Banded Bottles (1922)

The "Flacon Borne Ovale Perlée" or more commonly, the Banded Bottles, represent a distinctive line of Coty flacons, notable for their elegant simplicity paired with decorative detail. The Borne ovale perlée is an oval, pillar-shaped perfume flacon decorated with a border of small raised “pearl” beads, typically around the shoulders, edges, or framing the label area.

Each bottle features a subtle embossed band along the upper portion of the body, providing a refined accent that complements the frosted glass stopper, which is molded with delicate flower motifs and ridged textures. While these bottles have sometimes been misattributed to Lalique or Baccarat, they were in fact produced entirely by Coty’s own glassworks in France, and do not appear in the catalogs of either company.

At Coty’s Suresnes glassworks, the design process involved creating gilded bronze models or maquettes, serving as prototypes for the final glass flacons. These prototypes were produced in four sizes: 8.5 inches, 6.7 inches, 5.5 inches, and approximately 3.5 inches tall. For the parfum versions, the bottles were made in three small sizes—1/4 oz, 1/2 oz, and 1 oz, with corresponding heights of 2.25 inches, 2.75 inches, and 3.75 inches, respectively. The parfum line was discontinued in 1932, though the 1/4 oz miniature continued until 1934.

Larger versions of the Banded Bottles were also created for boudoir display, standing at 6 inches, 7.25 inches, and 8 inches, primarily intended to hold Eau de Toilette. These flacons were versatile and housed a variety of Coty’s most popular perfumes, including Eau de Coty, L’Origan, Chypre, Paris, La Rose Jacqueminot, and L’Aimant. A 3 oz version of the bottle was also produced, combining both practicality and elegance. The line is a testament to Coty’s approach of blending decorative design with accessible manufacturing, producing flacons that were both attractive and functional for a wide range of perfumes.

These bottles were discontinued in 1932. Old store stock continued to be sold for several years afterwards.

The parfum bottle was available in three sizes: 1/4 oz, 1/2 oz and 1 oz. The bottles were discontinued in 1932. The 1/4 oz bottle itself was discontinued in 1934.

Bottles stand:

• 2.25" tall - 1/4 oz
• 2.75" tall - 1/2 oz 
• 3.75" tall - 1 oz

Larger sizes of this bottle were also created for the boudoir, standing at 6" tall, 7.25" tall and 8" tall and hold Eau de Toilette. These bottles were also used for other Coty perfumes: Eau de Coty, L'Origan, Chypre, Paris, La Rose Jacqueminot and L'Aimant.

• 3 oz bottle.

The banded bottles with the metal screw caps were discontinued in 1937.

In 1927, the House of Coty Inc. took decisive legal action to protect its intellectual property and the integrity of its brand by filing suit against the T.C. Wheaton Company, a prominent glass manufacturer in Millville, New Jersey. This lawsuit emerged in the aftermath of a major counterfeiting case involving Richard E. Ives, who had been arrested for producing highly convincing—and fully illicit—imitations of Coty’s well-known ½-ounce L’Origan perfume presentation. Ives had duplicated the Coty package “in all details,” from the bottle to the label, resulting in products so accurate that they posed a direct threat to Coty's reputation for quality and authenticity.

During the investigation into Ives’s counterfeiting operation, evidence revealed that many of the bottles he used had been manufactured by T.C. Wheaton Co. Although Wheaton was a legitimate and respected glassworks, Coty alleged that the company knowingly produced bottles matching Coty’s patented design without authorization. The design in question was covered under Design Patent No. 63,351, protecting the specific form and decorative details of Coty’s “Flacon Borne Ovale Perlée”—the distinctive oval, pearl-beaded bottle used for Coty’s half-ounce perfume size. This patented form was not merely ornamental; it was a signature Coty silhouette, instantly recognizable on the market and deeply associated with the brand’s identity.

Coty’s formal complaint asserted that Wheaton had infringed on the company’s patent rights by manufacturing this bottle while fully aware that Coty owned the design. Coty claimed damages exceeding $100,000, a substantial sum at the time, arguing that Wheaton’s actions had materially contributed to the distribution of counterfeit Coty perfumes. Beyond monetary compensation, Coty also requested the court to grant the standard remedies for patent infringement, including injunctions preventing further unauthorized production.

This lawsuit highlights how fiercely Coty defended its designs, trademarks, and brand reputation during the early 20th century—a period when counterfeit cosmetics and perfumes were a persistent concern. It also underscores the importance of the “Flacon Borne Ovale Perlée” within Coty’s product line: a bottle so iconic and commercially valuable that protecting its form became a matter not only of aesthetics, but of business survival.

Briar Stopper Flacon (1911)

The Briar Stopper flacon is one of René Lalique’s elegant designs for Coty, first introduced in 1911. The bottle is characterized by its tall, clear glass body with a square base, a simple yet refined form that provides a perfect showcase for Lalique’s signature artistry. Its most distinctive feature is the frosted glass stopper, molded in a delicate “briar” motif, which lends a sculptural flourish to the otherwise clean-lined flacon.

Originally, the Briar Stopper was intended to house Eau de Toilettes, but its design proved so versatile that it was later adapted to accommodate a range of sizes, including miniature versions for parfum. Among the most collectible is the “Petite Modèle”, which debuted in 1936 and held 0.27 oz. Early 1920s packaging reflected Coty’s emphasis on elegance and care: the boxes contained printed messages advising owners that “These exquisite crystal flacons are hand-cut in the Paris ateliers of COTY – Care must be taken in placing them on the dressing table to avoid breakage of the corners.”

The Briar Stopper flacon was produced in an impressive array of sizes, ranging from tiny 2-inch miniatures (0.13 oz) to grand 8.75-inch showpieces. Other sizes included 2.5-inch (0.27 oz) Petite Modèle, 3-inch (0.60 oz), 4–4.25 inches (1.70 oz), 5–5.5 inches, 6–6.25 inches, and 6.5 inches, culminating in the 8.75-inch tall flacon. After 1920, production shifted to Coty’s own glassworks, allowing the design to be reproduced more widely while retaining the elegance of Lalique’s original concept. The Briar Stopper remains a celebrated example of early 20th-century perfume bottle design, admired for its clarity, sculptural stopper, and versatility across a range of perfume types and sizes.

Sizes:

• 2" tall miniature (0.13 oz)
• 2.5" tall miniature (0.27 oz) - Petite Modele
• 3" tall (0.60 oz)
• 4" tall
• 4.25" tall (1.70 oz)
• 5" tall
• 5.25" tall (3 oz)
• 5.5" tall
• 6" tall
• 6.25" tall
• 6.5" tall
• 8.75" tall

This rare set of three “eau de toilette” Briar Stoppered flacons, created for Coty in 1911, comprises elegant colorless glass bottles that are blown, molded, and lightly patinated to enhance their refined early 20th-century character. Each flacon features the distinctive briar-motif stopper, adding a sculptural touch to the otherwise simple cylindrical form. The trio is preserved in its original leather case, sized 12 × 11.5 × 4.5 cm, with each bottle standing 11 cm tall, making this an exceptional surviving example of Coty’s early luxury presentation sets.

 

An unusual version is tall, but, flat and slim, and stands 4" tall, the largest bottle stands 12.5" tall, it displays the typical frosted briar stopper and held Eau de Coty and other scents like Ambre Antique. Dates to about 1915-1925 or so.

Heliotrope Flacon (1911)

The “Heliotrope” flacon, also referred to as Coty Perfume No. 14, is an early and distinctive example of René Lalique’s artistry for Coty, first created in 1911 for the perfume Heliotrope. Its design departs from conventional rectangular or square bottles, adopting a roughly triangular form with elegantly canted corners along the base, giving the bottle both stability and a subtle sense of movement. The geometric precision is characteristic of Lalique’s work during this period, combining functionality with a refined aesthetic.

Over time, the Heliotrope flacon proved versatile and was used for a wide range of Coty fragrances, including Emeraude, L’Aimant, L’Origan, Styx, Chypre, Muguet, Jacinthe, Jasmin de Corse, La Rose Jacqueminot, and Paris. Its understated shape provided a neutral yet elegant canvas for these diverse scents, allowing the emphasis to remain on the perfume itself while maintaining a consistent, luxurious presentation. The bottle exemplifies Lalique’s ability to balance simplicity and artistry, creating a flacon that is both practical for use and highly collectible today.

Roseraie Package (1927)

The Roseraie Package, introduced by Coty in 1927, was a charming new presentation for the moth-stoppered flacon. The term “roseraie” is French for “rose garden,” suggesting a romantic, floral elegance that complemented the refined design of the bottle. In this updated packaging, the perfume was housed in a cardstock box covered with paper that mimicked the texture of brown suede, creating a tactile and visually appealing effect.

The front of the box was decorated with a small dotted circle enclosing the words “Coty Paris”, while fanciful ribbon motifs added a delicate, decorative flourish. This presentation was used for several of Coty’s signature perfumes, including Emeraude, L’Origan, Paris, and Chypre, unifying them under a cohesive and stylish packaging design.

Historical advertisements for these perfumes sometimes included inconsistent information regarding the bottle’s contents, citing 1 1/3 oz, 1 1/2 oz, or 1 3/4 oz. Such discrepancies were not uncommon at the time, reflecting the imprecision of early marketing materials rather than any change in the actual bottles. The Roseraie packaging stands out as an elegant example of Coty’s attention to visual presentation, blending understated luxury with a playful, romantic flourish.

Moth Stopper Bottle (1912)

The Moth Stopper Flacon is one of the earliest and most iconic bottles designed by René Lalique for Coty, exemplifying the elegance and innovation of early 20th-century perfume design. Originally created in 1912 for Coty’s Muguet (Lily of the Valley) fragrance, this bottle soon became a standard presentation for many of Coty’s perfumes. Its most striking feature is the frosted glass double moth—or butterfly—stopper, delicately patinated in brown, which perches atop the bottle like a miniature sculpture in motion.

The flacon itself is deceptively simple in form: a square shape with straight yet slightly convex shoulders, a small neck, and an indented base. It measures just over 3 inches per side, with Lalique producing two height variations: 3.34 inches and 3.93 inches. Despite its restrained geometry, the bottle exudes refinement, particularly through the elegant stopper, which adds both artistry and tactile interest. Genuine Lalique examples are identified by the impressed intaglio-molded long-tail “LALIQUE” signature and an elongated oval indentation in the center of the base. These bottles were never marked “R. Lalique,” so collectors should be cautious of fake signatures applied to imitation bottles.

The Moth Stopper Flacon has been widely documented in major references on Lalique perfume bottles. It appears in Marcilhac’s R. Lalique Catalogue Raisonné (2011, French edition, page 929, reference “Coty 19,” photo 9), Utt’s Lalique Perfume Bottles (1990, page 26), and Jones-North, Commercial Perfume Bottles (1987, page 36), underscoring its significance as both a collectible piece and an exemplar of Lalique’s artistry for Coty. Its combination of understated form and sculptural stopper makes it a standout in any collection, embodying the early sophistication of Coty’s luxury perfume presentation.

In 1914, seeking a more cost-effective solution, Coty commissioned Baccarat to reproduce flacons based on René Lalique’s original designs. This decision caused a rupture in the friendship between Coty and Lalique, leading to thirteen years of silence between the two men. The partnership was eventually restored, and Lalique designed one final bottle for Coty in 1927.

The Baccarat bottles, which began production in 1916, are cataloged as mold number 307. They retain the signature elegance of Lalique’s designs but are slightly modified, featuring sloping shoulders rather than the straight shoulders seen on Lalique’s flacons. Genuine Baccarat examples are acid-marked “Baccarat” on the base and, like the Lalique originals, include an elongated oval indentation at the center of the base. These bottles stand approximately 3.25 inches tall and are documented in Addor Press’s “Baccarat: The Perfume Bottles” (1986), reference #307.

Despite this adjustment, Baccarat bottles remained relatively expensive. To further reduce costs, Coty began producing copies at his own French glassworks. These Coty-made bottles closely mirrored the Baccarat design, with the same sloping shoulders, but they differ in several key ways. The base is flat, lacking the oval indentation found on Lalique and Baccarat bottles, and they are marked “Coty” either in embossed glass or with an acid stamp. The Coty flacons held 1.6 ounces of parfum and typically measured 3.25 inches tall, though a smaller version of 2.75 inches also existed. These bottles were originally housed in green leather-covered boxes, emphasizing their luxury presentation despite the cost-saving measures.

The moth-stoppered flacon, with its frosted double-moth design, remained a centerpiece of Coty’s perfume line until its discontinuation in 1961, leaving behind a legacy as one of the most elegant and enduring designs in the history of commercial perfume bottles.

This bottle shape was adapted in 1916 originally for L'Origan for travelling by the usage of an inner glass stopper and a gilt brass screw cap, this bottle was made by Baccarat, model number 291. In 1928, these flat, square shaped crystal bottles were available in French leather cases. These bottles held Emeraude, Ambre Antique, L'Origan, Chypre and Paris. I  have seen these bottles with L'Aimant labels too.

This Coty travel set from the 1920s features a compact poplar wood case covered in richly textured Moroccan-style paper, designed to safely house three elegant colorless crystal travel bottles. Each flacon is topped with its original brass capsule stopper, creating a harmonious and refined trio. The set includes the fragrances “L’Origan,” “L’Or,” and “Jasmin de Corse,” offering a representative selection of Coty’s most iconic early perfumes. Each bottle measures 7.5 cm, making this a beautifully preserved example of Coty’s luxury travel presentations of the period.

Baccarat Lapidary Bottles (1905)

The earliest bottles used for Coty’s parfums were true masterpieces of early 20th-century glass design, reflecting the luxury and artistry that Coty wanted to associate with his fragrances. For the Parfum (Extrait) line, Coty commissioned designs from two of the most prestigious names in French glass: René Lalique and Baccarat. These bottles were exquisite, but their high cost soon proved impractical for large-scale production. In response, Coty adapted the elegant Lalique and Baccarat designs and produced them in his own French glassworks. These later bottles carry the mark “Coty France” on their base, signaling both authenticity and a more accessible form of the original artistry.

Among the most celebrated early Coty bottles is the Baccarat creation for La Rose Jacqueminot from 1913, cataloged as model number 225. This flacon is tall and square, a refined geometric form that perfectly complements the luxurious perfume it contained. Its crowning feature is a round, cut crystal lapidary stopper, fashioned with intricate facets that catch the light, and a slightly pointed top that adds a touch of sculptural elegance. This Baccarat bottle is exceptionally rare today, especially in pristine condition with an undamaged stopper, making it a standout piece for any collector of fine perfume bottles. Its combination of clarity, precise craftsmanship, and timeless design ensures it remains a showpiece in the history of Coty’s early perfume presentation.

Scents:

• La Rose Jacqueminot

Bottles:

.

Heliotrope 2 Flacon (1911)

The bottle known to collectors as Heliotrope 2 presents a quiet elegance that feels both familiar and elevated, echoing the silhouette of the earlier Heliotrope 1 flacon while announcing its own identity through its distinctive stopper. The body of the bottle preserves the same softly rounded, compact form—an understated canvas of clear glass whose simplicity allows the stopper to command attention. Instead of the airy, open blossom motif used on Heliotrope 1, this version is crowned with a tall, finely tapered conical stopper rendered in frosted glass. The matte surface diffuses the light, giving the stopper the appearance of a small column of ice or a carved alabaster finial. Its verticality elongates the overall profile of the bottle, lending it a more architectural, modern character compared to the floral lyricism of its predecessor. 

 Standing approximately 8.5 cm tall, Heliotrope 2 was produced in this single, intimate size, suggesting it was conceived as a personal, elegant object—something designed to sit comfortably on a vanity rather than to dominate it. The frosted cone is not merely decorative: it introduces a tactile contrast to the smooth clarity of the bottle’s body, and it transforms the flacon into a miniature sculpture, poised between the organic and the geometric. This duality likely appealed to Coty, who prized bottles that doubled as objets d’art. 

 Although the design is widely believed to be the work of René Lalique, no examples have surfaced with confirmed Lalique signatures. Instead, these bottles appear signed for Coty alone. This has led to a well-supported conclusion: Lalique likely produced the original design concept and possibly early prototypes, but the bottle was never adopted into his own production line. By the 1920s, when Coty had established his own glassworks and was increasingly replicating or reinterpreting Lalique’s earlier designs for in-house manufacture, the Heliotrope 2 bottle seems to have moved forward independently under Coty’s control. The absence of Lalique signatures, combined with the existence of Coty-signed examples, supports the idea that what began as a collaborative design ultimately became a Coty-produced flacon. 

 Used for several Coty fragrances—including Peau d’Espagne and Jasmin de Corse—the bottle’s serene shape and frosted stopper suited a range of olfactory moods. Whether holding a deep, smoldering leather-amber or a bright Mediterranean floral, it offered a refined, neutral stage upon which each perfume could shine. In the context of Coty’s broader bottle history, Heliotrope 2 stands as an intriguing transitional piece: born from Lalique’s aesthetic vocabulary, but finalized and realized by Coty himself, embodying the evolving relationship between perfumer and glassmaker during one of the most influential periods in perfume bottle design.