CLEOPATRA'S BOUDOIR

Have you ever wanted to collect something unusual but feminine at the same time? Well, then collecting antique and vintage nail buffers might be just the ticket. These have been popular since the Victorian era and are still sold today. You might see a a buffer being used in an old Hollywood movie by a beautiful actress or remember your mother or grandmother using one to complete her manicure.

If you are interested in older buffers, you might wish to collect the various Victorian sterling silver, solid gold, gold plated, brass, ebony, silverplate, ivory, tortoiseshell or the later celluloid and Bakelite ones from the 1920s and 1930s, lucite and acrylic buffers were seen in the 1930s-1960s and other plastics came about later on. The bottoms of the buffers were fitted with chamois which would buff the nail to a high shine. Many buffers had a small matching tray that would fit over the chamois.

I find that the Victorian era sterling silver buffers are some of the most prized. They range from simple shapes with very little decoration to highly ornate repousse designs of cherubs, ladies with flowing hair and elaborate floral patterns, sometimes you can find a buffer with all theree of these design elements!

Ivory, horn, and tortoiseshell were also very popular during the Victorian era right up into the Edwardian era and the 1920s. Ivory implements were carved whilst the horn and tortoiseshell pieces were heated and then molded to form the desired shape. Designs and monograms could be etched into the material and  then picked out in silver or gold, this is known as pique (pee - kay) work.

Also found are the rich, black ebony wooden buffers, these were often made in France and had small sterling silver medallions attached to the handle. 

The celluloid buffers from the Edwardian period and into the 1920s often imitated ivory and tortoiseshell. The earlier pieces were plain, but the 1920s saw more variety such as etching like that done on the genuine ivory pieces we covered before, as well as little glass rhinestones and enameled decorations.

Bakelite, Catalin and lucite buffers made their appearances in the 1930s. Sometimes they are indistinguishable except that much of the lucite was marked, though buffers were not always marked, so if your piece came from a larger dresser set, check the bigger pieces for a marking. Bakelite and lucite often imitated colors like jade, amber and orange. Solid colors and Bakelite's Prystal may have also been commonly used. 

There are many styles and materials out there for you to make a wonderful collection. These can be found inexpensively on ebay and flea markets, but dont forget to see if an elderly family member might have one tucked away in a vanity drawer somewhere. Good luck and have fun hunting!

Here are some antique and vintage examples from worthopedia:

Dominic and Haff sterling repousse buffer c1890

Birks sterling silver buffer and tray c1900-1910

Tiffany & Company sterling silver buffer top c1890

Tiffany & Company 18kt solid gold buffer c1910

Bakelite end of day buffer c1930

In the Victorian era,the lady of the house had various implements and accessories displayed on her vanity. One of the more unusual of these accoutrements was the toilet stand, also known as a toilet sets or toilet casters, as they were sometimes called. These were not only used by women, but by men as shaving stands as well.

The simplest of these was a silverplated frame to hold a single bottle of cologne or perfume. Elaborate styles often held two bottles, a puff (powder box), a vase fo flowers and a drawer for jewelry, or comb and brush.

These toilet stands were often made in ormolu as well as silverplate. Very little has been said about these beautiful reminders of femininity of the past but the ormolu examples seem to be the oldest, and were made as early as 1840-1850s. In the late 1860s, silverplated examples began to surface.

A 1871 American silverplate catalog states “The bottles in these sets are of the latest Paris pattern and will be changed as often as new patterns are received.” Another calls the bottles “Malachite-blue, pink, white or canary.” And another simply “Aqua Marine decorated.” But in most cases, the glass is not mentioned.

Many of the cologne and powder box sets we see regularly today were probably meant for use in the stands. Toilet sets made up of satin glass, camphor glass, opaline glass and transparent and opaque glass were offered for use in stands. Bottles and boxes were further decorated with cutting, etching and enameling.

The silverplated toilet stands seem to have started in a modest way around 1867, but by 1877, must have increased in popularity. By July of that year, the Meriden Britannia Co., then the leading maker of silverware, was offering 41 different designs. In Sept. 1878, they added 18 new styles, and by Sept 1879, an additional 39 were offered.

Their catalog for 1882 illustrated 71 styles, and for 1886, the variety reached 85 designs. They ranged in price from $2 for a tiny stand holding a 2 oz bottle to $75 for the most elaborate, a fancy stand with bottles for cologne, a puff box, a mirror, and female figures with candleholders for six candles perched upon their heads. The stand was beautifully decorated in a gold finish.

Smaller silver companies in the Meriden, Connecticut area were also making toilet stands. Meriden Silver Plate Co. offered 29 designs in 1879; Wm. Rogers Mfg.Co. of Hartford, Conn. had 15 in 1886; Middletown Plate Co. had 14 in 1882; and Simpson, Hall, Miller & Co. show 9 designs in their catalog for 1886. All of these firms, with others, eventually became part of international Silver Company.

Many ormolu toilet stands were made in France, these were very popular around the Napoleon III period and are termed Palais Royal. Many were fitted with beveled mirrors and decorated with metal leaves or flowers. 

By 1890, the heyday of the toilet stand was basically over, and only a few stands were being offered. By the turn of the century, these were considered “old fashioned” and silver makers were no longer producing them.

Despite the hundreds of styles offered by the companies in the 19th century, these toilet stands are not found easily and are considered very rare today.

Here are some examples I found on worthopedia:

Wm. Rogers Co. silverplated toilet stand, American, c1886.

James W. Tufts, Boston, Quadruple Plate Warranted, American c1880

French ormolu Palais Royal toilet stand c1860-1870.

French ormolu Palais Royal toilet stand c1850-1860

Toilet stand, probably British and made for the Indian market, crica 1880

French ormolu tole painted Palais Royale toilet stand, c1850-1860

French ormolu filigree toilet stand with Loetz type iridescent art glass egg casket c1890.

French Palais Royal ormolu and mother of pearl toilet stand c1850s-1860s

French ormolu single cologne toilet stand c1850s-1860s

Austrian bronze and porcelain toilet stand c1850s

Possibly American or French gilt stand with Bohemian glass c1870s-1880s, was probably silverplated originally then painted with a gold finish later.

Reed & Barton silverplated toilet stand, American 1880s

Celluloid was a common material used to manufacture vanity and dresser sets starting in the mid 1800s up until around the 1930s, when it was replaced by other plastics like Bakelite and Lucite.

Wikipedia states that "Celluloid is the name of a class of compounds created from nitrocellulose and camphor, plus dyes and other agents. Generally regarded to be the first thermoplastic, it was first created as Parkesine in 1856 and as Xylonite in 1869 before being registered as Celluloid in 1870. Celluloid is easily molded and shaped, and it was first widely used as an ivory replacement. Celluloid is highly flammable and also easily decomposes, and is no longer widely used. Its most common uses today are in table tennis balls and guitar picks." More detailed information on the manufacture and patenting of celluloid, can be found on wiipedia.

Some of the tradenames used on the dresser accessories are:

• Pyralin/Pyrolin
• French Ivory
• Agalin
• Celluloid
• Fiberloid
• Ivory Fiberloid
• Ivoroid
• Zylonite
• Ivoris
• Ivorine
• Arch-Amerith
• Goldaleur
• Silvaleur

Product trade

names similar to celluloid:

• Premalite
• Meletone
• Pierretone

Celluloid dresser sets were very plain in the Victorian and Edwardian periods, they were made to simulate ivory and tortoiseshell. Starting in the 1920s and into the 1930s, pieces began to becomes more ornate and many were studded with rhinestones or had engraved and picked out in enamel. 

Celluloid also came with various finishes or motifs. Goldaleur and Silvaleur were celluloid pieces laminated with silver or gold glitter. Other laminated effects such as stripes and banding were also popular. Double composite sets, those with two toned celluloid decorating were all the rage in the late teens and into the 1920s. Items could also be accented with engraved monograms or flourishes. The most common of the double composites was the usage of amber celluloid overlaid with marbled celluloid in various hues such as nile or jade green, peach, amber, or pearl. Starting in 1928, Lucite dresser sets started to replace those made up of marbled celluloid.

Dresser sets could include any of the following accessories:

• Hand mirror
• Brushes in various sizes and shapes
• Shoe horn
• Powder box
• Rouge or salve pots
• Hair reciever
• Comb
• Manicure implements: hair tweezers, finger rest, cuticle knife, corn knife, nail picks, nail file, nail buffer, cuticle scissors
• Tootbrush
• Candlestick
• Picture frame
• Large tray
• Pin tray
• Hatpin holder
• Boudoir clock
• Buttonhook 
• Glove stretcher
• Perfume or Cologne bottle in celluloid caddy
• Perfume atomizer
• Sewing implements, including scissors, stilettos
• Boudoir lamp
• Tooth powder bottle
• Talcum shaker
• Bud vases
• Bonnet brush
• Soap box
• Hair pin holder
• Jewel box
• Pin cushion
• Glove box
• Handkerchief box
• Shaving brush
• Shaving stick case
• Tooth brush box
• and other items

Some of the finest dresser sets came in elaborate cases in the late Victorian era. Many of these cases stood upright and were fitted with a multitude of manicure implements, perfume bottles, hand mirrors, brushes and combs, rouge pots and powder boxes.

Celluloid must be handled and stored with care, it is extremely flammable and should be kept away from heat sources. Heat will melt, distort or ignite the celluloid. Goldaleur and Silvaleur dresser sets are especially vulnerable to a corrosion of the plastic laminate which results in ugly verdigris chemical bloom, a greening which is irreversible and will spread to your other pieces. 

If one of your pieces is starting to corrode or show any sort of damage, throw it away, if not kept away from your other pieces, the glasses caused by the chemicals breaking down will spread to yo r other pieces and they will soon start to disintegrate too.

fFrom Wikipedia: "Kohl (Arabic: كحل‎ kuḥl; Hindi: काजल kājal; Kurdish: کڵە; suRuma; Somali: kuul; Telugu: katuka Katika; Tamil: கண் மை Kan Mai), also known as kol, kehal or kohal in the Arab world, and surma or kajal in South Asia, is a cosmetic typically made by grinding galena (lead sulfide) and other ingredients. It is used predominantly by women, but also some men and children, in the Middle East, North Africa, the Horn of Africa and South Asia to darken the eyelids and as mascara for the eyelashes.

Kohl has been worn traditionally as far back as the Bronze Age (3500 B.C. onward) by the Egyptians. It was originally used as protection against eye ailments. There was also a belief that darkening around the eyes would protect one from the harsh rays of the sun.

India's oldest caste, the koli, used kohl as a cosmetic. In addition, mothers would apply kohl to their infants' eyes soon after birth. Some did this to "strengthen the child's eyes", and others believed it could prevent the child from being cursed by the evil eye.

Kohl is known by various names in South Asian languages, like sirma or surma in Punjabi, kajal in Hindi and Urdu, kaatuka in Telugu, kan mai in Tamil and kaadige in Kannada. In India, it is used by women as a type of eyeliner that is put around the edge of the eyes. Even now in southern rural India, especially in Kerala, women of the household prepare the kajal. This home-made kajal is used even for infants. Local tradition considers it to be a very good coolant for the eyes and believes that it "protects the eyesight and vision from the sun".

In Punjabi culture, sirma or surma is a traditional ceremonial dye, which predominantly men of the Punjab wear around their eyes on special social or religious occasions. It is usually applied by the wife or the mother of the male.

Some women also add a dot of kajal on the left side of the foreheads or under the right ear of babies and children, to protect them from 'buri nazar'. 'Buri nazar' literally means 'bad glance' and is comparable to the 'evil eye', although it can be interpreted as ill-wishes of people or even lustful eyes, in the sense of men ogling women."

For thousands of years, kohl has been housed in various containers. The ancient Egyptians put their kohl in containers made up of glass, ivory, hollowed reeds, faience, pottery, gold, silver and bronze. Many of these containers are tube like in design and have long stick like applicators. These are the precursors to modern day mascara tubes.

 Many kohl preparations were extensive. The cosmetic material had to be powdered on a palette and then this powder mixed with a substance, (analysis indicates that these were usually ointments derived from animal fat) to make the powder adhere to the eye. Eye makeup equipment (palettes, grinders, applicators) has been found among the earliest burials of the pre-dynastic period and seem to have been essential items for the afterlife.

Eye make up provided psychic protection as well. The Egyptian word for eye-palette seems to derive from their word for "protect." An unadorned and thus unprotected eye was believed vulnerable to the Evil Eye. Outlining the eyes thus became a personal protective amulet drawn right upon the skin; an amulet that once applied could not be lost or misplaced.

The Egyptians used two types of eye makeup:

• Udju was made from green malachite (green ore of copper) from Sinai. Sinai and its mines were considered under the spiritual dominion of Hathor, ancient goddess of beauty, joy, love and women. She bore the epithet "Lady of Malachite."

• Mesdemet, a dark gray ore of lead, was derived from either stibnite (antimony sulphide) or, more typically, galena (lead sulphide.) Galena was found around Aswan and on the Red Sea Coast. It was also among the materials brought back by Pharaoh Hatshepsut's famed expedition to Punt and was given in tribute by Asiatic nomads.

Kohl is applied using a stick, moistened first in rosewater or olive oil, then placed inside the tube and twist it in the kohl until the makeup adheres to the stick. Then give it a little shake or a tiny flick of the wrist so that the excess falls off. Place the kohl stick in the inner corner of your eye. Close your eyes (lightly- don't squish them shut- you'll distort the line)

Gently draw the stick outwards, between your closed lids: the kohl will leave a smudgy line on both the upper and lower eyelids. If done correctly, this will not hurt. Please note that a genuine kohl stick should have a slightly rounded bulbous end, kind of like a polished wooden q-tip.

Today you can find beautiful kohl containers made up of pewter or brass with ornate pierced tops, these are called mukhallahs or makhallas, people mistake these for perfume bottles.

 Also you can find the pendant type of kohl containers which some people mistake as antique Victorian chatelaine perfumes, but they arent, most date to the 1960s-1970s and are even still made today. These are made in the Middle East, Pakistan and India. 

An 1904 newspaper article describes what ancient women wore as cosmetics:

PAINT AND POWDER.

"Paint and powder have been used for toilet purposes from time immemorial, and it is. believed that cosmetics were better understood in the days, of ancient Egypt than they are even to-day, A professor of a German University, in his researches among Egyptian mummies some years ago, discovered, we are told, certain cosmetics used by the ladies of fashion in the land of the Pharaohs in the time of Princess Aft.entombed and embalmed some 3,400 years ago. The beauties of to-day are not, perhaps, much- in advance of Cleopatra, after all, in their manner of making up. One who has made deep- researched into the subject has recorded that - ' the Egyptians were very cleanly in their habits, and after their baths they rubbed themselves with fragrant oils and ointment -compounded by the priests by ingredients - (myrrh, frankincense, etc,) which, for the most part, came from Arabia. An Egyptian beauty was well supplied with cosmetics, and she .knew how .to use. red and white paint for the complexion and kohl, to increase the brilliancy of the eyes? Kohl, according to a fashionable hairdresser, is used by English women in fairly large Quantities to-day-by actresses, in particular. It is a powder and applied witha stump. Kohl is, I believe, harmless, and is used by women of the East for protecting their eyes from the fierce glare of the sun. It is less perceptible than greasepaint when applied, and therefore more suitable for day use."

A 1929 newspaper article reads:

WOMEN OF ANCIENT EGYPT SEVEN THOUSAND YEARS OF COSMETICS ADORNED THEMSELVES LIKE FLAPPERS

By C. H. LEVY

"Is the lipstick 7,000 years old? Professor Herman Junkers, of the Vienna Academy of Science, has lately found evidence while conducting explorations in the Nile Delta that this venerable antiquity may be an archaeological fact. Although war was waged against the

lipstick by philosophers even in pagan times, as well as by priests, monks, and nuns in the Christian era, and while it has continued to be a subject for disparagement even to-day by some medical monitors, the men of ancient Egypt held a much more Interesting point of view.

Some thousands of years before the Christian era, in a well-to-do Egyptian household one can visualize the male head of the family looking impatiently at his spouse as she applied "just a little lipstick." After waiting for the procedure to be finished, one might hear him say exasperatedly. "I wish you'd hurry up. You promised to lend me that rouge jar, and here you are hogging it again." Amusingly enough, the society man of those days was not averse to beautifying himself, even if he had to take recourse to his wife's dressing table.Through the recent discoveries of remains of the neolithic age, it is now established that the art of personal decoration which began at this time and developed steadfastly throughout the ages, was first utilized by men and women of fashion, who not only colored their lips, but also tinted their cheeks to add to the attractiveness of their faces. In ancient Egypt it was considered suitable amusement at a feast for men and women to embellish their faces in each other's presence and then to anoint themselves with their own special unguents and perfumes. But even then, as now, though they might occasionally indulge in the artifices of make-up, the women had major control of the cosmetic market.

Belles of Antiquity

It has taken Egyptologists, archaeologists, and even paleontologists to prove to the curious that primitive women had their perfumes, their hair washes, their face cosmetics, and even

their remedies for sunburn, and these not much different in application from the toilet accessories of to-day. Fair skin, for instance, was much admired.  The belles of antiquity used a mixture of white lead to whiten faces and hands. Also they used the juices of the

fragrant, freshly plucked lemon as a bleach. Our sun-tanned fad femininity may smile at the partiality of the Egyptians for whitened skin, but the law of opposites held good even then.

The women of that civilisation had naturally brown skin, through which natural coloring did not dearly show. If they disdained gardenia-like skin, they enhanced their beauty and achieved

artificial highlights by recourse to the rouge pot and the lipstick. Their languishing eyes also received attention. To heighten expressiveness the forerunners of Cleopatra darkened the

brows and lashes with kohl. Kohl was made from the residue of charred frankincense and phials of water from the wells of Zem-Zem. To-day approximately the same preparation can

be obtained at only a slight difference in cost from either the beauty shop or the chemist's. Red hair was no novelty in that far-off age, and evidently no delight either. Some of the female

mummies discovered in the Nile Delta are coiffed in smartly made black wigs,which fit snugly over their own natural auburn tresses. The art of personal decoration which began at that very remote time and developed steadily throughout the ages was at first quite understandably some what erode. Various kinds of earth and mineral as well as vegetable sub stances were used for securing the colors required to make cosmetics for gilding the lily of feminine loveliness. As the Egyptians progressed from the stone age to that of iron and bronze, the art of cosmetics and perfumes advanced proportionately. Homer tells us that at this time they were emphatically a nation of chemists, because they made perfumes after the science of the apothecary. Color was not the only added attraction. Odor was called into requisition. Perfumes and ointments began to fill the vanity cases of the luxurious men and women. Curiously enough, priests and princes, who formed the governing caste, ranked as large consumers.

Baths and Perfumes

Baths, being the enviable necessities they are, as any well-traveled person will tell you, were first raised to the rank of luxury by these same Egyptians.The upper classes bathed not only for cleanliness and coolness, but also be cause it was fastidiously enjoyable. Slaves applied perfumed ointments immediately after the dip. Large numbers of jars for holding the ointments have been found, some of them with traces of the unguent still in them. Besides these jars for unguents, there were containers for more subtle niceties.The earlier day Egyptian belles bad small, artistically fashioned flasks for holding their primitive powders and

rouges. They had paint palettes for blending individual shades of complexions, with finely carved implements for application. There was even a delicate slate tablet with a pebble for

grinding the pigment. The larger jars tor holding incense and perfumes were beautifully designed and entirely hand made, as befitted the precious preparations they contained.The tastes of the Egyptians were catered to by predecessors of the modish Paris perfumers of to-day. They cultivated and distilled the flowers and balsams for the various scents, and sent out expeditions to Arabia and even to Southern Africa to gamer the odoriferous shrubs yielding condiments to be placed in smelling bottles worthy of them. The Egyptians did not, of course,

stop with trie confection of paints and perfumes. In the harem of the Pharaoh who reigned as Rarnesses II, for instance, were lavished the richest wearing apparel that could be found,dyed in the most gorgeous hues, together with jewels that have been the admiration of our modern world since they were displayed to critical view on opening toe tombs of the Pharaohs."

In this guide I will introduce you to the small world of the Houpette Pli, the unusual container with a retractable swansdown powder puff from France.The pli was manufactured by Alexandre Willk. Their primary client was Molinard. Plis can be found made up of celluloid, bakelite and galalith.The bottom unscrews for powder and is usually imprinted “Brevette Pli S.G.D.G. Made In France”.  The top unscrews and reveals a fluffy powder puff when the cylinder tube is pushed up.

Great RED pli complete with the instructional paper, the box, the powder scoop - AND ALL in GREAT condition. Red is a more rare color to find, and in this condition - you shouldn't pass this one by ! Pli itself measures 3 1/4" tall, the box is 3 3/4" tall. The painting on the sides of the pli barrel are done in silver tone paint, and are of a man and woman in period costume. There is a tree trunk, and leafy tall stems with flowers on the ends - around the rest of the pli barrel. There are also rings of silver tone paint around the top, the cap and the bottom. The top of the cap has a smaller spray of the leafy flowers. The base has the lettering: "Modele Depose PLI FRANCE-ETRANGER Made in France" all highlighted with gold tone paint. The pli pushes up & open easily and straight. The peach colored ostrich feather puff, is in good condition and is completely attached to the peach fabric at all metal stays. The bottom easily unscrews for filling with the included powder scoop that has the lettering "Molinard Grasse-Paris" impressed into the base, then highighted as well with gold tone paint.

An exceeding rare imaginative POWDER LIPSTICK COMBINATION CASE masquerading as OPERA GLASSES ! The old figural American Masterpiece , created by WADSWORTH is called " THE OPERETTA ", circa 1950. The clear lucite /plastic NOVELTY VANITY/BINOCULARS are nestled in a black satin FITTED CASE lined in HOT PINK satin fabric - has a mirror dominating the inside cover. Measures 3"x 2 1/2", snap shuts, slight wear. The LIPSTICK TUBE & SWANSDOWN POWDER PLI slide out from the top eye pieces - mirrors on bottom lens with gold plated detailing . 

Looking through the listings for antique purses, I always see many handbags that are not antique.

That is the case with the so-called "antique Victorian" or "1920s pillow purses" and the jewel studded metal purses. I have created this guide to help the buyer and the seller alike, learn more about these intriguing handbags. These rigid metal purses are usually made up of hammered copper, engraved brass, buffalo horn or silverplated metal. They are distinctly in a pillow shape and usually have long shoulder chains. They are lined in crushed or panne velvet and have crude filigree clasps. The studded metal purses, have glass or semi-precious jewel cabochons bezel set into the metal. Sometimes you will even find the little Made in India labels on the purses.

I remember seeing these being sold at some of the boutiques in the shopping malls during the 1980s,1990s and even now, as well as seeing them at the flea markets and import shops being sold by Indian vendors. These items have been manufactured in India for at least the last 30 years or so, however, some people try to pass them off as "antique Victorian era" or "opera" purses. I don't know if it is the doing of some unscrupulous dealers or if the sellers truly have no idea how old these purses really are.

I have collected, studied and dealt with antique Victorian up until the 1950s era purses and I can honestly say that there are no purses that look like this from that time period.

I have politely explained to some sellers in the past that their item really isn't Victorian or antique but rather a newer item made in India, some of the sellers fixed their listings, and some sellers gave me a scathing reply that their item was "really antique" or "the owner told me this belongd to his 96 year old grandmother". This is why I created this guide to help educate those who might not know for sure.

I was looking online and found a distributor who sells these type of purses. They mention that the pieces are "Sand cast brass decorative items from craft workers in the town of Moradabad,India, hand finished, polished."

In the late Victorian era and into the 1930s, beautiful vanity accessories were being handmade and decorated with the most precious of fabric materials. These pretty items were decorated with delicate lace and ribbon work trims, metallic lame and tiny rosettes adorned powder boxes, glove boxes, hand mirrors, brushes, perfume bottles and powder puffs. 

Many of these items were made in France, and at the Beaux Arts Shade Co in New York, but a majority of them were made by ladies at home. Kits and booklets could be purchased and you could make your own little accessories for the dressing table. 

These items can still be found today, some are a little worse for wear, their silks and satins faded, the trims and lace tattered and decades of dust settled deeply into the folds, creases, nooks and crannies. 

There has been a revival of ribbonwork and new items can be made by purchasing old patterns and the booklets can be found on cd-roms.

Here are some lovely pieces found on ebay to delight you...

Edouard Fornells (1887-1942) was a famous Andorran craftsman that specialised in molds for glass and plastic, and was an associate of the glass-sculpturor René Lalique. Forells moved to Paris in 1909.

Edouard Fornells started working with René Lalique as early as 1911. He became one of his closest partners. In 1913, he started a workshop of his own. He started producing perfume bottles and perfume presentation packaging. The company allows him to work with the greatest perfumers of his time.  

However his working relationship with Lalique continues.  He was trained in engraving, tooling, and chasing. As a mould specialist he was able to transform drawings and sketches into moulds for production of three dimensional products, using his own ideas and those of his clients. 

For Lalique he designed many glass pieces, bottles, and aluminium powder boxes. One of these powder boxes was decorated with exotic parrots for a Roget et Gallet powder. t was from this tropical design that the graphics for their Le Jade line was derived. He designed and produced beautiful bakelite boxes for Rene Lalique.

Fornells was very innovative and worked with plastic materials as if they were bronze. With this in mind, he even added colored patinas ro bring out minute details of the carvings. 

And thanks to his creations, he was able to exhibit at The Arts Decoratifs Exhibition in Paris of 1925, a master engraver still little known the time and a native of Barcelona, whose great-grandparents were from Andorra la Vella.

By 1930 , engravers and decorators were busy at work at Fornells' boutique. The company had important clients with the biggest perfume companies and made boxes and flacons for Bourjois, Worth, D'Orsay, and Roger et Gallet as well as still doing commission work for his friend Lalique.

The Bakelite perfume presentation boxes were not marked with the perfume's names.  I am positive that Fornells made the red Bakelite box for Bourjois's perfume Kobako. Another notable Bakelite presentation case was made for Carege's perfume Le Corail, with a bottle by Julien Viard in 1929. I also believe that the 1923 red and black bakelite presentation case for Myrurgia's Suspiro de Granada was made by Fornells. I have no confirmation but Molinard's bakelite containers for their concreta may have been made by Fournells too.

Edouard Fornells is famous for his bakelite powder, rougeand vanity containers. These are highly collectible today and come in many forms and decorative motifs, especially in the Art Deco vein. The boxes are generally marked "Editions E. Fornells Paris" in a circle.

For more info on Edouard Fornells, view the website herehttp://users.telenet.be/plastics_collection/FORNELLS/DOCU%20FORNELLS/Document%20Fornells.htm

A small gallery of Edouard Fornells Bakelite boxes:

Important Art Deco perfumed powder box made up of black Bakelite, in a disk shape, circa 1930. The lid is carved with a scene of a ship (a Caravelle) sailing on the ocean framed with exotic foliage and parakeets. The design is picked out in a geen patina. Signed. Diam. : 17 cm. Sold by Lombrail-Teucquam.

Rare important face powder box in red bakelite, disk shaped, with ten panels, the lid is carved with tropical leaves.  d : 10cm. Sold by Lombrail-Teucquam.

Beautiful and important ivory Bakelite powder box, carved with an exotic Orientaliste scene, with antelope and tropical plants and trees.

More Fornels boxes can be found here:http://users.telenet.be/plastics_collection/FORNELLS/PHOTO%20GALLERY%20FORNELLS.htm

In 1923, Dorothy Grey introduced The Face Patter, to stimulate circulation and ... The Face Patter to stimulate circulation, which gave cheeks a natural, rosy glow. It was also used for “reducing a double chin at the same time making the muscles firm”,” to firm loose muscles and a crepy throat”, and “for erasing lines and wrinkles.”

“Pat your way to perfection with the little Dorothy Gray Patter. One, two, three! One, two, three! The brisk, rhythmic patting stimulates a rapid, healthy circulation, making the muscles firm, keeping the skin clear and bright. And its all so quick, so easy! The Dorothy Gray Patter does its work deftly and well. It costs only $2.50.” “Pat a thin face gently,” the instructions read, “a plump face firmly.”

The face patter was a simple round slice of rubber stuck on the end of a handle that measured a foot long. A "specially contrived instrument for stimulating the facial muscles without irritating the skin".

The directions called for cleaning the skin with the Dorothy Gray Cleansing Cream, then patting on the Circulation Cream, then applying the non-fattening, emollient Special Mixture Tissue Cream for circulation, then applying the mild, refreshing Orange Flower Skin Tonic astringent and rhythmically patting some more, finally patting on the Astringent Lotion, the effective contour astringent..

In 1932, Margaret Dibble applied for a patent on her improved face patter made up of sponge rubber. Her design added a pocket/ cut out portion so that a cake of soap could be slipped in or astringent could be poured inside. The function of the dampened patter using soap was to massage and stimulate the pores for efficient and deeper cleansing of the face, in which a foaming lather would be produced by moving the patter in a circular motion over the face. For patting purposes, a small amount of astringent could be poured into the pocket, allowing the liquid to fully penetrate the one side of the patter made up of spongy material. The other side would be for powder or massaging of the face. The handle of the patter was made up rubber, which allowed flexibility and reduced fatigue from usage. Her patent was granted in 1934.

From a 1922 issue of Photoplay magazine:

“And a fragrant scent of incense clings bewitchingly….

Just a tiny bit of incense curling from a Vantine burner on her dressing table, yet wherever she may go, tonight the subtle fragrance will surely cling, a rare and exotic perfume. For the fragrance of Vantine’s Temple Incense is the true and fascinating fragrance of the Orient, bewitching and mysterious in is appeal.

You, too, may know the spell of incense. The burning of incense has been a symbol welcome - an old world custom for thousands of years, and because of Vantine’s , you, too, may enjoy the same refreshing scents today. For a little incense burning in your home will charm and please your most fastidious guest. Or alone tonight in your room, the tiny wisp s of fragrance may readily rise to delight you and to and refresh you.

Which is your choice? Sandalwood, Wistaria, Rose, Violet and Pine are the five fragrances in which you may buy Vantine’s Incense. Each is as delightful as the other and your choice of one is merely a matter of personal preference. So try tonight, the fragrance which appeals most to you.

Vantine’s Temple Incense is sold at druggists, department stores and gift shops in two forms - powder and cones in three packages, 25 cents, 50 cents and 75 cents. “

Vantine’s powder incense was meant to be used indoors and outdoors. The package often included a small paper cone to make incense cones. All of Vantine’s incenses were made in Japan and imported into the USA. The instructions suggest scenting your clothes by placing a burner of incense "in the center floor of the wardrobe.  Do not allow the clothes in the wardrobe to come in contact with the burner."   Also they suggest sprinkling some incense over the glowing embers in the fireplace or as a sachet for one's clothing, lingerie or other intimate belongings. The incense was available in various scents: Sandalwood, Lotus, Violet, Wistaria, Narcisse, Orange Blossom, Amour, Oriental Night, Lilac, Cherry Blossom, Gardenia, Good Luck, Rose, Pine and Jasmin.

An earlier ad in the June 1921 Cosmopolitan magazine read

”Everywhere in Burma tonight, little fires are being lighted, and in each home, a little Burmese lady is sprinkling sweet powders over a live and glowing coal. All through India, up through China, in fact all the length and breadth of the Eastern world, millions of people are happier and more rested because faint wisps of incense are rising in their homes. And because of Vantine’s the same delicate scents of the East may arise tonight in your home and delight you. - to refresh you- top enchant you.

Vantine’s Temple Incense is the name to think of. The druggist, the gift shop and the department store are your sources of supply for all over the country, these are the stations where you can get the true Eastern incense.- the incense the East uses and Vantine’s have imported for years. Which do you think you prefer? It comes in three delicate fragrances, Sandalwood, Wistaria and Pine. Some like the Oriental fullness of Sandalwood, others choose the sweetness of Wistaria and still others prefer the clear and balmy fragrance of Pine."

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. 

The presentation cases were patented on April 8, 1924, July  29, 1924

A 1924 advertisement reads: La Tausca Pearls. "Searching about for a casket which would be worthy of the exquisite La Tausca strands. The artist ran across some of those studded jewel cases wherein great ladies of high European courts hid their jewelry.. Some of these very cases were cast from dies that the artist copied. Soon after his return to this country, appeared the La Tausca jewel cases. Gold and silver plate - semi precious stones-goldsmithing of the finest type-- caskets to encase the precious La Tausca's pearls in royal manner. In many Instances, the beautiful caskets housing these jewels are really worth more than the faux pearls inside. La Tausca Pearls are known all over the world for their wonderful beauty and wearing qualities They come in Gem Studded Copper, satin lined  Jewel Chests historical reproductions from the Louis XVI period-A Gift for the most fastidious-as low as $25.00"

La Tausca Pearls presentation box with green jewels

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.

Presentation box with amethyst jewels

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

Presentation box with amethyst jewels

Presentation box with blue jewels

Box with amethyst jewels

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 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 boxes with shell cameo and coral cabochon jewels.

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.

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.

Presentation case without jewels

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
• Frog pomander
• Cat shaped bath salts trinket box
• Camel shaped bath salts 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.
• Ibis bird box
• Lotus decorated jar/lid (four petal top, jagged edges, half circle knob)
• Lotus decorated small jar/lid candle holder, (four petal top, smooth edges, flower knob)
• Lotus decorated tall jar for bath crystals, with round stopper, rounded bottom, on 3 leg brass stand
• Tall vase shaped jar with blue triangle design, with double lotus stopper
• Small round dish with lotus
• Queen Nefertari decorative bust on stand

If you have something that is not listed, let me know and I will update the list. Thanks to Pam for helping me update the list.

During the period of 1954 to 1970, Max Factor was looking for a new way to draw a younger crowd to their line of perfumes. Their answer? The range of Sophisti-cat and Poodle presentations. 

These presentations had either flocked cardboard cats, honey bears or poodles in various colors such as purple, red, pink, brown, black, chartreuse, green, yellow and turquoise blue. All animals had different colored rhinestone eyes. Each animal would have a small dram and a half  (1/8 ounce) sized bottle of parfum attached to them. The presentations were further enhanced by little trinkets such as a necklace, flower, feathers or pearl necklaces around the necks of the animals, all captured under a clear plastic dome.

The perfumes for these presentations were some of Max Factor's best seller:  Primitif (1956), Golden Woods  (1951) , Electrique (1954) Aquarius (1969), Jonquille (1960s), Exuberance and  Hypnotique  from 1958.

Looking thru old magazine ads I noted that the 1950s bottles were rectangular in shape, then as the 1960s went on they became more cylindrical. The ears on the cats in particular are very pointy in the 1950s versions.

Look on ebay for fabulous bargains on these old time faves!!!

 

This guide will introduce you to the world of the 1940s-1960s vanity accessories manufactured by

Matson, Stylebuilt, Guildcrest, Globe and others.

These items were originally sold in department stores, drug stores and jewelry stores.

The ormolu pieces are in a Rococo style and feature cherubs, birds, butterflies, scrolling, intricate filigree or stylized flowers like roses. In the 1940s and into the 50s, some dresser sets featured a large faceted jewel on the pieces. Sometimes I see dealers incorrectly labeling these items as antique, Victorian, French or Italian. Please understand that these are NOT Victorian, French, Italian or antique!!!!!

I realize that many people do not have the time nor resources to research their items, and some people just wish to remain ignorant when I mention how old their bottle really is. I hope that the people who do take the time to read this guide are able to list their items accurately so their buyers arent buying something that is misrepresented.

I had written a seller because she had incorrectly said her perfume bottle was "Antique Victorian,French and Italian" all in one title. She responsed quite negatively and even so much as went to put a response in her listing as she couldnt verify that I was an expert when I said her perfume bottle was no older than the 1940s.

As a dealer in antique & vintage perfumes for over 15 years, a past member of the International Perfume Bottle Association, author of over 200 ebay guides on vintage perfumes & vanity sets and appraiser for vintage perfume bottles, I have alot of knowledge on vintage perfume bottles and dresser sets with many reference books on perfumes & vanity accessories at my disposal. Please feel confident that you are reading the guide of someone who has spent a lot of time researching these vanity pieces and trying to garner as much info as possible to help you.

Often times, original labels and tags are missing from these pieces as they were lovingly used for years. But you can be sure that your piece is one of the manufacturers I have listed below.

These items add a touch of glamour when displayed on a vanity, counter top in your powder rooms or even on your nightstand in a guest bedroom.

Perfume Bottles

Many of the perfume bottles resemble reliquaries and have beveled glass windows and a tiny glass vial inside to hold perfume. The perfume can be applied to the skin with a long glass dauber attached to a very fancy filigreed stopper. The perfume bottles were often sold as a pair. The glass windows are either clear, pink or amber in color. Other perfume bottles are the atomizers, these have plastic siphon tubes inside. And there are other perfumes with pressed glass bases and gilded metal mounts and daubers.

You might wish to clean out the old perfume residue with some alcohol. Please note that these are NOT Victorian nor antiques. There are no perfume bottles of the Victorian era that even resemble these oversized gargantuan bottles. Some of these bottles stand as tall as 10" and higher. You might also find a single faceted glass or lucite jewel in the center of the stopper. Some perfume bottles have plastic behind the filigree that imitates mother of pearl, please note that this is plastic and NOT real mother of pearl.

Jewel Caskets

The jewel caskets generally have beveled glass sides held in by tooth like prongs, the bottoms are lined in either a tan, burgundy, purple or blue velvet. Sometimes the velvet is tufted with little gold tone brads. The glass can be either amber, pink or clear. Sometimes you might find a single faceted glass or lucite jewel on the lid. The caskets are in many different shapes from oval, rectangular, triangular, round, square and even ball shaped. These are not antiques, I once saw a seller trying to pass off a 1950s signed Matson jewel casket as an "Antique Victorian Mourning Box".

Handmirrors, Brushes & Combs

Handmirrors have beveled glass, combs have lucite teeth and brushes have nylon bristles. Sometimes you might find a single faceted glass or lucite jewel on the backs of the mirrors and brushes.Sometimes the backs of brushes or mirrors have mother of pearl looking plastic backings under the filigree, please note that this is plastic and not real mother of pearl.

Trays

Most vanity trays are large enough to hold either the entire vanity set and some are just large enough to hold the pair of perfumes. Many of the trays have a mirror on the base or they might have beveled glass. Each one has an intricate gilded frame and some may be accented with a large faceted glass or lucite jewel on each end. Some trays have handles and some are footed. You might even come across newer style plateaus.

Pieces you may find:

• Hand mirrors
• Adjustable Mirrors on stands
• Perfume bottles
• Perfume Atomizers
• Hair Brushes
• Combs
• Large dresser trays
• Jewel caskets
• Kleenex covers
• Hairspray can covers
• Lipstick holders/caddies
• Pin trays
• Clocks
• Picture frames
• Powder jars
• Soap dishes
• Toothbrush holders
• Candy dishes
• Cup holders & cups
• Vanity trash baskets
• Compacts
• Ashtrays
• Lighters
• Cigarette boxes
• Vanity lamps

Major Companies:

Stylebuilt: New York company established in 1940, that specialized in the manufacture of vanity accessories in the 1960s. Most items are of a gold tone or silver tone alloy metal. Stylebuilt often had their pieces plated with 24kt gold and were said to be tarnish proof. The company is still in business today and operates under the name of Stylebuilt Accessories Inc. and is located in New York. Vintage Stylebuilt items may retain their original labels or tags which state the following: “Stylebuilt Accessories, New York, 24K Gold Plated, Guaranteed Not To Tarnish." Other tags or labels might read "Stylebuilt Frame Co."

Matson: Matson Manufacturing Company of 347 FIFTH AVENUE. NEW YORK, NY 10016. Their items were marked © Matson and Matson Import. They manufactured vanity accessories and accessories for the powder room from around 1954 to the late 1970s. Their pieces are often 24kt gold plated and should have a little label or tag attached verifying this. Information on Matson is next to nothing. Matson was NOT given away to passengers on Matson Line Cruises. For some reason someone has made up this ridiculous rumor to help sell their items and the rumor is spreading! The two companies are NOT related.

Guildcrest: An American company that made dresser sets and boudoir accessories in the 1940s- 1960s. These items were 24kt gold plated and pieces were imported from Germany. Birds on branches are a common theme with this company. They also used amber glass for their perfumes and caskets.

Globe: In the 1950s & 60s, the Globe Silver Company manufactured the same type of vanity accessories as Matson & Stylebuilt, in fact their dies are very similar if not the same. They also plated their wares with 24kt gold and some of their pieces were accented with large faceted glass jewels.

Florenza: a costume jewelry manufacturer who started around 1937 as Dan Kasoff Inc, but didnt start marking items with the Florenza name until 1950. They also made a series of gold tone lipstick caddies in the 1950s, some have a antique white finish. Other items include pincushions with red velvet. Florenza items are generally accented with rhinestones or faux pearls. Florenza was in business until 1981.

Yule Mfg Co: a Brooklyn, New York based company that manufactured vanity sets comparable to those by Stylebuilt and Matson. Their tags or pieces are sometimes marked "Guaranteed not to Tarnish". Some of their pieces will be adorned with aurora borealis rhinestones and faux pearls.

Astorloid: This company began making vanity accessories with goldtone filigree in the 1950s and continued production into the 1960s. The “Astorloid” plastic backings of mirrors, powder jar lids was often combined with silk brocade or embroidered backings. The nylon bristles snapped out of the backs for easy cleaning and the mirrors were protected by copper backings.

SF: .S.F. Co. ~ 5th Ave", which stands for Sam Fink Company, who was very popular during the 1940's-1960's with their rhinestone jewelry and filigree vanity sets and boudoir accessories much like Stylebuilt , Florenza & Matson

Regent of London: manufactured matching vanity sets with petit point inserts, with intricate brass filigree handles and frames. The backings often have an Oriental theme. The embroidered backings are generally covered with a thin clear plastic or vinyl material. The nylon bristles should also snap out for easy cleaning. These are generally found in the United Kingdom and date to the 1940s-1970s.

Care & Cleaning Tips:

To keep your pretty vanity items in good condition, be sure to keep them away from moisture. The moisture will loosen the gilding, turn the foil backed stones dark, and spot your mirror. A light dusting with a stiff brush can help you clean them off, I use a little makeup brush to get in between the stones and into the filigree. You can clean this brush in between cleanings to help get rid of the little dusty particles. I used some of my dresser items, notably a powder box, brush, perfume bottle, comb and hand mirror. I didn't have any problems with that. Most of the other items I just displayed.

(Pictures to be added later)

These pretty vanity items were produced during the 1890s and continued for a few more years up until around 1910 or so. The handmirror and brush were sold along with a comb in most cases. Sets were available to adults as well as children, the children's set being a bit smaller than the adults of course.

 Masculine sets were offered to men as well.

The porcelain backs commonly had transfer designs, usually with some handpainted enameled accents to make the designs look more lifelike. These porcelain backs were probably manufactured at Limoges France or in Dresden Germany and very rarely Nippon (pre WWI Japanese). They featured gilded brass, aluminum, German silver,  or quadruple plated handles that were embossed with floral motifs, Art Nouveau whiplashes, nudes with flowing hair, mermaids, rococo swirls and scrolls.

I have come across some of the backs that were entirely handpainted with the most lovely of subjects. 

The most common subjects on the porcelain backs were usually of a floral nature, especially lush roses, pretty violets, lilacs, colorful daisies, lily of the valley, poinsettias, poppies, and delicious fruits such as raspberries.

 Less commonly found are the portrait backs. These would generally be pretty Gibson type ladies, children, fairies, cupids at play or scenes of a neo-Classical or romantic Colonial/Regency period nature.

Sometimes the decorative motif will be Nippon floral motifs with intricate moriage beading.

The masculine sets would feature animals such as elk or waterfowl.

The borders of the porcelain backs were typically gilded scrolls or floral swags, a flow blue edge, and some had no extra accents at all.

Every now and then I see those beautiful jasperware backed pieces with Neo-Classical motifs, most likely produced by Wedgwood or a look alike manufacturer. I have had jasperware pieces in a pink color, a sage and a deep cobalt blue color over the years.

It is not uncommon to find these items on ebay, I see about 2-3 pieces weekly. I have seen them in pristine condition as well as poor condition.

I have broke down several condition grades to make it easy for you to list or purchase. Some people may not agree with my condition grades, so feel free to adjust to your own ideas if you'd like.

• Pristine or mint condition would mean: virtually no wear to transfer or finish on handles, no chips or cracks to porcelain, no spots or streaks on mirror, no missing plugs of bristles, no scratches on porcelain, no dents on handles. In other words, looks like it was never used.

• Very good condition would mean: very light wear to transfer (a faint scratch here and there), very light wear to finish on handles, no streaks or spotting on mirror, one or two of the plugs missing on brush, a dent or two on handle. Looks like it was used very little.

• Good condition would mean: some visible scratches on transfer, normal wear to finish on handles, spotting or streaks on mirror, some dents to handles, over three plugs of bristles missing on brush. Looks like it was used, but with care.

• Poor condition would mean: cracks or chips to porcelain, cracked mirror, considerable loss or scratches to transfer, considerable loss to finish or rust on handles, plenty of dents on handles, numerous plugs of bristles missing. Looks like it was used often!

These items make the most beautiful collections and even if an item has a cracked porcelain back, but unusual or lovely motif, don't hesitate to pick it up and add it to your collection.

I have found the best website to find these pretty items, visit www.antiquepeek.com for fabulous handmirrors, brushes and sets. The pictures shown in this guide were taken from her website and you can see the high quality items she offers at reasonable prices.

In Roseann Ettinger's book Antique Dresser Sets 1890s-1950s, she has a reprint of a Lyon Brother's catalog from 1899. On this catalog page, several porcelain backed dresser sets are being offered for sale. Her book also shows some porcelain backed vanity pieces in color with values.

Thank you for taking the time to read my guide on antique jeweled filigree vanity items.

Almost all of them I have been able to purchase on eBay, as well as antique shops and flea markets.  I have collected these fabulous treasures for years and have come across several different manufacturers and styles. The age range of these ornate accessories are late Victorian-1930s. I am very specific on what age and manufacturer I collect, so I will focus more on these in this guide.

Companies which manufactured these items were:

• APOLLO STUDIOS
• E & JB EMPIRE ART
• SILVERCRAFT
• TRINITY PLATE
• COLONIAL QUALITY
• CZECHOSLOVAKIA
• LA TAUSCA PEARLS
• FBS TRADEMARK
• DERMAY
• ART METAL WORKS
• 22 KT GOLD PLATE/24 KT GOLD PLATE
• OS&CO

I have found many jeweled items in my travels and online. Most of these include:

• hand mirrors (beveled glass mirrors)

• perfume bottle caddies (some hold single bottles, a pair or up to three bottles)

• powder boxes (sometimes have glass inserts)

• perfume bottles

• clocks 

• trinket boxes/ jewel caskets (these are usually lined with velvet)

• large makeup compacts with glass base with various compartments

• hair brushes (bristles set into celluloid covered wood)

• hair combs (the combs are celluloid, with a brass filigree piece along the top)

• perfume atomizers (sometimes the atomizer hardware is missing and people sell the bases as hatpin holders)

• candlesticks

• cigarette boxes (these are lined in wood)

• matchbook covers

• other smoking accessories

• picture frames

• trays (most with lace in between glass)

• lids for glass powder boxes

• buttonhooks

• vases (with glass inserts) 

• and various manicure tools

• divided dishes (glass inserts with jeweled lids)

Composition and materials:

These luxurious vanity pieces usually are made up of a gilt brass, gilded white metal alloy or very rarely, gilded bronze. The metal is usually on the heavy side, but I have purchased some pieces which were of a lighter material, most likely hollow brass. I did happen to see an awesome rare silverplated set once on eBay, but it was out of my price range!

The metal is usually stamped with a pattern such as flowers, textured or hand hammered effects. They are embellished with intricate, lace like filigree, sometimes in fanciful patterns of butterflies, hearts, Egyptian lotuses, and fleur de lys. I have seen some stunning pieces combined with enameled medallions or handpainted portraits on ivory. The pieces are further accented with foil back or open back paste jewels/rhinestones/gems. These stones are usually prong set or bezel set.

If you find that one or maybe more of your jewels are missing, you can always find some replacements in older costume jewelry. Sometimes the beveled glass mirrors are streaked with black or spotted from moisture, you can usually find a replacement from other vintage or antique handmirrors that will fit just fine. All it takes is to pull up the prongs that hold the mirrors in place.

I have had these jeweled vanity items in various stages of condition, from near mint to poor. Near mint would mean just that, and poor means that the piece has lost most of its original gilding and the base metal is showing through, loss of numerous stones. Verdigris can be removed with a qtip moistened in white vinegar. Water will make the piece get verdigris and might ruin the piece.  I wouldn't offer these type of items unless they were in very good condition.

These vanity items don't come up for auction very often and often command high prices when they do. Some of the harder items to find are the combs, candlesticks, buttonhooks, perfumes,and matching pieces and sets of more than three items. I try to offer some of my personal pieces every so often, so if you are interested, you may want to bookmark my auctions. 

 Taking care of your items:

To keep your pretty vanity items in good condition, be sure to keep them away from moisture. The moisture will loosen the gilding and make verdigris show up (the green nasty stuff), turn the foil backed stones dark, and spot  or streak your mirror. A light dusting with a stiff brush can help you clean them off, I use a little makeup brush to get in between the stones and into the filigree. You can clean this brush in between cleanings to help get rid of the little dusty particles. I used some of my dresser items, notably a powder box, brush, perfume bottle, comb and hand mirror. I didn't have any problems with that. Most of the other items I just displayed.

Gifts & accessories for your boudoir:

A dresser top looks fabulous when various jeweled accessories are displayed upon it. You'll feel like a pampered princess everytime you go to use one of your pretties. Jeweled vanity pieces make wonderful, elegant, surprising gifts for those hard to buy for ladies, those women in your life that seem to have everything , or a special gift to a daughter, daughter in law or mother. Brides would be delighted to have something sumptuous as these jeweled vanity pieces, perfect for heirlooms.

I have compiled a list of known manufacturers of jeweled vanity items. Most of these names you will encounter when buying or selling these vanity accessories:

• E & J Bass, Inc of NY, they sold items in the 1890s-1930 under the name Empire Art Gold, Imperial Art Silver and Empire Art Silver, their mark usually consisted of a Crown in a circle with E&JB Empire Art. Their business went under due to the Depression. They also produced the enamel and jewel combinations, or sometimes without jewels.I have also known of some pieces of jewelry, such a sash buckles which were stamped Empire Art. The Dorothy Rainwater book says that E & J Bass were "Manufacturers of sterling silver wares,sterling deposit wares and plated silver and jewelry." You will find markings on the bases of the boxes and perfume caddies, the sides of the handles on the handmirrors and brushes, and also just underneath the mirror on the handmirror. I have never seen a comb marked.

• Apollo Studios of New York was a division of Bernard Rice's & Sons and items marked with the Apollo stamp were made from 1909-1922. These pieces are usually marked only with Apollo, sometimes with Apollo Studios NY or Apollo Ovington followed by some mold (style) numbers. In 1872, the Apollo Silver Co. merged with the bankrupt Redfield & Rice Co, forming the Bernard Rice's Sons. Bernard Rice's & Sons went out of business in 1958. Apollo Studios was a contemporary of Tiffany Studios and produced some of the similar type items, like desk sets, humidors and other fine pieces of brass, copper and gilded brass. I have seen sash buckles stamped Apollo. Apollo Studios was mentioned in advertisements to be manufacturers of hollow ware, boudoir accessories, and gift items in silverplate, goldplate and other metals.Apollo Studios products were sold in the prestigious Ovington's store, The Gift Shop of Fifth Avenue. Ovington sold china, crystal, fine art, silver and gift items aimed at the bridal market. They produced the jewels and handpainted portraits on ivory combinations or soemtimes without jewels.Some pieces with the Apollo name were still being produced in the 1930s and 1940s, these items were not as ornate at the earlier pieces and were usually enameled and had the heavy cast metal handles. A popular feature on items of this age are a single large faceted glass jewel on the backs of items or on perfume stoppers, or handpainted ivory miniatures under glass and set into filigree. Items with extra long handles date to the 1930s. To find marks on Apollo pieces: The handmirrors and brushes are usually marked on the side of the handles. The boxes will be marked on the bases. The trays will be marked on the sides or bases of the frames. I have never seen a comb marked.

• The Farber Bros. Company sold silverplated, brass, copper hollowware items under the name Silvercraft from 1923-1932, this mark you are most likely to encounter would be Silvercraftand some psuedo-hallmarks underneath it. Other marks would be Farber Bros Craftplate from 1920 on on silverplated hollow ware, solid brass and copper items. Futura NY Silvercraft was used in 1931 for silver and silverplated. Krome-Kraft was used from 1933-1965. Farber brothers went out of business in the 1960s. You will find the mark on the base of boxes, on the bottoms of the tray frames, on the base of perfume bottles. I have never seen a comb marked.

• Colonial Quality. After many hours of searching, I simply cannot find any information on this brand, other than they also produced celluloid items. Their address was at Samstag's 1200 Broadway, NY. They were in business around 1919, probably earlier and later on. I have found a Colonial Quality jeweled filigree lid on a Heisey powderbox. Pieces were marked with Colonial Quality. Colonial Quality items have the same fine appearance of Apollo & Empire Art items.The mark is found on the base of the item.
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• La Tausca Pearls was a trade name used by two different companies, L.Heller & Son Inc and Martin Low & Taussig, Providence RI. The high quality faux pearls were sold in a filigree & jeweled bronze finished brass presentation box in the 1910-1930s. 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, amber and/or amethyst purple glass jewels. Please see my insightful guide on La Tausca Pearls and their fabulous presentation boxes.

• The Trinity Plate mark is found on very fine gilt purse frames, vanity items, dance purses, compacts. Trinity Plate was specifically developed  to plate pewter. The term Trinity refers to the three part plating alloy which consisted of copper, silver and nickel and was used by manufacturer's of pewter items in the early 1900s. I have seen some of these items encrusted with glass jewels. These ornate items date from 1900-1930s or so. Items will be marked with Trinity Plate. The mark should be inside the compact or on the base of the boxes.

• FBS Trademark the logo of the F. Barker & Son, of 12 Clerkenwell Road, London, manufacturers of metal goods. They primarily made cases for pocket compasses and scientific intrsuments, but I have also found their name on vanity items. Worked from early 1900s-1940s.

• Dermay of Fifth Avenue New York & Paris sold some bath crystals in their Bath Flowers fragrance in a satin glass jar with a jeweled brass lid, in 1928. The base of the jar has a molded pattern, and there was usually a paper insert which fitted into the lid and a label on the base for Dermay Paris,New York. Dermay Perfumers Inc had several different perfumes introduced in the 1920s and 1930s so other fragranced bath salts were also probably offered.

• Art Metal Works of Newark,NJ. Manufactured fine decorative metal items and was later renamed Ronson's Art Metal Works (the company who produces those popular Ronson lighters). I have seen frames and vanity items marked with Art Metal Works as well as AMW. Art Metal Works also produced a diverse selection of metal bookends, hood ornaments, statuary,aquarium and plant stands, clocks, pipe holders, desk sets and accessories, figurines, lamps, boxes, novelty items, toys, incense burners and much more. There is a reference book out called Ronsons Art Metal Works.The mark is usually found on the base.

• 22kt Gold Plate and 24kt Gold Plate items were made by an unknown manufacturer, some speculate it is Czech manufacture, but I think it is more like an American company who produced these interesting vanity items. I commonly see this marking on several powder jars with different amber glass bases and twice on perfume atomizers. Items will be marked on the base of the atomizers and on the underside of lids with 22kt Gold Plated. I have seen American items marked with a label stating "Genuine 24K Gold Plated" with the maker's hallmark of a JP and a crown in between the two initials. I haven't had any luck figuring out who that logo belongs to.

• OS& Co. This mark is stamped on the bottom of a jewelry casket that has the same lid design with jewels as does pieces of Empire Art that I have owned. I cannot find any information on who OS& Co, or OC & Sons, or if it is O& S Co. Perhaps it was made with the same dies as Empire Art but sold to a different manufacturer, it is definitely the same time period as the other pieces.The mark is found on the base.

• Various Czech companies and produced some of the finest metal objets d'Art during its years of operation in the early 1900s-1920s, some of their pieces are marked Czecho-Slovakia, Czechoslovakia, or not marked at all, I suspect that they may have once had paper labels which had subsequently fallen off throughout the years.The markings should be stamped on the underside of lids,on the outside of the bottles in a little brass tag, or acid etched onto the base of glass perfumes or powder jars.

Other types of filigree dresser sets:

You may see some gilt filigree vanity sets on ebay that are without jewels, usually these are manufactured in the 1940s-1950s by three major companies, Stylebuilt, Globe and Matson. There are many collectors who covet these items, especially their ornate perfume bottles shaped like reliquaries. These are perfume bottles are quite plentiful on ebay, and commonly sell in the $20-$60 range. I also see vanity sets with petitpoint inserts, most are made by Regent of London. These vanity accessories are mostly found in the United Kingdom. I wrote a guide on Matson, Stylebuilt, Globe, Regent and others.

Whatever styles of vanity accessories you choose to collect, I am sure you will enjoy the thrill of the hunt! Have fun and good luck bidding! Any questions, feel free to ask me.

TO SEE A FULL GALLERY OF VINTAGE JEWELED FILIGREE VANITY ITEMS VISIT MY WEBSITE AT WWW.CLEOPATRASBOUDOIR3.WEBS.COM

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.

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.

The high quality faux pearls were sold in filigree & jeweled gilt bronze or copper  finished brass 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.Sometimes you might find the boxes marked "Patented April 8th 1924."

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

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. -

1. Naomi 18-inch necklaces with 10kt solid gold ring clasps.
2. Portia 18-inch necklaces with diamond set white gold clasps.
3. Lady Rosalind 18-inch necklaces with diamond set gold clasps.
4. Puntainia 27-inch necklaces with laces with white gold clasps.
5. Nora 24-inch necklaces diamond set white gold clasps.
6. Norma 30-inch necklaces with diamond set white gold clasps.
7. Aurore 20-inch necklaces with diamond set white gold clasps.
8. Aurore 24-inch necklaces with diamond set white gold clasps.
9. Mecan 30-inch necklaces with diamond set white gold clasps.
10. Endless Chain Necklaces, 40 inches long..
11. Chain necklaces, 50 inches long.
12. Endless Chain necklaces, inches long."