèse in 1807 and in 1821 Perfumer to King George IV, who had given many rare and costly perfumes to Mrs Fitzherbert, his lover and later wife when he was Prince Regent. Lubin also provided perfumes to the Emperor of Russia. Lubin's continued success resulted in the creation of luxurious perfume bottles manufactured by Baccarat, Depinoix and Rene Lalique contributed his talents to the production of the bottle for Lacdor as well as some travel atomizers. Julien Viard lent his expertise in the design of the bottles for Magda, Eva, Monjoly and Enigma.

Lubin participated in the 1925 L'Exposition Internationale des Arts Décoratifs et Industriels Modernes (the famous Paris exhibition which initiated the Art Deco movement) and displayed their Douce France perfume,  and a newly introduced perfume, L'Ocean Bleu, it's bottle was designed by G. Chevalier particularly for the Exhibition. I imagine they would have displayed both of these fragrances again for the 1927 expo.

Robj:

On the opposite side of Antoine's exhibit is the booth for Robj. You can see the lighted perfume lamps in the Antoine photo shown above. The Paris based company Editions Robj (also Atelier Robj) sold ceramics and glass items designed by various artists and manufactured by themselves, among others. Established in 1908 by Lucien Willemetz, Robj ceramics are of two types: the utilitarian enameled porcelain figures made to appeal to popular taste and the elegant figures in cream-colored crackled porcelain that were usually designed as decorative statuettes. 

Robj is best known for his fantastic Art Deco styled products and did an extensive business by introducing humor into ceramics. Amusing novelty figures, especially animals, were utilized as book ends, lamps or pen holders , etc. Robj ceramics also included boxes, inkwells, ashtrays, cocktail shakers, candy dishes, coffee services, and incense burners. By 1924 he had produced a perfume intended for the use in perfume lamps which he called Le Secret de Robj. He also produced perfume for other companies.

Bourjois:

Bourjois would have exhibited their famous Ashes of Roses and it's related lines: Ashes of Violettes, Ashes of Carnations and others such as Mon Parfum and Miss Kate. In addition to the perfumery, Bourjois would most likely have displayed their various cosmetics such as the Poudre De Riz De Java face powder. They would not have exhibited the perfume Soir de Paris (Evening in Paris) until a year later.

Cheramy:

The American company Cheramy would have displays of their best selling perfume April Showers, and others such as Frolic, Offrande, Ciel Bleu, Cappi and Joli Soir. This company was acquired by Houbigant in 1922 and under their leadership, they managed to capture prizes at the 1925 Art Deco Exposition in Paris. The striking Art Deco graphics really captured the public's attention.

Ganna Walska:

Ganna Walska's short-lived company introduced its first perfume, the aptly bittersweet oriental Divorcons (Let's Divorce) in 1927 along with two others, the mixed floral bouquet of Cordon Bleu and the tangy citrus notes of Pour Le Sport at the Palais de Glace Exposition in Paris. She may have also displayed her Chypre and Près de Toi perfumes. Photo below shows Ganna Walska's stand at the 1927 Salon de Parfumerie (Palais de Glace).

Coudray:

Coudray of Paris France, originally established in 1810 by M. Maugenet and Dr. Edmond Coudray., a doctor-chemist, who traveled all over the world bringing back exotic raw materials. They became a major exporter during the 19th century and in 1837, the house of Coudray became the official supplier to the British Court.  They later opened a small cosmetics and perfume shop called Maugenet & Coudray located at 348 rue Saint-Honore, Paris in 1882. 

The company produced many luxury presentations and won several awards. They won two silver awards at the 1882 Exhibition, one in particular for their eau de cologne. Parfumerie E. Coudray would have had its well known Lettuce soap prominently on display alongside, sachet powders and numerous bottles of their superb eau de colognes. They most likely would have had bottles of Reve de Paris, Exor, Secret de Madame, Charme de France and Nohiba perfume stocked on shelving.

Dorin:

Maison Dorin would have displayed their line of cosmetics including their face powders and rouges contained in compacts. It may have also displayed the perfume Un Air de Paris.

D'Orsay:

Following down the line of booths we would have come to the fabulous booth of D'Orsay. D'Orsay was established in 1908 by a well organized investor group who selected the D'Orsay name and coat of arms to create the aristocratic and luxurious image of a long-established French company. The investors even went so far as to purchase a castle as their headquarters. The name for the company was a tribute to Alfred d'Orsay, known as the Comte d'Orsay (Count of Orsay), who was a French amateur artist, dandy, and man of fashion in the early- to mid-19th century. 

In 1925, D'Orsay was awarded the Grand Prix at the Art Deco exhibition in Paris. Several bottles were manufactured by Baccarat and Daum Nancy, such as the bottles for Toujours Fidele and Le Dandy. Other bottles and presentations were designed by Louis Süe and Andre Mare such as Le Dandy. Some bottles were designed by Paul C. Delaize in the 1920s and received American patents. However, the real showpieces of the D'Orsay line were those produced by Rene Lalique. The bottles for Mystere and Ambre are beautiful examples of his work in opaque black glass. The bottles for Le Succes and Roses featured adorable figural stoppers. 

I would like to think that the Lalique crystal La Renommee tester block with its five compartments would be present for ladies to try out the D'Orsay perfumes using its open flower daubers.

Godet:

Moving on over to Les Parfums Godet's booth, we might see an arrangement of various perfumes including Fleur Noire, Nuit de Mystere, Chypre, Sous Bois, Cuir de Russie, Secret d'Amour, Petite Fleur Bleue, Forget Me Not, Fleur Noire, Divin Mensonge, Folie Bleue and others. The perfume Chant du Soir could have also shared the exhibition shelves with its masterful blend of jasmine, spicy carnation, rose, lily of the valley and citrus on a chypre base. Godet's perfume bottles displayed some of the finest labels of the era and many of their perfumes were housed in Baccarat crystal and some were made by Depinoix. Other bottles to be noted are the red opaque glass flacons made by H. Saumont, these bottles were also used by the Lionceau perfume company for their perfumes. 

The Godet Perfumery was established at 37 rue saint-Lazare, Paris in 1901 by Julien-Joseph Godet. The company sold perfumes, toiletries and cosmetics, such as the popular Ma Poudre (My Powder) in 1911, which proved to be an avant garde presentation for its time. Godet succeeded in becoming a major international company by 1913, sadly the same year in which Julien-Joseph Godet died. The company was then taken control by his widow Louise and the company's director, Abel Ravaud. 

The company won a gold medal at the 1925 Exposition in Paris for their lovely perfume Folie Bleue, with its composition artfully blended with notes of bergamot, violet and woods. I would think this prize winning scent would be on prominent display in the 1927 expo as well.

Houbigant:

I don't even need to go on about Maison Houbigant's wondrous fragrances, but I will. This house goes all the way back to 1775. Throughout it's long history, Houbigant was patronized by the royal set and was appointed parfumeur to Marie Antoinette of France in 1790, Empress Josephine of France in 1805 , Princess Adelaide d’Orleans in 1829, Queen Victoria of England in 1839 , Empress Eugenie of France in 1857 , Emperor Napoleon III in 1870, Tsar and Tsarina of Russia in 1890, Queen Victoria of Spain in 1922, and Queen Marie of Romania in 1923. 

Houbigant celebrated its sesquicentennial anniversary in 1925.Displays bedecked with bottles of Quelques Fleurs and Parfum Ideal in gleaming Baccarat crystal. Often regarded as the first true multi-floral scent, Quelques Fleurs was the springboard for this type of perfume. Ideal was presented in a Baccarat crystal bottle and packaged in a fabric covered box that replicated an Oriental patterned rug that Alfred Javal had remembered seeing. 

Houbigant's exhibit would have also included other Baccarat bottles holding the woodsy floral Parfum d'Argeville in the gilded Regency apothecary bottle, Subtilite residing zenfully in the Buddha bottle, the spring floral essences of Parfum Inconnu, the soft oriental Un Peu d'Ambre, and the rarest roses of Grasse were housed inside the bottle for La Rose France.

Isabey:

Isabey's company conveyed the image of long-established, refined French artistry. Because they were well-financed, the company had all the earmarks of success: only the highest-quality perfumes with luxurious presentations and a most splendid shop. So great was their success that they had considerable exports to the USA. Many of their bottles were designed by Julien Viard and produced by Baccarat, Bobin Freres Glassworks, Moser, Depinoix and Rene Lalique.

 Isabey's booth would have been stocked full of their beautiful bottles holding Mimosa, Chypre Celtique, Sourire Fleuri, Tresor Cache, lotus laden Bleu de Chine, Le Lys Noir, Ambre de Carthage, Mon Seul Ami, and La Route d'Emeraude. 

Also on display at Isabey's booth, would be the unusual "Perle Flacons" designed by Andre Jollivet and manufactured by the Nesle Normandeuse Glassworks around 1925. These iridescent flacons were in the shape of pearls and came in various sizes, each was presented in a purple leatherette case. The most famous of these presentations was the six bottle "Le Collier d’Isabey", which mimicked a pearl necklace housed in a demi-lune shaped case, which won them the Gold Medal at the 1925 Paris Exhibition and was awarded gold, not bad for a company that was barely one year old. In addition to perfumes, Isabey also produced lipsticks, face powder, compacts, dusting powder, and a facial cleanser called Lait du Concombre, or milk of cucumber.

Les Parfums Lydes:

Walking around the exhibit, we would have encountered the booth for Les Parfums Lydes. Established in 1918 by Eugene Philippe Rodie, their most successful perfume was their first, L'Ambre des Pagodes, which interestingly did not bear the name Lydes. The company became well known practically overnight and exported their luxurious presentations worldwide. Lydes' booth would probably have had bottles of the oriental perfume Nolka, Le Dernier Dieu, the floral bouquets of Dear Mado, J'aime des Fleurs and Rose Bengale, a sumptuous rose soliflore perfume. Perhaps other shelving would have held the hesperidic eau de cologne Au Cachet du Roy and the woody floral amber perfume To Cya Mi, subtitled "le Parfum Hindou", I would expect the newly launched perfume Bibelot to be on display in its black glass cube flacon. Several of the Lydes perfume bottles were designed by Julien Viard and Andre Jollivet. 

Marcel Guerlain:

Please note that the Marcel Guerlain perfumery company was not affiliated with the Pierre-Francois Guerlain family although Marcel Guerlain was the same name as one of the heirs to the Guerlain family, there was no other connection. In light of this confusion, the famous Guerlain family adopted the slogan "Nous n'avons pas de prenom" (We have no first name) and brought a successful lawsuit against Marcel Guerlain, who then changed his company's name to the Societe des Parfumeurs Francais. Marcel Guerlain was then using his own slogan when advertising in the USA: "no connection with any firm of similar name".

Marcel Guerlain founded his own company in 1922, and despite the controversy, produced high quality perfumes and cosmetics. He opened a splendid shop at 86 rue du Faubourg-Saint-Honore in Paris. He had an office in London and had a shop in the luxurious Waldorf-Astoria Hotel in New York.

 Marcel Guerlain’s perfume bottles were often made by Baccarat and Depinoix, in fact, the perfume bottle for 8 et 9 was made by Depinoix. He most likely would have displayed his beautiful Caravelle perfume in its black crystal sailing ship flacon, also made by Depinoix. His iconic brand Masque Rouge would have been prominently displayed. Perhaps his other fragrances such as Le Roy le Veult and Pavillion Royal would have taken up space on the display shelves. One of his perfumes, Rolls Royce came out in 1926 and may have been a centerpiece in the collection. It's bottle sitting inside a wooden base complete with bakelite wheels represented the radiator grille on a Rolls Royce automobile. Today this is considered a very rare bottle and highly coveted by serious collectors.

He also formed seven other perfume companies such as the Hughes Guerlain company and launched several fragrances, probably manufactured in the late 1920s, 1930s and early 1940s. Other companies are Helene Gys (using HG initials), Gys, Marcel & Hughes La Societe de Parfumeurs Parisiens, Les Parfums d'Agnes, and Parfums Marlaine et Cie. It is interesting to note that some of the perfume names are recycled between the different companies.

Marquis:

Marquis was active during the 1920s and produced toiletries, perfumes and cosmetics, as well as producing such items for other perfumers for use under their own name, primarily for export. A small booth for Marquis of Paris most likely displayed their perfumes that were housed in opaque glass bottles manufactured by Depinoix, including the vibrant orange glass for Brise de Monte Carlo and the aqua bottle for Fleurs de Grand-Mere. The mysterious oriental perfume Niradjah was housed in a black opaque glass bottle and fitted with a red glass ball stopper, this held 2 ounces of perfume and retailed for $14.89 in 1922.  Also available may have been their single floral line including Lilas, Rose, Muguet, Violette, Cyclamen and Jasmin in addition to the ubiquitous Chypre.  

Les Parfums de Mury:

Parfums de Mury's stand was made to look like an elegant garden, it comprised of a flower bed surrounding an electrified water fountain inlaid with a blue-and-green mosaic floor. At the time, Mury was known for their elegant presentations. 

Perfumes displayed here would have been their popular Le Narcisse Bleu, Notturno, Caresse d'Amour, Patricia and Amadis. Le Narcisse Bleu was a floral oriental perfume with notes of rose, tuberose, jasmine and ylang ylang with additional oriental base notes including sandalwood. Amadis was a spicy perfume with pungent notes of carnation. 

Notturno, released in 1926, was a rival to the very popular Christmas scent Nuit de Noel by Caron, and it too was housed in its onyx Baccarat crystal bottle, its fragrance was said to "interpret the spirit of a starlit night". Caresse d'Amour, a mixed floral bouquet perfume, was advertised on New York City's Fifth Avenue buses  in 1922 which led to successful sales in the United States. The perfume Patricia was contained in a beautiful glass bottle with pink and gold enameled floral design, and housed in a gilt lacquer box, this retailed for $30 in 1927.

LT Piver:

The firm of LT Piver first became involved with the selling of perfumes when they offered perfumed gloves and were awarded the title of "Parfumeur-Gantier" in 1769. Originally established by Michel Adam between 1769 and 1774, succeeded by family member, Paul Guillaume Dissey and Pierre-Guillaume Dissey, and later in 1813 by Louis-Toussaint Piver, whose name was adopted as the new company name in 1823. Alphonse Piver succeeded LT Piver . 

The company participated in all of the major exhibitions in the 19th and 20th centuries. Piver was frequently a leader in new perfume designs and concepts. Some of his best known presentations included the most beautiful Alphonse Mucha inspired-Art Nouveau floral graphics for the Floramye, Azurea, and Safranor lines. Many bottles were produced by Baccarat, namely the bottles for the following perfumes: Astris, Reve D'Or, and the tribute to electricity, the perfume Volt imprisoned in a light bulb shaped flacon. Rene Lalique produced the very lovely perfume bottle for Misti in 1912. 

Piver's Reve D'Or was originally launched in 1889, it was a soft rich floral fragrance later presented in a flacon by Cristalleries de Baccarat design in 1919. This fragrance is still produced today. Pompeia was one of their best selling lines and included parfum extrait, cologne, lotion, brilliantine and powder. I would think the most popular fragrances and soaps would be offered at Piver's booth. Perhaps a newly added perfume such as Carminade may have made an appearance with its vibrant red glass Art Deco bottle made by Cristalleries de Nancy, this bottle was also used for the perfume Galuchat.

Rigaud:

Rigaud was established in 1854 and participated in several 19th century exhibitions and was awarded gold medals in 1878, 1889, and 1900. Rigaud produced many luxury presentations. They are best known for their all time best selling perfume - Un Air Embaume, which is classified as a floral woody oriental fragrance for women with a dry woody amber chypre base. It was created by Marius Reboul of Givaudan who used a base known as "Sophora", a Givaudan base of vetiver acetate, coumarin and bergamot. The sumptuous flacon for Un Air Embaume is very distinct and made up of clear and frosted glass, the sides are molded with nudes rising in smoke emanating from perfume burners, the bottle was then decorated with applied sienna colored patina. The bottle was advertised as being manufactured by Lalique, but there is no existing reference to this being made by the firm in any of the Lalique literature. The bottle was actually produced in the Bresle valley in France by the Darras Glassworks.

Rigaud was the first perfumery to add Oriental names to their perfumes such as: Melati de Chine, Kanaga-Osaka and Pagoda Flowers. Famous Parisian actresses were among Rigaud's best clients-theatre themed perfume names included: Actrices, Prince Igor, Mary Garden, Marthe Chenal and Geraldine Farrar. The floral chypre perfume Vers La Joie, launched in 1927, features bergamot, roses, lily of the valley, jasmine, sandalwood, oakmoss, musk, amber. Today, Rigaud lives on, but only as a name known for its high quality scented candles.

Roger et Gallet:

Roger et Gallet would have put several of their most luxurious of perfumes on display such as Pavots d'Argent, Tentation, Rose Rouge, Fleurs d'Amour, Triomphe, Flausa, Narkiss, Cigalia and Le Jade. 

Le Jade was an oriental fragrance for women with a rich chypre base. It was housed in various bottles of the years including a lovely crackled glass version, but its most beloved and coveted is the opaque jade green glass flacon by Rene Lalique. This bottle has a design of tropical birds molded in relief and is shaped like a Chinese snuff bottle. In a previous exhibition, Roger et Gallet displayed the large crackled glass bottles of Le Jade, so I would think they may have done the same for the Palais de Glace expo. 

Lalique also produced the bottles for a newly launched perfume called Pavots d'Argent, "Silver Poppies". Described as "the fragrance of your sweetest dreams" the display would have looked particularly striking with its color combination of pink, black and silver.

Rosine:

Couture fashion designer Paul Poiret's firm Rosine made an appearance with their lovely fragrances. Two years earlier, they participated in the 1925 Art Deco Exposition in Paris. The perfume Coeur en Folie was introduced at the 1925 Expo and Rosine displayed their other perfumes - the oriental Nuit de Chine, the woodsy Tout la Foret, D’où viens-tu?, Hahna, Arlequinade, "1925", etc.

I would think these same perfumes would be shown in 1927 as well as other popular perfumes such as Maharadjah, Borgia, Le Fruit Defendu and Coup de Foudre. Perhaps it was here that the newly created Spirit of St Louis perfume was introduced to the public. Described as a "blend of many flowers, exquisitely sweet", it was a tribute to American aviation pioneer Charles Lindbergh who became the first pilot to fly non-stop and solo New York to Paris in 1927 in 33 hours with his plane, Spirit of St. Louis. 

I entertain the notion that the sweet orange blossom perfume Connais tu le Pays would have been on display at the Rosine booth as a representative of France. Poiret had honored sixty years of the opera "Mignon" by Ambroise Thomas in naming the perfume after the song "Connais tu le Pays" from Mignon. The first words of the opening air: "Do you know the country where the orange flowers?" The perfume Connais tu le Pays was housed inside of a round frosted glass bottle shaped like an orange, complete with a gilded leaf that acted as the stopper. The presentation box was in shades of pink, yellow orange, pale green, and forest green, with the label printed in red.

The perfume bottles for Rosine were produced by Depinoix and Lefebure as well as Poiret's own companies Atelier Colin & Atelier Martine. Most of the cologne bottles were hand painted at Atelier Martine. The working hours were from 8am until 7pm, and the factory workers were served a luncheon and wine each day.

Les Parfums de Vigny:

Walking further into the exhibition we would find the amusing bottles by Les Parfums de Vigny. The perfumes of Golliwogg, Le Chick Chick, Be Lucky and Guili Guili most likely would have been shown. Baccarat and Rene Lalique both contributed bottles to Vigny. 

Vigny had an exhibit at the 1925 Paris Art Deco where they were awarded a gold medal. I imagine their 1927 booth would have had a lineup of the same perfumes. In a photo that shows the 1925 booth, Vigny had used a rack with five shelves to show off their perfumes. The top shelf had what was probably their most expensive fragrances. One was the Rene Lalique bottle for D'ou Vient-Il, a lovely triangle shaped container molded with butterfly motifs and figural double butterfly stopper. Also included was another Lalique bottle, this time for L'Ambre de Vigny which was also used for Le Lilas De Vigny. The top shelf also displayed Le Bosquet de Vigny, it was housed in a clear glass bottle, with a rounded arch top, crisscrossed in jade green enamel. A squatty conical stopper finished off the bottle. Both the bottle and the presentation box had lines simulating a wicker basket. Finally, the floral woody perfume Musky, housed in a ribbed Lalique flacon rounded off the items on the top shelf.

The center shelf featured the entire line of Le Chick Chick perfume, which was contained within a whimsical Baccarat crystal flacon, originally made for Easter. The crystal bottle had gilded wings which formed the body of the chick, and had an oversized gilded cap which formed the head. The third shelf was reserved for the popular Golliwogg perfume with its stopper representing Golli's face made up of black glass and coiffed with silky genuine seal fur for his hair. The fourth shelf held Jamerose, an oriental composition blended with the essences of precious jasmine and roses in its Lalique flacon. It was joined with the perfume L'Infidele, housed inside of a tall, slim column of clear crystal by Baccarat with its fluted lines piqued out in gold enamel. The column was topped by a glass stopper molded with flowers.

The fifth shelf featured La Fleur Celeste, "the flower of heaven." Vigny commissioned Baccarat to create a bottle with an elegant floral theme. The large 2 ounce Baccarat crystal bottle is topped with a gilded glass stopper shaped as a flower head. The bottle was housed in a box simulating Chinese lacquer.

I believe I can see the perfume Guili Guili on the bottom shelf, it's head and foot of carved mahogany, the head resembled an exotic African mask covering the inner stopper, while the foot enabled the paneled crystal bottle to stand upright. This perfume was based on a real life magician and illusionist from Alexandria, Egypt, a competitor of Luxor Gali-Gali (Mahgoub Mohammed Hanafi, b1902-b1984), the names were often confused. Guili-Guili, who claimed he was 25,000 years old, often working in Egyptian costume, went thru a series of tricks including disappearing eggs, chicks and ended by pulling a string of flags out of his mouth.

Ybry:

Ybry's perfumes were advertised as being "the most expensive in the world". Ybry was a luxury perfume house founded in 1925 by a man named Simon Jaroslawski (also known as Simon A. Jaroslawski-Fioret) and went into liquidation in 1932. His other two perfumery companies are Fioret and Mÿon. 

Baccarat produced the classic Ybry perfume bottle, a flattened square in colored crystal known as the "Deluxe Jewels". These beautiful "bijou" bottles were made by overlaying colored crystal on white crystal to create an opaque and unique luminescent quality, this same glass was also used for the short lived Myon perfume line. Each different color, was related to a particular perfume, and to a different gem. The colors range from a red to a pink, slag green to a darker green, jet black, orange to butterscotch, deep purple to lavender. Most of the time, the bottles had matching enameled and gilded metal covers. These covers were placed over the inner stoppers at an angle on one corner of the bottle. 

The colors of the bottles coordinated with their respective perfumes: Femme de Paris in green, Desire du Coeur in red and also in pink, Devinez in orange, Mon Ame in purple and finally, Amour Sauvage in black.

The deluxe bottle in a velvet box came with a Lalique crystal medallion, this retailed for $30, a larger set retailed for $55. The presentation boxes were known as "Deluxe Jewel Cases" by Ybry and were covered with fine leather and often had color-coordinated small triangular segments and luxurious silk tassels. The bottles were further accented with an intaglio crystal medallion pendant by Rene Lalique, usually in a delicate heart shape or triangle.  

Prices given in a 1928 newspaper advertisement for Femme de Paris were "$8.50 for the Debutante Flacon, and other sizes at $16.50, $30.00, $50.00 up to $400.00." To give you a concept of how expensive these perfumes really were during that period, I have used an inflation calculator to determine what we would expect to pay in 2021 currency:

• $8.50 = $123.92
• $16.50 = $255.58
• $30.00 = $464.70
• $50.00 = $774.49
• $400.00 = $6,195.95

Perhaps these really were "the most expensive perfumes in the world" after all. These incredible bottles would definitely have made their appearance at the Palais de Glace Expo.

If you fell in love with some of these exquisite perfume bottles, you may be delighted to know that some of them have shown up at the annual Perfume Bottles Auction, portion of sales benefitting the International Perfume Bottle Association, click here for information on buying or consigning your own bottles.

 

 

Pairpoint Gundersen Perfume Bottles 1943 Advertisement Catalog Page

Pairpoint Gundersen heavy crystal paperweight base perfume bottles shown in a 1943 Trebing catalog page.

First by Van Cleef & Arpels c1976

First by Van Cleef & Arpels: launched in 1976, in USA by 1977. Distributed by Van Cleef & Arpels Parfums of New York. Created by Jean-Claude Ellena of Givaudan.

Persian Wood by Avon c1956

 Persian Wood by Avon  Persian Wood was launched in 1956.

Gilda by Pierre Wulff c1986

Gilda by Pierre Wulff: launched in 1986, in USA in 1989. 

Pierre Vivion

 Pierre Vivion, a French perfume chemist, worked for Lanvin in 1953. He was involved with a prior copycat fragrance co called Sherrell at some point, which went out of business in 1976 after getting involved in some sort of lawsuit. 

Gingham by Bath and Body Works c1993

  Gingham by Bath and Body Works: launched in 1993.

this photo shows the original line of Gingham

Tropiques by Lancome c1935

Lancome Tropiques: launched in 1935. Created by Armand Petitjean. Tropiques was inspired by the tropical port of Bahia in Brazil and the perfume reportedly took four years to be completed. Tropiques was one of the first five Lancome perfumes to be presented at the Universal Exhibition in Brussels, the others were Tendre Nuit, Bocages, Conquête and Kypre.

Jean Pax

Jean Pax, was a small time perfumer in Paris that seemed to specialize in perfumes most likely meant for the tourist souvenir trade.

In 1977, Jordan Marsh department store carried some of the Jean Pax Parfum and Parfum de Toilettes (Salambo, Val d'Ete and Ebonia). The store advertised that it had discovered this "secret" perfume company in Paris and wanted to share the perfumes with its customers in America.

Also available was Jean Pax's Talika Cream Conditioner for lengthening and conditioning the eyelashes. The advertisement I saw claimed that the cream has been sold with "extraordinary success for 25 years" and sold in 72 countries. Talika Cream was manufactured in Paris by Danielle Roches for Jean Pax, Inc.

The perfumes of Jean Pax:

• 1953 Ebonia
• 1960 Val d'Ete
• 1960 Salambo
• 1960 Royal Mink

Salambo was an exotic oriental type perfume, the "very epitome of sensuous Oriental expression. Va d'Ete was "vibrant with the freedom of freshness and youth", suitable for blondes. Ebonia, a spicy, sophisticated perfume, was suggested to be worn by the "poetic and imaginative lover".

These fragrances were available in the following:

• 1/2 oz Parfum in crystal bottle and handmade box
• 1 oz Parfum  
• 1.25 oz Parfum de Toilette
• 5 oz Parfum de Toilette

The 1/2 oz Parfum was housed in a fancy crystal bottle and a handmade presentation box as sketched in the advertisement shown above, this retailed for $45 in 1977. The 1 oz bottle of Parfum was simple and not as fancy, it retailed for $27. 

These perfumes have been discontinued since the early 1980s I believe.

Lys Bleu by Prince Henri d'Orleans c1982.

In 1984, Jean Pax introduced the perfume Lys Bleu by Prince Henri d'Orleans. It was originally distributed in 1982 by Parfums et Beaute Amerique of Miami, Florida.

It is a generous perfume composed of over 100 separate essences. A head of blackcurrant, verbena and the May rose of Provence, the body of tuberose, apricot and ylang ylang, impressioned by honeysuckle, with clove setting off crocus and hyacinth; and amber and musk.

• Top notes: blackcurrant, verbena, apricot, plum, aldehydes, bergamot, neroli, apple, galbanum
• Middle notes: crocus, hyacinth, narcissus, Provencal rose de mai, tuberose, ylang ylang, lily of the valley, honeysuckle
• Base notes: amber, musk, clove, oakmoss, civet, sandalwood, tobacco, incense, orris

 

Les Parfums du Lido

Les Parfums du Lido was established at 78 avenue Champs-Elysées, Paris in 1927.

Di Borghese by Borghese c1978

Di Borghese by Borghese: launched in 1978.

Collecting Perfume Labels

If you are looking for something unusual and perfumery related , then the perfume's label itself would fit the bill nicely. Perfume labels are so varied that one could collect various types from Art Nouveau and Art Deco to particular brands such as Guerlain or Coty. From paper labels to embossed metal labels, there are so many to choose from. Some people like put them into albums, while others enjoy framing and hanging them on the wall. 

Maxim's de Paris c1984

Maxim's de Paris launched by Maxim's de Paris in 1984. In association with Pierre Cardin Parfums, Jacqueline Cochran and SNDPIM. Created by Dominique Ropion.

Sotto Voce by Laura Biagiotti c1996

Sotto Voce by Laura Biagiotti: launched in 1996. Sotto Voce means "whisper" in Italian. The perfume was created by Sophia Grojsman.

Halston Night by Halston c1980

Halston Night by Halston: launched in 1980.

L'Orle

L'Orle (Pronounced Lor-lay). A perfume house opened in Paris in 1934 by A.T. Levy, initially to sell the perfume Cafe Society. Not long after, he opened a branch in New York, aiming his sales at the middle class American market.

Collecting Red Glass Commercial Perfume Bottles

In this guide I will discuss the various rarest commercial perfume bottle colors of all---the opaque glass pieces.

Most of the opaque glass perfume bottles that you will encounter was manufactured by the French company, Cristalleries de Nancy between 1924-1934 and came in various colors such as red, green, black, purple and both turquoise blue and yellow ochre being the rarest. These bottles were produced for the following perfume companies: d'Alamode, Bischoff, du Bois, Bourbon, Burdin, de Burmann, Chenier, Drialys,  Marie Magdeleine, Miga, Offenthal, Renaud, Serey and plenty of others. You will see a variety of sizes ranging from 6 1/8" tall down to 2 1/8" tall. I have also seen these perfume bottles called slag glass.

Antique Victorian Double Ended Scent Bottles

In the second half of the 19th century scent bottles and smelling salt bottles, known then as "double smelling bottles", were necessary objects for the well to do lady. However, the old fashioned silver vinaigrette container with its pierced grille was no longer in style and was hardly used. Someone came up with an ingenious new container to combine both of milady's indispensables that could be tucked into a muff or hand bag or perhaps serve its purpose on the vanity table. 

Double bottles were not a new invention per se, known as "gimmel flasks" they had been used since the 1600s to hold oil and vinegar, pharmaceuticals or liquors, however, these usually stood on a common foot to stay upright. In mid-century England, the original idea of fusing two bottles end to end with openings at each extremity was realized as a convenient receptacle..

These bottles were meant to hold perfume at one end, and ammoniated smelling salts or a sponge saturated with scented vinegar at the other. The bottles were made by welding two separate bottles together, the finest quality bottles have nearly invisible joints. The glass was then finished with polishing and cutting either in simple panels or elaborate multifaceted designs. Both compartments are usually of the same length, though I have seen a longer side for perfume and a shorter side for salts. During the Victorian era, these bottles were referred to as "union smelling bottles".

Look closer at this bottle, it has a hidden hinged middle compartment complete with a pierced grille for vinaigrette.

Very rarely will you may find a hidden compartment in the middle of the bottles, these are the "opera glasses" type of double ended flacons. This secret hinged compartment could have held a photograph or lock of hair, but if it possesses a grille, it's purpose is for a vinaigrette. 

By the 1850s double ended scent bottles were in general use and quality differed greatly from expensive versions fitted with silver or gold to mass manufactured bottles with simple pewter or brass caps. Their heyday seems to be between 1865 and 1890, though their popularity started to wane around 1875, they continued to be manufactured until the turn of the century.

The majority of bottles were made of clear glass, but deep ruby red, emerald green, and rich cobalt blue can also be found. Harder to find colors are glorious purple, vivid teal, jet black and amber glass. My favorites are the bottles that were made with small inclusions of uranium in the mix, resulting in a vivid apple green (a color called annagrun) and a luminous Vaseline (a shade called annagelb), mainly manufactured by Joseph Riedel of Polaun, first introduced around 1850. 

The rarest of all is opaline glass, made by French glassworks. Some bottles are further accented with enameling on the surface of the glass. A true gem is a bottle with one end one color and the other end a different color, overlay or cased glass examples. Expect to pay a premium for any bottle found in the rare glass colors.

Bottles are generally in a long cylindrical shape, but novelty shapes do exist in rare numbers, some are in the form of cannons, barrels, opera glasses, etc. Sizes for bottles range from 6” long down to a diminutive 1 ¼” long.

Other fine bottles were made of porcelain, and more luxuriously, solid sterling silver or gold. These can be found accented with precious gemstones, guilloche enameling, cloisonné enamel, natural tortoiseshell, pearls, fine filigree or other ornate decoration.

The bottles were topped by either ornate, chased, filigreed, repousse, jeweled, enameled or plain hinged flip top or screw caps made of gilt brass, sterling silver, richly gilded sterling silver, gold or other metal alloys. Some caps have cartouches or blank spaces for monograms. The most expensive bottles have glass or genuine precious stones, coral cabochons, or pearls set into silver or gold mountings.

Sometimes you will find a carrying chain and ring on the caps for suspending on chatelaines or the finger. The bottles either have screw caps at one end for perfumes, with a little cork or glass stopper to keep the contents from spilling. Some of these stoppers are ingeniously built right into the stopper itself, so with a quick snap the bottle is sealed. The smelling salts compartment in cheaper bottles is usually closed by a screw cap with a cork seal or with a well fitting glass stopper and screw or hinged cap. Better quality pieces will have a patent closure for smelling bottles. 

Many bottles were made in England, but some were also made in America and Bohemia. English bottles with sterling silver caps will have hallmarks, so be sure to look around the collars and underneath the caps for any markings. One of England’s finest silversmiths, Sampson Mordan & Co is one of the most sought after makers of these perfume bottles, so look under the cap for his marks. His pieces always garner high prices.

Expensive pieces were often sold in leather cases, lined in satin, sometimes you can find a maker's stamp on the lining.

Condition plays a part in a bottles value. Since glass is a fragile material, nicks and fleabites can be expected. Larger chips or cracks should be reflected in the selling price. Dents in the caps can sometimes be pushed out by a jeweler, or by you. Sometimes the smelling salts end will have a cloudy appearance due to the ammonia that was in the smelling salts, this results in the acids etching away at the inside of the bottle. This can be hard to remove, but I have had some luck with a product called "lime away".  If you find a bottle still possessing smelling salts, you may wish to remove them and wash out the interior to prevent further destruction of the glass. 

Antique Venetian Foiled and Aventurine Glass Scent Bottles

In this guide I will introduce you to the world of Venetian foiled and aventurine glass scent bottles. These spangled works of art were produced in Venice and were mainly manufactured for the tourist market during the mid 19th century.

GH Morison

GH Morison of England, was a wholesale perfumer and manufacturer of perfumed novelties.

Chemist & Druggist, 1908:

"A NOVELTY under the name of "Perfume Plums" is introduced this week. Perfume plums are hermetically sealed bulbs filled with agreeable perfumes, and the different colours and shape suggest the name -- carnation perfume is pink, ess bouquet brown, lilac is purple, Parma violet dark green, wallflower yellow, white rose light green, and so on. They are manufactured under a patent by Mr GH Morison, 34 Guilford Street, London, WC, and retail at 2d each. The perfumes in the bulbs are supplied by Messrs. TF Bristow & Co., Ltd, London." 

Chemist and Druggist: The Newsweekly for Pharmacy, 1909:

"GH MORISON & CO., LTD. (PC) Capital 1,000l in 1l shares. Objects: To acquire from GH Morison certain inventions for scent receptacles and his business at Westinghouse Buildings, Norfolk Street, Strand, WC, for perfumes, aromatic essences, liquid disinfectants, etc. The first directors are GH Morison and RJ Koechlin."

Pharmaceutical Journal; 1909:

"Morrison and Co., Limited. Registered on June 26 by Iliffe, Henley, and Sweet, 2, Bedford Row, WC.Capital £1,000, in £1 shares. Objects: To acquire from GH Morison the benefit of certain existing inventions relating to receptacles for scent and other liquids, together with the business carried on by him at Westinghouse Buildings, Norfolk Street, Strand, WC., and to carry on the business of manufacturers of hermetically sealed receptacles for perfumes, aromatic essences, liquid disinfectants, etc. Private company. The first directors (to number not less less than two nor more than seven) are GH Morison, chairman and RJ Koechlin." 

Perfumery and Essential Oil Record - Volume 1, 1910:

"317,819 All goods included in Class 48 GH Morison. FRAGNOLIA & C o Ltd Westinghouse Bldgs, Norfolk St, Strand, London, WC. Manufacturers 2nd November 1909." 

The Pharmaceutical Journal and Pharmacist - Volume 86, 1911:

"BANKRUPTCY INTELLIGENCE: The Affairs of GH Morison and Co., Limited, 5 Torrens Street, EO, manufacturers of Perfume and Toilet Requisites. The creditors and contributors met on April 10 under the compulsory winding-up order made against this company at the Carey Street offices of the Board of Trade. The company was formed in June, 1909, with a capital of £1,000 to acquire the business of manufacturers of perfumes and receptacles for the same belonging to Mr Morison and to carry on a general perfumery business. The business had been carried on for nine months at Betterton Street, Drury Lane. The purchase consideration was £350. The sole capital of the company was derived from the issue of 301 shares for cash, apart from which the company was financed throughout by Mr Koecklin, who held no security and had since assigned the greater part of the debt for the benefit of the creditors. Up to the end of 1909 the company chiefly manufactured receptacles for perfumes, which it purchased from other firms, and upon which a loss was made of £502 to December, 1909. A branch in Paris was partly responsible for that loss. Early in 1910 the company started manufacturing its own perfume, and in the end à laboratory was set up and an analytical chemist appointed for the purpose of producing high class perfumes, face creams, and toilet powders, etc. As the result of the non delivery of a quantity of the necessary goods the sales to January last only amounted to £512 Notwithstanding the slack period the company's establishment was carried on on an expensive scale. A further loss was to January 1 of £2,293. In September, Mr Morison resigned his directorship, his share holding being purchased for face value, viz. £251. In order to find security for the purchase Mr Koecklin assigned the amount due to him by the company of £3,642 to Mr Morison. The accounts filed showed liabilities £5,222 and assets £727. The deficiency to the shareholders is returned. An offer of £240 had been made by tender for the assets, which had been sold by auction for £300, and after payment of expenses the creditors would receive a small dividend, The winding-up was left with the Board of Trade." 

The Law Times Reports of Cases Decided in the House of, 1912:

"March 26 and 27 [1912]. (Before NEVILLE J) Re GH MORISON AND CO LIMITED (a) Company - Preferential payment - Analytical chemist - 'Clerk or servant'  - Companies (Consolidation) Act 1908 (8 Edw. 7 c, 69 8 209) B. was a chemist and in July 1910 was engaged by M. and Co. for nine months at a weekly wage to produce a specified series of formulæ for the manufacture of soaps and perfumes. The contract was to be considered as completed the moment B had produced all the formulæ, and if completed before the end of nine months. B. was still to be paid all his wages for the remainder of the nine months. B. had to attend on only three specified days of each week, but for regular hours. The remainder of the week being at his disposal, and he had in fact another regular engagement with another firm. And there were other special terms in the contract. B.'s wages fell into arrear, and in March 1911, a winding-up order was made against M and Co., and at that date there was due to B. 93l for arrears of wages. B. claimed 50l from the liquidator as a preferential creditor under sect. 209 (1) of the Companies (Consolidation) Act 1908. Held, that under the terms of this contract B. was a clerk or servant within sect. 209 (1) of the Act and was a preferential creditor for 50l.  

ADJOURNED SUMMONS. This was a summons taken out by Edgard Barthelemy Barboni asking that he be paid the sum of 50l. as a preferential creditor under sect. 209 of the Companies (Consolidation) Act 1908, and that the respondent, the official receiver, as liquidator of the above named company is liable to pay the sum in priority to other debts of the company. The company carried on a business of general perfume manufacturers. The applicant, E.B. Barboni, was an analytical chemist and was first employed by the company under an agreement dated March 1910, but that agreement terminated in July 1910. On the 12th July 1910, he was re-engaged by the company on the terms contained in the following letter:

12th July 1910 - Mr. E.B. Barboni, Carshalton, Surrey. Dear Sir, - It gives us great pleasure to inform you that the results of your experiments on our behalf during the past three months have been appreciably received by our shareholders, and we hereby accept your verbal offer of reappointment for a further period of nine months (or thirty nine weeks) to terminate on the 15th April 1911, subject to the following conditions, which we beg you to confirm: (1) You are to give us the benefit of your services for two full days in each week throughout this period, to commence work at 10:30 am and to finish at 6:30 pm, and the time is to be applied to the production of an entire series of those products usually vended by perfumers - a complete list of which is attached hereto. (2) The contract is to be considered as completed the moment you have produced and placed at our disposal formulas for the whole of these products to our entire satisfaction, and suitable for our class of trade, as well as having given as all the necessary practical instructions in the manufacture of the products and use of the formulas. (3) If the contract is completed before the 15th April 1911 we undertake to pay you the full and exact amount which you would have earned had you worked under a weekly wage of 4l. per week until the above specified date (4) If the contract is not completed before the date specified you must undertake to complete it without additional remuneration, in not more than three calendar months after the 15th April 1911. (5) We allow you to use your own discretion as to the order in which the articles specified in the attached list are produced, but we should consider it wisest for you to give your attention, firstly, to those products which give the least trouble to produce and leave the more difficult ones till later. (6) A diary must be kept for the inspection of our shareholders, showing each week the progress which has been made towards the completion of the contract. (7) In the event of our requiring before the completion of this contract any special product - not usually difficult to produce - this special product is to count as though it were on of the things on the attached list, and one of equal difficulty is to be struck off in its place. (8) Your remuneration for this work is to be 4l per week - payable by cheque each Saturday morning, the aggregate sum due thus amounting to 41 (four pounds) per week for thirty nine weeks, 1561 (one hundred and fifty six pounds) in all. (9) We shall expect to have at all times evidence that you shall expect to have at all times evidence that you can complete the contract, and we reserve the right to dispense with your services on one month's notice if it can be clearly shown that your part of the contract cannot be carried out. (10) The formulas supplied to us in carrying out this contract are to remain our exclusive property, and you must agree to keep perfect secrecy respecting them, or regarding any other information which may be of a nature private to our firm. (11) Finally, if the contract be carried out entirely to our satisfaction, we are to have first option of re-engaging you upon similar lines for a further period of one year. We shall be glad of your early acceptance of the above if you agree to same as we are desirous that you should enter upon your duties without further delay. - Yours faithfully, GH MORISON AND CO LIMITED. 

In September it was verbally agreed between one of the directors of the company and the applicant that the latter should attend on three specified days in each week - viz. Monday, Wednesday, and Friday, from 10:30 in the morning till 6.30 in the evening - and his salary was increased to 61 per week. And it was understood that the company engaged the applicant as their chemist for all purposes which might arise. In the remainder of his time he was at liberty to employ himself as he wished, and he had a regular engagement with another form for half a day per week. His wages from the company fell into arrear, and on the 21st March 1911 a winding-up order was made against the company, and at that date there was due to the applicant the sum of 931. for arrears of wages. On the 15th Jan 1912, he took out this summons as a preferential creditor for 50.

JUDGMENT: Held that he was a clerk or servant within the entitled to 50l. "

 

Nandita by Babani 1925

Nandita by Babani: launched in 1925.

Parfum du Elizabeth II

 On her dressing table, in her bathroom at the Palais de l'Elysee, during her visit to Paris, Queen Elizabeth II of England found this magnificent bottle offered by French perfumers. It contained a jasmine eau de toilette, specially composed for this occasion of particularly selected essences, and absolutely unique, because the formula is jealously guarded by the Perfumery Syndicate, in case the Sovereign wishes to be replenished. The bottle, 40cm high, weighs 10 kilos and was cut from pure crystal. It bears the inscription: "Homage of French Perfumers to Her Majesty Queen Elizabeth II", and rested in a sumptuous case covered with blue leather, bearing in gold letters the monogram of the Sovereign "EHR". The Eau de Toilette offered to the Queen is thus a quality gift. It will remain the most refined expression of an art in which French perfumers remain masters.

TIME Magazine, 1953:

"And for the visiting Queen's own very private use , there will be a single crystal flagon of perfume concocted with the help of the most sensitive nostrils in France as an " homage from the French Perfumers to Her Majesty Elizabeth II ."

Paris by Yves Saint Laurent 1983

Paris by Yves Saint Laurent: launched in 1983. Created by Sophia Grojsman.

Belle de Jovan by Jovan c1976

 

Belle de Jovan by Jovan: launched in 1976.

 

Mea Culpa by de Vernon c1962

Freddy, a gift shop located at 10 rue Auber in Paris, sold handbags, scarves, gloves, umbrellas, jewelry, novelties, all sorts of vanity goods including cut crystal Marcel Franck atomizers and Limoges porcelain perfume bottles, small purse size hand mirrors and smoking accessories, etc.

Gio by Giorgio Armani c1992

Gio by Giorgio Armani: launched in 1992. Composed by the perfumers at Givaudan Roure. In USA in 1993.

Gio, pronounced "Joe", is short for Giorgio (Armani's nickname) and is pronounced "Joe." which was to replace Armani's original self-titled Armani fragrance from 1982. Giorgio Armani stated that "it is the perfume expression of the principles that govern my life." Created by Françoise Caron.

WE NEED PERFUME CONTAINERS

"WE NEED PERFUME CONTAINERS» Poster illustrated the National Union of French perfume. Signed by René Letourneur (sculptor). Impression: Curial-Archereau. Covered by the ORAFF. 32 cm x 49 cm Period 1941-1944

"We need perfumery containers to continue to provide you - bring us all your bottles, tubes and useless pots. National Union of French perfumery."