Nissery & Mury Perfumes

Founded in 1917 at 17 Rue du Rocher in Paris, Mury emerged as one of the notable French perfume houses of the interwar period. The company produced a wide range of perfumes, cosmetics, and toilet preparations, establishing a reputation for elegant fragrances and luxurious presentations. Mury's success was closely connected to its affiliation with the respected firm of Henri Muraour, an important producer and supplier of essential oils whose origins traced back to North Africa in 1789. With operations extending across Algiers, Grasse, and Paris, the Muraour organization provided access to high-quality aromatic raw materials that helped support Mury's growing reputation within the perfume industry.

During the 1920s, Mury experienced significant commercial success, largely due to the popularity of its fragrance Narcisse Bleu ("Blue Narcissus"). This perfume became one of the house's best-known creations and helped establish Mury as a recognizable name among fashionable consumers. Alongside Narcisse Bleu, the romantic and atmospheric Notturno became another of the company's signature fragrances. Together, these perfumes exemplified the sophisticated style that characterized the house during its most successful years.

 

One of Mury's distinguishing features was the exceptional quality of its presentation. From its founding through the mid-1930s, the company became renowned for producing luxurious perfume displays that rivaled those of much larger houses. The firm invested heavily in attractive packaging, recognizing that presentation played an important role in the sale of fine fragrance. Many of its deluxe perfumes were housed in elegant boxes supplied by the French manufacturer Gouvernet, located at 31 Rue des Panoyaux in Paris. Gouvernet specialized in high-quality cardboard presentation cases and was responsible for some of the most refined packaging associated with Mury perfumes. These lavish boxes transformed the fragrances into desirable gift items and reinforced the image of luxury that the company sought to project.

Despite later rumors to the contrary, Mury did not cease operations in 1930. Newspaper advertisements from that year promoted certain perfumes at dramatically reduced prices, claiming that the "maker was going out of business." In reality, this appears to have been a marketing strategy employed by retailers seeking to clear inventory. The company itself continued operating and remained active throughout the decade. Such advertisements likely reflected efforts to liquidate discontinued perfumes or outdated packaging rather than the closure of the perfume house.

Evidence supporting this comes from advertisements published in 1934, which indicate that Mury had redesigned the bottles and packaging used for many of its most popular fragrances. Retailers were therefore left with quantities of older stock featuring the previous presentation style. To make room for the newly packaged products, stores heavily discounted the remaining inventory. These clearance sales resulted in some remarkable reductions that would have been highly attractive to consumers during the difficult economic years of the Great Depression.

By 1935, many of Mury's luxury perfumes were being sold for a fraction of their original retail prices. The house's celebrated Notturno parfum, normally sold in a three-ounce bottle for $10, could be purchased for just $4.95. Even more dramatic was the reduction of the twelve-ounce parfum bottle, which had originally retailed for $25 but was offered for only $5.95. Such discounts represented extraordinary bargains for customers seeking luxury French perfume at affordable prices.

The reductions were equally striking for the perfume Patricia. Its lavish twelve-ounce deluxe presentation, which had once commanded the extraordinary price of $100, was reduced to $30. Smaller bottles also experienced substantial price cuts, with the eight-ounce version selling for $4.95 and the four-ounce bottle for $3.95. These examples illustrate both the luxurious nature of Mury's original offerings and the aggressive discounting that accompanied the transition to newer packaging style

 Following the mid-1930s, Mury gradually moved away from the elaborate presentations that had defined its earlier years. Economic realities and changing consumer preferences encouraged the adoption of simpler and more economical bottle designs. Advertisements from 1947 reveal a more streamlined approach to packaging, although the company continued to offer an extensive range of fragrances. Among those still available were Narcisse Bleu, Rose de Mai ("May Rose"), Lilas ("Lilac"), Daphne, Patricia, Honeysuckle, and Notturno, alongside eleven additional scents. While the extravagant boxes and luxury presentations of the 1920s and early 1930s had largely disappeared, Mury's fragrances remained popular enough to continue attracting customers well into the postwar era.

Today, Mury is remembered not only for fragrances such as Narcisse Bleu and Notturno, but also for the remarkable artistry of its perfume presentations. The combination of fine fragrances, elegant packaging, and access to premium raw materials through the Muraour organization allowed the house to occupy a distinctive place in the history of French perfumery during the first half of the twentieth century.

 

The perfumes of Mury:

• 1917 Caresse D'Amour
• 1920 Cuir de Russie
• 1920 Heliotrope
• 1920 Jeux
• 1920 Lavande
• 1920 Le Narcisse Bleu
• 1920 Mury
• 1922 Civa
• 1923 Le Beau Soir
• 1923 Le Jardin De Ma Soeur
• 1923 Violetera
• 1925 Jasmin
• 1925 Daphne
• 1926 Con Amore
• 1926 Notturno
• 1926 Amadis (spicy)
• 1926 Patricia
• 1927 Ambre de Mury
• 1935 Risk (Riske)
• 1940 Cap A La Vie
• 1940 Été Fleuri
• 1947 Lilac (Lilas)
• 1947 Honeysuckle (Chevrefeuille)
• 1947 Rose de Mai
• Jeux

The fragrance catalog of Mury reflects the evolution of French perfumery from the romantic and floral styles of the post-First World War era through the sophisticated and varied creations of the 1920s and beyond. The house drew inspiration from love, nature, exotic cultures, music, literature, and emotion, creating a collection of perfumes whose names were designed to evoke vivid imagery and emotional responses. As with many luxury perfume houses of the period, the names often conveyed a mood or fantasy rather than simply identifying a fragrance's ingredients.

Among Mury's earliest creations was Caresse d'Amour (1917), translated as "Caress of Love." The name evokes tenderness, romance, and intimacy, themes that remained enduringly popular in perfume marketing. In 1920, the company introduced several important fragrances, including Cuir de Russie ("Russian Leather"), a perfume style inspired by the distinctive scent of Russian leather goods and typically characterized by smoky, woody, and leathery notes. Also appearing that year were Heliotrope, named after the sweetly scented flower known for its almond-vanilla aroma, Lavande ("Lavender"), and Le Narcisse Bleu ("The Blue Narcissus"), one of the house's most successful and enduring fragrances.

The year 1920 also saw the introduction of Jeux ("Games" or "Play"), a title suggesting amusement, flirtation, and youthful spontaneity. Perfumes bearing such names often sought to capture a lighthearted spirit and a sense of carefree elegance. Another fragrance simply titled Mury likely served as a signature perfume for the house, embodying the character and style that the company wished to associate with its name.

In 1922, Mury introduced Civa, a perfume whose name was likely derived from Shiva (also spelled Siva), one of the principal deities of Hinduism. Revered as the god of transformation, destruction, and renewal, Shiva occupies a central place in Hindu religious tradition. During the early twentieth century, perfume houses frequently borrowed names from ancient civilizations, mythology, and distant cultures to evoke an aura of mystery and exoticism. By naming a fragrance Civa, Mury sought to capitalize on the fascination with Eastern themes that was fashionable in Europe at the time, suggesting a perfume rich in intrigue, spirituality, and Oriental allure. 

The following year brought Le Beau Soir ("The Beautiful Evening"), a romantic title evoking twilight gatherings, elegant dinners, and the enchantment of the night. Also released in 1923 was Le Jardin de Ma Sœur ("My Sister's Garden"), a charming and highly evocative name that suggests a lush garden filled with fragrant flowers and treasured memories. Another fragrance from the same year, Violetera, takes its name from the Spanish word for a seller of violets and was likely inspired by the sweet, powdery scent of violet blossoms.

The mid-1920s saw the introduction of several floral and fantasy fragrances. Jasmin (1925) celebrated one of perfumery's most important flowers, prized for its rich and intoxicating scent. The same year brought Daphne, named after the fragrant flowering shrub known for its intensely sweet blossoms. The scent of daphne flowers is often described as a blend of jasmine, hyacinth, citrus blossom, and delicate spicy-green nuances, making it a fitting inspiration for a refined floral perfume.

In 1926, Mury launched several of its most notable creations. Con Amore, an Italian phrase meaning "With Love," conveyed warmth, affection, and romance. Notturno was inspired by the Italian word for "Nocturne," referring to a musical composition inspired by the night. The name evokes moonlit gardens, evening elegance, and a sense of mystery. Also introduced that year was Amadis, described as a spicy fragrance. The name likely references the legendary medieval hero Amadis of Gaul, a celebrated knight of romance literature whose adventures embodied courage, passion, and chivalry. Another important release was Patricia, a name derived from the Latin patricius, meaning noble or aristocratic, suggesting refinement and social distinction.

The late 1920s brought Ambre de Mury (1927), or "Amber of Mury." Amber fragrances were highly prized for their warm, rich, and sensual character, often blending ambergris, resins, vanilla, spices, and woods into luxurious compositions. The perfume's title suggests that Mury sought to create its own distinctive interpretation of this beloved fragrance style.

By the 1930s, changing tastes and economic realities influenced both fragrance creation and marketing. Risk or Riske (1935) reflected the growing fascination with modernity, adventure, and daring behavior. The name suggests confidence, excitement, and a willingness to embrace uncertainty, themes that resonated with the increasingly modern woman of the period.

The 1940s saw Mury continue to expand its collection with fragrances inspired by optimism and nature. Cap à la Vie (1940), meaning roughly "Toward Life" or "Forward to Life," conveyed a spirit of hope and renewal during a difficult period in world history. Été Fleuri ("Flowering Summer" or "Summer in Bloom"), also introduced in 1940, celebrated the beauty and abundance of summer gardens.

Following the Second World War, Mury offered several traditional floral perfumes that reflected enduring consumer preferences. These included Lilas ("Lilac"), Chèvrefeuille ("Honeysuckle"), and Rose de Mai ("May Rose"), all documented in 1947 advertisements. These fragrances focused on beloved garden flowers whose scents had long been favorites in perfumery. Their continued popularity demonstrates Mury's ability to balance fashionable innovation with timeless floral themes.

Taken together, the perfumes of Mury reveal a house that excelled at combining romantic storytelling, floral beauty, and sophisticated fragrance traditions. Whether inspired by flowers, music, literature, love, or adventure, Mury's creations embodied the elegance and imagination that characterized French perfumery during the first half of the twentieth century.

Mury Perfume Bottles:

Narcisse Bleu:

Notturno:

 

 

Introduced in 1926, Notturno quickly became one of Mury's most prestigious and luxurious fragrances. The perfume's name derives from the Italian word for "Nocturne," a musical composition inspired by the night, while its subtitle, Mystery of the Night, emphasized the fragrance's aura of romance, elegance, and intrigue. From its earliest advertisements, Notturno was positioned as an exclusive luxury product intended for discerning customers who appreciated both fine fragrance and exceptional presentation.

A 1926 notice in the Hartford Courant described Notturno as "the last arrival" from Mury and noted that it was available only in a $25 presentation. The article remarked that the perfume's price and exclusivity made it a particularly distinguished gift. At a time when many fine perfumes sold for only a few dollars, a $25 bottle represented a significant luxury purchase, placing Notturno among the more expensive fragrances available to American consumers during the 1920s.

Contemporary advertising further emphasized the perfume's lavish presentation. A 1927 newspaper advertisement described Mury's Notturno as "a delightful odeur" housed in a lovely black agate bottle and presented within a beautiful black and gold box secured with a silk cord. The emphasis placed on the bottle and packaging demonstrates that Mury viewed presentation as an essential part of the perfume's appeal. Notturno was not merely a fragrance but a complete luxury object designed to impress before the bottle was even opened.

Notturno was marketed directly against one of the most successful luxury fragrances of the era, Nuit de Noël by Caron. Both perfumes embraced themes of nighttime mystery and sophistication, and the similarities in their presentations were unmistakable. Like Nuit de Noël, Notturno was housed in a striking jet-black opaque crystal bottle accented with gilded decoration. The dramatic contrast between black and gold reflected the prevailing Art Deco aesthetic of the period and conveyed an image of elegance, glamour, and exclusivity.

Mury expanded Notturno into a complete luxury toiletry collection, allowing consumers to surround themselves with the fragrance through a coordinated range of products. In addition to the perfume itself, the line included face powder, dusting powder, toilet water, sachet powder, talcum powder, soap, and bath salts. Each item was packaged in the same sophisticated black and gold livery, creating a unified and highly recognizable brand identity. Such comprehensive fragrance lines were a hallmark of successful perfume houses during the 1920s and allowed customers to layer and prolong the scent throughout their daily beauty routine.

Among the most elegant accessories associated with the line was a gilded powder compact trimmed with black enamel. This accessory complemented the perfume's dramatic packaging and reflected the growing popularity of luxury vanity items during the Art Deco era. The compact transformed an everyday cosmetic object into a fashionable statement piece, further enhancing the prestige of the Notturno brand.

The sumptuous presentation boxes used for Notturno were manufactured by the respected French packaging firm AH Gouvernet. Known for producing high-quality luxury boxes for leading perfume houses, Gouvernet supplied Mury with sophisticated packaging that reinforced the perfume's upscale image. The black and gilt boxes, finished with silk cords and luxurious detailing, elevated Notturno beyond a simple fragrance and into the realm of decorative art.

Today, Notturno remains one of the most desirable and recognizable creations produced by Mury. Its elegant black-and-gold presentation, extensive accompanying toiletries, and deliberate positioning as a rival to Caron's celebrated Nuit de Noël make it an outstanding example of the luxurious marketing and presentation techniques that characterized French perfumery during the height of the Art Deco period.

 

Patricia:

Introduced during the height of the Art Deco era, Patricia was one of Mury's most luxurious and expensive fragrances. By 1927, the perfume retailed for an impressive $30, placing it among the premium offerings available to fashionable consumers. At a time when many fine perfumes sold for only a fraction of that amount, Patricia was clearly intended to occupy the highest tier of the luxury fragrance market, appealing to women who desired exclusivity, elegance, and exceptional presentation.

The perfume was housed in a distinctive bottle inspired by the form of a Japanese inrō, a traditional lacquered case historically used to carry small personal items. This Oriental influence reflected the fascination with Asian decorative arts that permeated European design during the early twentieth century. The bottle itself was described as a beautiful glass flacon adorned with pink and gold enameled floral decoration, combining delicate feminine colors with rich gilded accents. The result was an object that functioned not only as a perfume container but also as a decorative work of art.

The presentation was equally impressive. Patricia was housed within an elegant pink and gold lacquered box manufactured by the renowned French packaging firm Gouvernet. Known for producing luxurious presentation cases for many prestigious perfume houses, Gouvernet helped elevate Patricia's packaging to the level of a fine gift object. The harmonious combination of pink lacquer and gold decoration conveyed both refinement and warmth, while the elaborate presentation reinforced the perfume's position as a luxury purchase.

A 1927 newspaper advertisement praised Patricia as "a fascinating odeur" and highlighted its beautiful glass bottle decorated with a pink and gold enamel flower design. The advertisement's emphasis on both the fragrance and its presentation demonstrates how closely perfume and packaging were linked in luxury marketing during the period. Consumers were encouraged to view the bottle and box as integral parts of the perfume experience, worthy of display long after the fragrance itself had been used.

The perfume's image was further enhanced by a description published in Harper's Bazaar in 1927, which referred to Patricia as being presented in "a beautiful golden lacquered package" that expressed "the sweet charms of naïve simplicity." This phrase is particularly revealing, as it suggests that Patricia was intended to embody a delicate balance between luxury and innocence. Rather than emphasizing exotic mystery or dramatic sophistication, the perfume was associated with gentleness, sincerity, and understated feminine beauty.

The contrast between the lavish packaging and the concept of "naïve simplicity" was characteristic of luxury marketing during the 1920s. Patricia's presentation communicated wealth and elegance, while its advertising emphasized sweetness, charm, and natural grace. Together, these elements created a carefully crafted identity that distinguished Patricia from many of its competitors and helped establish it as one of Mury's most prestigious and memorable fragrances.

Today, surviving examples of Patricia are highly prized by collectors, not only because of the perfume's rarity but also because of its exceptional presentation. The inrō-inspired bottle, delicate pink and gold decoration, and luxurious Gouvernet lacquered box exemplify the artistry and attention to detail that made Mury one of the notable perfume houses of the interwar period.

 

Caresse d'Amour:

Caresse d'Amour was a mixed floral fragrance for women. It retailed for $10 a bottle in 1927.

Amadis:

Amadis was housed in a clear glass bottle with frosted floral details that were piqued out with red patina. It was available in two sizes and retailed for $10 and $18 per bottle.

Jasmin:

Muraour Frères, also known as Henri Muraour et Cie, was established in 1883 at Asnières, France, and became one of the most respected producers and suppliers of essential oils in the French perfume industry. The firm's roots, however, extended much deeper, tracing back to the Muraour family's involvement in the cultivation and distillation of aromatic plants in North Africa as early as 1789. Through generations of experience, the company developed extensive expertise in the production of natural fragrance materials, maintaining operations in Algiers, Grasse, and Paris, three locations of immense importance to the perfume trade.

The company's primary business centered on the cultivation, extraction, and distribution of essential oils used by perfumers throughout France and abroad. Access to high-quality raw materials gave Muraour Frères a significant advantage within the fragrance industry, allowing the firm to build close relationships with numerous perfume houses. By the early twentieth century, Henri Muraour et Cie had become an important supplier to French perfumery, particularly for floral essences and aromatic materials originating from both North Africa and southern France.

During the 1920s, Muraour Frères expanded beyond the manufacture of essential oils and entered the retail perfume market with a collection of fragrances marketed under its own name. Many of these perfumes were closely affiliated with the perfume house Mury, and in some cases identical fragrances appear to have been sold under both the Muraour and Mury brands. This relationship was hardly surprising given the close business connections between the two firms. Muraour supplied the aromatic raw materials while Mury specialized in the creation, marketing, and presentation of luxury perfumes.

Among the fragrances produced during this period were several commemorative perfumes created to celebrate important events, cultural milestones, or notable personalities. Such commemorative fragrances were particularly fashionable during the 1920s, when perfume houses frequently sought to capitalize on public interest in historic occasions, exhibitions, royal events, and artistic achievements. By issuing perfumes tied to specific themes or celebrations, Muraour was able to distinguish its products from the growing number of competing fragrances on the market.

The overlap between Muraour and Mury perfume offerings has long intrigued collectors and perfume historians. In many instances, identical perfume names, formulas, or presentations appear under both brands, suggesting cooperative marketing arrangements, shared ownership of fragrance formulas, or the use of separate brand identities to reach different segments of the market. Such practices were not uncommon within the perfume industry of the period, where manufacturers, raw-material suppliers, and perfume houses often maintained complex commercial relationships.

Although Muraour Frères is best remembered today for its essential oil production rather than its perfumes, the firm's influence on French perfumery was considerable. Through its supply of high-quality natural materials and its association with Mury's successful fragrance creations, the company played an important role in the development of French perfumery during the late nineteenth and early twentieth centuries. The perfumes marketed under the Muraour name remain fascinating reminders of a company that bridged the worlds of raw-material production and finished fragrance creation, contributing to both sides of the perfume industry.

The perfumes of Muraour Freres:

• 1920 Jasmin
• 1920 Jockey Club
• 1920 L'Ambree
• 1920 La Rose
• 1920 Le Narcisse Bleu
• 1920 L'Occident
• 1920 Maréchale
• 1920 Muguet
• 1920 Carnation
• 1920 Opoponax
• 1920 Peau D'Espagne
• 1920 Bouquet Parfait
• 1920 Reseda
• 1920 Revelation
• 1920 Violette
• 1920 Caresse d'Amour
• 1920 Chypre
• 1920 Cœur de Gitané
• 1920 Eau de Fleurs d’Orange
• 1920 Foin Coupe
• 1920 Heliotrope
• 1920 Hesitation
• 1920 Hors La Brume

Parfumerie Nissery was established in 1921 by Jules-Joanin-Anatole Muraour at 9–13 Rue des Champs in Asnières-sur-Seine, a suburb of Paris that was home to several important perfume and cosmetics manufacturers during the early twentieth century. The company emerged during a particularly vibrant period in French perfumery, when artistic presentation and distinctive branding had become nearly as important as the fragrances themselves. Although Nissery was a relatively small concern compared to some of the major Parisian houses, it quickly developed a reputation for refined perfumes and exceptionally elegant presentations.

Nissery maintained close ties with the perfume house Mury and was part of the broader network of businesses associated with the Muraour family. Given the family's extensive involvement in the essential oil trade and fragrance manufacturing, Nissery benefited from access to quality raw materials as well as established commercial connections within the French perfume industry. These affiliations helped the company position itself within the luxury market while maintaining a distinct identity of its own.

Like many successful perfume houses of the 1920s, Nissery understood that presentation played a vital role in attracting customers. The firm's perfumes were housed in carefully designed bottles and luxurious packaging that reflected the fashionable tastes of the Art Deco era. Elegant flacons, decorative boxes, and refined graphic design transformed the perfumes into desirable luxury objects, appealing to consumers who valued beauty and sophistication as much as the fragrance itself.

Among Nissery's most notable creations were Le Look and La Violette, both of which were presented in bottles designed by the celebrated glass artist Julien Viard. Viard was one of the most influential bottle designers of the early twentieth century, creating distinctive flacons for many prestigious French perfume houses. His work was characterized by artistic originality, fine craftsmanship, and a keen understanding of contemporary decorative styles. The association with Viard immediately elevated the status of Nissery's perfumes and demonstrated the company's commitment to high-quality presentation.

Le Look, whose title translates roughly as "The Look" or "The Fashionable Appearance," reflected the growing emphasis on style and modern elegance during the 1920s. The name itself suggests sophistication, chic presentation, and an awareness of contemporary fashion trends. La Violette ("The Violet"), by contrast, celebrated one of perfumery's most beloved floral themes. Violet fragrances were particularly popular during the late nineteenth and early twentieth centuries, admired for their delicate, powdery, and romantic character.

The collaboration with Julien Viard placed Nissery firmly within the tradition of artistic French perfumery, where the perfume bottle was regarded as an integral part of the fragrance experience. Surviving examples of Nissery bottles are valued today not only for their rarity but also for their connection to one of the great designers of the Art Deco era. Together with the company's elegant presentations and association with Mury and the Muraour family, they provide a fascinating glimpse into a lesser-known yet highly refined chapter of French perfume history.

The perfumes of Nissery:

• 1920 Le Look
• 1920 Le Jasmin
• 1921 Le Narcisse
• 1921 Le Seringa
• 1921 Le Lilas
• 1921 Le Muguet
• 1921 Le Nissery
• 1922 Le Cyclamen
• 1922 Le Violette
• 1922 Le Oeillet
• 1925 Jasminade
• 1925 La Rose Noire
• 1925 Coeurs et Fleurs
• 1925 Le Chévrefeuille
• 1926 Perles de France
• 1927 Pois de Senteur
• Allée des Acacias
• Clos Jolis
• Premier Bal