Parfums Boue Soeurs

The story of Boué Soeurs perfumes begins with the extraordinary legacy of the couture house founded in 1899 by sisters Sylvie and Jeanne Boué. Known for their exquisite gowns and delicate craftsmanship, the Boué sisters translated their romantic vision of fashion into fragrance, offering perfumes that embodied the same ethereal elegance as their couture. Their fashions, often described as breathtakingly feminine, were distinguished by transparent lace, shimmering silver and gold lamé, gossamer passementerie, clusters of silk ribbonwork rosettes, and layers of gathered silk that seemed to float around the wearer. Entirely handmade, these garments were not only expressions of luxury but of artistry, and their perfumes were conceived as natural extensions of this world of refinement.

By the 1920s, Boué Soeurs had established a strong international presence, with ateliers in Paris, New York, Palm Beach, San Francisco, London, and even Bucharest, catering to a wealthy and discerning clientele. The sisters’ ability to merge business acumen with their artistic vision made their house a leading name in couture for more than half a century, from 1899 until 1953. Their decision to expand into perfumery reflected both a natural evolution of their brand and a recognition of perfume’s essential role in the complete expression of feminine elegance. Just as their gowns adorned the body, their fragrances sought to complete the aura of sophistication and allure.

Historical records confirm the formal incorporation of Parfums Boué in the United States during the mid-1920s, signaling their serious intent to compete in the flourishing American fragrance market. Drug Markets in 1926 reported the creation of Parfums Boué in Buffalo, New York, with an initial investment of $100,000, followed by a second incorporation in Manhattan the following year, as noted in The American Perfumer and Essential Oil Review (1927). These records show the business-minded approach of the Boué sisters and their associates, who recognized that America’s growing appetite for luxury goods made it the perfect stage for their perfumes.

Thus, the perfumes of Boué Soeurs were born from the same philosophy that guided their couture: beauty, refinement, and craftsmanship elevated into works of art. This guide will explore their fragrances, the olfactory expression of a house that embodied early twentieth-century luxury, romance, and cosmopolitan sophistication.  

In 1924, The Kansas City Star delightedly announced the arrival of Boué Soeurs perfumes and face powders at The Sign of the Thistle in the fashionable Country Club Plaza Shopping Center. The newspaper praised them as “the most exquisite packages of perfumes and face powders Kansas City has yet seen,” underscoring how the house’s couture sensibility carried through into their cosmetics. Six fragrances were available—Lilas de Minuit, Sylvita, Sylvitte, Sylvie, and the house’s newest release, Cantique du Roy—each offered not only in full-sized bottles at about $6 but also in flaconettes for $1.50, making them more accessible while still exquisitely presented. The packaging was as captivating as the scents themselves: Sylvita appeared in an apricot-and-silver box with a black-and-silver stopper tied in white satin ribbon and decorated with tiny rosebuds, while Cantique du Roy came housed in a bold red-and-gold striped box, its stopper checked in gold and black, adorned with a miniature red enamel medallion. Even the face powders, priced at $3 to $4 a box, carried the same luxurious aesthetic, with containers and fragrances designed to match the perfumes.

By 1925, Boué Soeurs was presenting these products to a wider American audience. The Jewelers’ Circular reported that Boué Soeurs Inc. would make their debut at the Chicago trade show, represented by Leo V. Newman, sales manager, and joined by treasurer Julio Lupus traveling from France. Three main perfume lines were emphasized: Cantique du Roy, described as a “blended Eastern perfume” available in perfume, toilet water, and powder; Sylvita, a luminous blend of twenty different flowers; and a new, unrevealed fragrance, intriguingly positioned as a fusion of Oriental and floral notes. Boué Soeurs also introduced novelty vanity products—sumptuous silk purses and bags ingeniously equipped with lipstick tucked into tassels, compartments for powder, rouge, cigarettes, change, and even a mirror. These items demonstrated the house’s dedication to luxury not only in fashion but also in the accessories of daily life, merging utility with elegance.

Together, these accounts illustrate how Boué Soeurs positioned their perfumes and cosmetics as couture objects in their own right. Their emphasis on refined packaging, carefully composed scents, and clever novelty items ensured that their beauty products were as desirable and distinctive as their gowns. Each item reflected the house’s ethos: to create a total aesthetic experience where fashion, fragrance, and accessories formed a seamless expression of luxury and artistry.

In 1925, The Pharmaceutical Era reported on an innovative marketing concept that set Boué Soeurs apart: the seamless pairing of couture and perfumery. P. J. Diffley, the general manager of Boué Soeurs, explained during his visit to Denver that the house’s gowns—designed by Countess Sylvia Montaguet and Baroness Jeanne d’Etrellis—were characterized by their delicate floral motifs, which were more than just decorative. To enhance these designs, each gown was intended to be accompanied by a corresponding perfume, a fragrance chosen to bring the floral theme to life. Whether rose, carnation, or another bloom, the scent was envisioned as the invisible finishing touch, making the flowers of the garment seem to blossom in the air with fragrance.

This concept reflected Boué Soeurs’ remarkable ability to weave together multiple arts—dressmaking, perfumery, and even pharmacy—into a unified luxury experience. Perfume was not simply an accessory but an extension of the garment itself, designed to harmonize with the fabrics and motifs. Diffley noted that while he could bring perfumes directly from France, it was the role of the costumer to explain to clients how a specific scent would accentuate their gown, transforming the flower design from embroidery or ribbonwork into a living, breathing bloom. In this way, perfume became as integral to fashion as lace or silk, a sensory embellishment as essential as any material detail.

The phrase “Then enters the pharmacist” reveals how perfumery was still tied to pharmacy during this period, underscoring the scientific and artisanal knowledge required to create these “novel odors.” By coupling couture and fragrance, Boué Soeurs was not only selling dresses and perfumes but also orchestrating an immersive luxury lifestyle, one in which sight, touch, and scent worked in concert to create an unforgettable impression. This innovative approach epitomized the interwar fascination with total artistry—where fashion houses sought to engage all the senses in the name of elegance and refinement.

Bottles:

The perfume bottles created for Boué Soeurs were conceived as miniature reflections of their couture, echoing the same sense of history, romance, and feminine refinement. Each flacon was crafted with a tall, slender neck that conveyed delicacy and grace, while the bases were shaped to resemble crinolines or panniers—silhouettes that recalled the grand gowns of eighteenth-century Paris. This deliberate nod to the fashions of Marie Antoinette’s court imbued the bottles with a sense of nostalgia, tying them to a time of opulence, elegance, and aristocratic splendor. In essence, the bottles themselves became wearable art for the vanity table, visually linking the wearer to the heritage of French style.

To reinforce their couture identity, the bottles were decorated with materials that directly mirrored the details of Boué Soeurs’ gowns. The surfaces were adorned with paper that imitated the look of delicate lace, creating the illusion of transparency and texture. Tiny silk rosettes, in pastel hues, were carefully affixed to the bottles, just as they would have been sewn onto a gown, while satin ribbons tied in soft shades added an additional flourish of femininity. These embellishments blurred the line between fashion and perfumery, transforming the flacons into couture objets d’art.

In this way, Boué Soeurs perfumes were not only about the fragrance contained within but also about the total experience of luxury and beauty. Each bottle conveyed the same meticulous artistry as the sisters’ gowns, offering women a piece of fashion history in miniature form. They were perfumes to be worn, but also treasures to be displayed, capturing the romance of Parisian elegance and the unique identity of one of the early twentieth century’s most refined couture houses.

By 1924, Boué Soeurs had firmly established themselves not only as couturiers but also as creators of perfumes that embodied the same refinement and artistry as their gowns. According to The Pharmaceutical Era (Vol. 58, 1924), the origin of their perfumes was almost accidental. One of the Boué sisters, amid her couture work, created a personal fragrance for her own use. Its charm did not go unnoticed—her exclusive clientele, always eager for a touch of individuality, became curious about its creation. At first, Mme. Boué offered her perfume as gifts to favored clients, but when demand grew insistent, she was compelled to manufacture it on a larger scale. What began as a private indulgence soon became a commercial venture, with a factory established in Pantin, a suburb of Paris, to meet the growing demand.

Among the house’s perfumes, the leading staple was Quand les Fleurs Rêvent (When Flowers Dream), easily identified by the distinctive rose affixed to the ribbon of its container. This motif became a recognizable hallmark of Boué Soeurs’ perfume line, a symbol of the romantic femininity that defined their brand. Another notable innovation was their presentation of perfume essences in silver cloth purses designed to fit neatly into a handbag—an elegant and practical accessory that quickly gained popularity with fashionable women of the era.

Boué Soeurs paid close attention to packaging, ensuring their products were as visually compelling as their gowns. Boxes were ingeniously constructed to open from both the top and sides, allowing shopkeepers to display the flacons to full advantage in cases. This clever attention to merchandising reflected their understanding of both luxury and commerce. In the spring of 1924, they introduced a “bridal line”, an exquisite range of products packaged with white ribbons and adorned with the familiar Boué Soeurs rose, designed to appeal to brides and their families. Their powders, too, were lavishly presented in boxes covered with paper resembling velvet or suede, further embellished with the house’s signature sash and roses.

Through these thoughtful details, Boué Soeurs successfully translated the romance and artistry of their couture into perfumery. Their perfumes were more than scents—they were fashion accessories in themselves, combining elegance, novelty, and utility in a way that reflected the refined taste of their elite clientele.  

Face Powder Boxes:

The face powder from Boué Soeurs was presented with the same elegance and attention to detail that characterized the sisters’ couture gowns. Housed in a round box, its surface gleamed in a striking combination of black and gold, a palette that spoke of luxury, refinement, and timeless sophistication. The bold contrast between the two tones echoed the Art Deco aesthetic of the 1920s, making the box not only a cosmetic container but also a fashionable accessory in its own right.

Adding a soft touch of femininity to this dramatic color scheme was a delicate blue silk ribbon, carefully tied to enhance the sense of refinement. Nestled against the bow was a miniature bouquet of silk flowers, recalling the couture house’s signature use of tiny hand-stitched rosettes and floral passementerie that adorned their dresses. This detail tied the powder box directly back to the Boué Soeurs aesthetic—romantic, graceful, and unapologetically decorative.

Altogether, the presentation elevated a simple toiletry into an object of desire, something a woman could proudly display on her vanity. It was not just a face powder, but a reflection of the Boué Soeurs ethos: that beauty should be enveloped in layers of artistry, delicacy, and dreamlike charm.

The Perfumes:

List of Boue Soeurs Perfumes: 

• 1920 Origamine 
• 1922 Quand les Fleurs Revent  
• 1923 Pour L’Amour 
• 1924 Lilas de Minuit 
• 1924 Sylvie
• 1924 Slyvita 
• 1924 Sylviette 
• 1924 Cantique du Roy 
• 1924 La Rose Sylvie
• 1925 Cote d'Azure Roses
• 1925 Cytherea
• 1925 Bacchanale
• 1926 Jasmin
• 1926 Valencia
• 1926 Florale
• 1926 Hyacinth
• 1930 Ambrya

1920 – Origamine

The name Origamine seems to be a play on words, possibly evoking L’Origan by Coty, one of the most influential perfumes of the early 20th century. Pronounced oh-ree-gah-MEEN, the title suggests a link to “origan” (French for oregano), which in perfumery refers not to the herb itself but to a spicy, floral, amber style of fragrance made famous by Coty. Origamine likely shared this warm, carnation-like spiciness, mingling with orange blossom, jasmine, and amber, echoing the bold oriental florals popular in the post–World War I years.

1922 – Quand les Fleurs Rêvent (When Flowers Dream)

Pronounced kahn lay flœr ray-VAHN, this was Boué Soeurs’ first perfume, created in 1922 at their historic Château de Maison Rouges outside Paris. The name itself—When Flowers Dream—conjures a romantic, slightly surreal image: blossoms imagined as dreamers, releasing their fragrance into twilight air. Described as sweet, haunting, reminiscent of an old-fashioned garden at dusk, it would likely have combined violet, heliotrope, and rose with soft powdery notes, evoking the gentle fall of dew at evening. This became the house’s signature scent, aligning perfectly with the ethereal, lace-draped gowns for which Boué Soeurs were known.

1923 – Pour L’Amour (For Love)

Pronounced poor lah-MOOR, this fragrance’s name immediately evokes romance, devotion, and passion. A perfume called For Love in the early 1920s would likely have been tender and floral, perhaps a bouquet of rose and jasmine underscored by a warm, musky base. It would have appealed to women who embraced the language of sentiment in both fashion and scent, a perfect match for the house’s ribboned gowns and delicate femininity.

1924 – Lilas de Minuit (Lilac of Midnight)

Pronounced lee-LA deh mee-NWEE, the name translates as Lilac of Midnight—already a poetic image of delicate lilacs blooming in darkness. It was described as sweet, light, the exquisite crystallization of femininity. One imagines a sheer lilac note, sparkling with aldehydes, floating over a powdery base, delicate yet haunting. Its presentation in a gold-and-black striped box with a blue-and-silver checked stopper emphasized both elegance and mystery.

1924 – Sylvie

Pronounced SEEL-vee, this perfume likely took its name from Sylvie Boué, one of the couture house’s founders. The fragrance might have been a personal floral tribute, soft and romantic, centered on rose or lily of the valley, accented by powdery notes to reflect the refined femininity associated with Sylvie’s couture creations.

1924 – Sylvita

Pronounced seel-VEE-tah, this perfume was marketed as a summer bouquet blend of twenty different flowers. Described as sweet, light—the fragrance of lilting, laughing life and youth, it would have captured the optimism of the 1920s flapper era. Bright blossoms such as rose, jasmine, mimosa, and violet would likely have been arranged in a playful harmony, lifted with aldehydes for radiance. Its apricot-and-silver box, decorated with ribbons and rosebuds, perfectly echoed its youthful spirit.

1924 – Sylviette

Pronounced seel-VYET, the name suggests a diminutive or variation of “Sylvie,” possibly honoring Jeanne Boué or a muse of the house. Marketed as a spring bouquet, it likely featured lighter, fresher florals—perhaps hyacinth, daffodil, or violet—suggesting renewal and innocence, a contrast to the richer florals of Sylvita.

1924 – Cantique du Roy (Song of the King)

Pronounced kahn-TEEK doo RWAH, this was one of Boué Soeurs’ most dramatic creations. The name translates to Song of the King, immediately evoking grandeur, history, and Oriental splendor. Described as rich, heavy, spicy, reminiscent of ancient splendors, it was positioned as a sophisticated Eastern blend. Likely incorporating resins, spices like clove and cinnamon, and opulent florals, it conjured the image of royal courts and exotic luxury. Its packaging—red-and-gold striped boxes and hand-painted bottles with enamel medallions—reinforced its majestic identity.

1924 – La Rose Sylvie (The Rose Sylvie)

Pronounced lah ROHZ seel-VEE, this fragrance clearly centered on rose, the queen of flowers, paired with the personal identity of Sylvie Boué. It likely highlighted the natural lushness of French roses, perhaps softened with violet or iris, reflecting refinement, femininity, and the timelessness of rose in perfumery.

1925 – Côte d’Azur Roses (Roses of the French Riviera)

Pronounced koht dah-ZOOR ROHZ, this perfume name refers to the French Riviera, long associated with glamour and leisure. The fragrance likely celebrated the famed roses grown in Grasse, the heart of French perfumery. One imagines a sunlit rose accord, radiant with citrus and sea breezes, softened with musks to suggest Mediterranean warmth.

1925 – Cytherea

Pronounced see-theh-RAY-ah, this name references the goddess Aphrodite (Cytherea being one of her epithets, after the island of Cythera). It would have been a sensual, romantic perfume, likely dominated by white florals such as tuberose and jasmine, underscored by musk or amber. A scent designed to embody seduction and divine femininity.

1925 – Bacchanale

Pronounced bahk-kah-NAHL, this name evokes the Roman Bacchus, god of wine, and his wild, ecstatic festivals. The perfume likely leaned toward bold oriental or chypre notes—amber, patchouli, perhaps fruits and spices—intended to suggest intoxication, abandon, and the thrill of revelry. It would have been daring and dramatic, especially against the refined backdrop of Boué Soeurs fashion.

1926 – Jasmin (Jasmine)

Pronounced zhas-MAN, this perfume celebrated the timeless sensuality of jasmine. Likely using jasmine from Grasse or Egypt, it would have carried the narcotic sweetness and slightly animalic undertone that made jasmine a cornerstone of perfumery. Its simplicity of name reflects confidence in the power of the raw material itself.

1926 – Valencia

Pronounced vah-LEN-syah, this fragrance was named after the Spanish city of Valencia. It was described as joyous, gay, bewitching as a summer night under starlit skies, and as the favorite bouquet odor of Spanish nobility. With imagery of scarlet poppies and flamboyant blooms, Valencia likely blended orange blossom (a key flower of Spain) with fiery florals and perhaps a fruity undertone, conjuring a Mediterranean richness.

1926 – Florale (Floral)

Pronounced floor-AHL, this straightforwardly named perfume was likely a luminous bouquet fragrance, a balanced harmony of rose, violet, jasmine, and iris. Its name suggests universality and versatility—an ode to flowers themselves, presented with classic elegance.

1926 – Hyacinth

Pronounced EE-ah-sant, this perfume celebrated the spring bloom of hyacinth, known for its green, watery, almost dewy sweetness. It would have been fresh and uplifting, evoking the rebirth of spring gardens and appealing to women who embraced youthful and naturalistic scents.

1930 – Ambrya

Pronounced ahm-BREE-ah, the name suggests amber and warmth. Introduced at the dawn of the 1930s, Ambrya would likely have been a golden, resinous fragrance, blending amber, labdanum, and vanilla with musks. It would have reflected the growing popularity of heavier, more opulent perfumes as the Art Deco period embraced bold glamour and sophistication.

 

 

 

 

 

In 1927, The National Drug Clerk reported on the growing presence of French luxury goods in the American market, highlighting the formation of the Syndicate des Parfums Français, Inc. This organization was created as a dedicated sales body to introduce and represent a range of perfumes and toiletries from established French houses to the United States. Its mission reflected the increasing appetite among American consumers for imported French beauty products, which were regarded as the epitome of elegance, sophistication, and authenticity in the world of perfumery.

The Syndicate quickly secured exclusive selling rights for a number of notable firms, including Boué Soeurs, whose couture-based perfumes carried the same romantic and opulent spirit as their gowns. Alongside Boué, the syndicate represented Valencia, Bernard Je Roger, and Marques de Elorza, each contributing its own distinct style and olfactory signature to the growing portfolio. By aligning these French brands under one distribution umbrella, the organization ensured their visibility and accessibility in a competitive American marketplace that increasingly prized both novelty and continental luxury.

This move underscored the growing globalization of perfumery during the 1920s, when Parisian fashions and fragrances were being exported not just as products, but as symbols of cultural aspiration. For houses like Boué Soeurs, being represented by the Syndicate des Parfums Français meant extending their influence beyond couture salons into the wider realm of American consumer culture, firmly situating their perfumes alongside the most desirable imports of the Jazz Age.

Marques de Elorza

It is interesting to note that in 1925, the perfume house of Marques de Elorza launched a perfume of Quand les Fleurs Revent, the same name as Boue Soeurs first fragrance, this is because the two houses were associated. In addition to this perfume, Marques de Elorza also launched perfumes such as Sylvie after Sylvie Boue.

The house of Marques de Elorza was established by Marques Julio Lupus de Elorza at 73 avenue Champs-Elysees, Paris in 1926, Christie Mayer Lefkowith mentions that the company was established by Avran Moscovici. Their company as also affiliated to Chenier, Parfumerie Brecher, and Parfums de Paul and associated with Boue Sœurs. You will see the same perfume names used by Boue Soeurs and Marques de Elorza. The company produced interesting and luxurious perfume presentations, but as the 1930s started, their presentations were of lesser quality.

 

The bottle for Cantique des Cantiques (Song of Songs) was designed by Julien Viard and made by Verreries Leune. The bottles for both Valencia and Argentina were also designed by Julien Viard and manufactured by Depinoix. Argentina, a heavy, oriental style perfume, was not named for the country but rather for a popular opera singer at the time, the perfume was the re-branded fragrance 'Soir de Lune' by Parfumerie Brecher.

The perfume bottle for Marche Nuptiale (Wedding March) a heavy, oriental style perfume, was the re-branded fragrance ‘Marché Nuptiale’ by André Chenier. Presented in a bottle designed by Julien Viard, and manufactured by Depinoix, which featured a bride holding hands with Cupid. The name was taken from a then popular Parisian play.

The perfumes of Marques de Elorza:

• 1925 Bacchanale
• 1925 Bleu-Blanc
• 1925 Blue Ribbon
• 1925 Cantique du Roy
• 1925 Lilac de Minuit
• 1925 Parfums Boue
• 1925 Quand les Fleurs Rêvent
• 1925 Sylvie
• 1925 Sylviette
• 1925 Sylvita
• 1928 Cantique des Cantiques
• 1928 Lyrysis
• 1928 Radior
• 1928 Solarine
• 1928 Sybyl
• 1929 Legion d'Honneur
• 1929 Maitresse
• 1929 Marché Nuptiale
• 1929 Sweet Peas de Printemps
• 1929 Valencia
• 1929 Argentina
• 1950 Ming Jade
• 1951 Aperitiff
• 1951 La Fleur Merveilleuse
• 1951 Spring Madness
• 1951 Taj Mahal
• 1951 White Enchantment
• 1951 Do-Re-Me
• Geicha (1920s)

National Drug Clerk, 1927: "The Syndicate Des Parfums Francais, Inc. This concern is a sales organization to represent in this country, various lines of perfumes and other toilet articles. They have already secured selling rights in this country for such firms as Boue, Valencia, Bernard Je Roger, Marques de Elorza..."

Official Gazette of the United States Patent Office, 1957: "Old Empire Manufacturing Chemists, Inc., doing business as Marques de Elorza, Newark, N. J. Perfumes, toilet water, eau de cologne, etc. 586,531, Mar. 9 ; Serial No. 631,759, published Nov. 3, 1953. "

Parfumerie Brecher

Parfumerie Brecher was established by Paul Brecher in Pontoise at Paris around 1910. Jacques Ernest Mazurier became owner after 1918 moved company to 10 boulevard Bonne Nouvelle, Paris; affiliated with Benoit and Marquis de Elorza. Perfumes labeled ‘Aux Perfumeries Reunites’.

The bottle for Soir de Noel, is made up of black glass, decorated with abstract motifs of thick enamel in aqua, white and gold. The stopper has the same enamelling. The back side of the flacon is undecorated and features a paper label. The box shape is reminiscent of a Japanese inro case and is fitted with a silk tassel. The design is nearly identical to a bottle used for Shari by Langlois.

Brecher’s perfume Soir de Lune was presented in a cobalt blue glass flacon designed by Julien Viard and manufactured by Depinoix.

The perfume Sous de Charmille (Under the Bower) was also created by Julien Viard and made by Depinoix. a J. Viard bottle made by Depinoix, squatty bulbous clear glass tapering to a small neck & flattened blossom-form stopper, the sides enameled in shades of green & brown w/leaves.

Parfumerie Brecher also had a line of solid perfumes made up of Bakelite starting in 1929, Amour de Folie, Jasmin, Narcisse, Chypre, Lilas, Rose, Violette and possibly others.

The perfumes of Brecher:

• 1911 Mon Bouquet
• 1911 Royal Delices
• 1911 Le Trefle Russe
• 1911 Muguet
• 1911 Violette
• 1924 Sous de Charmille
• 1925 Œillet
• 1925 Chypre
• 1925 Doux Réve
• 1925 Le Temp des Fleurs
• 1925 Le Vrai Narcisse
• 1925 Les Fleurettes/Mes Fleurettes
• 1925 Tabac Jaune
• 1927 Bonjour Paris
• 1927 Fumee Bleue
• 1927 Soir de Lune
• 1929 Amour de Folie
• 1929 Lolita
• 1929 Soir de Noel
• 1930 En Promenade
• 1930 L'An

Parfums de Paul

Parfums de Paul was established by D.P. Paul in 366 Fifth Avenue New York and Paris and active between the two World Wars producing novelties and luxury presentations; they were affiliated to Marques de Elorza.


The bottle for Nuit de Mariage by Parfums de Paul was presented in a bottle, box and label by B.T.C.I.C.. Also in a bottle made by Verrières Viard.


The perfumes of Parfums de Paul:

• 1926 Nuit de Mariage

Benoit Perfumes

Benoit, established in 1926 by Marco Barouh, of Barouh & Hermanos located at 10 boulevard Bonne Nouvelle, Paris in 1926; in association with Garcia Anastasios Somoza established at 77 A Prado St Havana, Cuba; launched a range of fragrances between 1926 and 1942. Affiliated with Brecher.

The perfumes of Benoit:

• 1925 Merry Christmas
• 1926 Orage d'Amour
• 1926 Lune de Miel
• 1928 Nuit de Paques (Easter Evening)
• 1929 Jardin du Mystere
• 1930 Une Corbeille de Fleurs
• 1935 Ange de Jericho
• 1935 Ange de Glorie
• 1940 My Kiss
• 1942 Clair de Lune
• 1942 Maderas de Tropico
• 1942 Muguet de Mai
• 1942 Aromas de Oriente
• 1942 Clavel Rojo
• 1942 Nuit de Paris
• 1942 Aromas de Oriente
• Un Soir de Folie (unknown launch date)
• Chamelle (unknown launch date)