An elegant Art Nouveau glass vase decorated with enameled poppies. The blossoms are worked in shades of cream, yellow, rose and violet, while the foliage is stained a reddish-purple and highlighted with a complex, lacy pattern of gilding. The upper rim of the vase is decorated with a band of stained and gilt flowers, as well. The vase is blown in pillar form with an optic paneled design. The workmanship is very fine. Unsigned, but almost certainly the product of Mont Joye (also known as Verreries Saint-Denis or Legras).

Origin: France, ca. 1900. Condition: excellent, no cracks, no enamel or gilding wear, a 1/32" flake at the upper rim. Size: 8".

A beautiful silver-mounted enameled cameo glass lady’s perfume bottle/liquor flask. The glass bottle has expertly enameled ribbon and floral decoration in shades of rose, blue and green, with gilt highlights. The background has the etched “snowflake” texture often seen in pieces by Baccarat. The pattern is repeated in the finely worked silver cap and cup by Parisian silversmith Eugene Lefebvre (active 1896-1910). The silver mounts are first standard (i.e., purer than sterling silver).

Bottles such as this, though certainly usable for perfume, were more frequently used to carry around a secret stash of liquor. The silver mounting at the bottom could be removed to serve as a small cup. Rather than using a lower-class flask, a lady could easily place a substantial amount of brandy in her purse for her emergency needs! Fully hallmarked.

Origin: France, ca. 1900. Condition: excellent, no chips, a small ding on the bottom edge of the silver cup visible only upon close inspection. Size: 5-5/8” long.

A fine enameled cameo glass cylinder vase by Legras & Cie (aka Mont Joye). The sides are beautifully decorated with raised enameled violets worked in subtle tones of purple and white. The leaves and stems are gilt. Silver-mounted pieces of this sort are quite rare. The upper collar is worked in a pattern depicting violet buds and full blossoms alternating against a pattern of finely-veined leaves. The workmanship is superb and the unity of the silver and enameled patterns is quite nice. The bottom of the base is cut in a 16-point star pattern. The silver mounts are marked with the first standard stamp (950/1000 pure) and with an unidentified silversmith’s mark (HH separated by two axes).

Origin: France, ca. 1910. Condition: ecellent, no chips or cracks, no enamel loss. Size: 7-13/1" tall.

An elegant Art Deco panel-cut crystal perfume bottle, the shoulder adorned with a band of cameo etched floral decoration in green. The style of the decoration is very geometric and provides a handsome contrast with the simple panel cutting. The lip of the bottle is overlaid in green glass to match the decorative band. The bottom is cut in a 24-ray star and the stopper is lapidary cut. The quality of the glass and workmanship suggest Baccarat as a possible maker.

Origin: France, ca. 1920. Size: 6-1/4”.

A very good jasper ground glass paperweight by St. Louis. The sole decoration is the pink and white jasper cushion which completely fills the dome. The glass is heavy and nicely clear. The polished concave bottom has relatively wide basal ring.

Origin: France, ca. 1850. Condition: excellent, a surface nick on one side about 1/2" above the base and a tiny fleabite about two-thirds up the side of the crown. Size: 2-3/4" diameter; 1-3/4" high.

A marvelous and very rare Victorian patchbox, the body carved from a single piece of ivory and the cut crystal lid enclosing a cameo incrustation (“sulphide”) depicting a pansy. A ribbon tied around the flower’s stem reads “a moi”. This is a clever play on words. The French word for pansy is “pensé”, which is very nearly the same word used to mean “thought”. So, when combined with the words on the ribbon, the sulphide expresses the sentiment “Thoughts of me”. This is one of the most interesting pieces we’ve seen using the sentimental Victorian language of flowers. The gilt silver fittings are stamped with Portuguese hallmarks, but the sulphide lid is most definitely French—almost certainly by Baccarat.

Origin: France and Portugal, ca. 1890. Condition: excellent, a very small line in the ivory at the side, superb patina. Size: 2-1/4” diameter.

PLEASE NOTE: This item cannot be shipped outside the United States.

A gorgeous gilt crystal perfume bottle in the style popular in the mid-19th century. Two stacked spheres cut in a six-sided pattern featuring oval reserves, stand on a short foot and rise to the panel-cut neck. The matching stopper has a large blown teardrop. The bottle is complete with ornate gilt floral decoration. The 1860 Baccarat sales catalogue (page 11) illustrates an identically shaped bottle, except that there is only one shaped sphere instead of two. The gilt pattern is also typical of Baccarat pieces from the 1840s-70s. The bottom retains a very old collector’s inventory label and, under that, what appears to be an old customs sticker. The bottom has a concave polished pontil.

Origin: France, ca. 1850. Condition: excellent, no cracks, a 1/16” nick on the lip, very minimal wear to the gilding. Size: 8-1/2” tall.

An extraordinarily fine turquoise or “bleu céleste” opaline glass vase by Baccarat from the reign of King Louis-Philippe or Napoleon III. This monumental urn-form vase is enhanced on all sides with a very fine enameled scene of birds, butterflies and various typically Victorian flowers such as lilies, bleeding hearts, gentians, violets, daisies, Canterbury bells, and lilacs. The decoration is undoubtedly by Jean-François Robert who patented the special low melting point enamel formulas for decorating crystal. Robert was a leading porcelain decorator for Sevres, but worked exclusively for Baccarat from 1843 until 1855, where he was responsible for decorating the more important pieces of the novel and wildly popular opaline glass. The decorative scene is complemented by the matte gilt and acid-etched handles and the gilt decoration at the foot, neck and rim.

Origin: France, ca. 1850. Condition: excellent, no chips or cracks, enameling completely intact, very light wear to gilding at the rim and foot. Size: 15-5/8” tall.

A beautiful powder jar of colorless crystal cased in rose crystal, cameo cut and then etched. The delicate pattern of wild roses stands out in rose against the frosty etched background. The design is beautifully worked. The bottom has a large concaved polished pontil. Several examples of this coloring and technique, although in different floral patterns, appears in Curtis’ exhaustive book, “Baccarat”.

Origin: France, ca. 1900. Condition: excellent, no chips or cracks. Size: 3-5/16” diameter; 2-1/4” tall.

A gorgeous Napoleon III white opaline glass baluster-form vase with an everted apple green opaline rim and an applied molded green opaline foot with knopped and ribbed decoration. The overall design is very pleasing and the color contrast is stunning. The quality is comparable to Baccarat, although the vase was probably made at a competing cristallerie.

Origin: France, ca. 1860. Condition: excellent, all original, no cracks or chips. Size: 10-1/2” tall.

A wonderful cut opaline glass egg-shaped perfume caddy by Baccarat. The hinged lid opens to reveal an area that would have been used to store a plain stoppered bottle of perfume. The milky white translucent glass contrasts beautifully with the rich gild bronze acanthus leaf mountings. The crystal is cut simply with vertical parallel ribs. The glass has the fiery shots or orangey-red typical of opaline glass made by Baccarat. The bottom retains a fragment of an original paper label and a partial acid-etched signature “France”.

Origin: France, ca. 1890. Condition: excellent, all original, gilding intact. Size: 4-1/4” tall.

Stunning cut Bohemian glass powder jar with top-notch polychrome enameling. The lid is decorated with a wonderful scene of an 18th century gentleman surrounded by bowers of flowers. The sides of the jar are decorated with a wreath of flowers and acanthus leaves. The sides are cut in a St-Louis diamond pattern. The rims of both the jar and the lid are gilt. The bottom of the jar is cut with oval printies alternating with mitres. Unsigned, but definitely the work of Lobmeyr.

Origin: Bohemia, circa 1890. Condition: excellent, no chips or cracks, no missing enamel, only the most minimal wear to gilding (less than 5%). Size: 3-1/2" diam., 2-5/8" tall.