Delvaux 18 rue de Royale, Paris - International Perfume Bottle

Delvaux 18 rue de Royale, Paris
By Susan Arthur
T
he list of French Art Glass artisans of the Art Exhibition of Contemporary Decorative Arts organized
Nouveau through the Art Deco period encom- by the Union Centrale des Arts Decoratifs in 1923 and
passes the proverbial “A” (Argy-Rousseau) to “Z” the International Exhibition of Decorative and Industrial
(Almaric V. Walter) with more familiarity in ar- Arts in 1925.1, 2
tisan houses such as Baccarat, Gallé, Lalique and Sabino.
“The emergence of individual creative artists, particularly MAISON DELVAUX
in the second half of the century [1800s], led to the brief According to the French version of Wikipedia, Delvaux
Art Nouveau movement in glass as well as the Art Deco, was started in 1880 by two ceramic artists, Félix Optat
Functionalist and contemporary glass.”1 Three distinct Milet and his good friend Clement Massier.3 However, I
‘movements’ were developing during this era. The first, have confirmed that is not the case. My first clue was the
and most recognized to this day, was heavily influenced mention of the name Delvaux in association with Vicby Lalique. Already known for his Art Nouveau jewelry, tor-Emile Decupper as early as 1896. Decupper is listed
Lalique brought his love of the human form in sculpture multiple times in the Horticulture Society’s “Jardins de
to his molded patterned glass and highly influenced fol- France by Societe nationale d’horticulture de France” for
lowers such as Sabino, Etling and thoushowing vases and “fantansies of fleurs.”
sands of glasshouses to recreate this style
At first, I assumed M. Decupper was emof art glass via mass production. The more
ploying Delvaux’s vases to show off his
individual, furnace-worked and highly
expertise in floral arrangement.4 Then
wrought glass is considered the second
there were several vague references to
movement. This type of glass required an
‘Decupper-Delvaux’ in a German auction5
assistant or two to execute at the furnace.
and in a description from an ArgentinKnown as “Studio Glass,” it was highly
ean eBayer as to vases sold at auction.6
inspired by the work of Maurice Marinot
Via the French genealogy site Genewith followers such as Jean Sala and glass
anet, I cited M. Decupper in 1897. On the
houses such as Daum and Schneider. The
agenda of the Ceramique & La Verrerie
Scandinavian system is considered the
[glassware] Union meeting on April 1st,
third movement and a combination of
1897, a vote was called for the admission
(Above): Clement Massier,
the two - linking the more industrial glass
of new members. Among the many, M.
19th century iridescent vase
house system with the individual creator. “Holly”, 18¼" tall. Courtesy of
Decupper, ‘trader in earthenware, porGlass houses that should come to mind Jason Jacques Gallery, NYC.
celain and crystal, 18, rue Royal, (with
are Orrefors and Kosta. Much like today
sponsors MM. Harant and Malessant)
in most industrial sectors, economics were driving the was listed.7 Further, in October 1936, in the Archives
bottom line in art glass production.
Commerciales de la France, an announcement was made
Delvaux capitalized on the third movement. Delvaux that the Maison Delvaux, a company with the limited liwas a luxury retail shop with the succinct and very posh ability of 495K francs, was announcing a management
address of “18 rue de Royale, Paris.” The rue de Royale change. M. Victor Decupper was resigning with his wife,
is a short street running between place de la Concorde Madam Jeanne Decupper, nee Delvaux, accepting the
and place de la Madeleine in the 8th arrondissment with position as manageress. The announcement was posted
Lalique at #11 and Maxim’s at #3. Very little has been pub- by Roger Decupper[-Delvaux; son of Victor and Jeanne].8
lished on its place within the French Art Glass movement, Roger Decupper-Delvaux was already active in the family
however, it has a distinct and lengthy history embracing business as he was awarded a 500 francs prize for his enartisans from porcelain to glass. Often referred to as the try in the Perfume Bottle Contest of the Beaux-Arts SociMaison Delvaux, Salon Delvaux or La Boutique Delvaux, ety sponsored by Maison Houbigant. The announcement
the salon had the distinction of exhibiting in the First was made February 1st, 1926 in La Revue des Beaux-Arts.9
14 PERFUME BOTTLE QUARTERLY | FALL 2013
The aforementioned German auction referenced an
enormous catalog of glass and ceramic marks and is titled
the Glasmarken Lexikon by Carolus Hartmann.10 It confirmed the use of ‘R. Decupper’ and the multitude of Delvaux trademarks that I have seen on ceramics and glass
from the salon. It lists Roger Decupper as ‘glass sales’ and
not as an artist.
THE TALE OF THE TWO CERAMISTS
Felix Optat Milet (often anglicised to Miletus and sometimes misspelled Millet), was born into a family of potters
in 1838 in Martincamp, a coastal town in Normandie. Milet’s ceramic art has been described as displaying “gaiety
and joie de vivre in reaction with the society of his time
with distinctly humourous execution. Many works of
Optatus Miletus evoke Cézanne with rural scenes where
birds, wild and domestic animals are represented in their
greater simplicity.” 3
As a young man, Milet started as a modeler at the
Manufacture de Sevres factory in 1862, later graduating
to decorator. In 1866, he was granted town permission to
open his own furnace and shop. Milet is credited with rediscovering the formula for the Chinese “sang de boeuf “
glaze,11 and was known for his earthenware with cloisonné glazes and barotine wares, a slip technique best known
at Sevres and Haviland.12
Clement Massier (often anglicized to Mandy; 18441917) was also born into a pottery family. He is considered to be the founder of the modern ceramic industry
of Vallauris.13 After the invention of iridescent glazes,
Massier became passionate about adding the technique
to his pottery and developed his own technique to add a
metallic sheen to earthenware, earning him a gold medal
at the Exposition Universelle of 1889. His luster glazes
would be later used on American Weller pottery.14 The
French newspaper, Le Temps, announced Massier’s passing and credited him with resurrecting ancient and artistic pottery techniques. He had been awarded the Legion
of Honor, and was the holder of the Victoria Cross and
many foreign orders.15
Wikipedia (France) describes Milet and Massier as
friends that liked to compete and challenge each other.
As Massier is credited with implementing a trade network
via the dissemination of catalogues in France and abroad,
and opening regional outlets as well as shops in Paris
and Germany, it can be easily ventured how their paths
crossed – the two ceramists and Salon Delvaux’s VictorEmile Decupper.
(Above): Felix Optat Milet, rare faceted ceramic vase
with carnations and butterflies; circa 1890, signed Robert
[decorator] on body, base stamped Sevres 607. Credit Rago
Arts and Auction Center, Lambertville, NJ.
SALON DELVAUX
Delvaux would eventually embrace the sale of luxury
goods including liqueur decanters, glasses, vases, porcelain tableware and utilitarian items, such as tiles, as well
as vanity items. Not uncommon at the time, the salon also
had a workshop on its grounds with a staff of porcelain
and glass decorators, specifically enamellists. Sources of
blanks would include Haviland and other Limoges porcelains, the factories at Sevres and Choisy-le-Roi, the glassworks of Clichy, as well as Schneider glass.16 Companies
like Haviland had similar operations where they made
porcelain blanks and in the same factory had workshops
employing artist decorators. Jon Howell wrote “Paul Milet strengthened the ties between art and pottery, and
under his tenure, [the factory workshop] benefited from
FALL 2013 | PERFUME BOTTLE QUARTERLY 15
the collaboration of artists of the Manufacture Nationale
de Céramique de Sèvres including Emile Belet, Lucien
d’Eaubonne, Lucien Simonnet, Froment-Delormel, and
L. Narbonne.”17 Paul, also a ceramist, showed an affinity
for the texture of stoneware, his vases in the Art Nouveau
style, were often whimsical, with organic lines, and in
heavy relief. For his technique in faience decorated with
cloisonné and gold foil enamel, he won the Gold Medal at
the 1900 Exposition Universelle.
Delvaux exported their wares to the US and likely
through stores like Ovington Brothers, purveyors of
fine luxury European wares in New York City and Chicago.18 They specialized in high end porcelains like Haviland, Rosenthal and other Limoges porcelains, as well as
Schneider glass.19 Two Schneider vases are pictured in another German glass book on the history of Nouveau and
Art Deco glass and were obviously marketed by Delvaux:
“Ausserdem unter dem Boden rundes Papier-etikett: Delvaux Rue Royale Paris” [under the foot, a round paper
label with Delvaux].20 Although not often (and I dare the
use of the word “rare”), one may find pieces of porcelain
on eBay with the distinctive moniker enameled “Delvaux
18 rue de Royale, Paris” on the bottom.
Jason Jacques states that before Milet’s death in 1911, his
son Paul (b1870- d1950) took over the factory workshop
from 1890 to 1931 and grandson Henri Miletus directed
it from 1931 until its closure in 1971.12
Delvaux also closed in the 1970s.21 Is
this serendipitous or a related occurrence? Maybe just a sign of the times,
one may never know.
ENAMELED PERFUME AND
COLOGNE BOTTLES
There are multiple references and
citations to Delvaux’s connection to
perfume and cologne bottles, however with limited details. According
to Raoul Arantes in his writings on
Schneider glass - “blank glass was
also supplied to art shops (Delvaux,
etc.) to be decorated (enameled,
painted etc.) by their own artists, and
commissions were received from perfumery companies
like Coty.”22 In Joan Falconer Byrd’s exhibition catalog on
Littleton’s DeVilbiss collection in 1985, she pens: “Most
characteristic of the French Art Deco expression in commercial glass, however, was the richly enameled glassware
shown at the exposition by workshops such as Delvaux.
16 PERFUME BOTTLE QUARTERLY | FALL 2013
The production of these brightly colored pieces involved the application
of stylized floral and figurative motifs to clear glass blanks, a procedure
similar to that used in the DeVilbiss
plant. It was this enameled glass that
had the most immediate influence on
the output of the factory in Toledo.”23
(Right): Delvaux ceramic
pitcher, 5¾" height.
Courtesy of author.
(Above): Delvaux ceramic
pitcher, close-up of bottom with
signature. Courtesy of author.
(Below right): Delvaux
cologne, clear glass with
enameled details, 9¾" height.
Courtesy of Ken Leach
Perfume Bottles Auction, 2009.
(Below left): Gilded floral
enameled cologne, 4" tall.
Signed Delvaux 18 rue Royal,
Paris, Made in France.
Courtesy of Sherrie Everett,
Scottsboro, IN.
ARTISTS AND ENAMELLISTS
Exasperating to this author-collector,
the decorator/enamellists did not
sign their Delvaux wares beyond the
‘house signature.’ Sleuthing through
numerous texts on the Art Nouveau
and Art Deco periods, blogs, websites,
auction houses and chatter on the
web, I am presenting here the possible
‘who-dunits’ with logical support.
Marcel Goupy – A well recognized
enamellist in French Art Glass, Goupy
directed the decorating shop for a
competitor, ‘Geo. Rouard’ (AKA Maison Rouard, rue Vielle-du-Temple),
that hosted exhibitions of works by
Jean Luce, Goupy, Marinot, and Sala,
among others. Goupy decorated a variety of glass from 1918 through 1936,
and signed his works “M. Goupy.” Although his floral enameling style is
similar to what is observed on Delvaux
colognes, based on these two facts, i.e.
his personalized signature on his work
and directing a competitor’s shop, it is
highly unlikely that he worked directly for Delvaux. It is documented that
he personally oversaw the glassblowing of his vessels, and could also blow
glass. He was best known for enameling the inner surfaces as well as the
outer surfaces in his glass pieces. He
was a prolific exhibitor – showing his
“glass, fiancé and porcelain (manufactured by Theodore Haviland at Limoges).”1 Another indication of Limoges
porcelain blanks decorated outside
their own factories.
Goupy’s assistant Auguste Heiligenstein executed Goupy designs
(Above): Vanity lidded jar, close up of enameling. Collection of Alejandro
Mena, Madrid, Spain.
(Below left): Marcel Goupy colognes enameled with flowers and stylized leaves,
both signed at the base with M. Goupy signatue, circa 1925, tallest bottle 8".
Courtesy of Linda Feuer (www.uniquetiffany.com).
(Below right): M. Goupy cologne – close-up enameling detail on shoulder.
Courtesy of Linda Feuer (www.uniquetiffany.com).
FALL 2013 | PERFUME BOTTLE QUARTERLY 17
and signed them with Goupy’s name. Heiligenstein was
an artist in his own rights, worked for Baccarat and Legras, and later on his own in both ceramics and glass – his
style chunkier and with bolder enamels, and he signed his
work.1 I have not read anything that connects Heiligenstein with Delvaux.
Jean Luce – A Parisian by birth, Luce was a designer
and not a glass blower. I have seen his name in association
in multiple places with that of Delvaux. In his early years,
Luce did enameling with “simple and reductive floral motifs and later purely geometric designs to his wares, often
limiting his color palette to clear, black, or smoked gray
glass.”17 His later designs labeled him as a Cubist, using
very little floral design and more simplistic, somewhat
sober, designs. He also used more engraving and etching, and it is actually noted that he later rejected
the use of enameling as it was too bright for his
application. Luce also ran his father’s tableware
shop and then his own, specializing in ceramics
and glass until 1931.1 He worked for Saint Louis
Glassworks after that period.17
G. Neilz – An elusive artist, he is referenced in “Great Glass” listings in association
with Delvaux and Sala24 (see below), and in the
French text on modern art glass by Guiseppe
Cappa in association with both Delvaux and
Mademoiselle Zillhardt.25 Mr. Cappa refers to
him as M. [Monsieur]. Only recently did I discover an
exquisite set of hard paste Limoges porcelain fish plates,
c1910, with polychrome enameling with the following
unique signature “Delvaux Paris Atelier G. Neilz.”26
Glasmarken Lexicon lists G. Neilz as a glass artist and
designer (glasgestalter, glaskunstler) whose works were
sold by Delvaux.10 His pieces are also listed as such in
the Paris Musée Galliera’s 1923 catalogue in the Modern
Art section.27
Jean Sala – A Catalonian by birth (1895-1976), Sala
is credited with improving the quality of Malfin glass.28
A gallery listing of an Art Deco Malfin glass pitcher is
signed “Delvaux 18 rue Royale Paris” and is attributed
to Sala likely because it is Malfin glass.29 Sala preferred
working in Pate de Verre with applied decoration. In
“Great Glass” listings, Sala and G. Neilz are said to have
operated Delvaux from 1920-30, likely the operation of
the decorative workshops.24
Described as an ‘intersection [in time] between European art glass and American glass’, Harvey Littleton
visited Jean Sala in his glass studio in 1958. Sala had pioneered the blowing of glass in a studio setting in the 1920’s
18 PERFUME BOTTLE QUARTERLY | FALL 2013
(Above): G.Neilz Limoges
plates, with vibrant polychrome
enameling in aquatic scenes,
8¾" diameter, circa 1910. Signed
Delvaux Paris Atelier G. Neilz.
Courtesy of Elise Abrams Antiques, Great Barrington, MA.
(Left): Close up of signature on
Neilz Limoges plates. Courtesy
of Elise Abrams Antiques, Great
Barrington, MA.
through the 50s where he made Pate de Verre. With his
hand-bellowed furnace and an annealing oven on top, he
is credited with making the first furnace for an individual
blowing glass outside the norm of the factory setting. His
studio closed because of his failing eyesight.30
In the historical description of The Compagnie des
Cristalleries de St. Louis, during the period of 1930-1939,
the glasshouse “adopts transparent effects and geometric
cut motifs and shapes of the Art Deco movement with
the designs of Jean Sala and Jean Luce.”31A beautiful lamp
with the St. Louis mark and Jean Sala’s signature can be
viewed on 1stdibs.32 Jean Sala was director of St Louis
during World War II. He continued freelance designing
until the 1950’s.33
Jean Sala also designed commercial perfume bottles.
He is most recognized for Lancôme’s “Cuir”, “Peut-Etre”
and “Conquete” all launched in the late 30s, early 40’s.34, 35
Glasmarken Lexicon describes Sala as designing perfume
flacons for both Lancôme and Arden.10
I reject Sala as being a behind- the-scenes kind of
guy, i.e. likely he did not do the enameling on the Delvaux vessels.
Madeleine Zillhardt – Known as an Arts and Crafts
artist, painter, and enamellist, Mademoiselle Zillhardt is
a strong candidate for being one of the likely many glass
decorators at Delvaux. My first indication of her connection with Delvaux was the reference in Cappa’s book on
French modern art.25 I have also found a picture of her
enameled perfume/cologne bottle that shares the shape
of my own Delvaux cologne!36
Mlle. Zillhardt has a very interesting history. She had
a lifelong association (40 years) with Marie-Louise Breslau, a Swiss painter (also known as Louise-Catherine
Breslau), who was considered her muse and lover. Breslau is the more recognized in the art world and her
paintings are easily found on a Google search, several of
them being of Zillhardt. In their later years (late 1800’s),
they settled together in Neuilly-sur-Seine.37, 38 After Breslau’s death in 1927, Zillhardt published a tribute book
to her.39 Mlle. Zillhardt was cited in Deborah Davis’
book on John Singer Sargent, infamous for his “Madame
X” painting in describing the model’s despair and reaction to his painting.40
In the monthly magazine, the International Studio –
An Illustrated Magazine of Fine and Applied Art,41 Gabriel
Mourey writes in reference to the French Decorative Arts
movement: “Constantly seeking that which is highest,
never satisfied with himself, renewing himself unceasingly both in his shapes and in his ornamentations, Lalique
is still one of the most prolific and original producers of
the day: a real master who, like Delaherche, does honour
(Above): Delvaux cologne, clear glass with enameled
details, 4½" height. Courtesy of Ken Leach Perfume Bottles
Auction, 2009, and is from author’s collection.
(Right): Mlle. Zillhardt – Clear glass toilet flask with enamel.
Courtesy of International Studio Illustrated Magazine of
Fine and Applied Art, 1920.
to his art. Following his example, but in a different direction, are many decorators who have come under the
magic spell of art glasswork and have obtained some truly
fascinating effects by the use of enamals for ornamentation; I will name only M. Jean Luce and Mlle. Madeleine
Zillhardt – the latter being also the maker of many pieces
of faience, porcelain, and sheet-iron decorated with the
most charming taste.”36
Cappa explains (translated from French): ‘In the
course of the 1920s until the early 1930s, Delvaux also
broadcast on the market its own [brands of glass]. The
store had a decoration workshop [with] working artists
Miss Zilhardt and Mr. Neilz, among others.’25 Pictured
is the same style of enameled colorless glass bottle decorated with “flowery Cherry branch” created 1923-1925.
Glasmarken Lexicon lists M. Zillhardt as a glass decorator (Glasraffinerie), describing her studio work in
Neuilly-sur-Seine and said work being distributed by Delvaux. She is also listed as an artist in the Museè Galliera’s
1923 catalogue on Modern Art as “éditeé par Delvaux”
[published/distributed by Delvaux].27
PRÉCIS
(Above): Delvaux vanity box, clear glass with enameled
details, 5¾" height, 3" diameter. Author’s collection.
Although I have not been able to identify with certainty
the decorator/enamellists that contributed to our French
Art Glass Delvaux colognes and vanity items, I am confident that I have exhausted most of the possibilities and
the others will remain nameless. Perhaps I have been asking the wrong question. To quote the author and poet,
Anne Dillard, “It does not matter a hoot what the mockingbird on the chimney is singing. The real and proper
question is: Why is it beautiful?”
FALL 2013 | PERFUME BOTTLE QUARTERLY 19
(Above): Vanity set, 3 colognes, tallest 5¼", with lidded jar, 3¼" height. Collection of Alejandro Mena, Madrid, Spain.
ACKNOWLEDGEMENTS
The author wishes to express her sincere appreciation to Alejandro Mena
whose entry of his Delvaux vanity
set on the website Collector’s Weekly
Show & Tell inspired her to dig into
the subject. Alejandro had already
found the Cappa article as he was curious, too. His beautiful photography
graces our cover. Many thanks also to
those that allowed the service of their
photographs to illustrate this article,
and to Gail P. Bardhan (Rakow Research Library, Corning Museum of
Glass) for her assistance in obtaining
important confirmation references.
References:
1. Arwas, Victor. Glass – Art Nouveau
to Art Deco. Harry N. Abrams, Inc.
New York, 1987.
2. Exposition Internationale des Arts Décoratifs et Industriels, Modernes, Paris-1925,
Rapport Général, Section Artistique
et Technique, Accessoires du Mobilier,
Section Française, page 76: “DecupperDelvaux dessine des modèles de verrerie
d’une intelligence primesautière.” Courtesy
Rakow Research Library.
3. Wikipedia, Félix Optat Milet, (fr.wikipedia.
org/wiki/Félix_Optat_Milet).
4. Jardins de France, Societe nationale
d’horticulture, Paris, Au Siege de la societe,
1907. Lists Decupper as a general member
in 1896 representing Masion Delvaux.
5. Lot-Tissimo (www.lot-tissimo.com/
de/i/1843822/glas-ziervase-arbres-fleuriedecupper-delvaux-paris).
6. Listing on Worthpoint from Argentinian
ebayer 6/5/2011 (www.worthpoint.com/
worthopedia/vintage-1920s-art-decomarcel-goupy-159381201).
7. La Ceramique & La Verrerie, Journal
Officiel de la Chambre Syndicale, 1-15
Avril, 1897 (via Geneanet and Gallica
Biblioteque Numberique).
8. Archives Commerciales de la France, 16
Octobre 1936, page 3919 (via Geneanet
and Gallica Biblioteque Numberique).
9. L
a Revue des Beaux-Arts, Organe de
Renseignements artistiques professionels
et Bulletin official de l’union provincial
des arts decoratifs, 1st Feb 1926, #445,
4th series (via Geneanet and Gallica
Biblioteque Numberique).
10. Hartmann, Carolus. Glasmarken Lexikon
1600-1945, Signaturen, Fabrik-und
Handlesmarken, Europa & Nordamerika.
Arnoldsche, Stuttgart, 1997.
20 PERFUME BOTTLE QUARTERLY | FALL 2013
11. “San de bœuf ” or oxblood is the colorful
term for the glossy, red flambé glaze that
is often streaked with purple or turquoise.
The effect is produced by firing the
pottery with copper and was a method
first discovered by the Chinese (Ming
dynasty, probably during the reign of
Wanli, 1573–1620). The blood red glaze
was imitated in Europe in the late 19th
century, especially in the porcelain factory
at Sèvres, France (www.britannica.com).
12. Jason Jacques, Inc. Gallery, Manhattan,
NY (www.jasonjacques.com/works/
optat-milet/ info). Jason Jacques is the
author of the Exotica - Exotic Influences on
European Decorative Arts 1875-1925,
Hard Press Editions, Lenox, Massachusetts, 2010. The book accompanied an
exhibition of the same title. Jason is an
expert on this period of ceramics and
holds Clement Massier in very high
regards as an artist.
13. Vallauris is a region in southeastern France
in the Provence-Alpes-Côte d'Azur region
near Cannes. Pottery has been made there
for centuries although it became known as
a pottery center later in the 19th century.
Most notably, the pottery of Massier and
Goucard-Jourdan came from this area. The
lead-glazed Mediterranean earthenware is
often very colorful. Picasso sculpted and
painted there from 1948 to 1955.
14. Wikipedia, Clement Massier (fr.wikipedia.
org/wiki/Massier)
15. Les Temps, Paris, Lundi, 26, Mars 1917.
16. S tarted in 1913, Schneider Freres & Wolf
initially started with staff that they ‘stole
away’ from Daum as both brothers had
worked there, too. Mainly producing cameo
glass with floral and animal designs, and
vases with applied handles and bubbles,
half of their production was commercial
drinking glasses. Schneider acquired the
technique of ‘marqueterie de verre’ from
Galle’s artists when Galle studios were
destroyed by fire in 1918 and their artists
needed a place to continue working. Similar
to wood marquetry, the design is carved
out of a vase and filled with colored glass.
During this period, Schneider started signing his cameo glass with ‘Le Verre Français’
or ‘Charder.’ Le Verre Français (made
exclusively using the technique of acid etching) was mainly sold at department stores
like Galeries Lafayette, Le Printemps and
Le Bon Marche. Pieces signed ‘Schneider’
were sold by specialized art shops such as
Delvaux, Rouard, La Vase Etrusque and Le
Grand Depot. As with many of the glass
companies of the time, the Wall Street crash
of 1929 started the decline in demand and
the factory was liquidated in 1937.
(Art Deco Ceramic Glass Light Sarl,
Saint-Amans-des-Cots, France; artdeco
ceramicglasslight.com).
17. Jon Howell Antiques and Design Gallery,
Brooklyn, NY (//jonhowellantiques.com/
wp/designers).
18. Leading manufacturers and merchants of
the city of Brooklyn, Ovington Brothers,
Brooklyn Genealogical Information Page
(bklyn-genealogy-info.com/Business/
Progress/O/ovington54.html).
19. M
oore, Jay, “What’s it worth: Le Verre
Francais vase, Gorham silver vase,” Richmond Times Dispatch 15April2012, (www.
timesdispatch.com). Vase signed “Le Verre
Francais” “France” “Ovington”. The Le Verre
Francais line was produced by Schneider
glass and the author indicates this line was
exported to high end retailers of the time
[Ovington Brothers, New York].
20. Hilschenz-Mlynek, Helga and Helmut
Ricke. Glas: Historismus, Jugendstil, Art
Déco. Prestel-Verlag, Muchen, 1985.
Courtesy Rakow Research Library.
21. Galerie Lamy Chambolle Antiquites, Paris,
France (www.galerielamychabolle.com).
22. “ Schneider Glass” by Raoul Arantes. Article
originally appeared in Ysartnews and was
edited by Mary Houston-Lambert in 2002
(www.ysartglass.com/Otherglass/Schneider.
htm); Also noted by Art Deco Ceramic
Glass Light Sarl, Saint-Amans-des-Cots,
France (artdecoceramicglasslight.com).
23. Byrd, Joan Falconer. Devilbiss – Perfumerizers & Perfume Lights, The Harvey K.
Littleton Collection, exhibition catalog
for Western Carolina University for the
Southern Arts Federation Visual Arts
Touring Program, 1985.
24. Great Glass listings (www.great-glass.
co.uk/index.htm).
25. Cappa. Guiseppe. Le Génie Verrier de
l'Europe: Témoignages de l'Historicisme
à la Modernité 1840-1998. Mardaga,
Luxembourg, 1998.
26. Elise Abrams Antiques, Great Barrington,
MA (www.eliseabramsantiques.com).
27. “ Exposition de la verrerie et de l’èmaillerie
modernes.” Paris: Musèe Gallièra, 1923.
Includes pates de verre, glassware, stained
glass and figures. Lists Delvaux (p 4), Neilz
(p 9) and Zillhardt (p 12). (On microforms,
courtesy of Rakow Research Library).
28. M
alfin glass is basically glass with impurities. The mixture of silica, potash and
metallic oxides is heated in a fritting
furnace at a temperature low enough for
the mixture to calcine but not fuse. When
added to the cullet in a clay pot in the working furnace, it will eventually vitrify into
glass. When these are put together without
stirring, it eventually vitrifies as a bubbled,
rough looking glass called Malfin glass.
True Malfin Glass is very course. Sala developed a method of improving its quality.
29. Leonard S. Davenport Gallery, East
Hampton, NY (www.LSDartglass.com).
30. Lynn, Martha Drexler. American Studio
Glass: 1960-1990. Hudson Hills Press
LLC, Manchester, VT, 2004.
31. Saint-Louis La Cristallerie
(www.saint-louis.com).
32. 1st dibs site (www.1stdibs.com/furniture/
lighting/table-lamps/french-modernistcrystal-art-deco-lamp-jean-sala-st-louis/
id-f_592805/)
33. Style and Design – Antiques and
Collectables (www.stylendesign.com).
34. Mayer-Lefkowith, Christie. Masterpieces of
the Perfume Industry, Editions Styllissimo.
New York, 2000. Lancome “Cuir” and
Peut-Etre”, 1944, flacon by Sala and beautiful box with birds graphics by Adrein
Leduc, plate #522, page 321.
35. Demornex, Jacqueline. Lancome. Jacqueline Demornex, Universe Publishing Staff,
Bloomington, IN, 1999.
36. Mourney, Gabriel. “French Decorative
Art,” International Studio – An Illustrated
Magazine of Fine and Applied Art, Volume
69, #275, Jan-Feb, 1920. Published by
Charles Holme, Guy Eglinton, Peyton
Ioswell, Wm. Bernard McCormick, Henry
James Whigman, New York.
37. G
aze, Delia (editor). Dictionary of Women
Artists, Volume 1. Fitzroy Dearborn
Publishers. Chicago, 1997. Pp 315-316.
38. Fine Old Art website (www.fineoldart.
com/view_image.html?image_no=492).
The painting “La toilette” was exhibited
in Paris, at the Georges Petit Gallery by
Mademoiselle Louise Breslau in 1904
and is possibly Madeleine Zillhardt.
39. Zillardt, Madeleine. Louise-Catherine
Breslau et ses amis. Éditions des Portiques,
Paris, 1932.
40. Davis, Deborah. Strapless: John Singer
Sargent and the Fall of Madame X. Penguin
Group, New York, 2003. Cites reference
#29, page 91.
41. The periodical/magazine The International
Studio was a premiere arts magazine
published for society folks of the times. It
enjoyed multiple editors over its existence
of 1897 through 1931. Published initially
in Great Britain, it was purchased by The
International Studio, Inc (NY) in 1922
and produced “henceforth and wholly in
America.” Sometime in the late 1920’s, it
became associated with The Connoisseur
Magazine and for a number of years it bore
the exquisite title of “The International
Studio associated with The Connoisseur
Magazine – A Magazine for Collectors”
and was considered a luxury lifestyle
magazine for collectors of high end art.
When the Hearst entities became a vested
interest in the publication, it was semimerged with and was phased out by the
publication “Town and Country.”
Author’s postscript: Be leery of any Wikipedia
entry, most authors are totally anonymous,
and not accountable to rules of documentation.
Many entries do have references, and although
aggravating as they may be to track down
and verify it is generally worth one’s patience.
I was all ready to accept what I had found
initially about Delvaux, but something nagged
at me about the Delvaux name disconnect
with the two ceramists. Two awesome
resources are in the researchers’ favor these
days – one, all the family genealogy interest
has spurred enormous databases of information.
Sometimes one has to pay a fee, but I have
used my Ancestry.com account and now
my account in Geneanet more often for
perfume ‘family’ research than my own
family genealogy. Two, Google Translate is
an incredible tool, albeit it has its nuisances.
Some words just don’t translate and
grammatical particulars that are missing
on our English keyboards cause frustration
in the deciphering the grammatical nuances.
Cheers!
FALL 2013 | PERFUME BOTTLE QUARTERLY 21