In 1889, Oscar Pierre Erard of Birmingham, England, developed an effective technique for electroplating silver onto glass and porcelain. Manufacturers soon applied similar decoration to ivory, tortoiseshell, horn and the newly fashionable material celluloid, which is why silver-overlay work also appears on period vanity accessories. American inventor John H. Scharling patented an improved process in 1893, helping to advance the craft further. By 1895, manufacturers throughout the United States, Bohemia, Italy, France, England and Austria were producing striking glassware embellished with intricate sterling-silver deposit and overlay designs.
Victorian Silver Overlay & Glass Bottles:
The first type is the late Victorian silver-overlay bottle, produced from about 1885 through the Edwardian era and into the 1920s. These delicate glass perfume bottles feature permanent sterling-silver decoration in sinuous Art Nouveau motifs or intricate, lace-like Rococo Revival patterns. Their ornament was formed as pierced cagework composed of solid silver bands, carefully fitted by hand over the glass and secured in place, often extending over the neck and mouth. Larger bottles generally held eau de cologne or toilet water, while smaller examples contained more precious parfum—although period advertisements show that even a bottle measuring only 3½ inches tall could be intended for cologne. Common capacities included 2, 4 and 6 ounces.
Most surviving examples are American, although a small number were made in England. Clear glass is the most common, while cobalt blue, cranberry or ruby, and green examples are rarer and generally command higher prices. Silver-overlay perfume atomizers are particularly scarce, and some exceptional bottles are so completely encased in silver that no glass remains visible. Their forms are remarkably varied, ranging from pear-shaped, round and squat bottles to tall, long-necked, cylindrical, inkwell-shaped and tapered designs with sloping shoulders. Among the most distinctive—and my personal favorites—are Steuben’s elegant lobed melon-shaped bottles.
In the late 19th century photo below, you can see two silver overlay perfume bottles sitting atop the dressing table.
Two American companies—Gorham and Alvin—dominated the production of silver-overlay glassware, creating some of the finest and most elaborate examples available to collectors today. Both firms decorated glass blanks supplied by Steuben, covering them with substantial layers of sterling silver arranged in graceful floral scrolls, intricate latticework and other richly detailed patterns. Frank La Pierre also produced beautiful silver-overlay bottles, although the decoration is often somewhat less intricate than that found on pieces by Gorham or Alvin. Bailey, Banks & Biddle offered notable examples as well; I own a lovely bottle bearing the firm’s mark that I purchased in Pennsylvania.
When examining a bottle, look closely for tiny marks hidden within the silver decoration, around the neck or near the base. These may identify the manufacturer and indicate the purity of the silver with such marks as “Sterling,” “925,” “Sterling Deposit” or “999.” Strictly speaking, .925 denotes sterling silver, while .999 indicates nearly pure or “fine” silver. Do not confuse these small factory marks with the larger decorative monograms frequently placed on the front of a bottle. Marks commonly encountered include “A” for Alvin, “G” for Gorham Manufacturing Company, “FLP” for Frank La Pierre and “BBB” for Bailey, Banks & Biddle.
Another important producer was EAMCO, the Electrolytic Art Metal Company of Trenton, New Jersey, a specialist in silver-deposit decoration active from approximately 1905 to 1915. Public records indicate that the firm was reorganized in 1913 as a manufacturer of silver-deposit ware. EAMCO’s reputation extended beyond glass perfume bottles: it was listed among the select high-end firms qualified to apply silver decoration to American Belleek and French Limoges porcelain, alongside such prestigious names as Gorham and L. C. Tiffany.
Finally, inspect the stopper and the underside of the bottle for matching hand-inscribed numbers. These “match numbers” indicate that the glass stopper was individually ground and polished to fit that particular bottle at the factory. A matching pair helps confirm that the stopper is original; differing numbers may suggest that it was replaced at some point during the bottle’s history.
Marks at a glance (do not confuse these with any monograms on the front of bottle):
- A = Alvin
- G = Gorham Manufacturing Co
- FLP = Frank La Pierre
- BBB = Bailey, Banks & Biddle
- EAMCO = Eamco Company (Electrolytic Art Metal Company
These higher-end bottles often include a polished silver cartouche reserved for engraving a monogram, name or initials, usually rendered in elegant, flourished script. Although a jeweler may be able to remove an unwanted inscription, I prefer to leave these personal markings intact. They preserve a connection to the bottle’s original owner and add history, individuality and considerable charm. Among the most valuable and elusive examples are the magnificent iridescent art-glass bottles by Loetz, whose shimmering, color-changing surfaces become even more striking when combined with intricate silver overlay.
Occasionally, you may encounter an extraordinary glass bottle whose entire surface is concealed beneath a thick layer of silver. The gleaming metal is engraved with sinuous scrollwork, stylized flowers or other richly worked motifs, while the matching stopper is also completely encased and decorated to continue the bottle’s design. I have seen only a handful of these impressive examples over the years and consider them quite scarce.
Always examine the silver carefully for purity marks. Sterling silver is commonly stamped “Sterling” or “.925,” while nearly pure silver may be marked “.999 Fine.” By contrast, silver-plated examples may bear such terms as “Quadruple Plate,” “Silver Plate” or another mark indicating that the surface is plated rather than solid precious metal. Because markings vary, their wording and location can provide valuable clues to a bottle’s composition and origin.
Although most silver-overlay bottles were sold empty for the owner to fill with a favorite perfume or toilet water, a few American perfume companies offered them already filled with fragrance. One such firm was Tappan of Corning, New York, whose 1894 newspaper advertisement promoted perfume presented in these elegant silver-deposit bottles. This made the container part of the luxury purchase—a beautiful keepsake that could be refilled and displayed long after the original perfume had been enjoyed.
Over the years, I have encountered countless silver-overlay bottles with cracks in the glass, a problem that seems especially common among examples with heavier, thicker silverwork. The rigid metal may place stress on the glass as the two materials respond differently to temperature changes, handling and age. Because even a fine crack can weaken the bottle or allow liquid to escape, I would not use a damaged example to hold perfume today. It is far safer to preserve and enjoy it as a decorative display piece.
The silver overlay itself may also suffer damage. Individual bands can lift or pull away from the glass, while broken ends may become bent, twisted or sharp; in more serious cases, entire sections of the design are missing. Such losses may have resulted from accidental impact, careless handling or deliberate attempts to remove the silver for its scrap value. Whatever the cause, stripping away the overlay destroys the artistry, history and collectible character that make these bottles so special.
Bottles decorated with thick, securely attached sterling-silver overlay can generally be polished safely, but they should always be examined first. Look carefully for loose, raised or broken strands that might catch on a cloth. I prefer a small amount of gentle silver-polishing cream applied by hand with soft cotton, beginning with very light strokes. Avoid chemical dips such as Tarn-X, which can be too aggressive and may seep beneath the overlay or into unnoticed cracks. I would also avoid rotary tools on valuable bottles unless used by an experienced conservator, as their speed can snag the silver, abrade engraved details or generate damaging heat.
Once you are certain that the cloth is not catching, the silver can be polished a little more firmly to achieve anything from a soft gleam to a brighter shine. There is no need to remove every trace of dark tarnish from the tiny recesses. A little darkness remaining within the engraving emphasizes the pattern, creates visual depth and gives the decoration a pleasing antique character.
A whitish film is sometimes found inside these bottles, often left behind when silver polish entered the opening and was not completely rinsed away. Because the interiors can be narrow and difficult to reach, try a long-handled cotton swab or a very slender bottle brush, working gently and without forcing the tool against the glass. Avoid soaking or vigorously washing any bottle with cracks, loose overlay or unknown repairs, as trapped moisture may cause further problems.
If the stopper is stuck—or “frozen”—never twist, pry or pull it forcefully. The stopper, neck or both can snap with very little warning. Since antique examples are usually intended for display rather than practical use, I prefer to leave a firmly stuck stopper undisturbed. A specialist may be consulted if removal is essential, but preserving the bottle intact is far more important than making it functional again.
Completely undamaged examples are difficult to find, and condition should always be reflected in the price. Examine every exposed section of glass between the silver bands for cracks, chips and old repairs, and inspect the overlay for lifting, breaks and missing portions. Despite their vulnerabilities, a group of these bottles displayed together creates a magnificent effect, with gleaming silver tracery catching the light. They also make memorable gifts for antique lovers, just as they did when new, when advertisements suggested them for brides, bridesmaids, graduates, hostesses, birthdays, anniversaries and even bridge prizes.
Having explored the finest and most costly examples, it is also important to recognize the more affordable end of the collecting spectrum. Lesser-known manufacturers produced economical bottles to compete with prestigious firms such as Gorham and Alvin. Instead of substantial bands of sterling silver, these bottles usually carry a much thinner deposit. Their designs are often simpler and may lack engraving altogether, but attractive examples can still be found.
Thin-overlay bottles are especially vulnerable to snagging, lifting and loss. Their narrow silver lines may be pulled away from the glass, broken or missing in places, and a polishing cloth can easily catch a damaged edge and tear away more of the design. These examples should therefore be handled with exceptional care and polished only lightly—if at all.
The least expensive variety was decorated with an extremely thin, brush-applied silver coating that can resemble metallic paint. Because so little silver was deposited, substantial wear and loss are common. Bottles of this type continued to be produced from the 1920s into the 1950s, particularly in Italy and Bohemia or Czechoslovakia, and the same technique frequently appears on liquor decanters. Repeated washing and vigorous polishing can quickly remove the surviving decoration, so badly worn examples are best left unpolished and cleaned only as cautiously as necessary.
La Castillere Perfume Bottles
La Castillere was a short-lived French luxury-goods company established in 1961 with premises on boulevard de Sébastopol in Paris. The firm manufactured and sold perfumes, jewelry, giftware and other fashionable articles de Paris. Its known fragrances included Chant d’Isles, Pomme d’Amour and Une Caresse. The company was dissolved in November 1966, making its surviving bottles an interesting reflection of the Parisian tourist trade of the 1960s.
Its small, purse-sized perfume bottles were made by Pochet et du Courval, whose intertwined “HP” emblem may be molded into the base. Most were produced in clear glass, although scarcer examples appear in blue or milky opaline véritable. Decoration included gilding, painted enamel, delicate etching and silver-colored latticework. Unlike the substantial sterling overlay found on costly Victorian and Edwardian bottles, La Castillere’s metal decoration was generally lighter and more economical. Ornate silver-plated caps contained slender glass daubers, which are frequently broken or missing today.
Original examples may retain a paper label on the base reading “La Castillere—Made in France,” together with the fragrance name, while others have “La Castillere France” molded directly into the glass. Some also survive with simple white or gilded cardboard boxes and small felt or suede protective pouches. Bottles marked La Castillere date only from the 1960s and should not be confused with earlier silver-overlay flacons.
After La Castillere closed, its remaining bottles, caps and boxes were apparently sold as surplus stock. Other perfume businesses could purchase these attractive, ready-made containers far more cheaply than commissioning new molds and packaging. Examples are known with labels for Estee Lauder, Hélène Dale, Oberon and Brajan placed over the molded La Castillere name. These rebranded bottles date from approximately 1967 through the 1970s, regardless of how much earlier those retailers or perfume houses had originally been established.
La Castillere bottles may not possess the heavy sterling craftsmanship of Gorham or Alvin, but they have a charm of their own. Their colorful glass, ornate caps and delicate metalwork capture the appealing, affordable luxury offered to tourists in postwar Paris—and their later reuse provides a fascinating glimpse into the practical workings of the perfume and giftware trades.
Silver Overlay & Porcelain Bottles:
The fourth type of silver-overlay perfume bottle consists of superb porcelain examples made in Germany during the 1920s and 1930s. Although constructed from glazed porcelain, their smooth, glossy surfaces can easily be mistaken for opaque glass. These charming miniature bottles generally stand about 2¼ inches tall and were produced in an appealing range of colors, including red, turquoise blue, green, yellow, pink and delicate pale rose. They were commonly fitted with silver-toned, crown-shaped sprinkler tops that allowed the fragrance to be applied a drop at a time.
The porcelain bodies were decorated with substantial overlay reportedly composed of .999 fine silver—nearly pure silver and therefore of a higher silver content than .925 sterling. The metal was applied in intricate patterns that contrasted beautifully with the colored porcelain beneath. Because fine silver is softer than sterling, however, raised portions of the decoration can be vulnerable to wear, bending and accidental damage.
Some examples were created specifically for the souvenir trade. Their silver decoration may form the name of a German city, a celebrated landmark, event or another design associated with a particular destination. These bottles allowed travelers to take home both a perfume container and an attractive memento of their journey.
Rosenthal manufactured these porcelain bottles during the 1920s and 1930s, combining the company’s fine ceramic work with luxurious silver decoration. When the overlay is secure and in good condition, careful polishing can restore a lovely gleam. I recommend a small amount of Maas or Wright’s Silver Cream applied by hand with a soft cloth or a cotton swab. Work gently around raised details, avoid harsh chemical dips and stop immediately if the cloth begins to catch on the silver.
Perfume bottle signed Spahr 1000 (Friedrich Wilhelm Spahr) dating from circa 1940. This blue porcelain bottle is decorated on both sides in an Art Nouveau style with pure 1000 silver. It also has a lovely crown stopper. It's 2 1/2" tall and 2" wide. photo from ebay seller haute-antiques.
Miniature Mexican Silver Overlay Bottles:
Another appealing variety is the miniature Mexican silver-overlay scent bottle, produced from the 1930s onward. These small clear-glass bottles are ornamented with silver in bold floral, scrolling or nearly abstract patterns. Their compact size and decorative appearance suggest that many were sold as souvenirs or created specifically for Mexico’s thriving tourist market, offering visitors an attractive and easily transported example of the country’s celebrated silver craftsmanship.
When examining one of these bottles, look carefully for a silversmith’s mark, the word “Mexico” and a numerical fineness stamp indicating the purity of the silver. Marks can help identify where and when a piece was made, although tiny stamps may be concealed around the neck, base or within the applied decoration. Because Mexican silver standards and marking systems changed over time, these details can provide useful clues when dating and authenticating an example.
Silver overlay was not confined to perfume bottles. Similar Mexican decoration appears on barware such as tumblers, cups, shot glasses and flasks, as well as tableware including salt and pepper shakers, condiment jars and other small serving pieces. Displayed together, these objects demonstrate how Mexican silversmiths transformed practical glassware into distinctive decorative souvenirs through the addition of expressive hand-worked silver designs.
Aftermarket Embellishments:
One of the most beautiful—and frequently misunderstood—forms of silver decoration involves the later embellishment of ordinary commercial perfume bottles. Bottles that were originally inexpensive or mass-produced were recycled, or “upcycled” in modern terminology, by enclosing them in handmade silver cages or attaching decorative filigree appliqués. Once transformed, a familiar bottle became a costly ornamental object that combined recognizable perfume packaging with the craftsmanship of a silversmith.
I have encountered embellished bottles originally made for Chanel, Bourjois, Guerlain, Coty, Lucien Lelong, Dana and numerous other perfume houses. The metalwork was added after the bottles left the perfume manufacturers and was not commissioned as part of their original packaging. Although these pieces were once described by collectors and sellers as limited editions or commemorative releases, there is generally no evidence that the perfume houses authorized them. They should instead be regarded as independently decorated, aftermarket creations.
This distinction is important when identifying and valuing them. The perfume bottle may be genuinely antique or vintage, and the silverwork may also be handmade and valuable, but the two did not necessarily begin life together. These altered bottles were likely sold through jewelry stores, tourist shops, duty-free outlets and import businesses, where recognizable French and American perfume bottles could be presented as exotic luxury gifts. Much of the work appears to have originated in Asian export centers—particularly Hong Kong—and Mexico, regions with strong traditions of producing silver and decorative metalwork for international buyers.
One of the better-known artists associated with these bottles was Sammy Chiu of Hong Kong. Her business, Sammy Arts, operated from the ground floor of the Union House Arcade at 9 Chater Road. The company described itself as a manufacturer, exporter, importer and retailer of jewelry, diamonds, handmade sterling silver, E.P.N.S. wares—electroplated nickel silver—ivory and Oriental handicrafts. The proprietress was listed as Mrs. Sammy Chiu Tse Kay, and available records show that the firm was active from at least 1968 through 1980, although its later history remains uncertain.
These embellished bottles occupy an intriguing place between perfume collecting, jewelry and decorative art. They may not be official special editions, but the finest examples are nevertheless impressive handmade objects. Their value lies not only in the original perfume bottle but also in the quality, intricacy and condition of the later silverwork surrounding it.
Many aftermarket perfume bottles decorated in the mid-1980s-onward feature sterling-silver appliqués inspired by the Art Nouveau and Art Deco movements. Although these two styles are sometimes confused, they have distinctly different characters. Art Nouveau, fashionable from the 1890s into the early twentieth century, favors flowing, asymmetrical lines drawn from nature. Its designs often incorporate curling stems, sinuous vines, irises, lilies, insects, whiplash motifs and the graceful figures of women with long, streaming hair.
Art Deco emerged during the 1920s and 1930s with a bolder, more structured appearance. Instead of Art Nouveau’s soft botanical curves, it emphasizes symmetry, geometry and streamlined forms. Sunbursts, fans, stepped shapes, zigzags, chevrons and sharply stylized flowers are typical motifs. On a perfume bottle, an Art Nouveau appliqué may seem to grow organically around the glass, while an Art Deco design usually creates a more orderly, architectural frame.
A notable source of these embellished bottles was the celebrated London antiques and art dealer Hayman & Hayman. Beginning around the mid-1980s, Georgina Hayman selected antique and vintage bottles from prominent French perfume houses and commissioned expert silversmiths to decorate them with sterling-silver overlays and appliqués based on her own designs. The artisans carefully adapted each silver composition to the original bottle, transforming familiar commercial packaging into an individual work of decorative art.
These bottles should not be mistaken for original limited editions issued by the perfume houses whose names appear on the glass or labels. The underlying bottles are authentic vintage perfume containers, but their elaborate silver decoration was added later by Hayman & Hayman. This later embellishment does not diminish their craftsmanship; rather, it places them in a different collecting category, where their appeal rests upon the combination of vintage French perfume history, Georgina Hayman’s design work and modern British silversmithing.
According to the “About Me” section of her Etsy shop, Georgina Hayman began dealing in antiques with her mother, Marie-Claude, during the 1980s. She subsequently spent approximately thirty years as an established dealer at Antiquarius, the celebrated antiques center on King’s Road in Chelsea, before setting up at Alfies Antiques in Marylebone. This long association with London’s antiques trade helps explain her ability to recognize attractive vintage objects and reimagine them for a new generation of collectors.
Georgina specializes particularly in antique photograph frames made from an impressive variety of materials, including silver, ormolu, inlaid wood, mother-of-pearl and gutta-percha. Her selection spans roughly a century, from frames created for early cabinet photographs in the 1850s through examples made during the 1950s. She also offers Limoges boxes and vintage scent bottles, including flacons originally produced for such celebrated houses as Chanel, Guerlain and Lanvin.
This background places the silver-embellished perfume bottles within a broader appreciation for decorative craftsmanship. Georgina’s eye is drawn not only to a famous perfume name but also to the shape, proportions and visual potential of the bottle itself. When enhanced with specially designed sterling-silver appliqués, these vintage commercial flacons become distinctive decorative objects that unite French perfume history with the creative tradition of the London antiques trade.
You can view some of their current items on etsy.
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