Collecting: Vintage Filigree Vanity Sets

This guide introduces the charming world of vanity accessories made from the 1940s through the 1960s by Apollo, Matson, Stylebuilt, Guildcrest, Globe, and similar makers. Originally sold through department stores, drugstores, and jewelry shops, these pieces included perfume bottles, powder jars, dresser trays, lipstick holders, tissue-box covers, and other decorative accessories intended to bring a little glamour to an everyday dressing table.

Many of these accessories are made of ormolu—a gilded metal with a warm, antique-looking finish—and were designed in a romantic Rococo revival style. Common motifs include cherubs, birds, butterflies, scrolling foliage, delicate filigree, and stylized flowers, particularly roses. From the 1940s into the 1960s, some sets were further embellished with large faceted glass “jewels,” which gave them an especially dramatic Hollywood Regency look.

Because of their ornate styling, these pieces are often mistakenly described as antique, Victorian, French, or Italian. They may certainly have been inspired by earlier European decorative styles, but they are not Victorian-period antiques, nor were they made in France or Italy. They are American-made vintage vanity accessories, generally dating from the mid-twentieth century. Accurate dating and description matter: buyers deserve to know whether they are purchasing a genuine nineteenth-century antique or a beautiful vintage revival piece.

I understand that not every seller has the time, reference materials, or interest needed to research every object thoroughly. Still, once reliable information is available, it is important to use it. Mislabeling a 1940s perfume bottle as “Antique Victorian French Italian” may attract attention, but it also misrepresents the item and can mislead a buyer.

My interest in correcting these descriptions comes from long experience with the subject. I have dealt in antique and vintage perfumes for thirty years, was formerly a member of the International Perfume Bottle Association, have written over numerous guides on vintage perfumes and vanity sets, and for many years, have appraised vintage perfume bottles and vanity accessories. Over the years, I have also built a substantial reference library and spent countless hours researching these objects. This guide is intended to share that knowledge and help sellers and collectors identify and describe their pieces with confidence.

Original paper labels and hangtags are often missing, since these accessories were used and enjoyed for decades. Even without a label, however, their construction, ornament, and overall styling can often point to makers such as Apollo, Matson, Stylebuilt, Guildcrest, or Globe. These pieces remain wonderfully decorative today, adding a touch of mid-century glamour to a vanity, powder-room counter, or guest-bedroom nightstand.

Perfume Bottles

Many of the most recognizable vanity perfume bottles from this period have a little reliquary-like appearance. They are often oversized, ornate objects with beveled glass panels or “windows” set into elaborate ormolu frames. Inside is a small removable glass vial meant to hold the perfume. The fragrance is applied with a long glass dauber attached to a decorative filigree stopper, rather than being poured directly from the bottle. These perfume bottles were frequently sold as matched pairs for a dresser or vanity.

The beveled glass panels may be clear, soft pink, or amber, and the metalwork is often richly detailed with scrolling filigree, flowers, birds, cherubs, or other romantic Rococo-inspired ornament. Some stoppers are accented by a single large faceted glass jewel or a Lucite stone, giving the bottle a particularly glamorous mid-century appearance. Their dramatic size is another useful clue: some stand ten inches tall or more.

Other examples were made as perfume atomizers. These usually have a plastic siphon tube inside the bottle, which draws perfume upward when the bulb is squeezed. Still others have pressed-glass bases with gilded metal mounts and glass daubers. Although the materials and forms vary, they were all intended as decorative vanity accessories as well as functional perfume containers.

Older examples may still contain dried or discolored perfume residue. If you wish to clean a bottle, alcohol can be useful for loosening old fragrance deposits, though it is wise to use care around metal finishes, glued components, plastic parts, decorative backing, and any fragile glass vial. Avoid soaking an assembled piece, as moisture can damage finishes or loosen adhesives.

These are vintage mid-century perfume bottles, not Victorian antiques. No Victorian-era perfume bottles resemble these very large, elaborate reliquary-style bottles, particularly the towering examples measuring ten inches or more. Their styling may borrow from Rococo or Victorian-inspired ornament, but their manufacture and materials clearly place them in the 1940s–1960s vanity-accessory era.

Finally, some bottles have a shimmery insert behind the filigree that resembles mother-of-pearl. This is generally plastic made to imitate nacre, not genuine mother-of-pearl. It is still an attractive and characteristic detail of these vintage vanity pieces, but it should be described accurately when listing or selling an item.

Jewel Caskets

The jewel caskets made by Matson, Stylebuilt, Apollo, and similar mid-century makers are among the most ornate and appealing vanity accessories of the period. They commonly have beveled glass sides held in place by small tooth-like metal prongs. Their interiors are usually lined in velvet—most often tan, burgundy, purple, or blue—and some have a tufted cushion embellished with tiny gold-tone brads.

The glass may be clear, amber, or pink, often framed by gilded filigree, scrolling metalwork, florals, or other Rococo-inspired decoration. A number of examples have a single faceted glass jewel or Lucite stone mounted at the center of the lid, adding a bright, theatrical accent. Caskets were made in a remarkable variety of forms, including oval, rectangular, triangular, round, square, and even ball-shaped designs.

Despite their old-fashioned decorative style, these are vintage mid-century accessories, not antiques. They were generally produced from the 1940s through the 1960s and may be signed by makers such as Matson. Calling a signed 1950s Matson jewel casket an “Antique Victorian Mourning Box,” for example, is inaccurate. The pieces may evoke nineteenth-century romanticism, but they should be represented honestly as vintage American vanity caskets.

Hand Mirrors, Brushes and Combs

The hand mirrors, combs, and brushes made for these mid-century vanity sets were designed to be both useful and highly decorative. Hand mirrors typically have beveled glass set into ornate gilt-metal frames, often with Rococo-style filigree, scrolling, flowers, birds, or cherubs. Their substantial size and elaborate ornament make them especially attractive displayed on a dressing table.

The accompanying combs generally have Lucite or plastic teeth rather than horn, ivory, or other earlier materials. Brushes are fitted with nylon bristles, another helpful indication of their mid-twentieth-century manufacture. On some examples, the bristle block can be removed from the back of the brush, allowing it to be cleaned more easily. This practical feature is worth noting when examining or listing a piece.

A single faceted glass jewel or Lucite stone may appear at the center of a mirror or brush back, coordinating with the jeweled perfume bottles and caskets in a matching set. Some mirrors and brushes also have a luminous-looking insert beneath the metal filigree, made to imitate mother-of-pearl. This material is plastic, not genuine mother-of-pearl, and should be described accurately as such.

Trays

Vanity trays were made in several sizes to display and organize the accessories in a dresser set. Larger examples may hold an entire coordinated group—perfume bottles, powder jar, jewel casket, brush, comb, and hand mirror—while smaller trays were intended simply to present a matching pair of perfume bottles. They were as much decorative display pieces as they were practical organizers.

Many trays have a mirrored base, which reflects the gilded metalwork and makes a vanity arrangement seem larger and more luminous. Others have a clear or colored beveled-glass base. The tray is usually surrounded by an intricate gilt-metal frame with scrolling filigree, stylized flowers, birds, cherubs, or other Rococo-inspired details. Some examples are accented with a large faceted glass or Lucite jewel at either end, matching the jeweled stoppers and lids found elsewhere in the set.

Some trays are fitted with handles for carrying, while others stand on small feet to give them a more formal, elevated appearance. You may also encounter later plateau-style trays: low, round or oval mirrored stands designed for displaying perfume bottles and other vanity pieces. Although these newer plateaus may have a similar ornate look, they should be distinguished from the earlier mid-century vanity trays when describing or dating them.

Pieces you may find:

These mid-century vanity lines were produced as extensive, coordinated collections, allowing a woman to furnish nearly every part of her dressing table, bathroom counter, or bedroom in one matching decorative style. A complete set might include hand mirrors, adjustable tabletop mirrors on stands, perfume bottles, perfume atomizers, hairbrushes, and combs. Larger dresser trays could display the entire arrangement, while smaller trays, pin trays, powder jars, and jewel caskets kept smaller personal items neatly contained.

The manufacturers also created accessories for cosmetics and grooming, including lipstick holders or caddies, compacts, hairspray-can covers, Kleenex covers, soap dishes, toothbrush holders, cup holders with matching cups, and vanity trash baskets. These practical pieces were dressed up with the same gilded filigree, colored glass, faux mother-of-pearl plastic, faceted jewels, and romantic Rococo ornament found on the perfume bottles and dresser sets.

The collections often extended well beyond the vanity itself. Matching clocks, picture frames, candy dishes, ashtrays, lighters, cigarette boxes, and vanity lamps helped carry the decorative theme throughout a bedroom, dressing area, or powder room. Today, these accessories can be collected individually, but a coordinated group of matching pieces is especially striking and gives a wonderful sense of the glamorous, carefully arranged mid-century vanity.

Major Companies:

Please note that any photos shown and items with attributions have been confirmed either by markings, labels or tags.

Stylebuilt: 

Stylebuilt was a New York company established in 1940 that became well known for decorative vanity and bath accessories. Its products remained popular from the mid-century period into the 2000s, though the elaborate filigree pieces most often encountered by collectors today were generally made during the 1960s and 1970s. These accessories were designed to give ordinary dressing-table and bathroom items a more glamorous, ornate appearance.

Most Stylebuilt pieces were made in gold-tone or silver-tone metal alloy, although antique-white enameled examples can also be found. The company frequently used detailed filigree, scrolling Rococo-inspired ornament, flowers, and other romantic motifs across its perfume bottles, caskets, trays, mirrors, frames, and bath accessories. Many pieces were reportedly plated in 24-karat gold and promoted as tarnish-resistant or “tarnish proof,” helping them retain their warm gilded appearance with ordinary care.

Stylebuilt jewelry caskets are often lined with soft rose-colored velvet, a feminine detail that complements their gilded filigree and romantic ornament. The company also made bathroom accessories, including soap dishes and tumbler holders, which may be fitted with either glass or china inserts. These removable inserts were both practical and decorative, while the elaborate metal holders carried the matching motif of the larger vanity pieces.

Common Stylebuilt themes include roses, tassels, Rococo-style scrolling, and ivy. These motifs appear throughout the company’s perfume bottles, jewelry caskets, trays, mirrors, frames, and bath accessories, making it possible to assemble an attractive coordinated set even when the individual pieces were acquired separately.

Vintage Stylebuilt pieces may still retain their original paper labels or hangtags. One frequently seen label reads: “Stylebuilt Accessories, New York, 24K Gold Plated, Guaranteed Not To Tarnish.” Other pieces may be marked or labeled “Stylebuilt Frame Co.” These surviving labels are especially helpful for identifying an otherwise unsigned accessory and support accurate dating and description.

Matson: 

Matson Manufacturing Company, located at 347 Fifth Avenue in New York, produced decorative vanity and powder-room accessories during the 1950s and 1960s. Its pieces are especially familiar to collectors of mid-century dresser sets, and may include perfume bottles, atomizers, caskets, trays, mirrors, brushes, frames, tissue-box covers, wastebaskets, and other coordinating accessories for the bedroom or bath.

Matson pieces may be marked “© Matson” or “Matson Import.” When present, these marks are useful identification clues, although many pieces have lost their original labels through years of use. A number of Matson accessories were 24-karat gold plated and originally carried a small label or tag stating this fact. Surviving labels add interest and help support an accurate attribution, but the absence of a label does not necessarily mean a piece is not Matson.

While much of the company’s work has a warm gilt-metal appearance, Matson also produced examples with an “antique white” wash applied over the brass. This pale finish gives the metal a softer, aged, almost ivory-like appearance and is often found on especially ornate floral designs. Known Matson patterns include Dogwood, Poppy, Rose, and Zinnia, each using stylized flowers as the central decorative theme.

Documented information on Matson Manufacturing Company is quite limited, which has allowed an unfounded story to circulate among sellers: that Matson vanity accessories were given to passengers on Matson Line cruises. There is no known connection between Matson Manufacturing Company and the Matson Navigation Company, commonly called the Matson Line. They were separate, unrelated businesses. Matson vanity and powder-room accessories should therefore be described as mid-century decorative accessories—not as cruise souvenirs, passenger gifts, or items associated with Matson Line travel.

Guildcrest: 

  Guildcrest was an American company known for decorative dresser sets and boudoir accessories produced from the 1940s into the 1950s. Its pieces were intended for the glamorous mid-century vanity, with coordinated perfume bottles, jewelry caskets, trays, mirrors, and related accessories designed to be displayed together.

Guildcrest accessories were often 24-karat gold plated, and some components or finished pieces were imported from Germany. Their ornament is especially recognizable for its delicate filigree and romantic motifs: birds perched on branches, tassels, roses, and cherubs appear frequently. The designs have a Rococo-inspired richness, but they should be identified as vintage mid-century accessories rather than nineteenth-century antiques.

Amber glass is another useful Guildcrest characteristic. It may be found in perfume bottles and caskets, where its warm golden-brown color complements the gilded metalwork beautifully. When paired with the company’s fine filigree and nature-inspired decoration, amber glass can be a helpful clue in attributing an unsigned vanity piece to Guildcrest.

Globe Silver Co: 

During the 1950s through the 1970s, Globe Silver Company produced the same general type of ornate vanity and powder-room accessories associated with makers such as Matson and Stylebuilt. Its pieces included perfume bottles, caskets, trays, mirrors, brush-and-comb sets, and other decorative accessories intended to furnish a coordinated dressing table. Globe designs can be very similar to those of other makers, sometimes appearing to have been made from identical or closely related dies, so a surviving mark or label is particularly helpful for attribution.

Like other manufacturers in this field, Globe often offered its heavy white metal wares with 24-karat gold plating. Some pieces were further embellished with large faceted glass jewels, which may appear on perfume stoppers, casket lids, mirror backs, brush backs, or tray ends. These bright glass accents, combined with gilt filigree and Rococo-inspired ornament, give Globe accessories their characteristic mid-century glamour.

Globe perfume bottles are often marked “Made in Germany” or “Made in Western Germany” on the base, reflecting the origin of the glass or finished bottle components. Many Globe items originally carried only a small gold paper label rather than a permanent metal stamp. Because those labels were easily removed or worn away during decades of use, unsigned examples are common today. The absence of a label does not rule out Globe, but pieces should be attributed carefully and described as likely or possibly Globe unless a surviving label, mark, or clearly documented matching example confirms the maker.

Confirmed Globe Vanity Accessories & Perfume Bottles:

Florenza: 

Florenza is best known as a maker of costume jewelry, although it also produced a small but appealing range of vanity accessories. The company began around 1937 as Dan Kasoff Inc. and did not begin using the Florenza name as a mark until about 1950. Florenza remained in business until 1981, making its signed jewelry and accessories firmly vintage rather than antique.

Most collectors first encounter Florenza through its costume jewelry: bracelets, necklaces, earrings, pendants, brooches, and pins. The company is especially associated with richly detailed cast-brass designs, often given an antique-gold appearance and embellished with rhinestones or imitation pearls. These stones and faux pearls are generally glued into place rather than held by prongs, a useful construction detail when identifying a piece. As with all glued jewelry components, age can cause stones or pearls to loosen or fall away.

In the 1950s, Florenza also made gold-tone lipstick caddies, some finished with a pale “antique white” wash over the metal. Other vanity-related items include small pill boxes and pincushions with red velvet tops. Although these accessories are less commonly found than Florenza jewelry, they share the same ornate cast-metal construction and decorative use of rhinestones and faux pearls. A clear Florenza signature is the best confirmation of attribution, while unsigned pieces with similar styling should be described cautiously.

Yule Mfg Co., Inc: 

Yule Manufacturing Company, Inc. was a Brooklyn, New York maker of decorative vanity sets and accessories during the 1960s and 1970s. Its products are comparable in purpose and style to those made by Stylebuilt and Matson, including ornate accessories for the dressing table, bedroom, and powder room. Their elaborate metalwork and glamorous decorative details make them natural companions to other mid-century vanity pieces.

Some Yule pieces retain original tags or markings that state “Guaranteed Not To Tarnish.” As with many vanity accessories of this type, however, paper labels were easily lost during years of use, so unsigned examples are not unusual. A surviving tag is especially useful in confirming the maker and preserving the history of an individual piece.

Yule accessories may be embellished with faux pearls and aurora borealis rhinestones—the iridescent stones that flash pastel colors as they catch the light. These sparkling accents, combined with gilt metalwork and filigree-style ornament, give the pieces the distinctly feminine, theatrical look associated with mid-century Hollywood Regency and vanity décor.

Astorloid: 

Astorloid began producing gold-tone filigree vanity accessories in the 1950s and continued into the 1970s. Among its best-known lines was Lady Fair, a collection characterized by intricate metal filigree and the ornate, feminine styling popular for mid-century dressing tables. These pieces were made to coordinate with one another and may include mirrors, brushes, powder jars, perfume accessories, and dresser trays.

One of the most frequently encountered Astorloid pieces is the dresser tray with a mirrored base and raised filigree sides. The reflective mirror surface makes it especially effective for displaying perfume bottles, powder jars, and other vanity articles, while the detailed gilt-metal border gives it a glamorous Rococo-inspired look.

Astorloid often used molded plastic backing on mirrors and powder-jar lids. These plastic backs may be combined with silk brocade or embroidered fabric panels, creating a rich decorative effect beneath or within the filigree. The materials should be described accurately: the attractive backing may look luxurious and old-fashioned, but it is part of a mid-century manufactured vanity accessory rather than an antique construction.

On brush sets, the nylon bristle blocks may snap out from the backs for easier cleaning. Mirrors can also have copper backing behind the glass for protection and support. These practical construction details, alongside the plastic components, silk or embroidered inserts, and ornate filigree, are helpful clues when identifying Astorloid and dating a piece to the 1950s–1970s.

Sam Fink Company:

S.F. Co. ~ 5th Ave is the mark associated with the Sam Fink Company, a maker popular from the 1940s through the 1960s for rhinestone costume jewelry as well as ornate filigree vanity sets and boudoir accessories. Its decorative pieces share the glamorous mid-century character of accessories made by Stylebuilt, Florenza, and Matson, often using gilt-tone metalwork, scrolling filigree, and sparkling rhinestone accents. When found on a dresser accessory, the S.F. Co. ~ 5th Ave mark is a useful identification clue and supports describing the item as a vintage American mid-century vanity piece rather than an antique.

Regent of London:

Regent of London manufactured coordinated vanity sets from approximately the 1940s through the 1960s. These sets commonly included hand mirrors, hairbrushes, and sometimes matching accessories, all framed in intricate brass filigree with decorative handles. They are most often found in the United Kingdom and have a distinctly British mid-century interpretation of the ornate boudoir set.

A particularly recognizable feature is the use of petit point inserts. Petit point is a very fine form of needlepoint embroidery worked with tiny stitches on canvas, allowing detailed images to be created in thread. Regent of London pieces often use these embroidered panels on the backs of mirrors and brushes. Some depict Orientalist-inspired scenes or decorative motifs, a style that was fashionable at the time but should be described carefully today as an “Orientalist” or “East Asian-inspired” design rather than assumed to represent a specific culture or place.

The embroidered panel is generally protected beneath a thin transparent sheet of plastic or acetate. This covering helps preserve the needlework but can yellow, cloud, crack, or lift with age, so it is worth inspecting closely when buying or selling a set. The brush backs commonly contain nylon bristle blocks that snap out for easier cleaning, another useful practical feature and a clue to their mid-twentieth-century manufacture.

Apollo Studios: 

Apollo Studios of New York was a division of Bernard Rice’s Sons, a well-established American metalware concern. Pieces bearing an Apollo mark are generally associated with the early twentieth century, roughly 1909–1922, although the Apollo name and its products continued to be sold for many years afterward, including well into the 1960s. This distinction is important: an “Apollo” mark alone does not automatically make an item an Edwardian or early-twentieth-century antique. Later Apollo vanity and bathroom accessories must be dated by their materials, construction, and style as well as by the mark.

Early pieces are often marked simply “Apollo,” although examples may also be marked “Apollo Studios N.Y.” or “Apollo Ovington,” sometimes followed by mold or style numbers. In 1872, the Apollo Silver Company merged with the bankrupt Redfield & Rice Company, forming Bernard Rice’s Sons. Bernard Rice’s Sons ceased business in 1958, after which Apollo was acquired by another company. Apollo Studios was a contemporary of Tiffany Studios and produced similarly handsome decorative metalwork, including desk sets, humidors, and other finely made articles in brass, copper, and gilded brass. Even sash buckles may be found bearing the Apollo stamp.

Contemporary advertisements described Apollo Studios as a manufacturer of hollowware, boudoir accessories, and gift articles in silver plate, gold plate, and other metals. Its goods were sold through Ovington’s, the prestigious “Gift Shop of Fifth Avenue.” Ovington catered to an upscale clientele with china, crystal, fine art, silver, and bridal gifts, making it a fitting outlet for Apollo’s finely finished vanity and decorative articles. Some of these pieces were embellished with jewels and hand-painted ivory portraits, while others were offered without jeweled decoration.

Later Apollo vanity sets often have an “antique white” painted finish. These were made to complement the French Provincial bedroom furniture popular during the 1950s and 1960s. Pastel pink-painted examples can also be found. Mirrors, brushes, powder jars, and related accessories from this later period frequently incorporate practical mid-century materials such as nylon bristles and Lucite fittings, making them quite different from the earlier brass and copper decorative wares.

Apollo continued producing attractive bathroom accessories into the later twentieth century, with chrome-finished pieces appearing as late as 1989. For this reason, Apollo has an unusually long and varied history. The name can be found on refined early decorative metalwork, mid-century painted vanity sets, and later chrome bathroom accessories, so careful description should distinguish the period and type of piece rather than treating all Apollo-marked items as the same age..

Some pieces with the Apollo name were still being produced in the 1930's and 1960's, these items were not as ornate at the earlier pieces and were usually enameled and had the heavy cast white metal or brass handles. A popular feature on items of this age are a single large faceted glass jewel on the backs of items or on perfume stoppers, or hand painted ivory miniatures under glass and set into filigree. Items with extra long handles date to the 1930's. Some of the later dresser sets were given a wash of white paint over the brass.

In the 1950s, two patterns were introduced: Rose Garland" and "Florentine Floral".

To identify Apollo pieces, check the areas where marks are most often placed. Hand mirrors and brushes are usually marked along the side of the handle, while boxes and caskets are generally marked on their bases. Dresser trays may carry the Apollo mark on the side of the frame or underneath the base. Combs are an exception: they are often unmarked, even when they originally belonged to a clearly identified Apollo brush-and-mirror set.

Mele:

Here is a jewelry casket that I had seen many times over the years but had never encountered with its original identification label—until now. My friend Kathy Godley kindly sent photographs of her example, which still retains a paper label reading “Styled by Mele” on its black velvet base. The casket has the familiar oval form, an ornate filigree frame, a glass lid, and four figural cherub feet. Most importantly, the label confirms that it was imported from Japan.

This discovery is especially useful because identical or closely related caskets are often found without labels. The surviving Mele label provides a firm attribution for this particular design and suggests that similar mid-century accessories may also have been imported from Japan. Other brands, including Matson, Stylebuilt, and Globe, may likewise have imported some of their vanity accessories or components from Japan; however, an unsigned example should be described cautiously unless a label, mark, or documented matching piece confirms the maker and country of origin.

Mele has been making jewelry boxes and related storage accessories for decades and remains in business today. In addition to the labeled example, an original 1973 newspaper advertisement has been found showing this exact jewelry casket, providing valuable period documentation for its age and original retail era. Together, the label and advertisement help establish this charming cherub-footed casket as a vintage early-1970s vanity accessory rather than an antique.

Care and Cleaning Tips:

To keep vintage vanity accessories looking their best, protect them from moisture and damp bathroom conditions. Water and humidity can loosen gilded finishes, darken foil-backed rhinestones, encourage corrosion in metalwork, and leave spots or deterioration on mirrored surfaces. Displaying delicate pieces in a dry bedroom or dressing area is usually safer than keeping them beside a steamy sink or shower.

For routine care, gentle dusting is generally all that is needed. A small, clean, stiff-bristled makeup brush is especially useful for reaching between rhinestones, around faux pearls, and into the fine openings of filigree. Brush lightly rather than scrubbing, and clean the brush between uses so that trapped dust does not scratch the glass, metal, or decorative stones.

These accessories were originally made to be used, and a few carefully chosen pieces can still be enjoyed on a dressing table. Powder boxes, brushes, perfume bottles, combs, and hand mirrors can be used gently without difficulty, provided they are handled with care and kept dry. More fragile or elaborate pieces—particularly those with old glue, delicate jewels, mirrored bases, or worn gilding—are often best reserved for display.