CLEOPATRA'S BOUDOIR

Today I had an email from a lady who purchased some vintage soaps from an estate sale. The fragrance of the soaps was for Revlon's Aquamarine. So that inspired me to write up a small log about the scent.

Revlon introduced Aquamarine way back in 1946. It had a very clean, fresh, marine like smell, with a little floral thrown in for good measure. the perfume came out first, but ancillaries like soap, eau de toilette mists, milk bath, bath powder, lotion deodorant and face and body lotions soon followed. In the 1960s, Aquamarine proved to be extremely popular with the younger set and soaps were all the rage as well as the shampoo!

Today, the soap is no longer available, but the shampoo and lotions still can be found online at discounters. Though the consensus mentions that the "new" Aquamarine pales in comparison to the original higher fragranced products, they are still worth it.

Today the shampoo and conditioners are described as  "made with the sea's own proteins and minerals and provides the natural benefits of a refreshing dip in the ocean". "Cleanse your hair with fresh-as-the-sea aquamarine extra body shampoo. Enriched with essential mineral ingredients, gentle aquamarine formula with natural marine protein cleans through and through.

As far as I can remember, I have been fascinated by belly dancers and exotic performers. My godmother was a professional belly dancer and instilled with world of dance within me at an early age. Over the years I have done some research on various performers from the late 1800 and early 1900s. To my surprise, a dancer named Sahary Djeli inspired the French perfumer Delettrez to create a perfume in her honour, aptly named Sahary Djeli. This perfume came out in 1910, around the same time that Sahary’s fame was at its peak.

Not much info can be found on Sahary Djeli, except that she was a Hungarian performer who created a whole persona based on her own imagination. She claimed to have belonged to a strange sect from the Orient and that the name Sahary Djeli meant The Socreress of the Century. Other rumors were that she was actually born on a French farm. Her main claim to fame was portraying the exotic Salome and dancing her so called Forbidden dance at many music halls and venues such as Le Casino de Paris, Les Varietes in Brussels and at the Hippodrome in London. Sahary was a contortionist and relied upon her unusual dance poses to keep her fame, one way to entice the crowd with her bizarre Forbidden Dance was to advertise her photo along with an artist’s rendition of how she would look in an X-ray taken of her holding the pose, this was seen in an issue of the Comœdia Illustré.

An article in the Grey River Argus January 11, 1912, titled "Mystery of a Dancer: Story of her Childhood."

Sahary Djeli , mysterious as ever, has returned to London, and will appear in a new Eastern Dance tragedy at the Hippodrome, at which house, it will be remembered the dancer scored an unusual success not long ago in an elaborate Salome sketch.

Sahary Djeli, resting on a divan from the fatigue of a rehearsal, was as secret and obscure as of old, on the subject of her parentage, absolely refusing to enlighten him as to her real name or real nationality and talking only of incidents of her babyhood, and of those more as if they had been of dreams than of actualities. Speaking in French, which she has entirely adopted with the view of forgetting her own native language or at all the events with the view of not giving tongue to it before strangers . Sahary Djeli told the following remarkable story of which she called the birth of her passion for dancing.

“It was in the East, long, long ago when I was a little girl, a baby almost, We were crossing the desert, going far into the interior, the sun - ah! you do not know what the sun is in this grey land, the sun was liquid fire. At noon we could bear it no longer, they had left me to play in the shadows of a few palms, and at the foot of one I was digging deeply for the root of a flower, when the elephants trumpeted loudly, and I looked round to see the desert beginning , as it seemed to me, to dance. I was entranced. So lightly the sand whirled round and round, came closer and waltzed away. Then the sand would sink lower and lower, tall columns of it falling until they settled on the ground like this.”

Rising to her utmost height she slowly sank down to her dressing room floor, and lay there for awhile a tangle of shimmering transparency. Then she assumed a sitting posture, common to the Eastern people of whose life she is obviously more closely acquainted with than she will admit and went on wit her story.

“And then the desert danced again, a furious dance this time, great whirling clouds of sand darkening the sky, the palms above me shivering, the elephants trumpeting more wildly than before. Some buried their trunks in the sand and lay flat, and I lay flat also, covering my face with my hands, and working my body as deeply into the sand as I could for protection. The darkness and the storm passed slowly away and when they had gone, I rose and looked around. Two of the elephants lay dead by the palms, further along the bodies of my father and two of his attendants.”

“Yes,” said Sahary Djeli, after a slight shiver, “I remember only too well, that first dance, the dance of death, which gave birth to my Dance of the Desert!”.

From the book: Dashing Stage Beauties of the World.  c1910.  a hard-to-find portfolio of prints published circa 1912 by Leslie Judge Company :

“SAHARY DJELI. All of our dancing in recent years has been influenced by the rythmic body movements of the Oriental dances, which in their original form greatly shocked society, but which as modified have merely infused a new, fascination into the Western dances. One of the public dancers who brought the unmodified dances of the East before audiences of the West was Sahary Djeli, of whom a critic wrote, after witnessing one of her performances: "As a female contortionist, she surpassed all her predecessors in Salome dancing. She almost succeeded in tying herself in a hard knot, than rolled down a flight of stairs and died at the footlights. A large chorus of dancers and negro slaves made an effective background for her. SAHARY DJELI is an Hungarian and made her debut on the stage in Budapest. Since then she has danced on all the stages of the principal cities of Europe. She is an extremely beautiful woman and her poses are the delight of all art connoisseurs. The photo shows her in the role of "Salome," which she has portrayed a number of times. She is sometimes known as the "Lady of the Jewels," because she is said to own more precious stones than any other lady in Europe.”

The Sahary Djeli perfume bottle is clear crystal, square shaped and topped by a brass cap over an inner stopper. The label is embossed gold foil.

This is an extension of my original La Tausca Pearls guide written on ebay back in 2007.

La Tausca Pearls was a trade name for high quality faux pearls used by three different companies: Maurice J. Karpeles, L. Heller & Son Inc and Martin Low & Taussig, Providence RI. This trade name was in use from around 1915 as it was first seen in a Albert Walker jewelry catalog. Then in 1956 it merged with Deltah Pearls and became Heller-Deltah. The La Tausca division was later bought by Arlan Jewelry Co.The main La Tausca store dealt in fine jewelry and was located on Fifth Avenue, New York City.

La Tausca Pearls presentation box with green jewels, photo courtesy of tombraiderplayer.

These faux pearls were advertised as indestructible and often had 14kt gold filigree clasps that were marked La Tausca. In many instances these clasps also had a little genuine diamond chip. A gilt metal medallion was attached to all of the jewelry and can sometimes be found intact. La Tausca Presentation box with amethyst jewels. The high quality faux pearls were sold in filigree & jeweled gilded stamped copper presentation boxes (jewel caskets) in the 1915-1930s. I have also had the rare opportunity to see a few boxes with both a shell cameo and jewels on the lids. These boxes were lined in ivory colored silk and had La Tausca Pearls printed in gold lettering on the inside of the lid. This is usually worn away.

I have seen various different shapes of these boxes from a square shape to a longer rectangular shape, also in an octagonal shape too. The colors of the jewels are emerald green, sapphire blue, garnet red, amber and/or amethyst purple glass jewels.

Presentation box with amber jewels for La Tausca Pearls,photo courtesy of daintydanas

Presentation box with sapphire blue jewels,photo courtesy of mummers_dance.

The pearls were generally given as presents to a bride to be to wear on her wedding day. I have seen several advertisements for the pearls showing brides wearing them with all of their wedding finery. The pearls were also advertised as a wonderful and unusual gifts for 30th wedding anniversaries.

La Tausca Pearls presentation case with purple jewels, photo courtesy of ouryesterdays0050.

La Tausca won the highest award in 1915 at the Panama-Pacific Exposition and the Grand Prize for the Sesquicentennial Exposition of 1926. These awards were most likely for outstanding design or invention for their La Tausca Pearls or other costume jewelry.

La Tausca Pearl presentation box with shell cameo and coral cabochon jewels, picture courtesy of nevadalee2

La Tausca Pearls presentation box with shell cameo and coral cabochons, photo courtesy of marmd28.

The La Tausca store in New York also sold high quality Mexican sterling silver, many pieces with turquoise and also rosaries. Presentation box with amethyst jewels. Several La Tausca advertisements are available on ebay and the internet for purchase.

Presentation box with red jewels for La Tausca Pearls, photo courtesy of neblinggirl.

I found an advertisement from the Decatur Review newspaper from 1922, describing the various La Tausca Pearl necklaces available.

"WILLIAM GUSHARD COMPANY Because of Popular Demand This Sale Will Be Continued for Two Days Lovely LaTausca Pearls ONE-HALF PRICE BECAUSE of the great demand far these beautiful La Tausca Pearls the maker's representative who is conducting the sale has decided to stay just two days and Tuesday, and has wired for more pearls, so those who come tomorrow and next day will have complete assortments to choose from. That the is popular is not surprising, for La Tausca Pearls are exact replicas of priceless gems, with the lustre and texture of of real Oriental pearls, and each necklace is presented in a satin lined case. Now they are just half price. -

• Naomi 18-inch necklaces with 10kt solid gold ring clasps.
• Portia 18-inch necklaces with diamond set white gold clasps.
• Lady Rosalind 18-inch necklaces with diamond set gold clasps.
• Puntainia 27-inch necklaces with laces with white gold clasps.
• Nora 24-inch necklaces diamond set white gold clasps.
• Norma 30-inch necklaces with diamond set white gold clasps.
• Aurore 20-inch necklaces with diamond set white gold clasps.
• Aurore 24-inch necklaces with diamond set white gold clasps.
• Mecan 30-inch necklaces with diamond set white gold clasps.
• Endless Chain Necklaces, 40 inches long..
• Chain necklaces, 50 inches long.
• Endless Chain necklaces, inches long."

Value for these boxes always fluctuates, but they generally sell within the $75-$300 range. Sometimes the lining is no longer present, this shoudn't affect the value too much.

In this guide I have listed the various perfumes produced by Gabilla  of 29 avenue Marigny, Paris.

Established in 1910 by Henriette Gabilla, a Syrian perfumer and cosmetician. Gabilla was a major exporter of luxury to lower priced presentations worldwide. It is reported by Nigel Groom that Gabilla started creating fragrances in the 1890s and her first perfume under her own name was Mon Cherie. Henriette moved to 6 rue Edouard VII in Paris and purchased a perfume factory in 1910 located 203 rue de Paris, Ivry-Sur-Seine.

Gabilla also created perfumes and presentations for other companies such as Ciro. Gabilla created the first perfume presentations for Ciro and La Grande Maison de Blanc introduced their own perfumes using Gabilla creations in 1926. La Grand Maison le Blanc bought Gabilla’s Moda fragrance and renamed it La Grand Maison le Blanc. The perfume Mae West was created for the voluptuous film star in 1934 and launched by her own label Wesmay. The perfume‘s slogan was “loaded with allure“. Gabilla created a perfume in 1920 named Tous Les Bouquets, and in 1923, sold it to Woolworth’s Department stores. In 1926, the perfume of Tout le Printemps was created, and later sold to Bourjois in 1932, who may have renamed it Springtime in Paris.

Gabilla also purchased perfumes from other companies, such is the case with Lubin’s perfume for Gaby, which Gabilla launched in 1920. The printing company of Marboef et Cie supplied Gabilla’s labels, papers and presentation boxes, most notably for the perfume Hossegor.

The best example of Gabilla’s influence over other designers would be for the perfume, My Sin. My Sin, first introduced by Gabilla in 1927 was created by in house perfumer Madame Zed. The flacon, of black crystal and gilded accents was designed by Julien Viard and produced by Depinoix. This beautiful perfume flacon and name had inspired Jeanne Lanvin to create her own version of My Sin, complete with a similar looking bottle by Armand Rateau. Interestingly, the Gabilla flacon was also produced in clear crystal, again accented in giding and used for other scents such as Minnie in 1920.

The whimsical and simplified floral motifs drawn by Georges Lepape and Charles Martin and Georges Barbier, were soon a favorite style of Henriette Gabilla’s and informal versions of these designs were found on her early labels and bottles. Perfumes such as Violette and Pour Changer were contained in simple, but graceful bottles.

Henriette Gabilla had made friends with notable French writers and poets, such as Colette and Edmond Rostand. One of Gabilla’s first perfumes, Musardises was named after Rostand’s first book of poetry. The 1912 flacon for Musardises was elegantly enameled and may have been created by Georges Lepape. Another perfume was introduced in 1912, Minnie, named for one of Colette’s plays co-written with her husband from 1905. In 1918, Minnie was reintroduced in a flacon created by Baccarat chief designer Georges Chevalier, and produced by their glassworks in a rare, silvered opalescent crystal. It has been said that Colette’s favorite perfume was Jasmin by Gabilla.

Another Baccarat flacon was created for the perfume Moda, which resembled the outline of a fashion sketch with a hat like stopper, decorated with an oversized gilded silk tassel and childlike enameled floral designs. The clear crystal flacon for Mimosa, from 1921, employed a large domed green enameled crystal stopper as the focal point for a rather bland Baccarat flacon. Gabilla won the Prix d’honneur in 1925.

Gabilla’s perfume, La Vierge Folle (The Mad Virgin) was directly inspired by the title name of a play by Henri Bataille about a young girl who fell in love with an older man. The perfume was first created by Henriette Gabilla in 1910 and the flacon was later produced by Baccarat in 1910.

An early Gabilla flacon was made for the perfume La Reve de Gabilla, the Dream of Gabilla. This gorgeous satin finished bottle was accented with sepia patina in the recessed. The exquisite presentation case was covered with red velvet and jeweled and gilded silk threads reproducing a fabulous Renaissance era tapestry found in the Cluny Museum in Paris.

Starting in 1919, a series of commemorative perfumes were created for the first World War, this included: Fausse Alertes, Fleurs de Victoire, Heures Breves, Minuites Breves, Minuites Cheres, Minuites Revées, Nuits d'Alertes, La Fruité des Heures , Oublions L'Heure and Tic Tac.

Julien Viard lent his imagination to an existing Baccarat flacon used for other Gabilla scents, this time, in 1924, he softened the angular lines and added delicate stenciled perfume names onto the front of the bottles. Each perfume had a brass cap that was enameled on the top. These enameled tops matched the particular colors of the presentations boxes for certain perfumes. These color coded perfumes were red for Fleur du Jour, green for Musardises and cream for Moda.

Although Gabilla is most noted for their sumptuous flacons, it is possible to find some Gabilla scents contained within Baccarat’s early apothecary styled flacons, this practice by Gabilla started in 1923 as a type of “reverse snobbery” and a return to more simplistic presentations.

The whimsical and simplified floral motifs drawn by Georges Lepape and Charles Martin and Georges Barbier, were soon a favorite style of Hernriette Gabilla’s and informal versions of these designs were found on her early labels and bottles. Perfumes such as Violette and Pour Changer were contained in simple, but graceful bottles.

The flacon for Chin-Li was completely different, a modern type of presentation by Depinoix for Gabilla, combined vivid colors of green, blue, red, orange and yellow in its presentation.

A very unusual presentation created for Gabilla was for the perfume for Mon Talisman. Consisting of an opaque white crystal flacon enhanced with gilding, this Baccarat produced bottle came in two sizes, from a very large 10 5/6” to a diminutive 3 1/2” tall example

. Other Baccarat flacons were produced for the following perfumes: Réveillon (Revillon), Folies de Femme, Tango, Tout le Printemps, Xantho, Mon Cheri, Gardenia and Mimosa.

I have seen a 1926 advertisement for Xantho perfume, it made clear that the perfume bottle could be purchased with different colored crystal stoppers, in sapphire, emeralda, black diamond, ruby and amethyst.

Rene Lalique supplied beautiful crystal flacons for Gabilla’s Jasmin, Tout le Fleurs, Glycine and Lilas. The box for Jasmin also a luxury object, echoed the bottle’s floral pattern, complete with a hanging floral paper medallion attached by a silken tassel.

The designer Daillet lent his imagination for the creation of the flacon for Violette in 1912, in both green and clear crystal, each bottle was accented with enameling and is very Art Nouveau in character.

The perfumes of  Gabilla :

1902 La Vierge Folle

1910 Mon Cherie

1910 Fleur de Jour

1910 Folle Passion, reissued in 1956

1910 La Vierge Folle, reissued in 1931

1910 Mon Cheri, reissued in 1931

1911 Xantho

1912 Minne, reissued in 1931

1912 Violette

1912 La Rose de Gabilla

1912 Le Bouquet de Gabilla

1912 Le Rêve de Gabilla

1912 Musardises,reissued in 1927

1913 L’Ambre de Gabilla

1914 Le Secret de Marguerite

1917 Pour Changer

1918 Moda, reissued in 1931

1918 Réveillon/Révillon

1919 Fausse Alertes

1919 Folie de Femme

1919 Heures Breves

1919 La Fruité des Heures

1919 Les Jeux et Les Ris

1919 Minuites Breves

1919 Minuites Cheres

1919 Minuites Revées

1919 Nuits d'Alertes

1919 Oublions L'Heure

1919 Tic Tac

1919 Vincha

1920 Gaby

1920 Amour Americain

1920 Tous Les Bouquets

1921 Longchamp

1922 Le Reve

1922 Ambre de Gabilla

1922 Le Succes

1922 Eau de Verveine

1922 Chrysantheme

1922 Fleuri

1922 Columbine

1922 Fougere

1922 La Bouquet

1922 Foin Coupe

1922 Ambre Merveilleux

1922 Marguerites

1922 Cordiality

1922 Petite Folie

1922 Musc du Tonkin

1922 L'Ambre

1922 Opoponax

1922 Pa-Ri-Ki-Ri

1922 Peau d'Espagne

1922 La Violette de Gabilla

1922 Tout le France

1922 Tout le Printemps

1923 L’Intrigant

1924 Chypre

1924 Gaby Deslys

1924 Hauthro

1924 Chin-Li

1924 Fleur de Jour

1925 De Tout Un Peu

1925 Jasmin

1925 La Violette

1925 Lilas

1925 Folies de Femme

1926 Bruyere

1926 Toutes Les Fleurs

1925 Millefleur

1925 Sais-Tu?

1925 Tango

1926 Bruyere

1926 Pois de Senteur

1926 Narcisse

1926 Mon Talisman

1926 Tout le Printemps

1926 Glycine

1926 Jasmin

1926 Gardenia

1926 Muguet

1926 Mimosa

1926 Xantho

1926 Rose

1926 Mimosa

1926 Heliotrope

1927 My Sin

1928 Bijou D'Amour

1929 Hossegor

1929 Seneca

1930 La Glycine

1930 La Jasmin de Gabilla

1930 Luce et Colas

1930 Œillet

1931 Longchamps

1932 XYZ

1933 Oui ou Non?

1933 Sinful Soul

1933 Vineuil

1935 Mae West

1936 Reve A Deux

1937 Tango

1938 Quadrille

1938 Intrigue

1940 Dream For Two

1940 Foolish Virgin

1953 Fredaines

These other names are recorded for Gabilla, but I am unsure of their launch dates: Chauve-Souris Paquette, Reve a Deux.

The House of Gabilla has been ressurrected, I will keep you abreast of any info..

This guide is an extension of new information on the original guide I wrote on ebay for theHouse of Tre-Jur.

Established in 1924 by Albert Mosheim at 19 West 18th Street, New York, . The company also sold toiletries and cosmetics and opened a branch in Hamburg, Germany. Tre-Jur was affilied to Varva and they shared a perfume in common, Suivez-Moi. Tre-Jur is spelled as the phonetic equivalent of "treasure". Tre-Jur eventually became a division of United Toilet Goods Co. of New York City and a division of Fifth Avenue, NY. In 1963, the House of Tre-Jur was bought out by Maradel Products, Inc. (now known as Del Laboratories.)

On an early brochure, it proudly exclaims "Adorning the Joli Memoire packages, you will recognize Tre-Jur's little trade-mark lady. She is the constant companion of lovely women everywhere, for they have made the use of Tre-Jur not only habit, but fashion." This is a common motif and became the trademarked logo for The House of Tre-Jur, it was used on all of their products.

Tre-Jur was one of the first companies to offer seasonal gft boxes of their products. The Tre-Jur division was making popular priced bath powder, soaps, accessories and similar products, chiefly for Christmas. Complete vanity sets included a compact, loose powder, lipstick and rouge from Tre-Jur, an advertisement from Australia’s Argus from 1927, mentions that Buckley’s is the exclusive retailer of Te-Jur products in Australia.

Tre-Jur built its fortune on its compacts, with names like “Little One” and “thinnest”, these were staples of the flapper’s reticules. Their compacts came in both brass and nickel. Many of them are enameled and have Art Deco styled motifs and the Hose of Tre-Jur lady logo. In a 1924 ad for their compacts, it states that their face powder is fragranced with the perfume Joli Memoire.

In 1929-1933, the KODAK Ensemble was introduced. It featured a KODAK Petite Camera in a suede case with lipstick, compact, and mirror; it came in three colors: beige, rose, green. The cosmetics were provided by the House of Tre Jur.

Also in 1929, NEHI, the soda and soft drink company used one of Tre-Jur’s combination compacts as one of their premiums. It was a quality compact made up of baked enamel and featured powder, rouge, two puffs and a highly polished double metal mirror. It took 50 cents and 50 NEHI crowns just to get this. You could also get a adjustable and red enameled gunmetal tube of Tre-Jur lipstick in a raspberry shade with 19 cents and 19 NEHI crowns.

The most common Tre-Jur perfume bottle used for Suivez-Moi, was launched in 1925, this clear and frosted bottle is in the shape of an elegant with lady wearing large hat as stopper, her crinoline skirt is decorated with abstract symbols, she holds a posy of flowers in her hands. Base acid-etched "House of  Tre-Jur".  Two versions of this bottle exist. The perfume came in several sizes with the smallest bottle standing just  2 1/2" tall. The largest stands 3.2" tall. The perfume bottles were further enhanced with a small ribbon and faux flower bouquet attached to the bottles.

Some of the powder boxes also had the same small flower bouquet attached as well as a lovely silhouette of the perfume bottle lady in a cartouche on the lid of the bath powder box. The face powder boxes and compacts all shared the same silhouette. I am starting to think that the beautiful little lady perfume bottle may have been used for more fragranced than just the Suivez Moi perfume.

The popularity of Suivez Moi was so great that in 1930, the House of Tre-Jur introduced the perfume Suivez Moi Jeune Homme, or Folllow Me Young Man. This perfume seems to have been first created and sold by Martha Regnier in 1923. Martha Regnier, a French milliner, launched a small range of perfumes in the early 1920s in Paris, another perfume by her company was Elle à Passe Par Ici from 1924. I believe that Tre-Jur may purchased this short lived company and introduced the perfume Suivez Moi Jeune Homme under their own name in 1930..

A very rare bottle for the perfume Odeur Charvai by Tre-Jur was launched in 1926. It ws a black glass half moon shaped bottle with a metal over cap, it had a small glass inner stopper. Tiny label on the side and the bottle stood 6" tall.

Dimestore novelty mini perfume bottles of the 1930s often come in the shape of bells. Its possible to find rouge and powder compacts, bath powders, scented bubble foams, toilet waters and children’s novelties from Tre-Jur online. In 1958, Tre-Jur came out with a line of Little Lulu themed toiletries for children.  

The perfumes of Tre-Jur:

1924 Joli Memoire

1925 Follow Me

1925 Suivez Moi

1926 Odeur Charvai

1929 El Vera

1930 Suivez Moi Jeune Homme

1934 Aphryne

1936 Gardenia Bouquet

1936 Apple Blossom Bouquet

1936 Carnation Bouquet

1936 Lilac Bouquet

1936 Honeysuckle Bouquet

1936 Nonchalant

1938 Varva

1949 Special Occasion

1958 Little Lulu

1950s Scotch & Soda men’s novelty cologne set

Varva, who may have been just a division of Tre-Jur's,  took over Suivez Moi from Tre-Jur in 1938 and introduced the eau de toilette as well as the parfum versions. In 1946, an advertisement in the Miami News for Varva’s Follow Me perfume atomizer reads” Suivez Moi or Follow Me, that refreshing, tantalizing fragrance that is the favorite of all women. Now comes with a handy atomizer that sprays a scented mist…$1.25 plus tax."

In 1938, Varva introduced a trompe l’oeil perfume bottle in the shape of a pearl ring in a box. The pearlized glass perfume bottle, sat inverted in a silvertone bakelite ring setting flanked by two faux baguette diamonds, affixed to a leatherette box base covered with fuschia velveteen.

Varva Perfumes:

1938 Follow Me/Suivez Moi (for the girl of your dreams, the provocative Follow Me)

1938 Nonchalant (for the devil-may-care, Nonchalant)

Cadolle Freres of Paris France, established in 1889 as a haute couture corset shop in Buenos Aires by Herminie Cadolle, opened Paris shop in 1910 as a family business with fashionable clientele at 14 rue Cambon.

The company was responsible for introducing and patenting the first brassiere back in 1889 at the Paris Exposition, the corselet-gorge, and an expression she in which she later referred to as Amour en Cage, or Caged Love, her term for a woman’s bust encased by the brassiere. This French expression used since around 1910 when a play of the same name was successfully gracing the French stages.

Her grand daughter Marguerite launched a range of fragrances in 1926 as part of their fashion linesIt was that famous play L’Amour en Cage which also inspired Cadolle to name her perfume in 1926, aptly named Amour en Cage. It was first given only to selected clients and became the must have accessory for anyone who purchased Cadolle’s creations. The firm of Marboef et Cie produced the papers, boxes and labels for this luxurious perfume presentation.

Female tennis star and Wimbeldon champion Suzanne Lenglen inspired two of Cadolle Freres perfumes, Apres le Tennis and Suzanne Lenglen, both of which debuted in 1927.

Just after the second World War, Cadolle No. 9’s formula was sold to Paquin, creator of the famous 9 X 9 perfume. Shortly after, L’Oreal purchased Paquin, and Cadolle No. 9 was then purchased again by their namesake firm, Poupie Cadolle, who incorporated Cadolle Parfums in 1986.. The firm is now known as the House of Cadolle, now run by Herminie Cadolle’s great-great-great granddaughter. www.cadolle.com. Cadolle No. 9 was still available in selected retailers in Europe up until around 2008.

Cadolle's perfumes were introduced in 1926:

1926 Amour en Cage

1926 Le No. 9

1926 Apres le Tennis

1927 Le Bois Sauvage

1927 Reve d'Infante

1929 Magicia

1930 Bien Etre

1934 Gardenia

1935 Cadollia

1938 Alicia

1958 Cadolle

1989 Cadolle No. 9

Cadolle No. 9 was created as an answer to Chanel’s famous No. 5 perfume. In the 1989, this exquisite oriental perfume was reorchestrated and relaunched. The result was a powdery soft oriental fragrance that was available in both eau de parfum and eau de toilette forms.Cadolle No. 9 was still available in selected retailers in Europe up until around 2008.

The notes of Cadolle No. 9 described by Nigel Groom are:

Top: Jasmine, Rose, Ylang Ylang, Lily, carnation, citrus

Heart: Red Cedar, Sandalwood, Rosewood

Base: Benzoin, Sandalwood, Cedar, Patchouli

Reve D’Or by LT Piver was launched in 1889 as a woman’s cologne.  Its French name translates as “dream of gold” and was named after the particular breed of roses with butterscotch and cream petals.

In the early 1920, Louis Sue and Andre Mare had redecorated the LT Piver salons in Paris, transforming everything from furniture and accessories to the ceiling draperies into a rich interior of deep cobalt  blue and glistening gold. This same theme was repeated in the presentation for Reve D'Or. In 1925, Louis Sue designed the entire presentation for the perfume. The parfum was contained the a crystal flacon accented with thick gold enameling. This exquisite bottle was manufactured by the prestigious glassworks of Baccarat. The parfum extrait was created by Louis Armingeat, the result was a floral-bouquet fragrance, classified B3f.

A 1934 advertisement in the Pittsburgh-Post Gazette described Rever D’Or as “the softest and rarest of all garden scents - utterly feminine for the new Mode of Femininity that‘s sweeping the country today”.

The toilet articles fragranced with the Reve D’Or scent were available as:

• Reve D’Or sachet.. Regular price $1...now 29 cents
• Reve D’Or perfume.. Regular price 1...now 29 cents
• Reve D’Or bath powder, regular price $1...now 29 cents
• Reve D’Or powder in Rachel, ochre, naturelle, basanee, regular price $1..now 29 cents
• Reve D’Or 2.50 size Toilet Water, 98 cents
• Reve D’Or 4 oz size Perfume, $1.98

You could also find enameled Reve D’Or compacts filled with the scented face powder too and brilliantine for the hair., which would have given it that wet look so very popular at the time. In later years it emerged as a Lotion for women and men. I have read that this became very popular in the Middle East and was a staple fragrance in the barbershops of Cairo. It still exists today as lotion splash (also known as an eau de toilette) and eau de cologne spray, and is found at the LT Piver website.

In 1957, LT Piver filed a trademark for the name Reve D’Or for Perfumes, Toilet Waters, Eau De Cologne, Hair Preparations, Face and Toilet Powders.

LT Piver describes Reve D’Or beautifully here on there website ”Slip away into a world of dreams with this cocktail of rare and precious essences. An invigorating, radiant and bright start to the day with notes of orange blossom, tea roses, geraniums and vetiver that gracefully gives way to the magic of the heliotrope – a sensual flower whose delicate fragrance is enhanced as the sun gains in warmth – only to form a unique and bewitching scent that lingers on hints of sandalwood into the night.”

In this guide I have listed the various perfumes presented by Isabey of 20 rue de la Paix, Paris France. Company established in 1924 by Maurice Loewe (with financing from the Rothschild family) as Societe Parisienne d'Essences Rares et Parfums, known to the public as Le Parfums d'Isabey. The boutique was located at 20 rue de la Paix, Paris. Other sources report that Isabey was originally from Spain. Also, it is interesting to note that some of the perfumes launch dates are earlier than the 1924 Parisian establishment date, which may support the earlier establishment in Spain.The company was named after early 19th century painter Louis Gabriel Eugene Isabey.

The 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 and Rene Lalique. Paper, labels and graphics were supplied by the company of Sennet et Cie.

The perfume of Mon Seul Ami came in a black crystal flacon trimmed with silver overlay, in three graduated sizes, manufactured by Ludwig Moser Glassworks in Bohemia in 1926. An earlier bottle for Mon Seul Ami, and used for other perfumes, was originally designed by Henri Hamm in 1914, and made up of clear and frosted crystal molded with abstract floral patterns, manufactured by Bobin Freres Glassworks.

Several of Isabey’s perfumes were presented in pearlized flacons by Andre Jolivet and manufactured by the Nesle Normandeuse Glassworks around 1925. These iridescent flacons were in the shape pf 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, mimicked a pearl necklace 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.

The flacon for Bleu de Chine, from 1925, was designed by Julien Viard and manufactured by the Bobin Freres Glassworks. It featured jewel like enameling over its floral molded façade. Bleu de Chine was also presented in a five piece set by Ludwig Moser of Boehmia.

1925’s Rose de Argent’s round bottle was made up of cobalt blue glass and rested inside of a silverplated base, this flacon was also designed by Julien Viard.

The unusual bottle for Ambre de Carthage, designed by Julien Viard, featured a melted wax type of enameled decoration, as if it was being dripped onto the top and shoulders of the clear oval shaped bottle.

Simple lines and an ovoid shape defined the bottles for Le Mugeut, Le Mimosa and Gardenia in Julien Viard’s 1926 flacons of clear crystal.

In 1927, Julien Viard created a tall flacon for Sourire Fleuri which featured a frieze of nude Neo-Classical figures enhanced by black patina, made by Depinoix, a similar flacon was created for La Route d’Emeraude in 1924.

1925 saw a Viard flacon for Fleur de Chine in an unusual shape of which I can only describe as a tunic design, accented with floral molding along the shoulders and stopper, each picked out in bleu patina.

Exotic Arabian themes and Moorish design highlighted the flacons for Chypre Celtic, Le Lys Noir and Ambre de Carthage in 1924, all created by Julien Viard and Bobin Freres Glassworks. Another clear crystal bottle for Le Lys Noir was manufactured in 1928 by Rene Lalique, this time, it was covered with black enameled Egyptian lotuses.

The square crystal bottle for A Travers la Violette was manufactured by Rene Lalique and enameled by artist Alix. Its decoration was a simple stenciled flower and leaf pattern towards the bottom in gold and black enamel.

The company was later acquired by Marcel Guerlain in 1941.

The Perfumes of Isabey:

1913 Le Lys Noir

1914 Bouquet Cavalieri

1914 Mon Seul Ami

1920 Ambre de Carthage

1924 La Route D'Emeraude

1924 Le Chypre Celtic/Celtique

1924 Bleu de Chine

1924 Lilas

1924 Le Jasmine d'Isabey

1924 Sir Gallahad

1925 Fleur de Chine

1925 Le Collier Isabey

1925 Le Perle d'Isabey

1925 Tresor Cache

1925 Le Mimosa

1925 Le Muguet

1925 Le Gardenia

1926 Sourire Fleuri

1926 Rosee d’Argent

1927 Rayon Vert

1927 Divertissement

1927 Emaux Rouge

1928 Le Gardenia d'Isabey

1928 Mimosa

1928 Salle de Trone

1929 D'Yvonne Printemps

1930 Carnation

1930 Moins Cinq

1930 Œillet

1930 Violette

1935 Grand Slam

1944 Tendres Nuits

These perfumes were found, but I dont know their launch dates:

A Travers la Violette

Avant et Apes

Arabesque

Le Lys d'Isabey

Milieu

Taj Mahal

Tendre Nuits

Venise de Belle  

The Parfumerie of Isabey has been resurrected with the help of Parfums Panouge and with it came the relaunch of its infamous luscious Gardenia perfume. The new Gardenia actually uses pure Gardenia extract instead of a Gardenia accord. The intensely sensual eau de parfum has notes of tangerine bark, ylang-ylang, orange flowers, gardenia extract, Bulgarian rose, jasmine, iris, musk, ambergris, sandalwood. A sumptuous limited edition in the vintage pearl style bottle was offered in 2002 and almost immediately sold out. It was relaunched again in the familiar gold spray bottle in 2007 to satisfy further demand.

Newly launched for 2009 is Fleur Nocturne based on Isabey’s original perfume Bleu de Chine from 1925. The contemporary flacon is based on the original flacon by Julien Viard. The new juice, composed by French perfumer, Jean Jacques and incorporates mandarin, white peach and apricot blossom in top notes. A heart hides jasmine, gardenia and magnolia, while a base features patchouli and vanilla.

Success story for an ebayer who chose my helpful perfume identification & appraisal service: Congratuations to ebayer m0narchs for a killer $4,000 sale in 2007 for the extremely rare set of Le Collier d'Isabey! Far exceeded the $1,000-$3,000 appraisal value.

Maja by Myrurgia, the scent of seduction and Spanish passion, is a classical oriental spicy fragrance for women. Maja was originally launched in 1921. The fragrance features citrus notes, nutmeg, jasmine, wild lavender, carnation, patchouli, cloves, vetiver, rose d’Orient, Tonka bean, amber, sandalwood, oak moss and geranium.

The very name Maja means “beautiful woman” and for those who wished to exude the allure of an exotic beauty, Maja was certainly a fragrance that answered that wish. The distinctive label of Maja’s perfumes and soap boxes were directly inspired by the dancing of Tórtola Valencia and her lovely figure.

The perfume was presented in various perfume bottles over the years and the boxes covered in paper printed with the image of a Spanish shawl in red, gold and black, colors traditionally associated with Spain. The earliest flacons were designed by Julien Viard and some had tall figural stoppers in the shape of a fountain. Some bottles were clear crystal and others came in a rare black crystal flacon luxuriously accented with black gilding.

Over the years, the fragrance of Maja could be found in Pure Parfum, Eau de Toilette, Parfum de Toilette, Cologne (Colonia), Locion (not today’s body moisturizer lotions), talcum powder, shower gel, body lotion, liquid hand soap, and scented soap (jabon). Today, I use the scented Maja soaps, rich in lather and olive oil, they have a very soft, subtle scent that lingers on the skin hours after bathing.

In 1960, a new version of Maja appeared on the market, aptly named Nueva Maja (New Maja). This fragrance has been discontinued for years. But Maja is still available for purchase in it’s many forms. The original fragrance of Maja is best to be found only in vintage form as it was reformulated several times over the years.

The beautiful diva Raquel Meller,  born Francisca Marqués López (1888-1962) was a Spanish actress and singer, most famous for singing about and embracing the Tango dance craze. In the 1920s, she was the toast of the London Hippodrome and the Paris Olympia, was already a highly popular singer before debuting as a film actress in 1919. In 1926 she had just arrived in the States for an extended vaudeville tour. She popularized songs such as "La Violetera", "El Relicario", "Nena", "Flor de Te", "Mimosa", "Flor del Mal", etc. Sarah Bernhardt described Raquel’s as “a genius“.

 In 1926, D Roditi et Fils, established by Charles Roditi at 1 rue Ambrose Thomas, Paris; exporter of fancy goods in the early 1900’s, created a signature perfume for the star titled simply  Raquel Meller. The violet fragrance no doubt was an homage to her song La Violetera.

The exquisite perfume was presented in a gorgeous crystal flacon manufactured by Lalique (the bottle shape known as Carre Fleurs). The 7.5c, high, rectangular bottle moulded with flowers above a band of lattice-work, decorated with thick enamelling with a Spanish fringed shawl motif in black and red, the rectangular stopper intaglio moulded Raquel Meller and heightened with black enamel. The bottle will be molded with R. Lalique on base. You can see a photo of this bottle in Lalique Perfume Bottles by Mary Lou Utt & Glenn Utt, p. 109, no. 225

 Violets seemed to be her theme as she was featured in the silent film "Violette Imperiale, based on her La Violetera, which was shown in New York in June, 1928.

TIME magazine Feb 22,1932 Article  “Stink into Scent" :

“The man on the operating table feels his stomach turn over as a nurse walks toward him with the dreaded cone in her hand. "Ugh!"' says he (gulp). "Ether!'' "Oh, dear, no," chirps the cherub. "Violets." There was a girl he used to send violets to. (Sniff! Sniff!) What was her name? "Roses are red, violets blue." (Sniiiiiff!) Not blue—purple—but very pleasant and sleep-provoking. Raquel Meller is standing on his nose singing to him, throwing violets all over his face. ... As the surgeon begins slicing him open he lies buried under a pile of sweet-scented violets. . . . Members of the New York Electrical Society could see such a picture of the operating room of the not-too-distant future while Columbia University's Professor Marston Taylor Bogert was explaining to them last week why synthetically perfumed anesthetics should be developed soon. Synthetic perfumes, said Professor Bogert, are steadily replacing natural scents. If vanilla perfume can be made from foul-smelling asafetida, why not a pleasant anesthetic? No ineffectual esthete, he has helped to gather many a scientific blossom: > Study of synthetic violet perfumes led by devious study to knowledge of the constitution of Vitamin A, whose molecule constitutes one-half the molecule of carotene, the substance that colors carrots, egg yolks. Synthetic violet differs from 'carotene only in the shape of its molecule. > Parasites have sharp noses, so scientists studied their scent-life, developed synthetic odors to lure them to destruction instead of to meals of human flesh. Incidentally, if an ant met another ant in a pitch-black tunnel its nose would immediately register the other's age, weight, color and sex, and it could act accordingly. > Since it requires more than two tons of roses to make one pound of attar of rose, synthetic perfumes are usually much cheaper than natural ones. This fact has led perfume-seekers into strange, malodorous places. Said Professor Bogert: "Castor oil is the raw material for certain scents. One of the components of jasmine flower odor, when concentrated, is as fetid and repulsive as the odor of a civet cat."

Raquel Meller La Violetera 

Just after World War I, French glass designer Andre Jolivet started working with different finishes for perfume bottles, he was looking for something completely new and innovative and started working with a substance called “essence d‘orient”. This pearlized tincture was first created by a French artist named M. Jacquin in 1680 and is actually made from guanine crystallites found in the ground up scales of the bleak or herring and mixed with the natural oils of the fish to create a solution named “Essence D‘Orient“.

It takes a hundred tons of herring to extract one ton of herring scales in order to produce a single pound of essence d’Orient. This beautiful, iridescent coating was normally applied to glass beads to mimic Oriental pearls during jewelry making. Jolivet must have seen the potential to create interesting perfume bottle presentations and employed the Nesle Normandeuse Glassworks to create the bottles with the pearly finish. He improved upon the essence d’orient substance and managed to create a new resistant and very realistic pearlized finish “laitance de hareng” (herring roe).

Several perfume companies in France employed this beautiful finish in the making of their perfumes. Companies such as Volnay, Rochambeau, Pleville, Parfums de Marcy and others all used variations of these bottles for their presentations. One notable presentation was for the perfume Perlinette by Volnay, which may have been directly inspired by the laitance de hareng finish.

Rochambeau introduced the Perles de France presentation consisting of a set of 3 small round, pearlized bottles in black leatherette case in 1926. A similar presentation was created by an practically unknown company named Ota, in 1929 for their perfumes Lilas and Violette. 

Other companies capitalized on the faux pearl theme and no one did it better than Parfums de Marcy with their fabulous Trompe l'Oeil presentation named "Le Collier Miraculeux". Launched in 1927, a box containing pearl shaped bottles in graduated sizes realistically mimicked the look of a real pearl necklace.

The inspiration for Parfums de Marcy's presentation must have directly come from Delettrez's String of Pearls presentation for Parfum XXIII from 1923, it look snearly identical in every way to the presentation by de Marcy.

Delettrez String of Pearls presentation for Parfum XXIII of 1923.

Equally pretty was the "Le Collier de Isabey" presentation by Isabey of 1925, with six pearl shaped perfume bottles arranged to simulate a pearl necklace in a demi-lune presentation case. Isabey also made usage of these small round bottles for their individual perfumes such as Ambre de Carthage, Chypre Celtique, Bleu de Chine, Violette, Gardenia and Chypre.

Volnay introduced many of their perfumes in pearlized bottles, starting in 1919 with names such as Lilas, Rosee de Bois, Perlinette, Iris Neige and Firefly. These bottles came in several shapes ranging from simply cylinders, upside down cone shapes and large and small globular pearl bottles, like the ones used by other companies such as Elliot Brother's for their perfume Boronia in the 1920s.

To see many beautiful bottles in full color illustrations, I suggest further reading of Masterpieces of the Perfume Industry and The Art of Perfume, both books by Christie Mayer Lefkowith.

A word of caution, the utmost care must be used when handling any of these pearlized bottles, although the finish was made to be resistant, after 70-80s years, the finish is very delicate and can be removed by cleaning or rough handling. Such actions can result in the loss of finish which cannot be restored.

Boronia by Elliot Brothers c1925

Boué Soeurs, a successful couture house established by two French sisters, Sylie and Jeanne, in 1899, offered perfumes as part of their exquisite fashion line. Talented and business minded, they opened ateliers in Paris, New York , Palm Beach, San Francisco, London & Bucharest from 1899-1935.

Their breathtaking  fashions, characterized by a romantic mixture of dreamy transparent lace, light refracting silver and gold lame, signature tiny ribbonwork rosettes, ethereal passementerie and gathered silk ribbons. All of their fashions were completely handmade and elegant in their undertaking.

Boue Soeurs first perfume presentation was for the fragrance Quand les Fleurs Revent (When Flowers Dream) in 1922 and was made at their ancient Chateau de Maison Rouges outside Paris.

The bottles for their perfumes had long necks and the bases were unusual crinoline or pannier shaped, mimicking the Parisian fashions of the day that harked back to the elegant pre-Revolution days of Marie Antoinette. All of the flacons were adorned with paper that simulated lace, in addition to the tiny silk rosettes and pastel ribbons that were found on their clothing.

The perfumes of Boue Soeurs:

1922 Quand les Fleurs Revent

1923 Pour L’Amour

1924 Cantique du Roy

1925 Cytherea

1925 Bacchanale

1925 Parfums Boue

It is interesting to note that in 1925, the perfume house of Marques de Elorza launched a perfume of Quand les Fleurs Revent, the same name as Boue Soeurs first fragrance, this is because the two houses were associated. In addition to this perfume, Marques de Elorza also launched perfumes such as Sylvie after Sylvie Soeurs.

The house of Marques de Elorza was established by Marques Julio Lupus de Elorza at 73 avenue Champs-Elysees, Paris in 1926, Christie Mayer Lefkowith mentions that the company was established by Avran Moscovici. Their company as also affiliated to Chenier, Parfumerie Brecher, and Parfums de Paul and associated with Boue Sœurs. You will see the same perfume names used by Boue Soeurs and Marques de Elorza. The company produced interesting and luxurious perfume presentations, but as the 1930s started, their presentations were of lesser quality.

The bottle for Cantique des Antiques (Song of Songs) was designed by Julien Viard and made by Verreries Leune. The bottles for both Valencia and Argentina were also designed by Julien Viard and manufactured by Depinoix. Argentina was not named for the country but rather for a popular opera singer at the time, the perfume was the re-branded fragrance 'Soir de Lune' by Parfumerie Brecher. 

The perfume bottle for Marche Nuptiale (Wedding March) was the re-branded fragrance ‘Marché Nuptiale’ by André Chenier. Presented in a bottle designed by Julien Viard, and manufactured by Depinoix, which featured a bride holding hands with Cupid. The name was taken from a then popular Parisian play.

The perfumes of Marques de Elorza:

1925 Bacchanale

1925 Bleu-Blanc

1925 Blue Ribbon

1925 Cantique du Roy

1925 Lilac de Minuit

1925 Parfums Boue

1925 Quand les Fleurs Rêvent

1925 Sylvie

1925 Sylviette

1925 Sylvita

1928 Cantique des Cantiques

1928 Lyrysis

1928 Radior

1928 Solarine

1928 Sybyl

1929 Legion d'Honneur

1929 Maitresse

1929 Marché Nuptile

1929 Sweet Peas de Printemps

1929 Valencia

1929 Argentina

1950 Ming Jade

1951 Aperitiff

1951 La Fleur Merveilleuse

1951 Spring Madness

1951 Taj Mahal

1951 White Enchantment

1951 Do-Re-Me

Sweet Peas de Printemps by Marques de Elorza c1929

 Andre Chenier was a Franco-American perfumer based in New York, the company launched their own range of fragrances as well a supplying B. Altman department stores with specially commissioned perfumes.

The perfumes of Andre Chenier:

1925 Myrys

1925 Ondés d’Amour

1929 Honeysuckle Blossom

1929 Valencia

1929 Bouquet de Souvenirs

1930 16

1930 Marché Nuptiale

1930 Corsage du Temps

1930 Apple Blossom

From 1931, the following perfumes were specially commissioned for B. Altman: Jasmine, Lysystra, Spring Madness, Chenier, Chypre, Rose, Sweet Pea, Lilac and finally Andalusia in 1947.

Parfumerie Brecher was established by Paul Brecher in Pontoise at Paris around1910. Jacques Ernest Mazurier became owner after 1918 moved company to 10 boulevard Bonne Nouvelle, Paris; affiliated with Benoit and Marquis de Elorza. Perfumes labeled ‘Aux Perfumeries Reunites’ . Brecher’s perfume Soir de Lune was presented in a cobalt blue glass flacon designed by Julien Viard and manufactured by Depinoix. The perfume Sous de Charmille (Under the Bower) was also created by Julien Viard and made by Depinoix. Created for Dubarry. Presented in a bottle designed by Julien Viard and made by C Depinoix et Fils. Parfumerie Brecher also had a line of solid perfumes starting in 1929, Amour de Folie, Jasmin, Lilas, Violette and possibly others.

The perfumes of Brecher:

1924 Sous de Charmille

1925 Œillet

1925 Chypre

1925 Doux Réve

1925 Le Temp des Fleurs

1925 Le Vrai Narcisse

1925 Les Fleurettes/Mes Fleurettes

1925 Muguet

1925 Tabac Jaune

1927 Bonjour Paris

1929 Amour de Folie

1929 Lolita

1930 En Promenade

Tags: fontanis perfume | madhva perfume | antique fontanis perfume | vintage fontanis

Fontanis of Paris & Neuilly France, established in 1919 by Daniel Jacquet 38 boulevard de le Saussaye, Neuilly-sur-Seine, also the founder of Madhva in 1923. The company manufactured perfumes and cosmetics. The shortlived business was sold to Volnay in 1927. The last two perfumes, Prelude and Blue Îles were in association with Volnay. 

The perfume of Un Soir de Mai was affiliated to Lillian Savre, a perfumer from Alexandria, Egypt, active around 1920-1930.

Fontanis launched the line of Les Fleurs Romantiques in 1922. 

Fontanis produced luxurious presentations and won a gold medal at the 1925 Paris Exposition. The Fontanis vignette was designed by Heymann and reproduced on labels and metal plaques. Another plaque was created by Roger Foy in 1919.

Several of the perfume bottles used by Fontanis were manufactured by Baccarat, others were by Depinox and Cristalleries de Nancy. The bottle for Faune was manufactured by Lalique. A famous poster for Fontanis perfumes was illustrated by Mauric Berty.

The fragrance Sous la Charmille was the re-branded fragrance 'Qui M'Aime' by Chamy. Presented in a flacon by Cristalleries de Baccarat, design # 257. The fragrance for  Chypre by Volnay was the re-branded fragrance 'Violette' by Fontanis, the Volnay  perfume was presented in a flacon by René Lalique et Cie.

JASMIN by FONTANIS

The perfumes of Fontanis:

1919 Sous la Charmille

1920 Vivette

1920 Lilas

1921 Quelle Délice

1921 Violette

1921 Eau de Toilette au Jasmin Fontanis

1921 Fleurs de Bagdad

1922 Daisette

1922 Ambré

1922 Chypre

1922 Cyclamen

1922 Les Fleurs Romantiques

1923 C'est Paris

1923 Muguet

1923 Rose

1923 Parfum de Madame

1923 Gardenia

1923 Orchidee

1923 Pois de Senteur

1923 Rose Fontanis

1923 Rahna

1923 Tamya

1923 Un Soir de Mai

1924 Tawao

1924 Le Parisienne

1924 Ananya

1924 Damoya

1925 Ambrodor

1925 Chyprodor

1925 Coraya

1925 Daisette

1925 Gloriosa

1925 Faune

1925 Iris

1925 Jadya

1925 Jasmin

1925 La Violette

1925 Le Mimosa

1925 Lilac

1925 Livette

1925 Œillet

1925 Voici l'Hiver

1926 Sourire de France

1928 Prelude

1946 Blue Îles

Madhva, subtitled "Parfums des Divinites de l'Inde", was established in 1923 by Daniel Jacquet,also the founder of Fontanis in 1919.  Madhva Perfumes had retained the Polish artist and illustrator Alexandre Rzewuski to create coordinated identities for all of their perfumes. It was Rzewuski who selected the perfume's exotic names and collaborated with designer Julien Viard in all five of Madhva's perfumes. The bottle for Damaya was created by Julien Viard and made by Baccarat. All of the perfume bottles for Madhva were produced by Baccarat.

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The perfumes of Madhva:

1923 Damoya or Damaya (Sub-titled 'Poetry of Love')

1923 Ta Wao (Sub-titled 'High Priest of Llassa')

1923 Tamya (Sub-titled 'Bayaderes of Burma')

1924 Ananya (Sub-titled 'Goddess of Love')

1925 Rahna (Sub-titled "Sacred odor of the Benares'")

                                       TA-WAO by MADHVA c1923

Photos used in this guide courtesy of Salon Divinessence, Mastro Perfume Auctions..

Although all of the perfumes mentioned in this guide are discontinued, I have found that the perfume house of Fontanis has been ressurrected, www.fontanis.com

Lucretia Vanderbilt signature perfume debuted circa 1927-1928. Toiletry line with perfume, toilette, powder, compact. Lucretia Vanderbilt Inc was owned and created around 1927 as a subsidiary of McKesson-Robbins.

Mini bottle "A concentrated extract by Lucretia Vanderbilt Trial Size"

From a 1929 advertisement in the Spokane Daily Chronicle:

“Lucretia Vanderbilt: The Aristocrats of Toiletries in containers of refreshing newness. The alluring toiletries I now introduce you to were originally for my especial use. Regardless of the price you are willing to pay, nothing finer can be produced. There is a smart, intimate little lipstick, that you will love the moment you catch sight of it. There is Face Powder, the product of a formula evolved seventy five years ago for French and British royalty -with a downy soft velour puff.

There are compacts - Double and Triple- which when opened, expose their entire contents to view - a very practical feature. My Double Compact contains powder , a rouge of utmost smoothness and a non-tarnishiable mirror of shining metal. A Triple Compact includes a petite lipstick. And there is a Perfume, gaily oriental, luxurious, witchingly seductive, irresistibly fragrant in a rich blue-and-silver crystal flask, encased in a gorgeous silken receptacle.

All of my toiletries are scented with this same arresting fragrance; and all of my containers are in the same original blue-and-silver motif that distinguishes my perfume. You must try Lucretia Vanderbilt Toiletries! Just present the coupon with 25 cents at the toilet goods counter displaying my announcement , and you will be given a miniature presentation in which you will find Perfume and Powder Compact (in your favorite shade). If perchance you do not obtain one, mail your coupon and 25 cents to Lucretia Vanderbilt, Fairfield, Conn., giving your dealer’s name. “

The retailer would have been handed a coupon and a quarter for a Lucretia Vanderbilt Miniature Presentation of fifty cent value.

In 1929, another ad for the toiletries appeared in the Herald-Journal.

“The Newest Mode Suggests These Finer Toiletries by Lucretia Vanderbilt” - Here is the new Lucretia Vanderbilt Lipstick and Compact, are the accessories upon which Fashion has bestowed authority. My Lipstick, in witching shape, and in exquisite shades that subtly flatter one’s complexion, is compounded of costly substances selected with meticulous care , and actually beneficial to delicate lips. And you will literally treasure a Lucretia Vanderbilt Compact! Open it and powder and rouge are revealed together.

Powder, Madame, made from a formula compounded exclusively for French and English royalty seventy five years ago, and scented with my exotic and luxurious perfume . Rouge of the finest texture. A non-tarnishable, all revealing mirror of metal. And two fluffy downy wool puffs. My Triple Compact includes a dainty Lucretia Vanderbilt lipstick. These Lucretia Vanderbilt Toiletries ,in their chic, charmingly intimate receptacles of rich blue and silver are a delight to the feminine heart.”

The Depression halted much of the manufacture of Lucretia Vanderbilt’s toiletry line and as evidence, in 1933, an ad in the Pittsburgh Post-Gazette ran for Lucretia Vanderbilt’s Perfumes and Toiletries to be sold at much less than half their original prices.

“The Aristocrat of Toiletries, they were originally exclusive, created at the height of prosperity for women who could afford to pay for the very best, now McCreery’s brings them within the reach of most people. don’t hesitate! Take this opportunity to stock up!

Prices given for:

• $10 perfume, Parisian crystal flacon…$2.95
• $7.50 perfume, Parisian crystal flacon… $1.79
• $5.00 perfume, Parisian crystal flacon… $0.98
• $1.00 perfume, Parisian crystal flacon… $0.25
• $2.75 Triple compacts, powder, rouge, lipstick…$0.59
• $3.00 Face Powder, Rachel or natural…$0.59
• $1.00 Face Powder. Delicately scented…$0.25
• Compacts: originally $1.75 now $0.39.

Think of it! The famous Lucretia Vanderbilt double compact in a lovely jeweled metal case…rich blue in color and thin enough in size to to slip very easily into a purse. Natural or Rachel powder with soft textured rouge.”

In the Spokane Daily Chronicle for May 10,1933, this ad appeared

“ Lucretia Vanderbilt toiletries are frankly a “luxury line”. Powder boxes of enameled metal, silver trimmed perfume bottles, jewel box compacts. Of course, the finest quality ingredients to be had in America and France. This line was created at the height of prosperity to appeal to a limited group of women who could afford its luxury prices. But these are hard times for luxuries. The maker was forced to take drastic action. He sold us $15,000 worth of these famous toiletries at about 80% off of the original prices. Tomorrow you can buy these famous perfumes, powders and toiletries at the same savings -actually less than ordinary kinds.

• Face Powder originally $3.00..now 59 cents
• Smaller size, originally $1.50..now 29 cents
• Triple Compact, face powder, rouge and lipstick, originally $3.00..now 59 cents
• Double compact, originally $2.50 now 39 cents.
• Perfume, concentrated extract, 2 oz, originally $7.50 now $1.19.
• Perfume, concentrated extract 1 oz, originally 4.00 now 59 cents
• Perfume, in metal encased bottle, originally $1, now 29 cents.
• Perfume also in purse size, in leather case, originally $2.50 now 59 cents
• Lipstick, natural,medium or dark, in blue enamel case, originally $1 now 29 cents
• Gift Perfume in blue satin case, lovely glass bottle, originally $10.00 now $2.95.
• Also in smaller size, originally $7.50 now $1.79.

In a 1934 ad in the Miami News, Lucretia Vanderbilt’s $10 perfume was offered at a much lower price of just $2.49 and a $5.00 powder and perfume set for just 98 cents. Lucretia Vanderbilt’s perfumes were still being sold as late as the 1940s, and ad for the Alruia perfume was in the St Peterburg Times, and retailed at just $3.75, and a “wise choice it is- as the lady will tell you”.

Another fragrance by Lucretia Vanderbilt was “My Hero” a scent no doubted created for men, in honour of the soldiers, in 1944.

The perfumes from Lucretia Vanderbilt, Inc:

• 1922 Aluria (under the McKesson-Robbins label)
• 1927 Lucretia Vanderbilt Concentrated Extrait
• 1930 LV 1931 Gardenia
• 1931 Golden Butterfly
• 1931 Jasmine
• 1931 Muguet
• 1931 Sweet Pea
• 1938 Eau de Cologne
• 1938 Lavender Water
• 1940 Three Golden Kisses
• 1943 Renee
• 1943 Aluria
• 1944 My Hero

Blue Waltz, this endearing perfume from the past was created by either Joubert et Cie or Jolind Inc. around 1927. It was a very popular fragrance during the 1950s and could be purchased very inexpensively at the five and dime stores along with Evening in Paris and Tangee lipstick.

Today’s Blue Waltz is sweet and spicy concentrated cologne and the same as the one you once dabbed behind your ears as a teen. Blue Waltz still evokes fond memories of high school sweethearts, proms, birthday presents and bopping to the jukebox.

Blue Waltz Perfume has the same original formulation  as it was decades ago. The product is packaged in its nostalgic 5/8 oz heart shaped bottle and topped off with its signature blue rosebud cap.

Today’s formulation lists these ingredients: Alcohol Denat, Water (Aqua), Fragrance (Parfum),  Benzyl Benzoate, Benzyl Salicylate, Citral, Citronellol,  Coumarin, Limonene, Geraniol, Hexylcinnamal,  Hydroxycitronellal, Linalool, Evernia Furfuracea  Extract (Treemoss), Silica, Brown 1 (CI 20170), Green  5 (CI 61570)

Why not share your memories of Blue Waltz here

Perfume nips are small plastene vials which hold tiny samples of perfume. The most famous of perfume nip companies was the Nipola Products Company. The ends of the vials could be broken off and the perfume would then be applied to the skin or handkerchief.

The Nipola Products Co.  was established in 1925 by Arthur T. Sinykin in St. Paul, Minnesota. I have read that the Nipola Company was a front for a bootlegging operation., whether this is true or not, the Nipola Company was very famous.

Nipola repackaged famous imported perfumes of the day in addition to creating their own signature fragrances such as Pagan Princess,  Swee-Tone,  and Ramona. Their most famous perfume was in honour of the great Charles Lindbergh. Named Lucky Lindy, the Essence of Luck, this name was registered with the US Patent Office in 1927.

Perfume nips were often packaged together and sold in small cardboard cylinders and later, in lucite boxes. The individual nips were available for 10 cents each. Perfume nips were also manufactured by Nips, Inc, which might have been the new name for Nipola, but I am unsure. Many nips would be found in perfume vending machines during the 1930s-1960s and available at 25 cents each. Advertisers of the era used these tiny samples to promote their business. 

Perfume typers were groups of 40-60+ perfumes packaged in the little hard plastic cases, which when emptied were advertised as cigarette cases. These personal perfume typers contained a guide that helped you pick out the right type of perfume for you. 

In this guide I will discuss the various perfumes presented by Ybry, Myon and Fioret. This guide is an extension of the one I first created on ebay back in 2006.

Ybry of Paris France, they also had an office in New York City. Ybry 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 and went into liquidation in 1932. His other two perfumery companies are Fioret and Mÿon, whose perfumes I will also list below.

Jaroslawski collaborated with Baccarat for perfume bottles but also had commissioned Lalique to create some luxurious glass medallions for the perfume bottles for Ybry and Fioret (alternative name of Les Parfums des Jardins de Fioret). Lalique also produced bottles for the Fioret line. Baccarat produced the classic Ybry perfume bottle, a flattened square in colored crystal. These beautiful 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 shortlived 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 atomizers came equipped with either chrome or gilt brass hardware. The colored bottles had round gold foil embossed labels, the black bottles had square, silver foil embossed labels. This bottle recieved a patent granted on 1925. Each bottle came in three sizes and  different prices from $4.25, $8.25 and finally $15.00. 

Femme de Paris

Mon Ame

Devinez

Desir du Coeur

The bottles ranged in size from 7 7/8" tall down to diminutive sample sizes of just 1 3/8" tall. Check your bottles for the Baccarat acid stamp or paper label. The smallest bottles I have read, were not made by Baccarat. These mini bottles are embossed with "Ybry Made in France" on the base.

The Infusion de Parfum was introduced in 1934. These perfume bottles are tall, rectangular , clear crystal and have a weird alligator or rock patterned texture, these are were NOT made by Baccarat. The Infusion de Parfum was a delicate fragrance for daytime use, or after bath or on your lingerie.  The bottle was available in three sizes and it's original prices were: $5.00 for 1 oz, $2.75 for 1/2 oz and $1.50 for 1/4 oz.

Infusion de Parfum bottles

Rare 7 3/4" bath salts or factice bottle

Le Bourgeons Perfume by Ybry circa 1928

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 tassles. Other boxes looked like little suitcases and were covered in suede , and held multiple presentations, such as three bottles and two atomizers. Another rare example held two bottles, one atomizer and a Lalique medallion attached to the case with a silk tassel. Itis interesting to note that bath powder, face powder and lipstick was also available from Ybry at $1.00 each, though I haven't come across any of these yet.

Lalique medallion produced for a Ybry presentation case

If your bottle is missing a label, the perfumes of Ybry are easy to figure out from the colors of their bottles: Femme de Paris in green. Desire du Coeur in red. Desire du Coeur in pink. Devinez in orange. Mon Ame in purple. Amour Sauvage in black.

The perfumes of the Ybry line:

1925 Desir du Coeur

1925 Amour Sauvage

1925 Mon Ame 1925

Femmes de Paris

1927 Devinez

1928 Les Bourgeons

1929 Les Fleurs d'Ybry

1929 Un Soir de Ma Vie

1931 Toujours l'Amaint

1932 L'Amour Toujours

1935 Joie de Vivre

1935 Hearts Desire

1939 Odorade

1939 Old Fashioned Garden

1940 French Bouquet

1940 Eau de Cologne

1940 French Cologne

1940 Naturelle

1940 Honeysuckle

1940 Wild Daphne

1944 Palo Alto

1944 The Buds Infusion de Fleurs

Fioret

The first perfume flacons for Fioret were produced in 1919 by Baccarat, and were made up of clear crystal rectangles with gilded brass caps over inner ground glass stoppers. Bottles were also made by Cristal Nancy. The bottles featured gilded labels with Art Nouveau lettering. The simple light grey boxes bore the Lalique medallions. The bottle for Chose Promise was produced by Lalique in 1924. Fioret perfumes were imported into the USA by F. Salathe & Co of New York starting in 1921.

The perfumes of the Fioret line:

1914 Chypre

1919 Jouir

1919 Prevert

1920 Les Parfums des Jardins

1920 Oui dit Tout

1921 Chose Promise

1921 L'Elan

1921 Legourde

1921 Sweet Pea

1921 Prince Rival

1921 L'Impromptu

1922 Priere

1922 Ambre Byzantin

1922 La Fleur Sacre

1922 Monar

1922 Hommage A La Femme

1922 Fatalitas

1922 L'Au-Dela

1923 La Muse

1923 Le Roy de Paris

1923 Le Dermier Roman

1923 Eau de Cologne des Jardins

1924 Le Muguet

1924 Orchid

1924 Perle Noir

1924 Priere

1924 Chose Promise

1925 Jasmin

1925 Beaujolais

MYON

The bottles for the Mÿon line were produced by Baccarat and were of the same opaque overlaid crystal technique as those classic flacons for Ybry. The perfumes often came in a stylized angular Chinese ginger jar type of flacons with an enameled brass cover and label. Original boxes are rare to find. Other Myon bottles are clear squat square shaped Baccarat crystal flacons with the same metal lids as on the ginger jar bottles. Therarest of all Myon bottles is the black crystal Art Deco flacon by Baccarat with the gilded trim, this bottle held Mille Joie from 1928.

The perfumes of the very shortlived Mÿon line:

1928 1000 Joies/Mille Joies

1928 Three Passions

1928 Si Different

1928 Femme Moderne

1928 Coeur de Femme

1934 Exaltation

1935 Secret Nocturne

1935 Pois de Senteur

Don't forget to look for the vintage advertisements for these perfumes. They make excellent additions to your collection and can be found at reasonable prices on ebay. Some pictures used in this guide were provided by the following ebay sellers: marts onceoza missallure sweetantiques1 shicosland. Additional images courtesy of Rago Arts & Auction center, Coutau-Begarie, and Phoebus Auctions.

GOOD NEWS!! MAISON YBRY HAS BEEN OPENED ONCE AGAIN AND THEIR EXQUISITE PERFUMES ARE AVAILABLE AT THEIR WEBSITE WWW.YBRY.COM

For Christmas 1982, Elizabeth Arden offered her Blue Grass bath line in beautiful porcelain vanity accessories. These accessories had an exotic theme, Ancient Egypt. The line was dubbed "Treasures of the Pharaohs" and was based on some actual ancient artifacts found in tombs of the pharaohs and nobles. 

I have compiled a list of items included in the line:

• Double headed ibex boat held three shell shaped soaps.
• Horus the falcon powder jar
• Lotus decorated powder jar
• Frog pomander
• Lotus decorated bath crystals jar on brass stand
• Cat shaped bath salts trinket box
• Camel shaped bath salts trinket box
• Queen Nefertari bust trinket box
• Hippo shaped candle holder with lid
• Dresser tray decorated with lotus motifs
• Cat shaped pomander
• Bird pomander
• Duck shaped soap dish
• Egyptian sarcophagus shaped dresser jar with bath salts
• Lotus shaped candle holder with lid.

If you have something that is not listed, let me know and I will update the list.

Chaldee Perfume by Jean Patou, created by in house perfumer Henri Almeras was launched in 1927. A sensuous blend of orange blossom, hyacinth, jasmine, daffodil, vanilla, narcissus, opopanax , amber, spices, and lily of the valley. 

 This fabulous perfume was directly inspired by one of Jean Patou's famous first innovations:  the invention of suntan lotion, named Huile de Chaldee (Oil of Chaldea). Coco Chanel's famous tanning excursions & the dusky skin of Josephine Baker both influenced women of the 1920s and started sunbathing to attain the bronzed glow from the sun, as a result, Patou introduced Huile de Chaldee. Huile de Chaldee was named after an ancient city of Chaldea in Babylonia that was legendary for its beautiful, amber skinned beauties. Huile de Chaldee 'was made with the most expensive oils and perfumed with a warm, sensual mix of narcissus, orange flower and amber' says Jean Patou's house perfumer Jean-Michel Duriez.

Patou's Huile de Chaldee sun oil had become so popular, many customers were buying it purely for its smell, therefore, Chaldee the perfume (a dry musk) was produced to fulfill this need.

 A 1929 poster for Huile de Chaldee by Leon Bagnini reads "Huile de Chaldee- Prevents sunburn, softens and tans the skin".

Chaldee and Huile de Chaldee remained discontinued for a number of years. Later Jean Patou has launched its Chaldee perfume for the Ma Collection of Patou's best loved perfumes. Also relaunched was the reinvention of Huile de Chaldee, in keeping with the exotic name, this time as an after sun tan enhancer, "L'Originalle Or Rouge".

The wearing of furs goes back to prehistoric man, when furs were the only means of clothing and keeping the body warm. Over the millennia, after modern clothing was worn, the only wearers of furs were the wealthy. So in turn the wearing of furs meant richness, opulence, status and power.

During the Ancient Egyptian civilization, only priests were allowed to wear furs, in this case, leopard, which were perfumed with incense. In the beginning of the Middle Ages, it was forbidden to wear furs in Church until 1127. In Tudor England, furs were thought to benefit the health. Furs were political and gifts for royalty, lynx and ermines would trim the capes of kings and queens, with Russian sables the most valuable. Fur lined slippers and pumps were common amongst the very wealthy.

Even the original story of Cinderella had the slippers lined with fur (vair) and not made up of glass (verre) as told in a mistranslation. During the 16th & 17th centuries, the owning of furs and type of furs were governed by strict laws based on the man’s estate and wealth. In the 1700s, fur muffs were often perfumed. Made up of fashionable white furs such as Artic fox and ermine, these were the furs of choice for upper class ladies. Until the mid 1800s, furs were mainly used as trimmings on dresses or other clothing.

During the Victorian era, the wearing of fur coats, stoles, hats and cloaks was in style as the newly prosperous middle class was able to afford these luxuries. Sealskin coats, mink, fox and dyed muskrat coats were the most desired. Fur trimming was used on hat decoration as well as on muffs and boots . These fur lined carriage boots were called “Juliets” and were donned for traveling in carriages, upon arrival they were slipped off and replaced with an evening shoe.

In the early 1900s, perfuming the furs was a way to mask the natural odor of furs, and to mask the scent of the mustiness of old furs. Perfumes were a way to emphasize the luxury of wearing furs. Furs retain the scent of their owners for years. If you’ve ever bought a vintage fur coat and smelled the perfume of the previous owner, it might strike up a small fantasy of the events in which the fur was worn and the carefully selected perfume that was applied.

I have read in a 1906 cookbook that had household hints in it that mentioned to clean furs with a dry shampoo, rub powdered orris root and cornmeal into the fur, leave it on overnight then shake it out in the morning, the result was a delicately perfumed fur again. A New York Times article from 1910 mentions that “there are girls who like to have their furs scented, because most pelts are apt to have a disagreeable odors, particularly in warm weather. To pour perfume on them is vandalism, for they are injured upon contact with alcohol. So sachets should be slipped between the linings, and the furs when storing, should be rolled in wool saturated with the perfume.” The sachets that they speak of are made up of “perfumed chamois”.

Perfumeries: Companies such as Les Fourrures Max, Les Fourrures Weil and Les Fourrures Blondel entered the perfume making business following other luxury goods manufacturers such as Louis Vuitton. Long established fashion furriers, Les Fourrures Max, who were well known for their sumptuous and avant-garde creations entered the scene in 1925 with Le Parfum Max. Created by the firms proprietor Madame Andrée Leroy.

In 1927, Marcel Weil of Les Fourrures Weil created Parfums Weil with their advertisements of “perfumes for furs”. These were based on a direct request from a regular client for a perfume suitable for wearing on furs. These were their first commercial perfumes that were advertised would guarantee not to harm the furs. 

In 1928 the three perfumes inspired by fur themes were launched,. Chinchilla Royal, Hermine (ermine), Une Fleur pour Fourrure (A Flower for Furs) and Zibeline (sable) were favorites from the start. All of these perfumes were created by Claude Fraysse. Zibeline is described as a floral chypre intended to recall the steppes and massive oak forests of Imperial Russia, where the finest sable furs were imported.

Chinchila Royal, described as rich with jasmine and roses to evoke the splendour of the Persian and Indian Empires. The short tailed chinchilla, also known as the Royal Chinchilla was endangered and a ban on hunting them was created in 1929, although not fully enforced until 1983. Many chinchillas were imported from South America, India, China and Persia.

Hermine was intended to symbolize tenderness and virginity, it was heavy with the sweet flowers of the Pacific Isles. The winter ermine has been used in art as a symbol of purity or virginity. In the Renaissance era, legend had it that an ermine would die before allowing its pure white coat to be besmirched. When it was being chased by hunters, it would supposedly turn around and give itself up to the hunters rather than risk soiling itself. Henry Peacham's Emblem 75, which depicts an ermine being pursued by a hunter and two hounds, is entitled "Cui candor morte redemptus" or "Purity bought with his own death." Peacham goes on to preach that men and women should follow the example of the ermine and keep their minds and consciences as pure as the legendary ermine keeps its fur .In some areas of Japan, because of its adorable appearance and somewhat elusive nature it is still considered a symbol of good luck. Hermine was discontinued in 1940.

In 1930, the first Weil eau de toilettes debuted, Chinchilla and Zibeline. Zibeline went on to have a very successful future with the advent of the Secret de Venus Huile line of bath & body oils . Chinchilla was discontinued in 1963.

By 1928, the uber exclusive Les Fourrures Blondel brought their perfume Le Sauvage (The Savage) onto the scene. The perfume was contained in an elegant Baccarat crystal flacon with a unique design etched on the front, it depicted an Native American trapper with a recently killed fox slung over his shoulder, while behind them an elegant Parisienne is shown wearing a lavish fox stole. By today’s standards, this objectionable design would cause an outrage. Later, Blondel launched other perfumes without a fur theme, they were also located in the same building as the Myon Perfumery at 11 place de la Madeleine in Paris.

The suitable perfumes for fur wearing are the pure parfum extraits. Since the early 1900s, furriers have advised against applying perfume that contains alcohol to your furs. The alcohol tends to dry your fur out. Use this information at your own discretion. Furs are very susceptible to moth damage, but no one likes the smell of mothballs, it seems to last forever, Instead hang your fur coat on a padded hanger (not in plastic--plastic attracts moisture--a no no for fur) or roll it up in white cotton sheet and keep it in a box filled with cedar chips under your bed or in a cedar chest. Or take it to your furrier and let them keep them locked up in their refrigerated storage.

Bibliography:

The Art of Perfume by Christie Mayer Lefkowith, 1994

The Progress Meatless Cook Book and Valuable Recipes and Suggestions For Cleaning Clothing, Hat, Gloves, House Furnishings, Walls and Woodwork And All Kinds of Helps (sic) For The Household by Lotta M. Lake. Copyright 1911

Emblem 75 by Henry Peacham, 1612

The New York Times, Uses For Perfume, December 25, 1910

Scentzilla website

Perfume Shrine website
The Scented Salamander website