Les Parfums de Vigny

Les Parfums de Vigny occupies a fascinating place in the history of French perfumery, not only for its fragrances but also for the remarkable artistic talent that surrounded its creation. The house was founded in 1919 by Lucien Vogel, one of the most influential figures in French publishing and fashion journalism. Vogel established the company with the assistance of his brother Jacques Vogel, a trained perfumer who would later become associated with notable perfume firms such as Dana and Molyneux. Situated at 416 rue Saint-Honoré in Paris, the firm took its name from the celebrated French Romantic poet Alfred de Vigny, lending the young perfume house an aura of literary sophistication and cultural refinement from its inception.

From the beginning, Vigny distinguished itself through a unique duality. The company cultivated two very different personalities within its fragrance offerings. On one hand were whimsical, humorous creations designed to charm and amuse; on the other were elegant, ethereal luxury perfumes presented with extraordinary artistic refinement. This contrast reflected Lucien Vogel's understanding of modern marketing and visual storytelling. Rather than limiting the brand to a single aesthetic identity, he embraced both playful novelty and high artistic luxury, allowing Vigny to appeal to a broad and fashionable clientele.

The house's more humorous creations were largely the work of Michel de Brunhoff, who conceived memorable novelty perfumes such as Le Golliwogg, Le Chick-Chick, Guili-Guili, and Be Lucky. These fragrances were as much visual objects as they were perfumes. Their bottles and packaging often featured charming figural designs that captured the exuberance and optimism of the post-First World War era. Le Golliwogg, for example, was presented in a striking figural bottle depicting the popular character of the period, while Le Chick-Chick appeared in a bottle shaped like a small bird with a gleaming golden beak. These imaginative presentations became talking points throughout the perfume world and helped establish Vigny as one of the most innovative houses of the 1920s.

 At the opposite end of the spectrum were Vigny's luxurious and ethereal fragrances, which were promoted through some of the most beautiful advertising imagery of the era. The celebrated illustrator Charles Martin created sumptuous advertisements that appeared in the influential fashion publication La Gazette du Bon Ton. These advertisements elevated perfume promotion into an art form, depicting elegant women in sophisticated settings rendered in Martin's distinctive style. Complementing these artistic advertisements were exquisite bottles designed by René Lalique, whose creations represented the pinnacle of French decorative arts. Among the earliest and most celebrated Lalique-designed Vigny bottles were those created for Musky, Ambre, and Jamerose, each serving as a masterpiece of glass design as well as a container for fragrance.

Lucien Vogel's connections within the worlds of fashion, publishing, and art proved instrumental to Vigny's success. Alongside his wife Cosette and her brother Michel de Brunhoff, Vogel founded several influential publications, including La Gazette du Bon Ton, Jardin des Modes, and the French edition of Vogue France. Through these publications, Vogel possessed unparalleled access to the fashionable elite and could promote Vigny's products within the most stylish circles of Paris and beyond. This close relationship between publishing, fashion illustration, and perfumery was a hallmark of the house during its golden years.

In 1921, the company formally adopted the corporate name Les Parfums de Luxe Vigny, S.A., reflecting its growing ambitions and expanding international presence. Contemporary trade publications praised the firm for its originality and modern outlook. A 1927 review described the company as a relatively young house that had quickly specialized in perfume extracts presented in exceptionally original and modern forms. Its novelty bottles, particularly the disheveled-haired "Petit Nègre" bottle of Le Golliwogg and the golden-beaked bird bottle of Le Chick-Chick, were said to have caused a sensation wherever they appeared. Beyond fragrances, the company manufactured a full range of luxury cosmetic products, including face powders, lotions, creams, and makeup preparations. By the late 1920s, Vigny products were being distributed internationally, and the quality of its perfume essences had earned the company a strong reputation throughout global markets.

The character of the house changed significantly after 1929. The departure of the key creative forces who had shaped Vigny's identity—Lucien Vogel, Charles Martin, René Lalique, and Michel de Brunhoff—marked the end of the company's most artistically ambitious period. While the perfume house continued to introduce new fragrances, the extraordinary level of innovation and luxury that had characterized its earlier presentations gradually diminished. The magnificent collaborations between perfumers, artists, illustrators, publishers, and glassmakers that had made Vigny unique were no longer present, and subsequent designs tended to be more conventional.

Beginning around 1933, the company slowly simplified its branding, increasingly using the shorter name "Vigny" rather than the more formal "de Vigny." Despite these changes, the house remained active for decades and retained a loyal clientele. Several of its classic perfumes survived well into the twentieth century. The celebrated fragrances Golliwogg, Echo Troublant, and Heure Intime were still listed for sale as late as 1972, demonstrating the enduring appeal of compositions created during the house's earlier years. Beau Catcher remained available in 1970, further evidence of the remarkable longevity of Vigny's fragrance catalog.

The final chapter of the company came in the 1970s. After more than half a century in business, Vigny released what would become its last fragrance, Coccinelle, in 1974. Soon afterward, the company disappeared from the perfume market. Although the house ultimately closed its doors, Les Parfums de Vigny left an enduring legacy as one of the most imaginative and artistically ambitious perfume houses of the interwar period. Its collaborations with leading figures in fashion publishing, illustration, and glass design transformed perfume from a simple luxury product into a complete artistic experience, making Vigny a remarkable chapter in the history of French perfumery.

De Vigny's exhibit at the 1925 Paris Art Deco exhibition where they were awarded a gold medal. 

 

The Perfumes of Vigny:

• 1919 Musky (renamed Rainure)
• 1919 L'Infidel (allegedly renamed Douce Chose in 1921, an exotic oriental scent, housed in a slim, column shape bottle in a silver box)
• 1919 L'Ambre (an amber perfume)
• 1919 Jamerose (a floral oriental perfume with jasmine, rose, woods, vanilla, sandalwood, ambergris, heavy on the rose)
• 1919 Le Golliwogg (created by Jacques Vogel, an exotic spicy floral amber perfume, subtitled "The Perfume of Romance")
• 1920 Plein Soleil
• 1921 Douce Chose
• 1921 Eloa (an ambery perfume in a gold and black bottle, named after poet and author Alfred, Count de Vigny's epic Eloa)
• 1921 D'ou Vient-Il?
• 1921 La Rose (a floral perfume)
• 1921 Le Lilas (a floral perfume)
• 1921 La Violette (a floral perfume)
• 1921 L'Oeillet (a floral perfume)
• 1921 Le Jasmin (a floral perfume)
• 1921 La Bouquet de Vigny (a floral perfume)
• 1921 Le Muguet (a floral perfume)
• 1921 Le Cyclamen (a floral perfume)
• 1921 La Fougere (a fougere fragrance)
• 1921 Le Chypre (a chypre perfume)
• 1922 Le Bosquet de Vigny (a light, fresh floral fragrance in a hand painted, arched bottle by SPV)
• 1922 Fleur Celeste (a narcisse type floral perfume, subtitled "flower of heaven", formerly Le Narcisse de France)
• 1922 Matinale (a cologne for men)
• 1924 Lionettes Purse size bottles
• 1925 Be Lucky (in a bottle by Baccarat)
• 1925 Le Chick-Chick (created by Jacques Vogel)
• 1925 C'est un Mélange
• 1927 Bon Soir
• 1927 Panier de Vigny
• 1932 Guili-Guili (created by Jacques Vogel, an ambery perfume, subtitled "Parfum des Tropiques")
• 1933 Heure Intime (created by Jacques Vogel, an aldehydic woody floral perfume. Top notes: aldehydes, neroli, bergamot, and lily of the valley Middle notes: rose, jasmine, ylang ylang, carnation, orange blossom, and lilac. Base notes: sandalwood, musk, vanilla, ambergris, and vetiver)
• 1942 Beau Catcher (Top notes: orange, neroli, tangerine, lemon, bergamot, aldehydes. Middle notes: orange blossom, rose, honeysuckle, jasmine, cinnamon, orris. Base notes: sandalwood, musk, cedar, vetiver, civet, ambergris, vanilla, benzoin, rosewood, patchouli)
• 1951 Echo Troublant (a cool, green, woody fougere perfume (lavender, bergamot, vetiver, sandalwood, leather, amber, oakmoss, musk)
• 1950 Chambord
• 1973 Coccinelle (chypre perfume for women, citrus top, warm woodsy base, subtitled "Parfum du Matin")

 

Musky:

Musky, introduced by Les Parfums de Vigny in 1919, perfectly embodied the house’s more ethereal and luxurious aesthetic. The fragrance was presented in an elegant crystal flacon designed by the celebrated French glass artist and jeweler René Lalique, whose creations helped define the visual identity of early twentieth-century French perfumery. Although detailed note listings for Musky have not survived, its name suggests a composition centered on the refined, velvety musk accords that were highly fashionable during the period, likely softened by delicate floral nuances and powdery undertones. 

The perfume was prominently featured in Vigny’s early advertising campaigns and represented the sophisticated, artistic side of the brand's portfolio. Historical references indicate that Musky was later renamed Rainure, a practice not uncommon among perfume houses of the era as fragrances were reformulated, repositioned, or adapted for changing markets. The Lalique bottle associated with Musky remains one of the most recognizable symbols of Vigny’s early years, reflecting the close collaboration between avant-garde decorative arts and luxury perfumery that characterized the golden age of French fragrance.

Jamerose:

Launched in 1919, Jamerose was one of the earliest fragrances created by Les Parfums de Vigny and represented the house's commitment to combining artistic presentation with refined perfumery. Classified as a floral oriental fragrance, Jamerose blended the rich, intoxicating sweetness of jasmine and rose with the warmth of exotic woods, creating a composition that was both elegant and sensuous. The perfume was originally presented in a striking crystal flacon designed by René Lalique. Standing approximately 4.72 inches (12 cm) tall, the bottle featured a distinctive barrel-shaped body molded with linear decorative motifs, crowned by a dramatic crystal spire stopper that emphasized its vertical elegance. An enameled decanter tag tied around the neck provided an additional touch of luxury and craftsmanship. 

As with many successful fragrances of the era, Jamerose was also marketed in alternative presentations. Among the most notable was a charming square purse flacon fitted with a frosted stopper and housed within a protective felt pouch, allowing fashionable women to carry the perfume with them. While these later bottles lacked the artistic pedigree of the Lalique design, they reflected Vigny's understanding of changing consumer tastes and the growing demand for practical yet stylish perfume presentations during the early twentieth century.

L'Infidele:

The perfume L'Infidèle was one of the early creations of Les Parfums de Vigny and was presented in an exceptionally elegant crystal flacon crafted by the renowned French crystal manufacturer Baccarat. The name L'Infidèle (pronounced lan-fee-del) is French for "The Unfaithful Woman" or "The Faithless One," evoking themes of flirtation, romantic intrigue, and the unpredictable nature of love that were popular motifs in the sophisticated Parisian culture of the early twentieth century. 

The perfume was housed in a tall, slender column of clear crystal adorned with fluted lines delicately picked out in gold enamel, giving the bottle a refined architectural appearance. A molded floral glass stopper softened the design with a touch of femininity and grace. In 1921, the fragrance was renamed Douce Chose (pronounced dooss shozh), meaning "Sweet Thing" or "Sweet Little Thing," a title that shifted the perfume's image from one of playful betrayal to one of affection and tenderness. The change reflected a more romantic and approachable marketing direction while preserving the fragrance itself, a practice that was not uncommon among perfume houses seeking to adapt their products to evolving consumer tastes and postwar sensibilities.

Dry Goods Economist - Volume 76, 1922:

"Appealingly different from other designs is this perfume bottle, known as the Column of Gold. It contains a Vigny odor, called Infidel. "

Eloa: 

Introduced in 1921, Eloa was an ambery fragrance created by Les Parfums de Vigny and named in honor of Éloa, the heroine of an epic mystical poem written by the French Romantic poet Alfred de Vigny, from whom the Vigny perfume house derived its name. Éloa (pronounced ay-lo-ah) is a French literary name invented by de Vigny for his 1824 poem Éloa, ou la sœur des anges ("Éloa, or the Sister of the Angels"). In the poem, Éloa is a beautiful angel born from a tear shed by Christ, symbolizing purity, compassion, and innocent love. Drawn by pity and curiosity, she attempts to redeem Lucifer but ultimately falls victim to his seductive influence, making the story a tragic meditation on innocence, temptation, and sacrifice. By choosing this name, Vigny evoked an atmosphere of celestial beauty, mystery, and romantic melancholy that would have resonated strongly with the artistic and literary sensibilities of the era. The fragrance itself was presented in a striking gold and black bottle, a color combination that mirrored the duality of the poem's themes—light and darkness, purity and temptation—while lending the perfume an air of luxury, drama, and sophistication befitting one of the house's most literary creations.

Fleur Celeste:

Introduced in 1922, Fleur Céleste (pronounced flur say-lest), meaning “Flower of Heaven” in French, was a narcissus-centered floral fragrance from Les Parfums de Vigny that had previously been marketed as Le Narcisse de France. The new name emphasized an ethereal, heavenly character, suggesting a bloom of exceptional beauty and purity. Inspired by this celestial theme, Vigny commissioned Baccarat to create an elegant bottle that reflected the perfume’s floral identity. The larger two-ounce crystal flacon was crowned with a remarkable gilded glass stopper sculpted in the form of a flower head, transforming the bottle into a decorative objet d’art as well as a perfume container. To further enhance its luxurious presentation, the bottle was housed in a box designed to imitate richly polished Chinese lacquer, a fashionable decorative style that evoked exotic sophistication and refined taste during the 1920s. 

Smaller versions of the perfume were fitted with frosted glass stoppers, offering a simpler yet equally graceful interpretation of the design. Together, the exquisite Baccarat crystal, floral ornamentation, and luxurious packaging perfectly embodied Vigny’s reputation for combining fine perfumery with exceptional artistry and presentation.

Le Golliwogg:

Introduced in 1919, Le Golliwogg was one of the most recognizable and commercially successful fragrances produced by Les Parfums de Vigny. Created by Jacques Vogel and subtitled "The Perfume of Romance," it was described as an exotic spicy floral amber fragrance that reflected the fascination with fantasy, travel, and exoticism that characterized much of the decorative arts during the early twentieth century. 

The perfume took its name from the "Golliwogg," a fictional character that originated in children's books by British author and illustrator Florence Kate Upton in the late nineteenth century. The character was depicted as a rag doll with dark skin, exaggerated facial features, and unruly hair. While the figure was originally intended as a whimsical toy character, it later became associated with racial stereotypes and is now widely regarded as offensive. In 1919, however, such imagery was commonly used in advertising and commercial art, and Vigny adopted the character as the mascot for one of its most famous fragrance lines. The perfume's visual identity was developed by Michel de Brunhoff, who designed both the distinctive figural bottles and accompanying graphics, creating one of the most memorable presentations in perfume history.

The Le Golliwogg bottles are highly sought after by collectors today. Many were manufactured by Baccarat and featured a charming figural design topped with a black glass stopper molded as Golliwogg's face, complete with real seal fur used to represent his hair. The earliest examples from 1919 were produced in frosted glass, while later versions from the 1920s were made in clear glass. The bottles were issued in five sizes, ranging from an impressive 6¾ inches tall to miniature examples measuring just 2¾ inches. Particularly prized are the rare original versions featuring the detailed molded facial stopper and fur hair intact. Beyond the perfume bottles themselves, Vigny expanded the Golliwogg theme into an entire luxury fragrance line that included fanciful powder boxes emblazoned with the character's head, lotion bottles, tester and sample flacons, and exceptionally rare bronze-and-enamel perfume pins fitted with tiny grates designed to hold perfume-soaked cotton, allowing the wearer to carry the fragrance throughout the day. These imaginative accessories helped transform Le Golliwogg from a simple perfume into one of the most elaborate and collectible fragrance presentations of the Art Deco era.

Le Chick Chick:

Among the most whimsical and charming creations produced by Les Parfums de Vigny was the presentation for Le Chick-Chick, a floral fragrance created as a special Easter-themed perfume. Reflecting the playful and imaginative side of the Vigny brand, the perfume was housed in a delightful crystal bottle manufactured by Baccarat. Rather than relying on traditional bottle forms, the design transformed the flacon into a stylized baby chick, making it as much a decorative object as a perfume container. The crystal body was adorned with elegantly gilded wings that formed the sides of the chick, while an oversized gilded stopper served as its head, creating a charming figural silhouette that captured the spirit of springtime renewal and Easter festivities.

The bottle exemplified the growing trend during the 1920s toward novelty perfume presentations that blurred the line between fine fragrance packaging and decorative art. Despite its playful theme, the execution was luxurious, combining Baccarat's renowned crystal craftsmanship with rich gilded details. The Le Chick-Chick bottles were produced in three sizes, allowing customers to choose between a substantial 5⅜-inch version, a medium-sized 3⅜-inch bottle, or a petite 2⅞-inch miniature. Each was presented in an attractive floral-papered box featuring a drop-front design, a packaging style that enhanced the experience of opening and displaying the perfume. The floral motifs reinforced the fragrance's springtime character, while the elaborate presentation made the perfume a desirable gift item during the Easter season.

Today, surviving examples of Le Chick-Chick are admired not only for their rarity but also for their delightful originality. The combination of Baccarat crystal, gilded ornamentation, and imaginative figural design perfectly illustrates Vigny's ability to balance luxury with humor and fantasy. Alongside creations such as Le Golliwogg and other novelty perfumes from the house, Le Chick-Chick remains a wonderful example of how early twentieth-century perfume manufacturers transformed fragrance bottles into collectible works of art that delighted consumers long after the perfume itself had been used.

Guili-Guili:

Launched in 1932, Guili-Guili was an ambery fragrance created by Jacques Vogel and subtitled "Parfum des Tropiques" ("Perfume of the Tropics"). Like many of Vigny's more imaginative creations, the perfume drew inspiration from a colorful contemporary personality. It was named after the celebrated magician and illusionist Guili-Guili, an entertainer associated with Alexandria, Egypt, whose exotic stage persona captivated audiences throughout Europe and America. He was frequently confused with his rival, the Egyptian magician Gali-Gali, but Guili-Guili cultivated his own legend, humorously claiming to be 25,000 years old and performing in elaborate Egyptian costume. His act featured disappearing eggs and chicks, culminating in the astonishing feat of pulling a seemingly endless string of flags from his mouth. The magician became a sensation in fashionable society, and in 1926 was flown from Paris to New York at the expense of socialite Mrs. Vincent Astor to entertain her guests for a single evening.

The perfume's presentation reflected the mystery and theatricality of its namesake. The rare bottle featured a striking paneled crystal body mounted between a carved mahogany base and a sculptural mahogany top. The upper portion was carved to resemble an African-inspired mask, concealing the inner stopper and lending the bottle an air of ritualistic mystery, while the wooden foot allowed the flacon to stand upright. Standing approximately 6¼ inches tall, the design was unlike any conventional perfume bottle of the period and demonstrated Vigny's flair for transforming fragrance packaging into decorative art. Today, Guili-Guili remains one of the rarest and most sought-after Vigny bottles, admired for its unusual blend of exoticism, craftsmanship, and connection to one of the twentieth century's most memorable stage magicians.

Le Bosquet de Vigny:

Le Bosquet de Vigny was presented in a distinctive bottle that beautifully reflected the fragrance's garden-inspired theme and the refined decorative sensibilities of the Art Deco era. Designed by the renowned French illustrator and designer Georges Lepape, the flacon was crafted in an elegant jade-green glass, its silhouette crowned by a softly rounded arch-shaped top that lent the bottle a graceful architectural appearance. Delicate silver crisscrossing lines adorned the surface, evoking the trellises and latticework commonly found in formal French gardens. A squat conical stopper completed the design, providing a pleasing balance to the bottle's proportions. 

Both the flacon and its presentation box were decorated with linear motifs intended to simulate an espalier, the horticultural technique of training trees and shrubs along a framework, reinforcing the "bosquet" or grove-like imagery suggested by the perfume's name. Manufactured by the glassmakers Société Parisienne de Verrerie and Verreries et Ateliers d'Art, the compact bottle measured approximately 3½ by 2⅜ inches, yet its thoughtful design and harmonious blend of color, form, and ornament made it a striking example of Vigny's commitment to artistic perfume presentation.

Be Lucky:

Introduced in 1925, Be Lucky was one of Les Parfums de Vigny's most whimsical and lighthearted creations, reflecting the house's fondness for novelty perfume presentations. The fragrance was housed in a crystal bottle produced by Baccarat, but it was the stopper that made the design truly memorable. Fashioned from white glass in the shape of a ball, the stopper was hand-painted with a stylized face featuring a broad, cheerful smile and topped with a jaunty black pointed cap, giving it the appearance of a playful clown or comic character. 

The humorous design perfectly complemented the optimistic name Be Lucky, creating a perfume presentation intended to evoke happiness, good fortune, and amusement. While the figural stopper was unique to Be Lucky, the underlying crystal bottle form was also employed for another Vigny fragrance, C'est Une Mélange, demonstrating the company's practice of adapting successful bottle designs for multiple perfumes while distinguishing them through creative decorative elements. Today, surviving examples with the original painted stopper intact are particularly prized by collectors for their charm, rarity, and embodiment of the playful side of 1920s French perfumery.

Chambord:

Chambord was one of Vigny's postwar fragrances, introduced around 1950 and named after the magnificent Château de Chambord, the grand Renaissance château built in France's Loire Valley during the reign of King Francis I. Considered one of the masterpieces of French Renaissance architecture, Chambord is famous for its soaring towers, elaborate roofline, and association with royal splendor. Vigny's advertising embraced this heritage, describing Chambord as "the smell of celebration, luxury and gold," a fragrance that brought "the splendors of the Renaissance" to life while remaining thoroughly modern. The poetic copy suggested that the perfume could inspire dreams and ambitions, allowing the wearer to build castles not in distant Spain, but in "sweet France," evoking romance, elegance, and the enduring allure of French culture. 

The bottle echoed these aristocratic themes. Manufactured by Verreries Brosse, the colorless pressed-glass flacon featured an oval cross-section and was ornamented with four molded scroll motifs that recalled classical decorative carving. Crowning the bottle was a striking gold fleur-de-lis stopper, the historic symbol of French royalty, which reinforced the perfume's connection to France's regal past. The result was a presentation that combined Renaissance-inspired grandeur with the clean, sophisticated styling of mid-century French perfumery.

Grenade Bottles:

Among Vigny's most recognizable standardized bottle designs were the so-called "grenade" flacons, used from the 1930s through the 1960s for fragrances such as Heure Intime, Beau Catcher, Guili Guili, and Golliwogg. Manufactured by Verreries Brosse, these versatile bottles featured a distinctive ovoid shape decorated with a puffed windowpane pattern that gave the glass a faceted, quilted appearance reminiscent of a hand grenade, from which collectors derived the nickname. The matching stoppers echoed the same geometric motif and were finished with a flat, highly polished top that provided a pleasing contrast to the textured body. 

Earlier examples were fitted with elegant glass stoppers, while later production versions often utilized plastic stoppers as manufacturing practices evolved. Miniature bottles were typically equipped with practical brass screw caps. The design proved remarkably adaptable and was employed across multiple product formats, including parfum, eau de toilette, eau de cologne, and perfumed lotions. Its longevity and widespread use made the grenade flacon one of the most enduring bottle styles associated with Vigny, combining functional simplicity with a distinctive decorative character that remained fashionable for several decades.

• 0.18 oz (also listed as 5/28 oz or 5.32ml) Parfum stands 1.75" tall (considered the micro mini bottle has plastic screw cap)
• 5/16 oz (9.24ml, also listed as 1/4 oz) - Parfum bottle stands 2.5" tall
• 5/8 oz (18ml) - Parfum bottle stands 2.87" tall
• 1/4 oz (also listed as 2/7 oz, 8ml) Parfum bottle stands
• 1/2 oz (15ml) Parfum bottle stands 2.75" tall
• 1 oz (30ml) Parfum bottle stands 3" tall.
• stands 3.25" tall.
• 2 oz Eau de Cologne stands 3.75" tall.
• 4 oz Eau de Cologne bottle stands 4.75" tall.
• 8 oz Eau de Cologne bottle stands 5.75" tall.
• 16 oz Eau de Cologne bottle stands 9" tall.
• 4 oz Eau de Toilette bottle stands 4.75" tall
• 2 oz Lotion bottle stands 3.75" tall.

Catalog Reference Numbers:

• Ref. 211 - 1 oz Parfum - Heure Intime (grenade bottle)
• Ref. 212 = 1/4 oz Parfum - Heure Intime (grenade bottle)
• Ref. 214 = 1/4 oz (also listed as 2/7 oz, 8ml) Parfum - Heure Intime (grenade bottle)
• Ref. 275 - 4 oz Eau de Cologne - Heure Intime (grenade bottle)
• Ref. 314 = 1/2 oz Parfum - Beau Catcher (grenade bottle)
• Ref. 400 - 1/3 oz Parfum - Heure Intime (square handbag model in suede envelope)
• Ref. 427 - 2 oz Eau de Cologne - Golliwogg (grenade bottle)
• Ref. 428 = 4 oz Eau de Cologne - Golliwogg (grenade bottle)
• Ref. 94 - 1/3 oz Parfum - Golliwogg (golli bottle)
• Ref. 92 - 2/3 oz Parfum - Golliwogg (golli bottle)
• Ref. 90 - 1 1/2 oz Parfum - Golliwogg (golli bottle)
• Ref. 6009 - 1/2 oz - Golliwogg - Set of Three Perfumes (golli bottles)
• Ref. 6009 - 1/2 oz - Set of Three Perfumes (grenade bottles)
• Ref. 6014 - 1 oz - Set of Three Perfumes (grenade bottles)