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Delvaux 18 rue de Royale, ParisBy Susan Arthur

The list of French Art Glass artisans of the Art Nouveau through the Art Deco period encom-passes the proverbial “A” (Argy-Rousseau) to “Z” (Almaric V. Walter) with more familiarity in ar-

tisan houses such as Baccarat, Gallé, Lalique and Sabino. “The emergence of individual creative artists, particularly in the second half of the century [1800s], led to the brief Art Nouveau movement in glass as well as the Art Deco, Functionalist and contemporary glass.”1 Three distinct ‘movements’ were developing during this era. The first, and most recognized to this day, was heavily influenced by Lalique. Already known for his Art Nouveau jewelry, Lalique brought his love of the human form in sculpture to his molded patterned glass and highly influenced fol-lowers such as Sabino, Etling and thou-sands of glasshouses to recreate this style of art glass via mass production. The more individual, furnace-worked and highly wrought glass is considered the second movement. This type of glass required an assistant or two to execute at the furnace. Known as “Studio Glass,” it was highly inspired by the work of Maurice Marinot with followers such as Jean Sala and glass houses such as Daum and Schneider. The Scandinavian system is considered the third movement and a combination of the two - linking the more industrial glass house system with the individual creator. Glass houses that should come to mind are Orrefors and Kosta. Much like today in most industrial sectors, economics were driving the bottom line in art glass production.

Delvaux capitalized on the third movement. Delvaux was a luxury retail shop with the succinct and very posh address of “18 rue de Royale, Paris.” The rue de Royale is a short street running between place de la Concorde and place de la Madeleine in the 8th arrondissment with Lalique at #11 and Maxim’s at #3. Very little has been pub-lished on its place within the French Art Glass movement, however, it has a distinct and lengthy history embracing artisans from porcelain to glass. Often referred to as the Maison Delvaux, Salon Delvaux or La Boutique Delvaux, the salon had the distinction of exhibiting in the First

Exhibition of Contemporary Decorative Arts organized by the Union Centrale des Arts Decoratifs in 1923 and the International Exhibition of Decorative and Industrial Arts in 1925.1, 2

MAISON DELVAUXAccording to the French version of Wikipedia, Delvaux was started in 1880 by two ceramic artists, Félix Optat Milet and his good friend Clement Massier.3 However, I have confirmed that is not the case. My first clue was the mention of the name Delvaux in association with Vic-tor-Emile Decupper as early as 1896. Decupper is listed multiple times in the Horticulture Society’s “Jardins de France by Societe nationale d’horticulture de France” for

showing vases and “fantansies of fleurs.” At first, I assumed M. Decupper was em-ploying Delvaux’s vases to show off his expertise in floral arrangement.4 Then there were several vague references to ‘Decupper-Delvaux’ in a German auction5 and in a description from an Argentin-ean eBayer as to vases sold at auction.6

Via the French genealogy site Gene-anet, I cited M. Decupper in 1897. On the agenda of the Ceramique & La Verrerie [glassware] Union meeting on April 1st, 1897, a vote was called for the admission of new members. Among the many, M. Decupper, ‘trader in earthenware, por-celain and crystal, 18, rue Royal, (with sponsors MM. Harant and Malessant)

was listed.7 Further, in October 1936, in the Archives Commerciales de la France, an announcement was made that the Maison Delvaux, a company with the limited li-ability of 495K francs, was announcing a management change. M. Victor Decupper was resigning with his wife, Madam Jeanne Decupper, nee Delvaux, accepting the position as manageress. The announcement was posted by Roger Decupper[-Delvaux; son of Victor and Jeanne].8 Roger Decupper-Delvaux was already active in the family business as he was awarded a 500 francs prize for his en-try in the Perfume Bottle Contest of the Beaux-Arts Soci-ety sponsored by Maison Houbigant. The announcement was made February 1st, 1926 in La Revue des Beaux-Arts.9

(Above): Clement Massier, 19th century iridescent vase “Holly”, 18¼" tall. Courtesy of Jason Jacques Gallery, NYC.

(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.

The aforementioned German auction referenced an enormous catalog of glass and ceramic marks and is titled the Glasmarken Lexikon by Carolus Hartmann.10 It con-firmed the use of ‘R. Decupper’ and the multitude of Del-vaux 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 CERAMISTSFelix Optat Milet (often anglicised to Miletus and some-times misspelled Millet), was born into a family of potters in 1838 in Martincamp, a coastal town in Normandie. Mi-let’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 re-discovering the formula for the Chinese “sang de boeuf “ glaze,11 and was known for his earthenware with cloison-né glazes and barotine wares, a slip technique best known at Sevres and Haviland.12

Clement Massier (often anglicized to Mandy; 1844-1917) was also born into a pottery family. He is consid-ered 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 pass-ing and credited him with resurrecting ancient and artis-tic 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 Victor-Emile Decupper.

SALON DELVAUXDelvaux would eventually embrace the sale of luxury goods including liqueur decanters, glasses, vases, porce-lain 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 porce-lains, the factories at Sevres and Choisy-le-Roi, the glass-works 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 Mi-let strengthened the ties between art and pottery, and under his tenure, [the factory workshop] benefited from

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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 Chi-cago.18 They specialized in high end porcelains like Havi-land, Rosenthal and other Limoges porcelains, as well as Schneider glass.19 Two Schneider vases are pictured in an-other 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: Del-vaux 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 occur-rence? Maybe just a sign of the times, one may never know.

ENAMELED PERFUME AND COLOGNE BOTTLESThere are multiple references and citations to Delvaux’s connection to perfume and cologne bottles, how-ever 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 com-mercial glass, however, was the richly enameled glassware shown at the exposition by workshops such as Delvaux.

The production of these brightly col-ored pieces involved the application of stylized floral and figurative mo-tifs 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

ARTISTS AND ENAMELLISTSExasperating 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 Mai-son Rouard, rue Vielle-du-Temple), that hosted exhibitions of works by Jean Luce, Goupy, Marinot, and Sala, among others. Goupy decorated a va-riety of glass from 1918 through 1936, and signed his works “M. Goupy.” Al-though 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 direct-ly for Delvaux. It is documented that he personally oversaw the glassblow-ing of his vessels, and could also blow glass. He was best known for enam-eling the inner surfaces as well as the outer surfaces in his glass pieces. He was a prolific exhibitor – showing his “glass, fiancé and porcelain (manufac-tured by Theodore Haviland at Limo-ges).”1 Another indication of Limoges porcelain blanks decorated outside their own factories.

Goupy’s assistant Auguste Hei-ligenstein executed Goupy designs

(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.

(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).

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and signed them with Goupy’s name. Heiligenstein was an artist in his own rights, worked for Baccarat and Le-gras, 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 Heiligen-stein 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 mo-tifs 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 etch-ing, 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 refer-enced 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 Eu-ropean art glass and American glass’, Harvey Littleton visited Jean Sala in his glass studio in 1958. Sala had pio-neered the blowing of glass in a studio setting in the 1920’s

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 Del-vaux 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 connec-tion 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 Bre-slau, a Swiss painter (also known as Louise-Catherine Breslau), who was considered her muse and lover. Bre-slau 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 Bre-slau’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 reac-tion 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 unceasing-ly 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

to his art. Following his example, but in a different di-rection, 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 ornamenta-tion; 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 deco-rated with “flowery Cherry branch” created 1923-1925.

Glasmarken Lexicon lists M. Zillhardt as a glass dec-orator (Glasraffinerie), describing her studio work in Neuilly-sur-Seine and said work being distributed by Del-vaux. 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

PRÉCISAlthough 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 con-fident that I have exhausted most of the possibilities and the others will remain nameless. Perhaps I have been ask-ing the wrong question. To quote the author and poet, Anne Dillard, “It does not matter a hoot what the mock-ingbird on the chimney is singing. The real and proper question is: Why is it beautiful?”

(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 An-tiques, Great Barrington, MA.(Left): Close up of signature on Neilz Limoges plates. Courtesy of Elise Abrams Antiques, Great Barrington, MA.

(Above): Delvaux vanity box, clear glass with enameled details, 5¾" height, 3" diameter. Author’s collection.

(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.

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ACKNOWLEDGEMENTSThe author wishes to express her sin-cere 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 cu-rious, 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 Re-search 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 Déco-ratifs et Industriels, Modernes, Paris-1925, Rapport Général, Section Artistique et Technique, Accessoires du Mobilier, Section Française, page 76: “Decupper-Delvaux 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-fleurie-decupper-delvaux-paris).

6. Listing on Worthpoint from Argentinian ebayer 6/5/2011 (www.worthpoint.com/worthopedia/vintage-1920s-art-deco- marcel-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. La 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.

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, Massachu-setts, 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. Started 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 sign-ing his cameo glass with ‘Le Verre Français’ or ‘Charder.’ Le Verre Français (made exclusively using the technique of acid etch-ing) 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. Moore, Jay, “What’s it worth: Le Verre Francais vase, Gorham silver vase,” Rich-mond 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 – Perfum-erizers & 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. Malfin glass is basically glass with impuri-ties. 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 work-ing 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 devel-oped 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-modernist-crystal-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 beauti-ful box with birds graphics by Adrein Leduc, plate #522, page 321.

35. Demornex, Jacqueline. Lancome. Jacque-line 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. Gaze, 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 semi-merged 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!

(Above): Vanity set, 3 colognes, tallest 5¼", with lidded jar, 3¼" height. Collection of Alejandro Mena, Madrid, Spain.