Talcum "Lyre" Poudreur Flacons c1922-1960

Guerlain’s Talcum “Lyre” Poudreur Flacons, used for the Talc Parfumé, produced between 1922 and 1960, are among the most charming and collectible accessory bottles of the house. Made exclusively by Pochet et du Courval, they were available in a single size of 150cc. The design is immediately recognizable: a frosted glass body shaped like a lyre or guitar, a graceful reference to classical motifs and the harmonious luxury Guerlain wished to evoke in its ancillary products. The elegant silhouette made even a practical item like talcum powder feel refined and artistic.

The frosted glass version, introduced in 1922, was initially topped with a metal cap, a finish that underscored the sense of luxury. By 1951, however, the metal closure was replaced with a more modern black Bakelite cap, aligning with the postwar shift toward streamlined, durable materials. Despite this change, the bottle retained its lyrical form and frosted surface, which diffused the light and gave the glass a soft, velvety glow.

These flacons held talcum powders in a wide range of Guerlain’s iconic scents, ensuring that the house’s clients could enjoy their favorite perfumes in a lighter, everyday form. Scents packaged in the Lyre bottles included Shalimar, Mitsouko, Djedi, Bouquet de Faunes, Guerlilas, Guerlarose, Guerlinade, À Travers Champs, Rue de la Paix, Une Rose, Jicky, Après L’Ondée, Violette, Vol de Nuit, Liu, Fleur de Feu, and L’Heure Bleue. This breadth of offerings demonstrates Guerlain’s commitment to extending the experience of its perfumes beyond the extrait or eau de toilette into personal grooming.

The bottles were presented in blue-banded cardboard boxes, which served as both protection and a visual identity for the line. This packaging paired simplicity with refinement, echoing Guerlain’s aesthetic of understated elegance.

By the late 1960s, Guerlain discontinued the frosted glass design and replaced it with a white plastic canister, a move that reflected changing manufacturing practices and the growing demand for lighter, more practical packaging. By the 1980s, the design evolved again, with the talcum powders sold in a turquoise plastic canister, which aligned with the colorful branding trends of that decade. While practical, these later iterations lacked the artisanal charm of the original frosted glass lyre-shaped bottles, which remain cherished today as symbols of Guerlain’s golden age of design.

Sizes:

Pochet et du Courval:

• Mould #13333 = 150cc - 15cm

Bottles:

Scents:

• Apres L'Ondee
• A Travers Champs
• Bouquet de Faunes
• Djedi
• Fleur de Feu
• Guerlarose
• Guerlilas 
• Guerlinade
• Jicky 
• L'Heure Bleue
• Liu
• Mitsouko
• Rue de la Paix
• Shalimar
• Une Rose
• Violette
• Vol de Nuit

Natural Spray Colognes c1966-1977

Guerlain’s Natural Spray Colognes, produced between 1966 and 1977, were designed to hold the eaux de cologne concentrations of the house’s most iconic perfumes, including Shalimar, L’Heure Bleue, Jicky, Mitsouko, Vol de Nuit, Chamade, Liu, and Chant d’Arômes. This format was introduced as a refinement over aerosol sprays, which had begun to lose favor due to the chemical propellants that often altered or dulled the natural balance of the fragrance. By contrast, the natural spray mechanism preserved the true character of Guerlain’s creations while offering modern convenience.

The bottles themselves were most likely manufactured by SGD (Société Générale des Verreries) or Pochet et du Courval, both longtime partners of Guerlain. Their design featured vertical ribbing along the body, a stylistic nod to the earlier parapluie bottles, though with a more contemporary, streamlined interpretation. 

The identification of the perfume was handled with the same understated sophistication. A black band encircling the upper body of the bottle displayed the perfume’s name in gold lettering, while an additional label was placed on the underside to confirm the fragrance and concentration. These details reinforced consistency across the line, allowing collectors and consumers to easily distinguish between Guerlain’s classics in this format.

For presentation, the Natural Spray Colognes were housed in the same black-and-white patterned boxes as the disk bottles, a packaging choice that emphasized harmony within Guerlain’s product line of the era. The overall effect was both modern and timeless, balancing the house’s reputation for luxury with the practicality and innovation of spray technology.

Updated Bottles:

In 1971, the bottle shapes remained the same but their spray mechanisms were changed. At the top, each bottle was fitted with a black spray mechanism that was hidden beneath a gold-tone cap. The flat top of the cap was finished with a black plastic disk bearing a raised “G” for Guerlain, a discreet but elegant branding element.

Scents:

• Chamade
• Chant d’Arômes
• Jicky
• L’Heure Bleue
• Liu 
• Mitsouko
• Shalimar
• Vol de Nuit 

Vaporisateur de Voyage (Travel Spray) c1930 - ?

The Vaporisateur de Voyage (Travel Spray), introduced around 1930, was Guerlain’s elegant solution for travelers who wished to carry their perfume safely and stylishly. Manufactured in crystal by Baccarat, the cylindrical spray bottle was designed for both practicality and refinement. Each bottle was sold in a fitted case, often containing one, two, or even three siphon tubes, allowing the user to replace or interchange them as needed. The atomizer hardware itself was supplied by Step Paris, a renowned maker of spray mechanisms.

The bottle was housed within a luxurious protective leather case known as a “gaine sellier”—literally meaning “saddler’s sheath” or “saddler-style casing.” This term refers to the traditional saddle-stitch leatherwork technique used by fine leather artisans, most famously by Hermès, for whom the design was allegedly first conceived before Guerlain adopted it for its travel sprays. The cases were offered in a wide variety of leathers—box calf, pigskin, lizard, crocodile, Russian leather, or morocco—and in colors such as red, navy blue, green, and black, underscoring Guerlain’s desire to merge perfume with the artistry of luxury leather goods.

Every detail was carefully thought out for the traveler’s convenience. A small plastic plug or stopper, stamped Guerlain, was included to prevent leakage, stored in its own miniature box. A fine, twisted wire tool was provided to unclog the siphon tube after long storage or to clean away any perfume residue. Inside the leather travel case, fitted compartments held two glass tubes (one serving as a spare in case of breakage or loss) that could be screwed into the atomizer top to enable the spray mechanism. A small brochure accompanied the set, noting that the atomizer could be used not only with perfume but also with Eau de Cologne, Eau de Toilette, or even pre- and after-shave lotions.

To ensure proper function, Guerlain included a leaflet with careful maintenance instructions. Users were advised never to travel with the atomizer unless fitted with its closing device, to rinse the empty atomizer with high-proof alcohol or Eau de Cologne before refilling, and to spray a small amount of fresh cologne through the mechanism afterward. For the travel version specifically, the enclosed wire was to be used to clear the tiny air vent beneath the bulb tube. Guerlain also assured clients that if the spray ceased functioning despite these precautions, it could be returned for complimentary servicing (with the exception of damaged parts, which required replacement).

The travel atomizer was produced in a generous 125 ml (4.2 oz) size, measuring 8.9 cm (3.5") without the bulb, making it both portable and substantial. A perfect marriage of functionality, luxury, and craftsmanship, the Vaporisateur de Voyage remains one of Guerlain’s most refined accessory flacons, reflecting the house’s dedication to combining perfume with the artistry of the decorative arts.

Sizes:

Baccarat:

• 125cc /125ml/4.2 oz- 8.9cm/3.5" (without bulb)

Bottles:

Vaporisateur Pour la Coiffeuse (Spray for the Hairdresser) c1937-1965

The Vaporisateur Pour la Coiffeuse (Spray for the Hairdresser), produced by Guerlain between 1937 and 1965, was a distinctive and versatile flacon created for both demonstration and practical use. Its design reflects Guerlain’s attention not only to elegance but also to functionality, particularly in professional and travel contexts.

The bottle itself is round, squat, and made of clear glass, with a base molded in a delicate rayed pattern that adds a subtle decorative effect. It was originally intended for use by hairdressers or beauty advisors, who would employ it as a tester to spray Guerlain perfumes, brilliantine, or stilboide fluid directly onto the hair. The practicality of the design is evident in its fitted thin glass siphon tube, which ensured fine atomization of the product. When used in professional settings, the bottle was marked with the name of the perfume on its side, allowing clear identification during demonstrations.

Two sizes were produced—small (4.8cm/1.89") and large (6.5cm/2.56")—and each was available with either a gilded or nickel-plated cap, catering to both luxury preferences and durability needs. For demonstrations, the flacon carried its atomizer permanently, but Guerlain ingeniously adapted the design for travel purposes as well. In this configuration, the bottle came with a screw cap that could be removed to attach an atomizer (with thin metal siphon), offering both portability and flexibility. This travel version had actually been marketed as early as 1900 and remained available until the late 1940s, showing how Guerlain reused and refined practical formats over decades.

For customers purchasing the flacon as a luxury accessory, Guerlain offered it in a presentation box lined with satin and covered in peacock feather patterned paper, a richly decorative detail that contrasted with the understated simplicity of the glass itself. This marriage of practicality and elegance made the Vaporisateur Pour la Coiffeuse a noteworthy example of Guerlain’s ability to blend utility with refined artistry, ensuring that even functional bottles maintained the house’s aesthetic prestige.

Sizes:

• Small size - 4.8cm/1.89"
•  Large size - 6.5cm/2.56" 

Bottles:

Flacon Tortue (Tortoise) c1914-1959

The Flacon Tortue (Turtle Bottle), created in 1914, was designed exclusively for Parfum des Champs-Élysées and remained in production until the late 1950s. This remarkable flacon was conceived to commemorate the opening of Guerlain’s flagship boutique at 68, Avenue des Champs-Élysées in Paris. According to tradition, the design choice was symbolic: when construction delays threatened the boutique’s grand opening, the Guerlain family humorously chose the turtle as a motif—an emblem of slow but steady progress. Beyond this anecdote, author Christie Mayer Lefkowith has suggested a more poetic association, noting that turtles were thought to roam the mythological Elysian Fields, making them a fitting symbol for the perfume’s name.

The bottle itself is a striking creation in clear faceted crystal, designed to mimic the rounded, domed shell of a turtle. Its geometric cutting catches the light, lending a jewel-like brilliance to the form. On the front of the bottle, a flat polished space was reserved for a green and gold paper label, which existed in two sizes depending on the flacon: the larger label (2.4cm x 2cm) was used for the three bigger formats, while the smaller label (1.9cm x 1.7cm) appeared on the two miniature versions. The perfume itself was originally tinted a delicate green, a detail that further reinforced the thematic cohesion between the bottle, its label, and the natural imagery of the Champs-Élysées.

Production of the flacon was entrusted primarily to Baccarat, who created five different sizes: 80cc, 125cc, 250cc, 500cc, and 1 litre. In addition, Pochet et du Courval manufactured a more modest 30cc size, ensuring a range of options from intimate personal bottles to grand luxury editions.

The presentation boxes for the Flacon Tortue were equally lavish and varied. One version featured a rectangular box lined with white satin, with a green lid bearing a gold central motif but notably without a border. Another rectangular version in deep red with hinged construction displayed the same central motif, though here the scrolls lacked color and the design was framed with a double gold border. Its interior was satin-lined, with a contrasting black base. A third presentation option was more elaborate: an oval-shaped, hinged box covered in red leather, also bearing the central motif, but with the scrolls picked out in green enamel-like color and again lacking a border. Its refined finish underlined Guerlain’s dedication to producing presentations that matched the prestige of the perfume itself.

Baccarat:

Originally, the legs were frosted glass, also originally, the feet of the tortoise had gray patina, later they were versions with little or no patina. 

• 80cc/80ml/2.7 oz - 11cm/4.33" (changed to 60ml - 10.2cm/4.02" in 1995 as a limited edition)
• 125cc/125ml/4.2 oz - 12.5cm/4.92" 
• 250cc/250ml/8.4 oz - 15.5cm/6.1" 
• 500cc/500ml/16.9 oz - 19.5cm/7.68" 
• 1 liter/1000ml - 24.5cm/9.65" 

Pochet et du Courval:

Model with or without patina.

• Mould #13617 = 30cc/30ml/1 oz - 8.5cm/3.35" (1924) 

Bottles:

Flacon Tonnelet (Keg) c1934-1950

The Flacon Tonnelet, created around 1934, was designed exclusively to hold the extrait of Sous le Vent. This perfume was said to be inspired by the lush vegetation and mingled scents of Guadeloupe, which Jacques Guerlain himself had visited. Its name, meaning “Southern Breeze,” alluded to the warm Caribbean trade winds carrying the fragrance of mimosa and other floral notes, blending into a soft, subtle, and complex perfume that reflected Guerlain’s ability to translate atmosphere into scent.

The bottle itself was strikingly unusual, described as having a form that suggested both Art Deco and Art Moderne influences, with a faintly Byzantine character. Shaped like a small keg or barrel, the flacon featured a two-tier cylindrical body, each tier marked with concave rings and concentric circles, giving it both structure and rhythm. The bottle was finished with a small, flat, disk-shaped ground glass stopper, maintaining the clean geometry of the design.

The decoration consisted of two distinct labels: a gold and black paper circle affixed to the top of the stopper, and bands of gold, yellow, and black paper encircling the projecting parts of the bottle. These labels were used interchangeably, whether the bottle was produced in crystal or glass. For presentation, the flacon was housed in a luxurious rectangular box, covered with striped silver-foiled and bright yellow paper. Inside, the bottle rested in a suede-textured cardboard interior, cut precisely to the shape of the tonnelet to hold it securely.

Production was entrusted to two major glassmakers: Baccarat, who created three moulds in crystal, and Pochet et du Courval, who likewise made three moulds in pressed glass. This collaboration ensured both high-quality luxury crystal editions and more widely available glass versions. The Tonnelet bottle remained in use until the late 1940s, after which Sous le Vent was rebottled either in the Flacon Rayonnant or the Quadrilobe stopper bottle, until the perfume itself was discontinued in 1972.

Sizes:

Baccarat:

Acid-etched on the base.

• Mould Ref. #773 = 80cc/80ml/2.7 oz - 8.6cm/3.39" (limited edition of only 5000 in 1937) 
• Mould Ref. #773 = 128cc/128ml/4.33 oz - 12.5cm/4.92" (limited edition of only 3000 copies in 1937) 
• Mould Ref. #773 = 250cc /250ml/8.4 oz- (limited edition of only 3000 copies in 1937) 

Pochet et du Courval:

Engraved on the base: "Guerlain Made in France."

• Mould #15073 = 83cc - 6.8cm (1934)
• Mould #15109 = 125cc - 8.6cm (1935)
• Mould #15128 = 250cc - 12.5cm (1935)

Bottles:

 

Flacon Tabatiere (Snuff) c1927-1972

Guerlain's Flacon Tabatière (Snuff Bottle) was created between 1927 and 1972 as the exclusive vessel for the perfume Liu, inspired by the heroine of Puccini’s opera Turandot. In the opera, Liu embodies the ultimate feminine virtues—loyalty, tenderness, and self-sacrifice—qualities that her mistress Turandot, the emperor’s daughter, lacks. The story is tragic: Liu’s devotion to the prince Calaf leads her to choose death rather than betray his identity, symbolizing the purity and intensity of love. This narrative informed the design and symbolism of the perfume bottle itself.

The Flacon Tabatière is a chunky, black crystal bottle, shaped to resemble a traditional Chinese tea caddy, though it is often referred to as a “snuff bottle” due to its squat, geometric Art Deco form. The bottle’s front bears a large vertical label in gold foil and black paper, while the recessed center of the flat, square, ground-glass stopper features a metallic gold foil round paper label with Guerlain’s name rendered in an abstract font. The letters "Liu" in gold on the bottle’s body subtly symbolize the secret and devotion central to the character’s story.

Two renowned French glassmakers were responsible for producing the bottle: Baccarat, which created a single mould, and Pochet et du Courval, which produced five moulds. Made entirely in black crystal, the Flacon Tabatière was exclusively reserved for Liu, highlighting its luxurious and singular purpose. Its combination of Art Deco geometric styling, symbolic references to Chinese culture, and literary inspiration make it one of Guerlain’s most distinctive and evocative perfume flacons.

Sizes:

Baccarat:

Baccarat only produced one mould:

• 80cc/80ml/2.7 oz - 7.8cm/3.08" - (limited edition of only 6000 single copies, often unsigned, this has never been reissued)

Pochet et du Courval:

Pochet produced five moulds:

• Mould #15025 = 30cc/30ml/1 oz - 5.9cm/2.32" (1934, export version)
• Mould #15369 = 40cc/40ml/1.35 oz - 6.4cm/2.52", ground glass stopper (1937)
• Mould #14188 = 80cc/80ml/2.7 oz - 7.8cm/3.07", with out without acid etching: "Guerlain - Paris 0 France."  (1927)
• Mould #14423 = 125cc/125ml/4.2 oz - 9cm/3.54" (1929)
• Mould #14425 = 250cc/250ml/8.4 oz - 11cm/4.33" (1929)

Bottles:

Limited Edition:

In 1994, Guerlain celebrated the heritage of the Flacon Tabatière by reissuing Liu in a sumptuous limited edition that faithfully echoed the original Art Deco design. This reissue comprised 3,000 bottles, each holding 75ml of the parfum. The bottles were produced by Pochet et du Courval and fitted with a “plastemeri” stopper, a modern adaptation that retained the look and function of the original square, black stopper while offering greater durability.

The presentation emphasized luxury and exclusivity. Each bottle was sold in a black outer box, accompanied by a booklet detailing the perfume’s history and the story behind its iconic design. While the original edition of Liu had been 80ml (2.7 oz), the reissued version was slightly reduced to 75ml (2.5 oz), reflecting minor adjustments in modern production standards without compromising the elegance of the original flacon. This reissue allowed collectors and enthusiasts to own a piece of Guerlain’s Art Deco legacy while enjoying the perfume in a carefully crafted, historically resonant container.