According to Philip Chasen " Emile Galle glass and Daum Nancy glass are the best and most famous French cameo glass of the Art Nouveau period from 1890 to 1920. The glass was called "cameo glass" because it was built up with different colored layers and cut back with acid to reveal beautiful floral or scenic designs. First the glass was covered with an acid resist (wax). Then a glass artist carved the design into the resist, followed by immersion in hydrofluoric acid. The acid ate away the glass wherever the resist was removed. The longer the immersion in the acid, the more glass was eaten away. The wax was then melted away and a new layer applied. The process was then repeated. Each successive acid cutting added a layer of detail and possibly color if the vase had enough colored layers. The success of the vase depended largely on the skill of the artist."
These perfume bottles, crafted from glass in vibrant, contrasting colors, feature a variety of subjects, from insects like dragonflies to serene forest scenes and picturesque towns. Beautiful cameo glass perfume bottles and atomizers are available in antique shops, at auctions, and online. You can also find imitations of cameo glass (not the new repros from Romania or China) but actual period pieces that look like cameo glass, but are actually painted with enamel (please scroll down to the bottom of this article to read about Enameled Glass (Non-Cameo Glass).
Other cameo glass bottles often bear signatures from renowned artists and companies, including G. Raspiller, Galle, Argy Rousseau, Daum Nancy, DeVez, Muller Freres-Luneville, Richard, La Verre Francais, A. Ducobu, Deveau, Quenvil, Paradis, and others. Brief histories and information about some of these makers are provided below. For more detailed information, you can consult books or online resources.
Galle:
Emile Gallé was born in France in 1846. His training encompassed art, botany, and chemistry, disciplines he masterfully integrated into his exceptional designs for glass, pottery, furniture, and jewelry. His father, Charles Gallé, owned a glass and ceramics factory in Nancy, France, providing Emile with early exposure to the craft. After extensive travel and training, participating in the Franco-Prussian War, and working for the glass company Burgun, Schverer et Cie in Meisenthal, Gallé returned to Nancy. There, in 1873, he established his own glass studio, initially focusing on classical glass forms adorned with intricate enameled designs.
As his style evolved, Gallé began to explore botanical themes, continuing to use enameled glass. A significant turning point in his career came at the 1878 International Exhibition in Paris. It was there that Gallé encountered the work of his contemporaries, including John Northwood and Joseph Locke from England, known for their cameo glass, and Eugène Rousseau, noted for his pâte de verre. Inspired by these artists, Gallé developed new and adventurous designs that would become his hallmark.
Eleven years later, at the Paris International Exhibition of 1889, Gallé showcased his innovative glass creations, including intricately carved cameo work and a variety of new colors. His remarkable achievements at this exhibition earned him recognition in the French Legion of Honor, solidifying his reputation as a leading artist in his field.
During this period, Gallé produced two distinct qualities of glass. The first was his so-called "poems in glass," masterpieces that required many hours of meticulous craftsmanship to create. These pieces were renowned for their artistic complexity and beauty. The second category consisted of high-quality art glass that was designed to be less expensive to manufacture while still maintaining aesthetic appeal. These pieces, good enough to carry his signature, were more accessible to a broader audience. This approach later evolved into what is known today as "industrial Gallé," blending artistic value with practical production methods.
In 1894, Gallé built a massive new glassworks in Nancy, ending his reliance on Burgun, Schverer & Cie for some of his glass production. He assembled a team of skilled craftsmen-designers who adhered to the principle that all Gallé designs should be true to nature. Gallé himself would modify and approve these designs before they were brought to life by his team at the Cristallerie D'Emile Gallé.
Throughout the 1890s, Gallé's work garnered numerous awards at international exhibitions, and he gained further recognition through various commissions as the demand for his creations soared. His exquisite techniques and distinctive style were so admired that many other glassmakers began to produce pieces advertised as being in the "Gallé style." Gallé's influence was pivotal in the Art Nouveau movement, characterized by stylized botanical themes and flowing, whiplash motifs.
Gallé passed away in 1904, but even from his sickbed, he continued to direct work on new designs. After his death, his widow, Madame Gallé, took over the management of the glassworks. She continued producing Gallé glass until the outbreak of World War I in 1914, marking all posthumous pieces with a star after the name "Gallé," indicating their production after 1904. Following the war, Emile Gallé's son-in-law, Paul Perdrizet, reopened the glassworks. With a new team of workers and fresh designs, they focused on creating two- and three-layer cameo glass pieces featuring landscape and floral motifs, all crafted using the acid-etching technique.
Below you will find several examples of Gallé cameo glass atomizers featured in my Kitzinger Frères catalog. In these pieces, only the glass was supplied by Gallé, while the hardware was added by Kitzinger Frères and retailed through them. Pay close attention to the unique shapes of the bottles, the intricate decor, and the placement of Gallé's signature, which add to the distinctiveness and authenticity of each piece.
In the 1920s, Loetz began producing cameo glass under the name "Richard" to meet the high demand for French cameo glass in the Parisian market. These pieces closely resembled the styles of French cameo glasswares created by renowned makers such as Daum, Gallé, De Vez, D'Argental, Legras, and others.
The French company Etling sold Richard cameo glass in Paris during this time. Richard was a retail outlet in Paris owned by Edmond Etling, who is referenced in "Le Génie Verrier De L'Europe" by Cappa on page 368. Edmond Etling commissioned Loetz to produce French-style cameo glass specifically for his boutique, ensuring all pieces intended for sale in the boutique bore the Richard signature. However, the Richard signature is relatively rare, as their perfume bottles were not produced in large quantities compared to their vases. Loetz ultimately went out of business for the third time in 1939.
Below, you will find several examples of DeVez cameo glass atomizers from a 1920s Marcel Franck atomizer catalog. In these instances, only the glass was supplied by De Vez, while the hardware was added by Kitzinger Frères and retailed through them. Pay special attention to the unique shapes of the bottles, the intricate decor, and the placement of the DeVez signatures.
Daum Nancy cameo glass pieces were often produced in series, utilizing techniques such as acid cutting, and sometimes embellished with additional enamel. The themes frequently centered around nature and landscapes, capturing the beauty of the natural world in intricate and detailed designs.
Below, you will find several examples of Daum Nancy cameo glass atomizers from my Kitzinger Frères catalog. In these pieces, only the glass was supplied by Daum, while the hardware was added by Kitzinger Frères and subsequently retailed through them. Pay special attention to the unique shapes of the bottles, the elaborate décor, and the placement of the Daum signatures, which highlight the artistry and authenticity of each piece.
Muller Frères, or Muller Brothers, created cameo and other glass pieces from around 1895 to 1933. Their factory was initially situated in Luneville before relocating to nearby Croismare, France. Muller Frères was renowned for their exquisitely detailed pieces, which often featured up to six or seven different layers of glass, showcasing their mastery in glassmaking. Typically, these pieces were marked with the company name, making them identifiable and authentic.
It is possible to find beautiful cameo glass atomizers crafted by Muller Frères, distinguished by their intricate designs and high-quality craftsmanship. Despite their success and the artistry of their pieces, the company eventually closed its doors in 1936. These atomizers remain a testament to the exceptional skill and creativity of Muller Frères, making them highly sought after by collectors and enthusiasts.
Le Verre Francais
Le Verre Français glass and Schneider glass were two lines of glassware produced by the same company in Épinay-sur-Seine, France, from 1913 to 1933. Charles Schneider, who honed his skills at the Daum factory, where he learned the techniques of making art glass, founded the Cristallerie Schneider with his brother. The factory closed during World War I but reopened in 1917, soon becoming known for its beautiful cameo glass.
The company produced a wide range of items, including vases, bowls, perfume bottles, epergnes, candlesticks, and lamps. They are particularly noted for their use of vivid reds and oranges, with Schneider coining the term "tango orange" to describe the striking orange hue used in their glass. Initially, Le Verre Français glassware was sold only in French department stores, but by 1920, it began appearing in America, especially at the prestigious New York luxury gift store Ovingtons, for which they made commissioned pieces.
Le Verre Français glass was typically acid-etched, similar to the work of Gallé and Daum. In contrast, Schneider glass was rarely acid-etched, instead featuring bright colors with internal mottling, streaking, and flecking. Some pieces may be signed "Charder," a contraction of Charles Schneider’s name, which can be found on vases and possibly perfume bottles. These signatures and techniques highlight the distinctive styles and high-quality craftsmanship of both Le Verre Français and Schneider glass, making them highly valued by collectors and enthusiasts.
French Art Deco cameo glass designed by David Guéron for his company "Verre d'Art Degué," commonly known as "Degué," represents a distinctive chapter in glassmaking history. Established in 1926, Degué enjoyed a brief but impactful existence in the decorative arts scene until 1939, when Guéron closed the factory and fled from the advancing Nazis. Guéron's artistic vision at Degué encompassed bold, geometric designs that epitomized the Art Deco style of the era.
In staffing his factory, Guéron recruited former workers from the prestigious Schneider glassworks, a move that sparked tensions and eventually led to legal disputes between Guéron and Schneider. This rivalry highlighted the competitive nature of the French glassmaking industry during the interwar period, where innovation and artistic expression were fiercely pursued.
Despite its relatively short lifespan, Degué's contributions to Art Deco glassware are highly regarded for their vibrant colors, geometric patterns, and technical craftsmanship. The legal conflicts with Schneider underscored the intense competition and artistic ambitions prevalent among the leading glassmakers of the time, leaving a legacy of innovation and creativity that continues to be celebrated in the world of decorative arts.
André Delatte, born in Châtenois, France, in 1887, began his career in banking, where he developed a friendship with his customers, the Muller Frères. Inspired by the intricate techniques and beauty he observed at their glassworks, Delatte decided to change his path and pursue a study of chemistry. After completing his studies and earning diplomas in 1919, he established his own glass studio in Nancy, initially decorating glass manufactured by Muller Frères.
By 1921, Delatte had constructed his own furnace in Jarville, near Nancy, where he employed around 30 skilled artisans, many of whom had previous experience at Daum Nancy’s renowned glassworks. The studio later relocated to 16 rue de Metz in Nancy and focused on producing cameo glass and polychrome enameled pieces in the Art Deco style. Delatte's cameo glass, characterized by layered and acid-cut techniques rather than hand carving, quickly gained recognition for its high quality comparable to that of Daum Nancy. However, his adaptations of Daum designs led to legal disputes starting in the early 1920s.
Despite his success, André Delatte faced financial difficulties and declared bankruptcy in 1931. His company was subsequently taken over by Lubin Blum, but the economic situation worsened, leading to the closure of the factory in 1939. Delatte's glassworks, known as Verreries de l’Est, produced various types of glassware, including perfume bottles. His creations are always marked with his signature, distinguishing them as authentic pieces.
Below, you will find several examples of Delatte glass atomizers from my Kitzinger Frères catalog. These pieces showcase Delatte's distinctive styles, including the shapes of the bottles, intricate décor, and the precise placement of his signature, reflecting the craftsmanship and artistic vision that defined André Delatte's contributions to the world of glassmaking.
D'Argental
"D'Argental" is a distinctive mark used by the Compagnie des Verreries et Cristalleries de Saint-Louis. This company produced exquisite perfume bottles crafted from layered semi-opaque cameo glass adorned with elaborate floral and scenic designs. Each piece exemplifies the meticulous craftsmanship and artistic flair characteristic of Saint-Louis glassware, renowned for its high-quality materials and intricate production techniques.
The cameo glass technique employed by D'Argental involves layering different colored glass, then selectively etching away portions to reveal contrasting layers, creating intricate designs. These bottles often feature detailed floral motifs or picturesque scenes, reflecting the elegance and sophistication typical of French Art Nouveau and Art Deco aesthetics.
Collectors and enthusiasts value D'Argental pieces not only for their artistic beauty but also for their historical significance within the tradition of French glassmaking. Each bottle bearing the D'Argental mark represents a blend of technical expertise and artistic innovation, making them highly sought after in the world of decorative arts and perfume bottle collecting.
Gabriel Argy-Rousseau stands as a distinguished figure in French glass artistry, celebrated for his mastery of the pâte de verre technique and credited with developing pâte de cristal, a translucent variant of this method. Primarily focusing on vases, bowls, figures cast in lost wax (cire perdue), perfume bottles, and jewelry, Argy-Rousseau's creations are characterized by their translucent quality and vibrant colors. He employed rich, heavy enamels to enhance the allure of his pieces, which were crafted from thin-walled translucent glass adorned with relief decorations.
From 1921 to 1931, Argy-Rousseau's studio produced a wide array of glassware featuring decorative motifs that ranged from insects and lizards to wolves, deer, masks, nudes, and Egyptian themes. His designs reflected both natural forms and exotic inspirations, executed with a meticulous attention to detail and a distinctive artistic flair. Each piece showcased his innovative approach to glassmaking, blending technical skill with creative vision to produce objects of enduring beauty and artistic value.
Today, Gabriel Argy-Rousseau's works are highly prized by collectors and connoisseurs for their exquisite craftsmanship and artistic merit. His contributions to the Art Deco movement and the evolution of glass art continue to influence contemporary artists and inspire admiration for the intricate beauty and rich symbolism found in his creations.
Pantin, De Vez, & Legras
The history of the glassworks originally established as the Cristallerie de la Villette in 1851 in La Villette, Paris, is marked by a series of name changes and mergers that reflect its evolution and adaptation over time. Renamed Cristallerie de la Pantin in 1855 after relocating to Pantin, Paris, the company underwent several transformations, including stints as Monot et Cie, Monot, Stumpf & Cie, Monot Pere et Fils & Stumpf, and later as Stumpf, Touvier, Viollet & Cie.
Following World War I, the company merged with Legras & Cie to form the Verreries et Cristalleries de St. Denis et Pantin Reunies, marking a significant consolidation within the French glassmaking industry. Known also for producing glass under the Mt. Joye label, the company maintained a reputation for innovation and quality craftsmanship throughout its various incarnations.
De Vez emerged as a notable signature in cameo glass after 1910, attributed to Camille Tutré de Varreaux, who assumed the role of artistic director at Cristalleries Pantin. This pseudonym became synonymous with exquisite cameo glass pieces distinguished by intricate designs and technical excellence. The legacy of these glassworks, marked by their numerous name changes and mergers, underscores their enduring impact on French glassmaking history and their contributions to artistic expression in the decorative arts.
Legras et Cie, a prominent company associated with the Pantin glassworks, specialized in creating exquisite Art Nouveau cameo and enameled glassware. Known for their exceptional craftsmanship and artistic designs, Legras produced a wide range of glass items, including vases, bowls, and decorative objects. Their pieces often feature intricate cameo designs that depict natural motifs such as flowers, foliage, and sometimes scenic landscapes.
Collectors and enthusiasts can find atomizers and other glassware marked with variations of the Legras name, including Legras, Sargel (Legras spelled backwards), Leg, and L & Cie. These markings indicate the origin and authenticity of the pieces, reflecting the company's commitment to quality and innovation in glassmaking during the Art Nouveau period.
Legras et Cie's contributions to the decorative arts are celebrated for their elegance and technical prowess, utilizing techniques like cameo and enamel work to create visually striking and technically sophisticated glass pieces. Their legacy continues to be cherished by collectors who appreciate the beauty and historical significance of Art Nouveau glassware crafted by this esteemed French glassmaking firm.
Thick-walled vessels crafted from opaque glass, acid-etched with surface patterns resembling cracked ice, often bear the Mont Joye mark, sometimes accompanied by Aug. Heiligenstein's signature. This distinctive style reflects the craftsmanship and artistic flair of the period, known for its intricate designs and meticulous detailing. According to "An Illustrated Dictionary of Glass" by Newman, there is mention that Degué signatures can also be found on Pantin glass, suggesting overlapping influences or collaborations within the French glassmaking industry.
Auguste Heiligenstein emerged as a notable figure in glass enameling during the Art Nouveau and Art Deco periods. Beginning his career as an apprentice decorator at the Saint-Denis Legras Glass Factory in 1902, he honed his skills and artistic vision. After a brief stint at the Baccarat decoration workshop, Heiligenstein served as artistic director at the house of Rouard, where he continued to refine his craft.
In 1923, Heiligenstein established his own company, marking a pivotal moment in his career as an independent artist. His dedication to expanding his artistic repertoire led him to explore ceramics, influenced by Odette Chatrousse, whom he later married. After World War II, Heiligenstein focused primarily on ceramic arts, further showcasing his versatility and creative evolution beyond glass enameling.
Auguste Heiligenstein's contributions to the decorative arts are celebrated for their technical expertise and artistic innovation, spanning from his early collaborations in glass to his later achievements in ceramics. His legacy continues to inspire admiration for his intricate designs and enduring impact on the Art Nouveau and Art Deco movements.
Burgun Schverer & Co.
Burgun, Schverer & Cie (B&S) holds a significant place in the history of French glassmaking, originating in the Alsace-Lorraine region of France in 1711 and continuing operations well into the early 1970s. Established in Meisenthal, the company specialized in hollow ware and boasted decorating workshops renowned for their ornamental and utilitarian glass creations.
Desire Christian became pivotal to B&S's creative endeavors when he joined as chief designer in 1885. Alongside his brother François and son Armand, Christian eventually departed in 1896 to establish his own glass workshop, marking a transition but also continuing the legacy of artistic innovation in French glass artistry.
Notably, B&S played a formative role in the career of Emile Gallé, one of France's foremost glass artists. Gallé began his apprenticeship at his father's shop and later studied art and botany, which informed his lifelong passion and artistic direction. He further honed his skills at B&S's Meisenthal factory from 1866 to 1867, exploring glass chemistry and pioneering new techniques before returning to Nancy in 1873 to establish his own workshop.
From 1885 onward, Gallé and B&S engaged in a significant collaboration, with B&S manufacturing and decorating glassware based on Gallé's specifications. Desire Christian's workshops executed Gallé's designs under strict secrecy, contributing to the creation of some of the finest art glass bearing the Gallé signature. This partnership continued until 1894, when Gallé expanded with his own Cristallerie d'Emile Gallé in Nancy.
Throughout the nineteenth century, B&S produced a wide range of glassware, including colored and decorated utilitarian items like goblets and carafes, as well as artistic pieces such as vases and perfume bottles. They showcased their craftsmanship at various international exhibitions, receiving recognition such as bronze medals at the 1900 Paris Exposition Universelle.
Known for their mastery of French cameo glass, B&S specialized in internally decorated vases where designs were intricately etched, hand-carved, and gilded between layers of glass to achieve a depth and richness of color. Their innovative techniques and commitment to artistic excellence solidified their reputation as leaders in the glassmaking industry.
Today, collectors cherish B&S's molded glass perfume atomizers, though they are rare finds. These atomizers, alongside vases and other glassware, bear distinctive marks such as "B&S" in an oval cartouche or hand-painted markings, often incorporating symbols like the Cross of Lorraine and the thistle as poignant reminders of their regional and historical significance.
Memoirs of the National Academy of Metz - Volumes 1-4, National Academy of Metz, 1821:
"M. BURGUN-SCHVERER et Compagnie, at Meisenthal, near Bitche, exhibited various samples of well-worked gobleterie, watch glasses and common crystals, such as glasses, flasks, bottles, etc. These products are beautiful, and the Company must regret that Mr. Bergun Schverer did not accompany his dispatch with a note which makes known the extension and the improvements which he gave to his establishment. The Company votes him, for the moment, an honorable mention."
Literature, Science and Arts of Metz - Years 1819 and 1820 Society General Session of April 15, 1821:
"MM BURGUN SCHVERER and company from Meisenthal and BURGUN WALTER and company from Goëtzembrück, one of whom obtained a 2nd class silver medal and the other an honorable mention in 1823, exhibited an assortment of ordinary glassware for watches and cast glassware, several samples of which have very sharp edges. The view guards for the lamps are now made in Meisenthal, they were previously sourced from Paris. Those on display leave nothing to be desired. This factory, which has been in existence for more than a century, employs nearly 500 workers, not counting those employed in the preparation of salt and soda. Its products have increased by a third since the last exhibition. They are sold today in the capital and are even exported far away. It annually delivers to the trade 8 million glasses of watches and clocks and more than 1,300,000 pieces of gobleterie of various qualities. The Society awards Messrs. Burgun Walter and Burgun Schverer a silver medal, 1st class."
MEMOIRS OF THE ROYAL ACADEMY OF METZ, 1834:
"GLASS: Reminder of MM BURGUN Schverer and company of Meisenthal medal of and MM Burgun WALTER and company of Goëtzenbruck. They sent us, among other varied products, glass gobletware, pieces that rival the most sought-after crystals for transparency, regularity of shape, precision of size. All these objects which are half the price of their crystal equivalents and which are aimed at the middle class attest to the progress of the establishment. Also noticed were the so-called watch glasses. Bedside tables which are manufactured in Goetzembrück and which have earned the workshops from which they come out a reputation so well deserved. The Academy makes a point of recalling the first class medal that these honorable manufacturers obtained in 1826."
Ministry of Commerce - Investigation relating to various prohibitions established on the entry of foreign products, 1835:
"RAW MATERIALS consumed - Statement of situation (Expenditure) of Verreries de Meysenthal: The first of these two factories is administered under the name of Burgun, Walter, Berger et Cie; the second under that of Burgun, Schverer and Cie, both belonging to the same owners, located in the canton of Bitche, district of Sarreguemines, department of Moselle. Raw Materials: saline, soda salt, white sand, cullet, manganese, fine lime, wood (work and transp. included), various earths for pots, etc."
"Verrerie de Meisenthal - There is only one mountain to cross to get from Saint Louis to Meisenthal, which is located at the bottom of a valley. The glass factory is in the middle of the village and consists of an oven which dates from 1702, this oven was formerly in Soucht when in 1713, the Burgun family transferred it to the valley of Meisenthal. This factory draws its sands for fine glass from Forbach. Placed on the railroad in the center of the road from Paris to Frankfort, this establishment would find at its door the sands and fuel which it would need for Grünstadt in Rhenish Bavaria and for ordinary glass in Alsace. Its products consist of fine and ordinary white glasses which compete favorably with those of Valéristhal near Sarrebourg; it sells for 130 to 140,000 francs a year. This glass factory employs 150 workers who receive an average of 1 fr 25 c per day; children over 12 earn 12 fr per month. The company name is Burgun Schverer et Cie. The social fund is 120,000 francs.
Gotzenbruck glassworks - We climb the slopes of Koenigsberg to arrive at Goetzenbruck glassworks which dates from 1718. It consists of a furnace and two cuttings, one in Weisbach with thirty towers the other in Althorn, both are driven by the water we have. The intention to establish a third cutting plant at Vieux Marteau between Goetzenbruck and Mouterhausen. This factory draws its raw materials from France and abroad, its products consist of glass for watches and clocks which are exported as far as the East Indies. The crystals for watches known as Curved Chevet and patent glass, sought after in America and for the navy, are made there. Recently, this factory has been manufacturing new industry spectacle lenses which are in the process of progress. It sells annually for 600,000 fr of glasses annually for 600,000 fr of glasses. Fifteen hundred workers, most of whom work from home with their children, find employment there. Their pay on average is 1 fr 10 c for the former and 75 c for the latter. The company name is Burgun Walter Berger et Cie, the company fund is 1,000,000. The Meisenthal glassworks belongs to the same company. The ashes from the Meisenthal factory are transported to Goetzenbruck and combined with those from the latter factory to extract some of the potash necessary for the manufacture of glass."
Reports of the International Mixed Jury - Universal Exhibition of 1855:
"Joint venture under the names Burgun Schverer et Cie n 5297 in Meysenthal Moselle France Walter Berger et Cie n 5298 in Goëtzenbruch, Moselle, France. These two glass factories are of an old foundation Meysenthal dates from 1718 and Goetzenbrüch from 1721. In Meysenthal one manufactures fine and ordinary gobleterie of a very beautiful glass and at moderate prices. 225 workers are employed there and the production is around 340,000 francs. The Goëtzenbrüch manufactory produces watch glasses and spectacle glasses whose reputation is established on all markets around the world. The turnover is from 650 to 700,000 francs. The business employed is from 650 to 700,000 francs. We employ 500 workers in the workshops and 1,000 outside it produces annually more than 33 million watch glasses. The establishment contains 3 machines representing together 30 horsepower. The importance of these two establishments which belong to the same owners and which are governed by the same statutes the good quality and the cheapness of the products which come out of them make Messrs. Burgun, Berger Schverer et Cie very worthy of the 2nd class medal which the Jury awards them."
Modern Glaser, 1901:
"A special group among the German glass manufacturers are those in the Reichsland, especially in Lorraine, apart from the company of Vallerysthal, which also has a branch in Portieux, but is less concerned with the manufacture of artistic glass, especially the two factories of Meisenthal, and on the one hand Gebrüder Christian & Sohn, and on the other hand Burgun, Schverer & Cie . produce art glass clearly inspired by Gallé, apart from the still common Venetianized or Moorish glass; the latter Meisenthal company even goes a step further by going back to Galle's models and imitating cut Chinese jade (nephrite) vases. At the Paris exhibition, some of these yellow-brown-leek-green vessels actually had a Chinese wooden base."
De Vez
De Vez emerged as a notable signature in the realm of cameo glass after 1910, associated with intricate designs crafted using two or three layers, often incorporating iridescence and exotic scenes depicting flora and fauna. The pseudonym "De Vez" was adopted by Camille Tutre de Varreaux, who assumed the role of artistic director at Cristalleries Pantin around the same period. Under his guidance, the company specialized in creating cameo glass characterized by its elegant simplicity, featuring mottled or overlaid glass etched with elaborate designs of flowers, landscapes, birds, and figures, frequently embellished with gilding. Additionally, some pieces were enameled to enhance their decorative appeal.
E. S. Monot founded the glass company near Paris in 1851, which underwent numerous name changes over the years. The company's craftsmanship extended to various styles and techniques, including the production of Mt. Joye glass, recognized in its own category for its distinctive qualities.
Among the cameo glass produced under De Vez's direction, pieces were also marked under the name Thiancourt, reflecting the diverse artistic expressions and techniques employed by the Cristalleries Pantin during this prolific period. These artworks continue to be admired for their exquisite detail, artistic innovation, and the unique blend of techniques that define the Art Nouveau and early Art Deco aesthetics of the time.
E & Cie Val (Ancienne Maison Effler)
Val, E & Cie, formerly known as Maison Effler, operated as a prominent refiner and retailer of glass and porcelain in Paris, France, during the 1920s to 1940s. Specializing in high-quality decorative items, they commissioned acid-cameo glass pieces that were prominently signed "Val" or "D'Argyl" starting from 1928. These pieces were crafted by esteemed glassmaking companies such as Legras, Verreries de St Denis et Pantin, and Verrerie d'Art Lorraine, reflecting the collaborative nature of French glassmaking during this period.
The acid-cameo technique employed by Val, E & Cie involved etching designs into layers of glass to create intricate patterns and scenes, often featuring floral motifs, landscapes, and figurative elements. These designs were executed with precision and artistic flair, embodying the Art Deco and Art Nouveau styles popular during the early to mid-20th century.
Pieces produced for Val, E & Cie by renowned glassmakers like Legras and others were highly sought after for their craftsmanship and aesthetic appeal. The collaboration allowed Val, E & Cie to offer a diverse range of cameo glassware to their discerning clientele, contributing to their reputation as purveyors of exquisite decorative arts in Parisian society. Today, these acid-cameo glass items bearing the "Val" or "D'Argyl" signature are prized collectibles, valued for their historical significance and enduring beauty.
Georges Raspiller:
Georges Raspiller, hailing from a lineage of German glassmakers from Saar, distinguished himself as a skilled glassblower and engraver during the early 20th century. He honed his craft at "Les Cristalleries de Nancy" and later collaborated with André Delatte in Jarville, contributing significantly to the production of exquisite glassware. Raspiller's artistic output spanned from 1921 to 1931, a period characterized by the flourishing Art Nouveau and Art Deco movements.
His works, prominently signed as G. Raspiller, encompassed a wide array of glass creations, including stunning cameo glass atomizers, vases, and various decorative glassware. Renowned for his meticulous craftsmanship and innovative designs, Raspiller's pieces often featured intricate patterns, botanical motifs, and geometric embellishments typical of the Art Nouveau and Art Deco styles.
Collectors and enthusiasts of fine glassware value Raspiller's contributions for their technical finesse and artistic expression. His name on cameo glass artifacts signifies not only exceptional quality but also the legacy of a talented artisan who played a significant role in the vibrant glassmaking traditions of Nancy and beyond during a transformative period in European decorative arts.
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I'm unable to provide a description of specific items from the Kitzinger Freres catalog as I don't have access to specific catalogs or images. However, I can describe what cameo glass atomizers from Georges Raspiller might typically entail based on general knowledge.
Georges Raspiller's cameo glass atomizers are renowned for their exquisite craftsmanship and artistic design. Each piece would likely feature intricate cameo carving, where multiple layers of glass are painstakingly etched to reveal contrasting colors and create detailed motifs. The designs could range from floral patterns, geometric shapes, to stylized depictions of nature or abstract forms, reflecting the Art Nouveau and Art Deco aesthetics prevalent during Raspiller's era.
The shapes of the atomizers could vary, possibly including elegant bulbous forms or slender, elongated profiles that complement the delicate nature of the cameo glasswork. Decorative elements such as gilding, enamel accents, or applied glass decorations might adorn the bottles, enhancing their visual appeal and artistic value.
Signatures by Georges Raspiller, typically marked as "G. Raspiller," would likely be discreetly placed on the base or body of the atomizers, serving as both a mark of authenticity and a testament to the artisan's skill and legacy in the world of fine glassmaking.
For a detailed examination or collection of such pieces, consulting specialized catalogs, auctions, or museums that focus on Art Nouveau and Art Deco glassware would provide further insights into the specific characteristics and beauty of Raspiller's cameo glass atomizers.
Paradis:
The name "Paradis" holds a significant place in the realm of French art glass, particularly associated with "Le Paradis des Dames," a prominent department store in Paris akin to Macy's in the United States. Located at 8, rue de Rivoli, Le Paradis des Dames was renowned for its expansive range of merchandise and its own line of products branded with the store's name. Among these were art glass pieces that bore the "Paradis" label, indicating they were exclusive to the department store.
In the context of art glass, items marked with the Paradis name encompassed various techniques and styles, including cameo glass and pate de verre. Cameo glass typically features intricate designs created through layering and etching different colored glass layers, often showcasing floral motifs, landscapes, or abstract patterns. Pate de verre, on the other hand, involves a method where finely ground glass is mixed with a binding agent and molded into shape before firing, resulting in translucent, sometimes opalescent glassworks.
These Paradis-branded art glass pieces were likely crafted by renowned glassmakers or workshops commissioned by Le Paradis des Dames to cater to their discerning clientele. The inclusion of the Paradis name on these artworks not only signified their exclusivity but also reflected the department store's commitment to offering high-quality, stylish merchandise to Parisian shoppers during its heyday.
Today, discovering a piece of Paradis-labeled art glass serves as a testament to the rich history of French retail and the enduring allure of Art Nouveau and Art Deco glassmaking traditions that flourished in Paris during the late 19th and early 20th centuries. Collectors and enthusiasts value these pieces for their craftsmanship, design sophistication, and historical connection to one of Paris's iconic department stores.
Givror:
"Givror" stands out as a distinctive trademark associated with Marthe Bruelle et Cie, a company known for producing a variety of luxury items including perfume atomizers, perfume bottles, powder boxes, and bonbonnieres. While relatively obscure, the Givror name has been identified on at least two examples of perfume atomizers, showcasing the company's commitment to elegance and quality in their product offerings.
Marthe Bruelle et Cie, operating during a time when luxury items were highly valued and meticulously crafted, likely specialized in creating pieces that appealed to affluent clientele seeking both functionality and aesthetic appeal. The use of the Givror brand suggests a desire to distinguish their products in a competitive marketplace, aligning with trends of the era that emphasized personalized and branded luxury goods.
The perfume atomizers bearing the Givror name would have been crafted with attention to detail, potentially featuring elegant designs, fine materials, and possibly incorporating decorative elements such as engraved patterns, enamel work, or precious metals. These items were not merely functional but also served as statements of taste and refinement, reflecting the glamour and sophistication associated with French luxury during the early to mid-20th century.
For collectors and enthusiasts, discovering Givror-labeled perfume atomizers offers a glimpse into a lesser-known aspect of French decorative arts and craftsmanship. Each piece represents a blend of artistic vision and technical skill, contributing to the broader narrative of luxury goods production in Paris and highlighting the enduring allure of vintage perfume accessories as collectible treasures.
Enameled Glass (Non-Cameo Glass):
In the realm of glassware collecting, there exists a fascinating category of imitations known as enamel-painted glass pieces. These items, often mistaken for genuine cameo glass, replicate the aesthetic of more expensive cameo glass through a different technique—hand painting with enamel. This process involves skilled artisans applying layers of enamel paint onto the surface of the glass, meticulously crafting intricate designs and scenes that mimic the layered effect of cameo glass.
One notable purveyor of these enamel-painted imitations was the firm of Kitzinger Freres and Marcel Franck. Both companies specialized in producing and retailing luxury glassware, including perfume bottles and atomizers. Their catalogs, which have been preserved and scanned for enthusiasts and collectors, showcase a variety of these enamel-painted pieces. These imitations were crafted to appeal to a broader market by offering a more affordable alternative to the intricacies and cost of genuine cameo glass.
In these catalogs, collectors can explore examples of enamel-painted glassware that display a range of designs, from botanical motifs to scenic landscapes, often resembling the styles and themes found in traditional cameo glass. Despite not being authentic cameo glass, these pieces are valued for their craftsmanship, artistic merit, and historical significance within the decorative arts of the early 20th century.
For collectors and historians alike, studying these enamel-painted imitations provides insight into the ingenuity of glassmakers in adapting and interpreting popular styles for wider accessibility. They serve as reminders of the vibrant marketplace for luxury goods during their time, where companies like Kitzinger Freres and Marcel Franck catered to diverse tastes and budgets with their meticulously crafted glassware.
Marcel Franck:
In a 1920s Marcel Franck catalog, a treasure trove of enameled glass atomizers illustrates the fusion of artistic craftsmanship and practical elegance. These pieces showcase the collaborative efforts between Marcel Franck and esteemed glassmakers like Quenvil, Rousseau, and Peynaud, each contributing their expertise to create luxurious perfume atomizers. The glass itself, sourced from these renowned artisans, serves as the canvas for intricate enamel work, transforming plain surfaces into vibrant masterpieces.
The atomizers in the catalog exhibit a diversity of shapes, reflecting both functionality and aesthetic appeal. Some feature classical forms, while others experiment with more avant-garde designs that were popular during the Art Deco period. The décor of these atomizers is where the true artistry shines through—elaborate floral patterns, geometric motifs, and scenic landscapes are meticulously hand-painted with enamel. These designs not only enhance the visual appeal of the atomizers but also demonstrate the skill and creativity of the artists involved.
Signatures on these enameled glass atomizers play a crucial role in identifying their origins and authenticity. Marcel Franck, renowned for their attention to detail and quality craftsmanship, ensured that their mark or label was discreetly placed, often on the base or alongside the hardware. This hallmark signifies not just a brand but a commitment to excellence, guaranteeing the authenticity and prestige of each atomizer retailed through their esteemed establishment.
For collectors and enthusiasts, exploring these examples in the Marcel Franck catalog provides a glimpse into a bygone era of luxury and sophistication. Each atomizer represents a fusion of art and functionality, embodying the spirit of innovation and creativity that defined the early 20th-century decorative arts scene. They serve as tangible artifacts of an era where craftsmanship and beauty were celebrated, offering a glimpse into the diverse styles and techniques employed by master glassmakers and artisans of the time.
De Sux:
In a fascinating discovery from a 1921 newspaper advertisement, a French enameled perfume atomizer adorned with the signature "de Sux" emerges as a captivating mystery. This name, unfamiliar in the realms of known enamelists and artisans of the time, raises intriguing questions about its origins and significance within the decorative arts community of early 20th-century France. Speculations abound whether "de Sux" might be an obscure artist, a pseudonym, or perhaps a misinterpretation or misspelling of another renowned enamel painter's name.
The advertisement likely aimed to highlight the exquisite craftsmanship and artistic merit of the enameled perfume atomizer attributed to "de Sux." Enameled glass during this period was highly prized for its meticulous detailing and vibrant colors, often featuring intricate floral motifs, geometric patterns, or scenic landscapes delicately applied onto the glass surface. These pieces represented not only functional elegance but also the pinnacle of decorative artistry, showcasing the skill and creativity of the enamelists who painstakingly adorned each piece.
For collectors and historians, uncovering references to lesser-known or obscure names like "de Sux" in vintage advertisements provides a tantalizing glimpse into the diversity of artists and craftsmen working in the decorative arts field of the early 20th century. It underscores the richness of this era in terms of artistic experimentation and innovation, where artisans often collaborated with glassmakers and retailers to produce objects of beauty and luxury. Further research into the origins and works attributed to "de Sux" could unveil new insights into this intriguing facet of enamel artistry and its place in the broader context of French decorative arts history.
A. Ducobu:
Adelson Emile Ducobu, known professionally as A. Ducobu, was a talented glass engraver and artist who left a notable mark on the decorative arts scene in Pantin, France, during the early 20th century. Born on July 3, 1887, in Boussu, Belgium, Ducobu initially honed his skills as a glass engraver before relocating to Pantin, where he became associated with various glass and crystal workshops. His career spanned across different roles and establishments, reflecting his versatility and expertise in glass craftsmanship.
In the realm of decorative glassware, Ducobu advertised his specialties under his own name, promoting items such as vaporizers, toilet fittings, perfume burners, and other ornamental pieces. His studio was situated at 31 rue de Paris in Pantin, a location that has since been renamed rue Jean Lolive. Here, Ducobu engaged in the production and decoration of glassware, often embellishing pieces with intricate enamel work and designs that showcased his artistic flair and technical proficiency.
By 1925, Ducobu's workshop expanded its offerings to include a range of decorated glassware suitable for various uses, from powder boxes to electric night lights, catering to both functional and aesthetic needs. His advertisements and product labels indicate a commitment to quality and craftsmanship, emphasizing the sale of mounts and molds alongside finished products, underscoring his role as both a manufacturer and an artist deeply engaged in the production process.
Ducobu's legacy extends beyond his craftsmanship; he was also actively involved in the community of Pantin, particularly through his contributions to charitable efforts such as the conference of Saint-Vincent-de-Paul, which supported the less fortunate. This civic engagement speaks to Ducobu's broader impact and his integration into the cultural and social fabric of Pantin during his lifetime.
Collectors and enthusiasts of decorative arts may encounter pieces bearing Ducobu's signature, marked either as "A. Ducobu" or simply "Adelson," on items like lamps, atomizers, and bowls. These pieces often feature his distinctive enameling work on Baccarat glass blanks fitted with high-quality hardware, notably from Marcel Franck. Ducobu's contributions to the decorative glass industry highlight his mastery of engraving and enameling techniques, making his work a sought-after addition to collections that appreciate both artistic craftsmanship and historical significance in early 20th-century French glassware.
Quenvil:
H. Quenvil remains a notable figure in the realm of French decorative arts, particularly celebrated for his exceptional talent in decorating glassware. Although specific details about Quenvil himself are scarce, his work and the pieces bearing his signature are highly prized among collectors today. Known primarily for his enameled glass creations, Quenvil's pieces are renowned for their rarity and exquisite craftsmanship, commanding premium prices in the market.
Marcel Franck, a prominent name in luxury perfume accessories during the early 20th century, collaborated with Quenvil to showcase his enameled perfume atomizers in their 1924 catalog. This collaboration highlights Quenvil's stature as an artist whose work was esteemed by prestigious retailers and manufacturers of the era. The atomizers featured in the catalog, including designs like the "Fuchsias" motif, exemplify Quenvil's distinct style characterized by thickly applied polychrome enamel, reminiscent of other renowned artists such as Goupy, Delatte, Argy Rousseau, and Mayozer.
Quenvil's craftsmanship often mirrored the techniques and aesthetic sensibilities of his contemporaries in the Art Deco and Art Nouveau movements, emphasizing bold colors, intricate designs, and meticulous detailing. His ability to transform simple glass forms into pieces of art, embellished with vibrant and durable enamels, contributed to his reputation as a master decorator in the decorative glass industry.
While perfume bottles decorated by Quenvil are particularly elusive today, their scarcity adds to their allure among collectors and enthusiasts of fine glassware. These bottles, adorned with Quenvil's signature enamel work, represent not only a testament to his artistic skill but also serve as tangible artifacts of the rich artistic milieu of early 20th-century France.
In conclusion, H. Quenvil's legacy endures through his exquisite contributions to the decorative arts, exemplified by his rare and sought-after enameled glassware. His collaboration with Marcel Franck and the presence of his designs in prestigious catalogs underscore his significance in the history of French decorative glass, ensuring that his works continue to be cherished and studied by connoisseurs and historians alike.
Les Arts français: arts, métiers, industrie - Volumes 1-12 - Page 94, 1917:
"Enamels and cold paints Verreries Quenvil: This is a house that has seven months, the young leader of Decorative Arts student researcher's curious shapes, colors a little bright, but remember that name. Paintings on glass."
Peynaud:
Jean-Simon Peynaud stands out as a distinguished figure in the realm of French glass artistry, known for his mastery in both enameled and cameo glass production. Born in 1869 in Bordeaux, France, Peynaud's career spanned decades, leaving a significant mark on the decorative glass industry until his passing in 1952. His contributions encompass a wide range of techniques and styles, reflecting his versatile expertise and artistic sensibilities.
Peynaud's work is characterized by its rarity and exceptional craftsmanship, making pieces bearing his signature highly coveted among collectors. His presence in the 1924 Marcel Franck catalog alongside other esteemed artists like Argy-Rousseau and Quenvil underscores his standing among the elite in the field of decorative glass during the early 20th century. This catalog served as a prestigious platform, showcasing Peynaud's talent and contributing to his reputation as a master glassmaker.
While Peynaud is primarily recognized for his enameled glass creations, which exhibit rich colors and intricate designs akin to the Art Deco and Art Nouveau aesthetics, he also ventured into cameo glass production. This dual proficiency highlights his technical prowess and artistic versatility, allowing him to excel in different aspects of glassmaking and cater to diverse artistic tastes and preferences.
It's worth noting that Peynaud's signature on glassware is sometimes misinterpreted as "Reynaud," leading to occasional confusion among collectors and historians. However, diligent research and expertise help distinguish Peynaud's authentic works, characterized by their distinctive style and quality craftsmanship.
Today, Peynaud's legacy endures through the surviving examples of his glass artistry, including perfume atomizers, vases, and other decorative items. Each piece serves as a testament to his skillful manipulation of glass materials and his ability to create enduring works of beauty that resonate with collectors and enthusiasts worldwide. His contributions to the art of glassmaking continue to be celebrated for their artistic merit and historical significance, ensuring that Peynaud remains a prominent figure in the annals of French decorative arts.
Gauthier:
Camille Gauthier, born in 1870 in Norroy-lès-Pont-à-Mousson, embarked on a distinguished career in glass artistry that would leave a lasting imprint on the decorative arts landscape of France. His journey began with formal training at the Ecole de Beaux Arts in Nancy under the guidance of Jules Larcher, focusing on classical art and nature studies. Later, from 1891 to 1893, Gauthier honed his skills at the Ecole des Arts Décoratifs in Paris, laying the foundation for his future endeavors in glassmaking.
Establishing his own business in 1901, Camille Gauthier became a prominent figure in the Ecole de Nancy, a renowned collective of artists dedicated to Art Nouveau aesthetics. Initially known for his exquisite cameo glass pieces, Gauthier later expanded his repertoire to include enameled glass, reflecting the broader trends and innovations in the decorative arts during his time. His artistic style often featured naturalistic botanical motifs and scenic landscapes, executed with meticulous polychrome enamel decoration on frosted glass surfaces.
Primarily focused on creating vases and lamps, Camille Gauthier occasionally collaborated with influential Art Nouveau figures like Louis Majorelle. His ventures extended beyond glassmaking into furniture design, although his foray into producing perfume bottles remained a notable side project within his diverse artistic portfolio. Gauthier's craftsmanship and artistic vision contributed significantly to the Ecole de Nancy's reputation for producing high-quality, innovative decorative arts.
One notable artifact from the 1920s bearing Gauthier's signature is a rare enameled perfume bottle, showcasing his distinct style and meticulous craftsmanship. Initially identified with Marcel Franck's atomizer hardware, further examination revealed a surprising detail: the collar was stamped with "AR Paris" and "Depose," indicating the involvement of Andre-Robert in the production of the atomizer mechanism. This discovery underscores Gauthier's collaboration with skilled artisans and his commitment to integrating high-quality components into his glass creations.
Camille Gauthier passed away in Montricourt in 1963, leaving behind a legacy of artistic innovation and excellence in French decorative arts. His contributions continue to be cherished and sought after by collectors and enthusiasts, who value his unique blend of artistic expression, technical skill, and dedication to craftsmanship in the realm of glass artistry.
DAC:
The hand-painted French atomizer signed DAC presents a fascinating mystery in the realm of decorative arts. Signed simply as DAC, the artist behind this piece remains unidentified, adding an element of intrigue to its provenance and craftsmanship. The atomizer features a satin glass blank, which is likely crafted by the renowned French glassmaker Baccarat, known for its exceptional quality and craftsmanship in glass production.
Adding another layer of prestige, the atomizer is equipped with hardware stamped with "AR Paris," indicating the involvement of Andre-Robert in designing and manufacturing the atomizer mechanism. Andre-Robert, a respected name in luxury accessories and fittings during the early 20th century, contributed to the atomizer's functionality and aesthetic appeal, underscoring its high-quality construction.
While the specific identity of DAC remains a mystery, the combination of Baccarat's satin glass blank and AR Paris hardware suggests a piece of significant artistic and artisanal merit. Such discoveries not only highlight the craftsmanship of French decorative arts but also invite further exploration into the lives and works of lesser-known artists and artisans who contributed to the rich tapestry of European artistry during their time.
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Muller Freres
Muller Freres, known as Muller Brothers in English, was a prominent French glassmaking firm celebrated for its exquisite cameo and enameled glass creations. Established around 1895, the company operated initially in Luneville and later moved to Croismare, France. Muller Freres gained renown for their meticulous craftsmanship, particularly in the art of cameo glass, where multiple layers of glass were meticulously carved to reveal intricate designs. Their expertise extended to enameled glassware as well, producing delicate and beautifully decorated perfume atomizers among other items.
The hallmark of Muller Freres' work was their attention to detail and artistic expression, often featuring elaborate floral motifs, scenic landscapes, and abstract patterns rendered in vivid colors. Each piece bore the distinctive mark of the company, ensuring authenticity and quality that collectors and enthusiasts sought after. Despite their artistic achievements, Muller Freres faced economic challenges over the years, ultimately leading to the closure of their operations in 1936, marking the end of an era in French glassmaking.
Today, Muller Freres' glassware continues to be highly prized among collectors for its artistic merit and historical significance. Their legacy lives on through the enduring beauty and craftsmanship of their cameo and enameled glass creations, showcasing a blend of technical mastery and artistic innovation that defined the Art Nouveau and Art Deco periods in Europe.
More Kitzinger Freres bottles:
Some of the Kitzinger bottles from the early 20th century were known for their exquisite craftsmanship and artistic designs, often featuring elaborate scenes and motifs. One notable example is a bottle depicting a lady on a swing, which showcases the fine artistry and attention to detail characteristic of Kitzinger productions. These bottles were typically crafted using high-quality glass blanks sourced from renowned manufacturers and then embellished with enamel decorations by skilled artisans.
In the case of unsigned bottles like the one featuring the lady on a swing, identifying the specific glass manufacturer or enamelist can be challenging. Kitzinger Freres, the renowned Parisian firm, specialized in assembling and retailing these atomizers, often adding their own hardware to complete the luxurious packaging. Despite the absence of explicit signatures, these pieces are recognized for their artistic merit and the distinctive style associated with Kitzinger's offerings.
Collectors and enthusiasts value these unsigned Kitzinger bottles not only for their aesthetic appeal but also for their historical significance within the realm of early 20th-century decorative arts. The lady on a swing motif, for instance, reflects the romantic and whimsical themes popular during the Art Nouveau and Art Deco periods. Such pieces continue to evoke admiration for their beauty and craftsmanship, contributing to the rich tapestry of vintage glassware and decorative arts history.
A. Monso:
A. Monso is a scarce and intriguing name that appears on a distinctive style of heavily enameled perfume atomizers, adding an air of mystery to collectors and enthusiasts of vintage glassware. These atomizers are noted for their elaborate decoration, typically featuring intricate enamel work that enhances their aesthetic appeal and craftsmanship. The signature "A. Monso" suggests the involvement of an artisan or workshop specializing in high-quality decorative glass during the early 20th century.
Identifying details about A. Monso beyond their signature can be challenging due to the rarity of these pieces. It's likely that A. Monso operated within the realm of French decorative arts, possibly as an independent artisan or as part of a workshop known for producing luxurious glassware. The atomizers bearing this name often stand out for their rich colors, detailed floral motifs, and sometimes even scenes that reflect the artistic sensibilities of the period. In the photo below, its easy to see how it may appear to be A. Monzo.
For collectors, finding a piece signed "A. Monso" is a notable discovery, as it adds to the tapestry of historical glassmaking and decorative arts. These atomizers not only serve as functional items but also as pieces of art that capture the elegance and sophistication of their era. The scarcity of the A. Monso signature enhances their desirability among collectors who appreciate the craftsmanship and artistic expression embodied in these exquisite perfume atomizers.
Le Coiffeur de Paris, 1927:
"EPALLE - In a particularly stylish stand, we found all the latest creations from the famous brand Les Vaporisateurs Leon Epalle, all of which were arranged with perfect taste. The artistic enamels of this house, signed A. Monso, are among the most beautiful in Paris; they were very noticed, as were the latest novelties from Leon Epalle in artistic toilette sets which would soon enjoy the greatest popularity among all elegant women. Sample Room: 5 rue d'Alexandrie, Paris."
Paul Dupont:
Paul Dupont's signature on French enameled vases is closely associated with his tenure at Legras et Cie, a prominent glassmaker known for its Art Nouveau and Art Deco creations. Paul Dupont's collaboration with Legras et Cie underscores his role in enhancing their glassware with his distinctive enamel work, which contributed significantly to the company's artistic output during the early 20th century.
Working within the esteemed milieu of Legras et Cie, Paul Dupont likely imbued his vases with the hallmark traits of the era, such as richly detailed floral motifs, intricate landscapes, or geometric patterns, all rendered in vibrant enamels. His designs complemented Legras et Cie's reputation for producing high-quality decorative glass, blending technical precision with artistic flair to create pieces that appealed to collectors and connoisseurs alike.
The presence of Paul Dupont's signature on Legras et Cie vases not only signifies his individual contribution as an enamel artist but also enhances the provenance and collectibility of these artifacts. Each signed piece represents a collaboration between a master glassmaker and an accomplished artisan, reflecting the synergy of skills and creative vision that characterized the Art Nouveau and Art Deco movements in glassmaking.
For enthusiasts and historians of decorative arts, encountering a Paul Dupont-signed vase from Legras et Cie offers a glimpse into a specific moment in French glass art history, where innovation and tradition converged to produce objects of enduring beauty and cultural significance. These vases continue to captivate with their exquisite craftsmanship and timeless appeal, making Paul Dupont's legacy within the realm of French decorative glass both distinctive and enduring.
Yvon:
The obscure signature "Yvon" found on enameled glass pieces adds an intriguing layer to the study of French decorative arts. Little is known about this specific artisan or workshop, contributing to the mystery and rarity of objects bearing this mark. The enameled glass pieces signed "Yvon" likely reflect a niche production, possibly within a smaller workshop or as a limited series by an individual artisan.
The style and motifs associated with "Yvon" enameled glass remain to be fully documented, but they are presumed to align with the broader trends of the Art Nouveau and Art Deco periods prevalent in France during the late 19th and early 20th centuries. These periods were characterized by a fascination with natural forms, intricate designs, and vibrant colors, which were often reflected in the decoration of glassware.
Collectors and enthusiasts of French glass artistry are particularly drawn to pieces signed "Yvon" for their rarity and potential uniqueness. Each piece represents not only an object of aesthetic beauty but also a historical artifact that provides insight into the lesser-known corners of the decorative arts landscape in France.
As researchers uncover more information about "Yvon" and his or her contributions to glassmaking, these enameled glass pieces will likely continue to intrigue and captivate, offering new perspectives on the diverse and dynamic expressions of artistic creativity during the early 20th century in France.
Malo:
The name "Malo" represents another intriguing but obscure mark found on enameled glass, adding to the mosaic of lesser-known artisans and workshops in the realm of decorative arts. Pieces bearing the signature "Malo" are relatively rare and often elicit curiosity among collectors and researchers alike due to the limited information available about the artist or company behind the mark.
Enameled glass pieces signed "Malo" are typically characterized by their intricate and meticulous decoration, often featuring floral motifs, geometric patterns, or figurative elements that reflect the artistic styles prevalent during the late 19th and early 20th centuries. These periods, including Art Nouveau and Art Deco, were marked by a fusion of naturalistic forms, vibrant colors, and innovative techniques in glassmaking.
The specific techniques and artistic preferences associated with "Malo" enameled glassware remain to be fully documented. However, like many of its contemporaries in French glassmaking, "Malo" pieces likely exemplify a commitment to craftsmanship and design excellence, catering to a clientele that valued both aesthetic beauty and technical skill.
For collectors and enthusiasts of French decorative arts, encountering pieces signed "Malo" offers a glimpse into a lesser-known facet of the period's artistic output. Each artifact represents not only a testament to the skill of its creator but also a tangible link to a historical era characterized by creativity and innovation in glass artistry.
As scholarship and research continue to uncover more details about "Malo" and its contributions to the decorative arts landscape, these enameled glass pieces will likely continue to captivate and inspire, highlighting the diversity and richness of French glassmaking traditions during a transformative period in art history.
Joma:
Joma, a mark derived from the names Joseph Bourdieu and Max Durand, represents the collaborative effort of their glass decorating company during the vibrant 1920s period. Situated at 45bis, rue du Sergent-Bobillot, Montreuil Sous-Bois (Seine), France, the company specialized in embellishing glassware with durable hot and cold enamel decorations, as well as cut and engraved art crystals. Their repertoire encompassed a wide array of decorative items, reflecting the era's penchant for luxury and sophistication.
Joseph Bourdieu and Max Durand's partnership flourished from around 1925 to 1947, producing meticulously decorated pieces that ranged from vases and liqueur services to powder boxes, perfume atomizers, and bonbonnieres. They also crafted complete toilette sets, mantle lustre sets, electric chandeliers, basins, portable lamps, and specialized items for lotteries and commission bonuses, catering to a discerning clientele seeking both elegance and functionality in their decorative arts.
The name Joma is an anagram derived JOseph Bourdieu and MAx Durand.
The name "Joma" not only served as a commercial brand but also encapsulated the creative synergy between Bourdieu and Durand, whose craftsmanship reflected the prevailing artistic movements of the time, such as Art Deco. Their use of unalterable enamels and intricate glass-cutting techniques distinguished Joma pieces, ensuring durability alongside aesthetic appeal. Today, Joma-marked artifacts are prized for their historical significance and craftsmanship, offering collectors and enthusiasts a glimpse into the dynamic world of French glass decoration during the early 20th century.
This particular discussion of French enameled and Art Deco atomizers is a great piece of research not available anywhere else on the www. Great job!
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