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ADDITIONAL INFORMATION
Each side of the bottle is set with an oval cabochon containing a polychrome-enamelled gold-foil inclusion. These inclusions depict sprays of flowering plants, representing not only the fragrances originally designed for the bottle but also the symbolic meanings attached to each bloom in the popular Language of Flowers. The rose, shown as a pink spray amongst buds and leaves, symbolises love and beauty. The jonquil (Narcissus jonquilla), depicted as a small bunch, stands for returned affection. The orange blossom, illustrated with fruit, blossom, and foliage, conveys virtue and eternal love. Finally, the violet, shown as a bunch with its leaves, represents modesty and faithfulness.
The bottle retains all four of its original ormolu stoppers, each chased in the form of a scrolling acanthus leaf. Of only two such flacons known, this is the sole complete example, the other, lacking its stoppers, being in the Peck Bequest at The Corning Museum of Glass. Conceived as an objet de luxe by Baccarat, the foremost French glasshouse of its time, this rare creation was more a statement of wealth and taste than a practical vessel. With its extravagant decoration and demanding craftsmanship, its function as a scent bottle was clearly secondary to its role as a visual spectacle designed to delight and impress.
The production of such a piece must have involved preparatory drawings, trials, and extensive labour, which, combined with the expense of manufacture, explains why only two examples were ever made. The present bottle therefore represents the height of Baccarat’s imaginative and luxurious glassmaking of the period.
It has been widely exhibited and published, underscoring its importance within the history of nineteenth-century glass. Exhibitions include Cameo Incrustation: The Great Sulphide Show at The Corning Museum of Glass in 1988; Baccarat; Paperweights and Related Glass, 1820–1860 in New York in 1990; Objects of Fantasy: Glass Inclusions of the Nineteenth Century at The Corning Museum of Glass in 2001; and the Paperweight Collectors’ Association Convention Loan Exhibition in Washington, DC, in 2011.
References & Illustrations:
The Annual Bulletin of the Paperweight Collectors’ Association, Inc., 1977 (colour illustration, p. 21)
Country Life, London, 23 May 1991 (p. 79)
Exhibition Catalogue: Cameo Incrustation: The Great Sulphide Show, The Corning Museum of Glass, 1988 (Exhibit No. 59, illustrated)
The Annual Bulletin of the Paperweight Collectors’ Association, Inc., 1988 – Dena K. Tarshis, “Cameo Incrustation – The Great Sulphide Show” (illustrated)
Exhibition Catalogue: Baccarat; Paperweights and Related Glass, 1820–1860, Baccarat, Inc., New York, 1990 (Exhibit No. 12, illustrated)
Paul Dunlop, The Jokelson Collection of Antique Cameo Incrustation, Arizona, 1991 (illustrated p. 35, fig. 59, and cover illustration)
Lucinda Wright, “Cased in Crystal,” Antique Dealer and Collectors’ Guide, June 1991 (p. 36)
Dena K. Tarshis, Objects of Fantasy: Glass Inclusions of the Nineteenth Century, The Corning Museum of Glass, NY, 2001 (reference p. 122, Exhibit No. 68; illustrated p. 123)
Christie’s, New York: A Marriage of Collections: The Property of Dr Julius and Dena K. Tarshis, Lot 25, 21 April 2010 (illustrated in colour)
The Annual Bulletin of the Paperweight Collectors’ Association, Inc., 1988 – Dena K. Tarshis, “The Great Sulphide Show” (illustrated)
Provenance:
The Paul Jokelson Collection, Scarsdale, NY
With Mallett & Son (Antiques), Ltd, London – Selling Exhibition, Exhibit No. GF399 (1991, with exhibition label)
The Julius & Dena K. Tarshis Collection, Scarsdale, NY
Christie’s, New York – A Marriage of Collections: The Property of Dr Julius and Dena K. Tarshis, Lot 25, 21 April 2010
CONDITION
In Great Condition - Wear expected with age. Please refer to photographs.
SIZE
Height: 18.5 cm // 7.28 inches
Diameter: 8.25 cm // 3.25 inches
