Czech Airplane Perfume Atomizers c1920s-1930s

In the 1920s and 1930s, aviation was just starting to become more common, and more daring with such flying champions like Charles Lindbergh and Amelia Earhardt,  the airplane itself lent itself to various forms of decor during the Art Deco period. As you can see in the following images, airplanes were also a part of perfume bottle decorations, whether having the bottle itself become the main body of the airplane or having the atomizer hardware itself the airplane.


1920s Czech atomizer, enameled glass, chromed metal fittings, original hose and ball. 7 1/2 in.

Photo from Perfume Bottles Auction

This bottle is similar in shape to the one above. Made up of tango orange Czech glass, mounted with brass hardware, but missing its wings. Notice the gold line painted on both bottles.

photo from ebay seller sunil_arts_engg_works

The Czech glass bottle below has the atomizer hardware in the shape of an airplane, very neat!! The bottle is decorated with an etched design of either stylized clouds or airplane propeller in motion.

photo from an old ebay auction

Artyse

On January 10, 1923, a general partnership was officially formed under the name Dubray and Pouillault, operating out of Neuilly-sur-Seine, a suburb of Paris. This newly established company specialized in the creation and sale of perfume accessories and related toiletry articles, marketed under the Artyse name. Their registered business address was 16 rue d’Orléans, in Paris.

The partnership was capitalized at 16,000 francs, a modest but focused investment that reflects their niche ambitions within the luxury accessory sector. The firm was established with a twelve-year duration, a common contractual term for such ventures in early 20th-century France, providing a window for development and growth within the competitive Parisian perfume and vanity goods market.

Artyse would go on to become known for its imaginative and often whimsical designs, such as Limoges porcelain perfume atomizers in the shapes of flowers, animals, and decorative objets. Their production often combined high-quality French porcelain, finely cast brass hardware, and aesthetic detailing that appealed to the tastes of both French and international consumers during the 1920s and 1930s. The legal founding of Dubray and Pouillault in early 1923 marks the formal beginning of Artyse’s contributions to the decorative arts and perfume accessory landscape of interwar France.

According to a 1931 advertisement, Artyse was a Parisian company located at 71 rue Albert, offering a wide range of decorative perfume accessories that blurred the line between function and ornament. The advertisement proudly proclaimed: “Sprays for all systems. Latest creation. Large selection of three-piece sets.” These luxurious sets typically included a lamp, powder box, and an atomizer, all of Limoges porcelain, each beautifully coordinated and designed to serve not only as practical toiletry items but also as decorative objets d’art.

What distinguished Artyse’s offerings was their clear emphasis on aesthetic refinement. The ad goes on to declare: “This set becomes an ornamental trinket and is no longer just a toiletry item,” underscoring the brand’s commitment to transforming everyday grooming into an artful ritual. Each piece was crafted to stand as a decorative accent on a vanity or dressing table, with porcelain atomizers painted or gilded in the refined style associated with Limoges craftsmanship.

The company’s creative range extended beyond the typical perfume atomizer. Artyse offered whimsical and fashionable sprays in the shapes of dolls, dogs, and floral bouquets, all made from porcelain, composition, or metal, reflecting the playful charm of 1930s French decorative arts. These novelty designs were both eye-catching and sophisticated, suitable for gifting or collecting.

Notably, Artyse also embraced modern life by introducing accessories for the automobile—a relatively new luxury setting for perfume at the time. The ad mentions the “Madame Bouquet Spray Holder,” a stylish solution designed to clip into one’s car, turning the interior into a fragrant and fashionable space. This item reflected both the brand's flair for innovation and the period’s growing interest in personalizing and elevating the automobile experience.

Altogether, Artyse’s 1931 collection reflects the Art Deco period’s broader themes—luxury, elegance, and the integration of beauty into daily life. Their products offered a sensory and visual experience, appealing to those who valued both form and function in their beauty rituals.

One of Artyse's most exquisite creations from the 1920s was a Limoges porcelain perfume atomizer delicately modeled in the shape of an open rose. This sculptural flacon, dating to around 1925, reflects the refined elegance and romanticism so characteristic of French decorative arts of the interwar period. The soft curves and petal-like folds of the rose were finely crafted in Limoges porcelain, renowned for its translucency, smooth glaze, and high level of detail.

Rising from the center of the flower, a gilded, cast brass butterfly forms the atomizer’s hardware. This charming figural element serves as both a decorative and functional component, its wings delicately outstretched as if poised to take flight. The use of brass not only added a luxurious golden gleam, but also provided the durability and precision required for atomizer mechanisms of the era. The butterfly motif, symbolizing transformation and femininity, enhanced the romantic aesthetic of the bottle, while also reinforcing the theme of nature—one of Artyse's signature inspirations.

The atomizer stands approximately 4.25 inches tall and was presented in a fitted box, suggesting it was intended as a high-end gift item. The box itself would likely have been lined in satin or velvet to cradle the bottle, offering a sense of luxury and protection. The base of the porcelain is clearly marked: "Artyse – Made in France," confirming its authenticity and origin.

This piece exemplifies the fusion of artistry and utility, where a perfume bottle was elevated to the status of a decorative object. It captures Artyse's talent for combining fine porcelain, gilt metalwork, and poetic natural themes into an object that was as collectible as it was functional.

In the 1926 edition of La Dépêche, reporting on the Foire de Lyon (Lyon Fair), a glowing review was given for one of Artyse’s newest creations:

"The Artyse Atomizer, 16 rue d’Orléans, Neuilly-sur-Seine.

A pleasant surprise awaited us at the Artyse booth, where the company presented, among other new items, its latest creation: the “Vaporisateur Artyse.”

With a truly artistic and original design, it takes the form of a fully opened rose, visited by a magnificent gilded butterfly. A rosebud replaces the usual atomizer bulb, which is so often unattractive in other models.

Ask your perfumer to show it to you—you will be charmed."

This report highlights the artistry and elegance Artyse brought to its perfume atomizers during the 1920s. Rather than designing a utilitarian spray device, Artyse elevated the perfume atomizer into a decorative object, blending beauty with function. The fully bloomed rose, paired with a gilded butterfly, turned the piece into a miniature sculpture. Especially noteworthy is the replacement of the conventional atomizer bulb—often considered unsightly—with a rosebud, preserving the visual harmony of the design.

Such innovation would have made the piece a standout on any lady’s vanity table. This atomizer—essentially a fusion of Limoges porcelain artistry and fine metalwork—embodied the period’s desire to transform even everyday items into objects of beauty. The recommendation to “ask your perfumer to show it to you” suggests the piece was available through retail perfume houses, aligning Artyse with both luxury and accessibility.

In the 1952 issue of Parfums, Cosmétiques, Savons, an announcement was made regarding the development of a new atomizer:

"We have learned of the manufacture of a new atomizer. This model, equipped with the TUBOTUR system, guarantees perfect leak-proof performance and only functions when the fitting is loosened. It can be adapted to any type of bottle, as the screw cap is a standard size. It is an ideal item for travel.

The device is manufactured by the firm ARTYSE, located at 6 bis, rue des Récollets, Paris."

This short but informative note highlights Artyse's continued innovation into the 1950s, particularly with portable perfume accessories. The introduction of the TUBOTUR system suggests a technical advancement aimed at improving the practicality and reliability of atomizers—especially important in travel scenarios where leakage was a common concern. By ensuring the atomizer only operates when the mount is loosened, Artyse added an extra layer of control and safety, enhancing user confidence.

The fact that it could be adapted to any bottle with a standard screw thread made it a versatile accessory, appealing to consumers who wished to refill or reuse bottles conveniently. Artyse’s address at 6 bis, rue des Récollets in Paris marks the company's location during this period, reflecting its presence in the heart of the French perfume accessory industry.

Aristo Amber Glass Perfume Atomizer c1920s

The Aristo amber glass perfume atomizer, dating from the 1920s, is a striking example of early 20th-century vanity design—an object that blends beauty, elegance, and functional craftsmanship. Standing an impressive 10 inches tall, the bottle immediately draws attention with its graceful proportions and refined silhouette.

The glass itself is a transparent amber, a warm, honeyed tone that catches the light and gives the bottle a softly glowing presence. Amber glass was popular during this period not only for its visual appeal, but also for its practicality, as the slight tint helped to protect perfumes from light exposure, preserving their delicate compositions.

Topping the bottle is its original gilded hardware, which adds a touch of opulence and speaks to the quality of the materials used. Particularly notable is the urn-style top—a design detail that hints at classical influences, evoking the shape of ancient Greco-Roman vessels. This stylized reference would have appealed to the early 20th-century taste for revivalist design, which blended classical motifs with Art Deco and late Art Nouveau sensibilities.

Though it was a functional object, meant to dispense fine fragrance with elegance and ease, this Aristo atomizer is also a decorative statement. It reflects the aesthetic values of the 1920s: refined ornamentation, attention to form, and the blending of historical design with modern innovation. Today, it remains a cherished collector’s piece, prized for both its beauty and its glimpse into the luxury of the past.