With our understanding of the nature of perfume, from the self esteem it offers its wearer to the indescribable effect it sometimes have on its very targeted viewers, it’s not unusual which perfume is actually stored in containers whose styles evidently replicate the mystical qualities from the fluids within them. Even if it is a slim phial, a tiny tear-shaped lachrymatory, or perhaps a circular, flat-sided ampullae, fragrance bottles are made to contain magic, that is exclusively unleashed whenever the bottle is opened and a drop or two of the valuable liquid is cautiously applied.
Glassblowers in The United Kingdom, Bohemia, Germany, as well as France made fragrance containers throughout the 19th century. U.S. glass manufacturers like the New England Glass Company as well as the Boston & Sandwich Glass Company also created perfume bottles over the 1800s. A few of these are hexagonal as well as opaque (white, blue, and green were common colors), with knobby, pineapple-shaped stoppers. Others were known gemel containers, in which 2 flattened oval bottles were joined in the furnace, their necks directed in opposite ways. Gemel containers, specifically standing ones in bright colors, are primarily prized…
For enthusiasts, a fantastic spot for vintage scent containers is undoubtedly Art Nouveau. Beginning around 1890, artisans and glass producers equally made intricate design or blown glass perfume containers along with elaborate caps, most of which got hinged silver corks and collars. Purse-sized conical bottles with really small necks and round บาคาร่า stoppers were usually embellished with gilt flower-and-leaf motifs; makers included Thomas Webb & Sons and Stevens & Williams Glass Company, both from Staffordshire, England.
The very same companies also created perfume containers in cameo glass. Yet again, leaves and blossoms appeared to be favorite motifs, in colors which ranged from pink to purple to green, most of that were encased in white. In the USA, Steuben designed bulb-shaped perfume bottles while using company’s Verre de Soie procedure, with glass threads covering the piece and matching the color of its iridescent base. Tiffany’s containers included small, stumpy crystal cylinders with hob-nail bottoms and ornately engraved silver caps that covered the bottle’s crystal stopper.
In France, René Lalique has been a giant when it came to small fragrance containers, that he made in a series of ever-larger factories beyond Paris for François Coty along with other perfume makers. Lalique brought his jeweler’s eye to scent bottles-he even applied a jewelry-casting process called cire perdue, known as lost wax.
Unlike a number of his contemporaries, Lalique didn’t add lead to his crystal. Rather, he favored a demi-crystal since it was inexpensive, easy to work with, and also imbued his perfume containers with what became his trademark milky opalescence.
Throughout Lalique’s collaboration with Coty, that lasted over the 1930s, he also created perfume containers for d’Orsay and Roger et Gallet. One bottle for Roger et Gallet was crowned by an intricate tiara stopper, certainly one of Lalique’s many copied patterns. One more was an opaque green round container which has a bird on just one side and the phrase “LE JADE” at the bottom.
Later on, as Lalique’s name became like synonymous with perfume containers as Coty’s, he would make empty vessels so which clients may transfer their perfumes into Lalique’s more elegant containers. Tantot and Amphitrite are just two types of unfilled Lalique perfume containers.
Through the 1920s and ’30s, glass perfume containers inspired by the Art Deco movement were all the rage. Natural forms and motifs gave way to geometric styles and striking, sleek designs. In Czechoslovakia, perfume containers from this period are consistently created of blown and attentively cut crystal. For many of these bottles, the diameters of the stoppers were an excellent as those of the bottles below them, allowing these usually simple containers the feel of a Vegas showgirl wearing an impossibly top-heavy headdress.