Parfums Lionceau & Les Parfums Elesbe

Parfums Lionceau was founded in 1920 by Michel Schasseur at 110 rue Demours in Paris, during a time of postwar optimism and flourishing creativity in the French perfume industry. The name Lionceau, which translates to "lion cub," conveyed a sense of charm and youthful nobility, qualities that were reflected in the company’s branding and aesthetic. From the beginning, Parfums Lionceau was positioned as a luxury perfume house, placing great emphasis on exquisite presentation and craftsmanship. Their fragrances were not just scents—they were elegant objects, often housed in elaborately designed bottles that underscored the refined character of the brand.

The company gained early recognition for the quality of its flacons, many of which were created by some of the leading glassmakers and designers of the day. Lionceau commissioned bottles from René Lalique, whose artistry elevated perfumery packaging into fine art, as well as from Henri Saumont and André Jollivet, both known for their elegant, often geometric bottle designs. These collaborations helped position Lionceau alongside other top-tier French perfume houses of the time. Their products found a strong market abroad, particularly in the United States, where French perfume was synonymous with sophistication.

In 1922, just two years after its founding, the company was acquired by S.S. Pierce, a well-established Boston-based food and luxury goods retailer known for importing high-quality European products for American consumers. This acquisition allowed Lionceau to greatly expand its reach across the Atlantic. Despite being owned by an American firm, the brand maintained its identity as an authentically French house, with manufacturing, bottling, and packaging still performed in Clichy, a suburb of Paris.

A 1927 advertisement emphasized this dedication to French craftsmanship with great pride: “All Lionceau products are made in our own laboratories in Clichy, which also supply the Lionceau shops on the rue Royale and the Champs-Élysées… Each bottle is carefully filled by hand… Every Lionceau product is boxed under our own supervision… You find a certificate of authenticity in each individual package.”

This focus on careful, in-house production and packaging helped reinforce the image of Lionceau as a refined, high-quality brand—even as it catered to international markets. The house also maintained two retail outlets in prestigious Parisian locations: one on the rue Royale and another on the Champs-Élysées, further enhancing its status as a luxury brand.

Lionceau also had known ties with two other perfume entities: Parfums Demours and a lesser-known brand called Elesbe, though the exact nature of these affiliations remains unclear. It may have been a matter of shared ownership, distribution networks, or bottle manufacturing. Regardless, this web of associations positioned Lionceau within a small but interconnected circle of Parisian perfume producers during the 1920s.

In 1927, the company underwent another transformation when it was purchased by Roger de Soria, who is remembered chiefly for commissioning the most lavish presentation ever produced by Lionceau. That same year, de Soria collaborated with René Lalique to create a single opulent presentation for the house—a remarkable piece that has since become a prized collectible among perfume bottle connoisseurs. It marked a high point in the company’s artistic direction and underlined its commitment to luxurious and meticulously crafted products.

Unfortunately, this moment of triumph was relatively short-lived. By 1935, Parfums Lionceau ceased operations. Whether due to financial challenges, shifts in market demand, or the increasingly competitive landscape of perfumery, the company quietly closed its doors. Though it existed for only 15 years, Lionceau left behind a legacy of elegance and quality, particularly evident in the finely made bottles and sophisticated branding that distinguished its products. Today, remnants of Parfums Lionceau—particularly its bottles by Lalique and others—remain highly sought after by collectors of early 20th-century French perfumery.

Among the offerings of the house of Lionceau, three subtly distinguished perfumes stood above the rest, each capturing a different mood yet unified by refinement and unmistakable French elegance. La Saison des Fleurs was the most delicately fresh and sweet of the trio, evoking the gentle unfolding of spring blossoms. Its character suggested tender petals warmed by sunlight—light, graceful, and effortlessly feminine. The sweetness was never cloying, but airy and luminous, making it particularly fashionable for daytime wear and favored by women who preferred understated charm over dramatic statement.

In contrast, Nuit d’Egypte embraced a languidly sweet oriental character, deeper and more enveloping. This fragrance suggested warm evenings beneath distant skies, with a velvety richness that lingered close to the skin. Its sweetness was slow and hypnotic rather than bright, composed in a way that hinted at exotic resins and softly spiced florals. It carried an aura of mystery and sensual sophistication, ideal for evening occasions when a more intimate and captivating presence was desired.

Completing the trio, Brise des Indes offered a piquant yet seductively sweet composition. Unlike the gentle freshness of La Saison des Fleurs or the dusky warmth of Nuit d’Egypte, this fragrance balanced brightness with depth. There was a subtle sharpness—perhaps suggestive of spice or aromatic woods—that gave it character and distinction, while its sweetness ensured elegance rather than austerity. It was spirited yet refined, fashionable without excess.

Each of these perfumes was not merely a scent but a complete toilette ensemble. The fragrance line included the concentrated extract for the pulse points, a perfumed face cream delicately scented to match, and two complementary powders designed to layer and prolong the fragrance. All the necessary toiletries were offered in harmonious coordination, allowing the wearer to envelop herself fully in her chosen perfume. Emphasizing authenticity and quality, every product was distinctly French and sealed—even within the Lionceau boutiques in Clichy—underscoring their purity, exclusivity, and the house’s dedication to impeccable presentation.

c1930 advertisement

Lionceau:

The perfumes of Lionceau:

• 1920 Roval
• 1920 Mille Fleurs (in a bottle by Rene Lalique)
• 1923 Flor de Espana
• 1924 Le Temps Des Fleurs (a bouquet odeur)
• 1924 Mossieu Gugusse (under Elesbe label)
• 1925 Fleur d'Egypte (Made of the oils of rare Egyptian flowers subtly blended for you by the skilled artistry of Lionceau)
• 1925 La Saison des Fleurs (delicately fresh and sweet, straight floral perfume)
• 1925 Les Fleurs et Le Jardin
• 1925 Brise d'Arabie (an oriental perfume)
• 1925 Brise des Indes (piquant but seductively sweet oriental perfume, it combines the wistful fascination of the Indies sea breezes in a languid exquisite odeur.)
• 1925 Premiers Fleurs
• 1925 Fleur Timide
• 1925 Fleur Unis
• 1925 Place de l'Opera (a light floral bouquet perfume)
• 1925 Chanson D'Automne
• 1925 Parfum pour Blondes (a light floral bouquet perfume in jade green bottles)
• 1925 Parfum pour Brunes (a heavy floral bouquet perfume in coral red bottles, this new, spicy odeur was created to emphasize the vivacity, the tireless energy of the brunette.)
• 1925 Le Fleuve Bleu (a pungent, heavy floral bouquet perfume in black bottles)
• 1925 Fleur de Paris
• 1926 L'Ambré
• 1926 Nuit d'Egypte (a languidly sweet oriental perfume, delicate, subtle..yet as warmly glowing as its golden-amber color, light, youthful, sophisticated)
• 1926 Chypre
• 1927 Pierre Précieuse (in Lalique bottle)
• 1927 Nouveau Desir
• 1927 Poéme Arabe
• 1927 Violette (a straight floral perfume)
• 1927 Narcisse (a straight floral perfume)
• 1927 Jasmin (a straight floral perfume)
• 1927 Rose (a straight floral perfume)
• 1928 Lune de Venise
• 1930 Les Fleurs Divines
• 1930 La Fleur Modern
• 1930 Chanson de Beauté
• 1930 Chanson de Bois
• 1930 Chanson de Vie
• 1930 Chant de la Mer
• 1930 Verve
• 1930 Arc en Ciel
• 1930 Arlene
• 1930 Fleur du Sahara
• 1932 Gardenia
• 1940 Midi Fleuri
• 1940 Fleurs de Castel

Lionceau's Opaque Colored Glass Bottles:

In 1927, Lionceau applied for a patent for its distinctive opaque glass perfume bottles, which quickly became a defining element of the house’s visual identity. These bottles were produced in a range of rich opaque colors, each hue corresponding to a particular fragrance. Although a contemporary advertisement mistakenly credited the design to Lalique, the bottles were in fact manufactured by H. Saumont, not Lalique. The confusion likely stemmed from the fashionable association of frosted and colored glass with the celebrated glass artist of the period. Authentic Lionceau bottles are marked “Made in France” on the base, a discreet but important detail for collectors and historians seeking to verify originality.

Interestingly, after Lionceau ceased operations in 1935, the jade green bottles found a second life. A company named Erce used the same jade green flacon for its perfume Ever Green. These bottles are marked “Lionceau Paris France” on the base, suggesting that Erce acquired the remaining stock of bottles and boxes following Lionceau’s closure. This reuse of existing inventory was not uncommon during the era and provides a fascinating glimpse into the afterlife of luxury packaging in the interwar perfume trade.

Lionceau’s opaque bottles were produced in several sizes, offering versatility for both vanity display and handbag use. The tallest measured approximately 5 7/8 inches, followed by 4 inches, 3 1/8 inches, and the smallest at 2 1/2 inches tall. This graduated sizing allowed customers to select according to preference and budget, while maintaining the same elegant design proportions across the range.

Pricing in 1927 reflected both accessibility and luxury. Miniature bottles were offered at $3.95, while regular-sized perfume bottles reached $25.00—a considerable sum at the time, positioning Lionceau within the upper tier of the fragrance market. Toilet waters, lighter and more economical, were priced at $1.95, making the brand attainable to a broader clientele while preserving its refined image.

Contemporary coverage in Vogue in 1927 eloquently captured the romantic marketing of Parfum Pour Blondes and Parfum Pour Brunes. The house sought to “interpret in fragrance the temperaments of these two feminine types,” presenting Pour Blondes as an embodiment of joyous life and freedom, housed in a vivid jade green flacon. In contrast, Pour Brunes was described as an ode to mystery and romance, presented in a richly coral-red bottle. Each perfume was offered in three convenient sizes and encased in a gold-lined box simulating rich, soft suede in a matching hue. The fragrance theme extended beyond the extract itself—each scent was artfully repeated in a finely milled face powder, allowing women to envelop themselves completely in their chosen olfactory persona.

Pierre Precieuse:

The only known Lionceau bottle designed and produced by René Lalique was created for the perfume Pierre Précieuse, and it stands apart from the house’s other flacons in both artistry and opulence. Unlike the opaque glass bottles manufactured by H. Saumont, this example was conceived as a true luxury object—more jewel than mere container. The bottle was square-cut in form, crafted in pressed and molded glass, and entirely gilded so that its surface shimmered with a rich golden brilliance. At the center, a faceted crystal stone was set prominently into the design, deliberately imitating a diamond and reinforcing the perfume’s name—Pierre Précieuse, or “precious stone.” The effect was theatrical yet refined, a bottle intended to evoke the glamour of high jewelry.

The presentation was equally elaborate. The bottle was housed within a luxurious black case lavishly adorned with gilded detailing and a delicate polychromed floral decoration. The box itself was conceived as part of the jewel-like experience, transforming the perfume into a ceremonial gift item. A bakelite loop was fitted to the case, adding a modern material accent typical of the late 1920s, while also serving a practical purpose in handling the box. Inside, the interior was lined in luminous jade-colored silk, which formed a raised display stand specifically designed to cradle and showcase the ornate bottle. When opened, the box revealed the flacon as though unveiling a treasured gem.

The perfume bottle design was officially registered on July 28, 1927, firmly placing it within the height of the Art Deco period, when geometry, luxury materials, and bold ornamentation defined fashionable taste. This Lalique creation embodied those principles perfectly—structured, radiant, and consciously extravagant.

A 1927 feature in Vogue reinforced its status as a supreme holiday offering. The advertisement described it as “Most exclusive of Holiday Gifts,” celebrating the “subtle and incomparable fragrance of a new perfume shrined in a golden gem like bottle and a jewel like case of golden green.” Priced at $50—a remarkable sum for the era—it was presented as “moderate for so rare a tribute to a lovely lady.” In context, the cost underscored its exclusivity; Pierre Précieuse was not merely a perfume, but a statement of devotion, luxury, and artistic refinement.

The alternate bottle created for Pierre Précieuse was designed by André Jollivet and presented a dramatically different interpretation from the gilded Lalique version. This flacon was executed in jet black opaque glass, formed in a strong square silhouette that reflected the bold geometry of late 1920s Art Deco design. At its center, a molded panel provided sculptural relief, its details carefully accentuated with gold enamel to create a striking contrast against the deep black ground. The effect was sleek, modern, and architectural—less jewel-like than the Lalique bottle, yet equally sophisticated in its restraint and graphic impact. The design relied on the interplay of matte opacity and gleaming gilded highlights to convey luxury. These bottles were produced in two sizes: a larger version measuring approximately 3.25 inches tall by 2.5 inches wide, and a slightly smaller example at 2.75 inches tall by 2 inches wide, both maintaining the same bold proportions and decorative treatment.

Other Lionceau bottles:

The bottle shown below is executed in clear and frosted crystal, combining transparency with softly diffused surfaces to create depth and refinement. Both the body of the bottle and its matching ball-shaped stopper are molded in relief with a continuous floral frieze that encircles the form. The floral decoration is delicately raised from the surface and then carefully hand-finished, allowing the design to stand out against the satin-like frosting of the glass. This interplay between polished clarity and matte translucence gives the bottle a luminous, almost ethereal presence when light passes through it.

In the example described, the recessed details of the floral frieze are picked out in a rich maroon patina, which settles into the molded contours and emphasizes the intricacy of the design. The subtle coloration enhances the sculptural quality of the flowers without overwhelming the crystal’s elegance. This same bottle model was also used to house Parfum Pour Blondes, in which case the floral relief was highlighted with a green patina instead. The shift in color provided a visual cue to distinguish the fragrance while maintaining the same refined form. The result is a beautifully coordinated presentation—classical in ornament yet modern in its crisp, molded execution—perfectly aligned with late 1920s decorative taste.

  

Demours:

Demours was established in 1927 at 110 rue Demours in Paris by Michel Schasseur as a small perfume and cosmetics house. The brand took its name directly from the street on which it was founded, a practice not uncommon among boutique Parisian firms seeking to evoke locality and refinement. Though positioned within the vibrant interwar fragrance market, Demours appears to have released only a single perfume: Fleur de Egypt in 1931. This limited output suggests the house may have operated on a modest scale or for a brief period, making its creations comparatively obscure today. The name Fleur de Egypt reflects the era’s fascination with exoticism and Orientalist themes, a popular inspiration in early 20th-century perfumery.

The Perfumes of Demours:

• 1931 Fleur de Egypt

Elesbe:

Les Parfums Elesbe was established in 1922 at 20 rue Dagobert in Clichy (Seine) by Robert Lawrence Levy, Roger Edge, and Pierre Soria Edge, with the company’s name derived from their combined initials—LSB—stylized phonetically as “Elesbe.” Founded during the vibrant postwar expansion of the French perfume industry, the house reflected the entrepreneurial spirit of the early 1920s. Like many contemporary firms seeking to distinguish themselves in a highly competitive market, Elesbe embraced the fashionable use of novelty bottles as a marketing strategy. Much as houses such as Rochambeau did during the same period, Elesbe understood that distinctive and eye-catching flacons could be as important as the fragrance itself, transforming perfume into a decorative object and desirable luxury accessory.

The perfumes of Elesbe:

• 1922 La Pipe Alsacienne (perfume presentation with pipe shaped bottle)
• 1923 Le Papillon Embaume (butterfly presentation)
• 1923 Fougere dans Vase
• 1924 Mossieu Gugusse (Mossieu Clown perfume presentation)
• 1924 As de Trèfle (Ace of Clubs perfume presentation)
• 1924 Aquarium (perfume presentation with fish shaped bottles)
• 1924 Cleopatra’s Bracelet (perfume presentation)
• 1925 Chypre
• 1925 Marolia
• 1925 Jasmin
• 1925 Origan
• 1920s The Thermometer of Love (perfume presentation with thermometer shaped bottle)