Grey-Poupon mustard jars: history and evolution of advertising designs
Heir to a Dijon mustard factory founded in 1777, the Grey family rose to prominence with Maurice Grey from 1843 onwards. Inventor of a machine that improved mustard production, he became a supplier to Emperor Napoleon III in 1860. Auguste Poupon succeeded him in 1866, then officially combined the two names in 1885 to form the Grey-Poupon brand.
Its earthenware jars, adorned with medals, coats of arms, and elegant typography, bear witness to this history and the care taken in presenting the products. Observing them reveals how the brand built its reputation, asserted its Dijon origins, and gradually encouraged buyers to recognize its product.
1. From 1851 to 1860: Medals Build the Brand's Reputation
The earliest models studied were manufactured by the Creil et Montereau factory. Their printed decoration combined the name GREY with abundant ornamentation: arabesques, foliage, borders, and depictions of medals.
The hierarchy was already very clear. The manufacturer's name caught the eye, while the awards surrounding it served as proof of recognition. The jar thus displayed the company's distinctions before the buyer's eyes.
Around 1851 / 1855: Three Medals Above the Name Grey
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This first variant features the medals won in Dijon 1845, London 1851, and Paris 1849. Their arrangement was based on decorative composition rather than chronological order.
The name GREY stands out in a dark cartouche. The trade and Dijon designations identified the product and its origin, while the ornaments gave the whole the appearance of a particularly refined label.
The marketing message relied on the combination of three elements: an identifiable manufacturer, a place of origin, and awards. The reference to London notably broadened the company's horizons beyond French competitions.
Around 1856 / 1860: An Expanded List of Awards
The second variant from this period further developed this argument. It featured five designations: Paris 1855, Academy 1856, Paris 1849, Invention 1856, and London 1851. This combination is also documented on a specimen kept at the Musée de la Vie bourguignonne.
These five designations enhanced the company's prestige. The references to the Academy and invention added to the prestige of the exhibitions a message about expertise and technical progress.
The ornamentation, which included a depiction of Napoleon III on this type of design, also placed the product within the visual world of the Second Empire. However, this presence in the medallions must be distinguished from the large imperial coat of arms design that characterizes the next phase.
Two other arguments accompanied these awards: the longevity claimed by the company, with the date of 1777, and the presence of a seal that allowed its jars to be identified. The issue of authenticity therefore existed from this very first period.
2. From 1860 to 1876: The Imperial Coat of Arms and Auguste Poupon's Succession
The jars were still manufactured by Creil et Montereau, but the design was reorganized. The individually depicted medals gave way to a large heraldic ensemble: eagle, crown, mantle, and imperial attributes. Prestige was now concentrated in an immediately recognizable image.
Around 1860 / 1866: Grey, Manufacturer in Dijon and Supplier to the Emperor
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Below the name GREY is the designation "Manufacturer in Dijon". The design combined the coat of arms with the quality of being a supplier to the Emperor and a reminder of eight medals of honor.
This presentation relied on a precise historical reference: the Musée de la Vie bourguignonne indicates that Maurice Grey became a supplier to Napoleon III on September 10, 1860.
This change can be seen as a reinforcement of the prestige message. The awards remained, but the imperial supplier now took center stage. The product was enhanced by the rank of its client.
Around 1867 / 1876: Auguste Poupon Appears Below Grey
The next variant retained the jar's visual identity but changed an essential inscription. Below GREY appeared the name of Auguste Poupon, accompanied by the abbreviation indicating his status as successor. This development corresponds to the takeover of the company in 1866 by Auguste Poupon, who asked that his store's sign be changed to include his succession.
The graphic choice is revealing: Grey remained the dominant name, while Poupon was placed in continuity with it. The new owner benefited from the established reputation and reassured customers that the business would continue.
This small line is therefore decisive for the collector. Two jars that are almost identical in their coats of arms can bear witness to two different stages in the company's history.
3. From 1877 to 1888: Dijon Takes Up More Space
Still made by Creil & Montereau, a new family of designs highlighted the coat of arms of the city of Dijon, surrounded by grape leaves and bunches of grapes. The large imperial display gave way to a composition more directly linked to the city and its Burgundian surroundings.
The name GREY remained clearly visible, accompanied by the designation of Auguste Poupon as successor. The awards also remained a selling point, with the announcement of ten medals of honor inside the ribbon.
The evolution therefore did not consist in abandoning the distinctions. The coat of arms of Dijon now occupied the center of the design: Dijon identity became the main visual reference. The grapevines reinforced this regional interpretation and helped make the design recognizable.
This family exists in several sizes, notably in its very large format of approximately 16.5 cm and in the small model of approximately 11 cm. The size varies, but the advertising vocabulary remains the same.
4. From 1889 to 1899: Move to Sarreguemines
The next models, manufactured by the factory in Sarreguemines, bore the mark "Opaque de Sarreguemines" on their base.
On the main face, the combined name GREY-POUPON now dominated.
From 1889 Onward: The Gold Medal and the Grey-Poupon Seal
A band placed around the neck announced the gold medal won in Paris in 1889. This award is clearly mentioned in the official catalog of the 1900 Universal Exhibition, which summarizes the company's distinctions. Its position gave it a privileged place. Above the Dijon coat of arms and the name Grey-Poupon, it formed a distinct advertising argument, immediately recognizable.
For the first time, the instruction "Demand the Grey-Poupon seal" appeared on the back. Authentication was not new to the company's messaging, but it now had its own dedicated space. The jar directly invited the buyer to check what they were being sold.
Around 1890 / 1899: "Only Gold Medal" and the Appearance of the Capsule
The next variant added a decisive word to the medal band: "ONLY". The award thus became a point of distinction against competitors. This phrase should be understood as an advertising claim in the relevant field; it obviously did not mean that only one gold medal had been awarded at the entire 1889 Universal Exhibition.
The back also evolved. To the instruction "Demand the capsule" was now added a large circular representation bearing the information needed to identify the product. The change was practical: the buyer now had a visual model to compare with the jar's closure. This showed a desire to make the brand easier to recognize and to limit substitutions.
At this stage, the different surfaces of the container served complementary functions: the neck announced the award, the main face identified the company and Dijon, and the back guided the product check. The jar had become an organized advertising medium, whose design supported the purchase as much as it enhanced its contents.
5. Beginning of the 20th Century: Paris 1900, Evolution of Necks and Capsules
Around 1900, the band on the neck now featured the designations "Paris 1900", "Non-competing", and "Member of the jury ".
A few years later, Grey-Poupon changed the neck of its jars with the introduction of a double rim.
Then it was the turn of the capsule presented on the back of the jar to change design.
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Sources:
Musée de la Vie bourguignonne: Maurice Grey and His Mustard-Making Machine
Musée de la Vie bourguignonne: Antique Fine Earthenware Grey Jar
University of Picardie Jules Verne: Grey Poupon Mustard Jar Discovered in Soissons
Official Catalog of the 1900 Universal Exhibition
"The periods provided give dating references for the models presented. The inscriptions and manufacturer's marks make it possible to place them, although not always precisely determine the beginning or end of their production."