Parfumerie Renaud

Renaud produced perfumes, cosmetics and toiletries of low to medium priced presentations.

Early History:

Renaud's boxes for perfume were often emblazoned with the 1817 date, please note that this is not the date of the perfume's manufacture, its is the date the perfumery company was said to be established.

However, doing some digging, I was able to uncover more facts about Renaud and the company that preceded it.

The history of the Renaud perfumery company is a fascinating tale that begins in the mid-18th century. Originally founded in 1756 by M. Laugier, the establishment was named Laugier Père et Fils and holds the distinction of being the oldest perfumery in Paris. Initially located at 31 rue Bourg l’Abbé, Paris, the company’s address in 1789 was mentioned in the Mercure de France as 26 rue Bourg l’Abbé, reflecting its early prominence in the Parisian fragrance scene.

The name Laugier Père et Fils appears in the 1790 Tableau Général du Commerce as B. Laugier, a respected parfumeur with a house in Paris, further establishing its reputation. By 1811, the company was officially listed in the Almanach du Commerce de Paris, although the specific address was not provided. However, by 1814, Laugier Père et Fils was firmly established at 26 rue Bourg l’Abbé.

In 1812, Laugier Père et Fils secured a significant milestone in the perfumery industry when the composition of their Eau de Cologne was granted a five-year patent. This patent not only protected their unique formula but also underscored their innovation in the field of fragrance. Additionally, the composition of their Eau d'Ispahan was also patented, highlighting the company's commitment to developing distinctive and high-quality products.

In 1820, the Laugier family was divided between two locations: Victor Laugier had a store at 21 rue d’Hanovre, while Antoine-François Laugier maintained the original shop at 26 rue Bourg l’Abbé. This division highlights the growing influence of the Laugier brand in Paris.

By 1824, Laugier Père et Fils was recognized as a notable distiller in the French Dictionnaire Chronologique et Raisonné des Découvertes: Inventions. This volume listed the company as a producer of Eau de Cologne and Eau d'Ispahan, reflecting their continued prominence in the industry. The entry further noted that Laugier Père et Fils also produced Eau Cosmétique and Savon Oriental, indicating a diverse range of products beyond just perfumes.

In 1826, Laugier Père et Fils was mentioned in César Gardeton's Dictionnaire de la Beauté, ou, La toilette sans Dangers, dans Lequel on Trouve. By this time, the company was located at 41 rue Bourg l’Abbé, Paris. This listing reinforced their established presence in the Parisian market, showcasing their extensive portfolio of beauty and personal care products, which included their renowned Eau de Cologne and Eau d'Ispahan, as well as their Eau Cosmétique and Savon Oriental.

Laugier Père et Fils offered an extensive and diverse range of products that catered to various personal care and fragrance needs. Among their offerings was the Eau Cosmétique, designed to preserve beauty and maintain a youthful appearance. This was complemented by their Eau fortement odorée pour la toilette, a highly scented water for personal grooming.

Their expertise in lavender-based products was notable, with several variations of Eau-de-Vie de Lavande, including distinctive scents such as Ambre, Musc, Héliotrope, Vanille, Maréchale, Oeillet, Bouquet Duchesse, Mille Fleurs, Rose, and L'Orange. Each formulation showcased their ability to innovate within the lavender fragrance spectrum.

Laugier Père et Fils also produced specialized waters like Eau régénératrice for rejuvenation, Eau Sanitaire for hygienic purposes, and Eau vulnéraire for its healing properties. Their offerings extended to Eau d'arquebusade, a traditional medicinal water, and various Eau de Cologne, including their renowned Eau de Cologne de Laugier Père et Fils and Eau d'Ispahan. Other notable fragrances included Eau d'Achem, Eau des Alpes, Eau des Montagnes Françaises, Eau de Venus, Eau de La Vallière, and Eau de Paris.

• Eau d'Achem is a distinctive fragrance, crafted from a blend of plants native to its renowned country of origin. This water is celebrated for its pleasant and refined scent, capturing the essence of its botanical sources. The formulation highlights the aromatic qualities that make Eau d'Achem both unique and desirable.

• Eau des Alpes is noted for its versatility in enhancing beverages. A drop of this water, when added to a glass of sweet water, transforms it into a delightful orange flower water. This subtle infusion adds a touch of elegance and floral fragrance, making it a sophisticated addition to any drink.

• Eau des Montagnes Françaises (Water of the French Mountains) offers a refreshing twist. When a drop of this water is mixed with a glass of sweet water, it creates a graceful lemonade. This product captures the crisp, invigorating qualities of French mountain landscapes, providing a unique and pleasant flavor profile.

• Eau de Venus serves as a demi-lotion, designed for enhancing the complexion. To use, a quarter of the bottle is diluted in half a liter of water. This mixture provides similar benefits to ointments, helping to improve and refine the skin’s appearance. The formulation reflects the luxurious and restorative properties associated with Venus, the goddess of beauty.

• Eau de La Vallière is similar in function to Eau de Venus. It is used in the same manner to benefit the skin, offering a comparable effect to the renowned lotion. This product maintains the tradition of luxurious skincare and cosmetic care.

• Eau de Paris functions like traditional Eau de Cologne but with a perfected formula that has been patented. This enhancement ensures that the fragrance not only maintains its classic appeal but also benefits from an advanced formulation, providing a refined and sophisticated scent experience.

In addition to their liquid products, Laugier Père et Fils provided scented personal care items such as Essence Parfumée, a scented hair remover, and Parfum des Rois, an antiseptic air freshener. Their range also included dental care and grooming products like Poudre Pour de Dents, a tooth powder, and a variety of soaps, including Savon Belezan Sauboon, a creamy scented soap, Savon Philoderme, Savon d'Ambrosie, Crème de Savon à la Neige Parfumée, and Savon d'Amande.

This extensive product line illustrates Laugier Père et Fils' dedication to innovation and quality in the world of perfumery and personal care.

The company’s trajectory changed in 1839 when it was acquired by the Renaud family and rebranded as Renaud et Cie. This shift marked a new era for the company, continuing its tradition of excellence under the Renaud name.

In 1839, the esteemed perfumery Laugier Père et Fils underwent a significant transformation when it was taken over by Renaud and subsequently renamed Renaud et Cie. This pivotal change was documented in A. M'Elroy's Philadelphia Directory. The following year, around 1840, Joseph Sichel-Javal took over the Renaud company while retaining the Renaud name, ensuring continuity in its operation and reputation.

Around 1840, Joseph Sichel-Javal took over Renaud et Cie, further transforming the company. Sichel-Javal’s acquisition ensured that the business continued to thrive, preserving the legacy of quality and prestige that had been established since its founding.

The 1844 Rapport du Jury Central highlights the achievements and transitions of the company. It notes that Monsieur Sichel-Javal, operating from 41 rue Bourg l’Abbé, Paris, succeeded both M. Laugier and Renaud. M. Laugier had previously earned a silver medal at the 1834 exhibition for the superior quality of his toilet and household soaps. This accolade was recalled in 1839 in favor of M. Renaud, Laugier's direct successor. The central jury deemed it appropriate to bestow another reminder of this silver medal to Mr. Sichel-Javal, recognizing his efforts to maintain the factory's high standards that M. Laugier had originally achieved.

By 1850, the Rapport du Jury Central reiterated the enduring legacy of the establishment. Sichel-Javal, still based at 41 rue Bourg l’Abbé, Paris, had acquired the business from Mr. Renaud, who had taken over from M. Laugier. The report emphasized that M. Laugier had won a silver medal in 1834, a recognition subsequently extended to M. Renaud and then to M. Sichel-Javal himself. It further noted that Mr. Sichel-Javal's products were primarily manufactured for export, and the central jury, recognizing the consistent high quality of these products, judged Mr. Sichel-Javal deserving of the continued distinction. Consequently, he was awarded a reminder of the silver medal he had obtained in 1844, affirming his commitment to excellence in the industry.

Address Timeline Overview:

• 1805 at 31 rue Bourg l'Abbe (Laugier Pere et Fils)
• 1814 -1820 at 26 rue Bourg l'Abbe  (Laugier Pere et Fils and in 1820 just Antoine-Francois Laugier)
• 1820 at 41 rue Bourg l'Abbe in the Chapelle Saint Denis near Paris and 89 grand rue, Grasse, département du Var  (Laugier Pere et Fils) 
• 1820 at 21 rue d'Hanovre (Victor Laugier)

Known List of Perfumes and Eaux by Laugier Pere et Fils:

• 1816 Eau de Cologne
• 1816 Eau d'Ispahan
• 1826 Eau d'Achem
• 1826 Eau de Lavande Royale 
• 1826 Eau-de-Vie de Lavande Ambre
• 1826 Eau-de-Vie de Lavande Musc
• 1826 Eau-de-Vie de Lavande Héliotrope
• 1826 Eau-de-Vie de Lavande Vanille
• 1826 Eau-de-Vie de Lavande Maréchale
• 1826 Eau-de-Vie de Lavande Oeillet
• 1826 Eau-de-Vie de Lavande Bouquet Duchesse
• 1826 Eau-de-Vie de Lavande Mille Fleurs
• 1826 Eau-de-Vie de Lavande Rose
• 1826 Eau-de-Vie de Lavande L'Orange
• 1826 Eau de La Valliere
• 1826 Eau de Paris
• 1826 Eau de Venus
• 1826 Eau des Alpes
• 1826 Eau des Montagnes Françaises
• c1844 Bouquet de la Reine  
• c1844 Eau des Montagnes Russes  
• c1844 Jonquille   
• c1844 Vanille  
• c1844 Verveine  
• c1844 Jockey Club

Renaud's Perfumes:

Ambree:

Starting in 1928, Renaud perfumes began to be distinguished by their remarkable longevity, a feature prominently advertised due to a unique processing method described as "specially processed in amber." This innovative technique involved using ambergris as the main base note. Ambergris, a rare and valuable substance produced by sperm whales, acts as an exceptional fixative, ensuring that the fragrance lasts much longer on the skin.

To highlight this special quality, perfumes incorporating this method had "Ambrée" added to their names. For instance, a perfume named "Sweet Pea" would be marketed as "Sweet Pea Ambrée" to denote the presence of ambergris. This addition not only emphasized the enhanced lasting power of the scent but also underscored the luxurious and sophisticated nature of the product. The use of ambergris in Renaud's perfumes exemplified their commitment to quality and innovation, setting them apart in the competitive fragrance market of the time.

Egyptia:

Renaud introduced Egyptia in 1925, three years after the monumental opening of King Tutankhamen's tomb. This timing was no coincidence; the fascination with ancient Egypt was at an all-time high, captivating the world with its mystique and grandeur. Egyptia was described as "a perfume with a warm, oriental spiciness" and "the alluring fragrance of Egyptian perfumery." The scent was designed to evoke the rich, exotic aromas of traditional Egyptian fragrances, capturing the opulence and enigmatic allure of ancient Egyptian civilization. This perfume aimed to transport wearers to the heart of Egypt, enveloping them in a warm and sensual aroma reminiscent of the treasures and mysteries uncovered in the tomb of the young pharaoh.

L'Acacia:

L'Acacia, introduced in 1925, offered a unique sensory experience that distinguished itself in Renaud's collection. Described as having "a slight tang of cut stems," this fragrance captured the fresh, green note reminiscent of freshly cut acacia, providing a natural and invigorating scent. Adding to its allure, L'Acacia promised "a breath from the desert," evoking the arid, sun-soaked air of distant deserts. This description suggested that the fragrance blended the freshness of acacia with the timeless, wild beauty of the desert, creating a truly exotic olfactory journey.

Renaud's ability to encapsulate the essence of distant lands and exotic locales was evident in L'Acacia. The fragrance's rich and complex composition included both synthetic and natural ingredients, offering a multifaceted olfactory experience. The top notes of hydroxycitronellal and anisaldehyde provided a fresh and slightly sweet opening. These synthetic compounds, commonly used in perfumery to recreate the scents of lily and anise, added a modern twist to the initial impression of the fragrance.

At the heart of L'Acacia was the luxurious note of French acacia, which imparted a delicate and honeyed floral aroma. This was complemented by the exotic and rare ambergris, known for its complex, sweet, and animalic scent, adding natural depth and warmth to the perfume. Additional heart notes included eucalyptus, which contributed a refreshing and slightly medicinal edge, and lavender, known for its calming and herbaceous qualities. Bergamot, with its bright and citrusy scent, provided a vibrant counterpoint to the richer notes in the heart.

The base of L'Acacia was a sophisticated blend of musk, orris, rose, civet, vanilla, and jasmine absolute. Musk added a sensual and long-lasting foundation, while orris (derived from the iris root) contributed a powdery and slightly woody nuance. Rose brought classic floral elegance, and civet, a secretion from the civet cat, added an intense and animalic depth. Vanilla introduced a creamy sweetness, and jasmine absolute provided a rich, floral opulence that rounded out the composition beautifully.

Overall, L'Acacia was a masterful creation that combined a wide array of notes to create a fragrance that was both sophisticated and multifaceted. Its blend of fresh, floral, woody, and animalic elements made it a memorable and enduring perfume, celebrated for its complexity and the skillful artistry behind its formulation.

Notchenka:

Notchenka was one of Renaud's most luxurious and expensive fragrances, retailing at $55 for one ounce and $125 for two ounces. The name Notchenka is derived from Russian, translating to "little night." This evocative name adds a layer of mystique and allure to the perfume, suggesting an intimate connection to the enchanting and enigmatic aspects of Russian culture.

Described as having a "light, spicy floral odeur," Notchenka was crafted to capture the delicate balance of lightness and spice, creating a subtle yet intriguing fragrance. Renaud's advertising emphasized this mystique: "Notchenka, Flower of the Little Night. All of the fascination and strange mysticism of old-time Russia are reflected in this subtle fragrance." This description conjures images of the captivating, mystical elements of Russian history and folklore, promising an olfactory experience steeped in exotic charm.

Further, Notchenka was characterized as embodying "the exotic sweetness of a little blue flower of the land of the midnight sun." This poetic imagery alludes to the delicate yet resilient flora found in the Russian tundra, under the perpetual twilight of the Arctic summer. The high price of Notchenka underscored its exclusivity and the luxurious experience it promised, positioning it as a coveted addition to any discerning fragrance collection.

Orchidee

Orchidée, introduced by Renaud in 1925, quickly emerged as one of the house's most celebrated fragrances. Its exotic allure and evocative descriptions captivated the imagination of wearers and positioned it as a standout in the perfume world. A 1929 advertisement for Orchidée vividly highlighted its enchanting qualities, stating: "One trembling drop of this rare exotic fragrance brings all the allure of far-off isles of the South Seas, the thrill of the forests and trackless jungles, the fascination of the desert oasis."

This evocative description painted a rich tapestry of adventure and romance, suggesting that just a single drop of Orchidée could transport the wearer to distant, exotic locales. The mention of the "South Seas" conjured images of tropical islands with pristine beaches and lush, verdant landscapes. The reference to "forests and trackless jungles" hinted at a world of untamed beauty and hidden mysteries, while the "desert oasis" evoked visions of hidden, lush paradises amidst vast arid expanses.

The New Yorker, 1932:

"Pay $60 an ounce and you can give your loved one Renaud's Orchidee."

Priced at $60 per bottle, Orchidée was positioned as a luxurious and exclusive fragrance, promising an extraordinary sensory journey. Its success as one of Renaud's best-selling perfumes underscored its widespread appeal and the allure of its adventurous narrative. The fragrance encapsulated a spirit of exploration and a yearning to experience the unknown, making it a prized addition to any perfume collection.

Orchidée was crafted with a complex and sophisticated blend of notes. The fragrance opened with the fresh and citrusy aroma of neroli and bergamot, which provided a bright and uplifting start. Ylang ylang and tuberose introduced a rich, floral heart, adding an exotic and opulent dimension to the perfume. Rose and jasmine contributed classic floral elegance, while violet offered a soft, powdery touch.

The base of Orchidée featured tonka bean and benzoin, which added warm, sweet, and resinous notes, enhancing the perfume's depth and longevity. Musk provided a sensual foundation, while terpineol contributed a subtle, herbaceous nuance. Together, these elements created a fragrance that was both captivating and luxurious, embodying the spirit of adventure and the allure of distant, enchanting locales.

Sweet Pea:

Sweet Pea by Renaud was a notable highlight in the house’s collection, distinguished by its frequent and enthusiastic advertising. Celebrated for its delicate and enchanting aroma, this perfume captured the affection of many and reflected Renaud’s dedication to creating a truly exceptional fragrance.

A 1929 advertisement for Sweet Pea proclaimed: "True Sweet Pea by Renaud. The crowning achievement of this famous French house and the reward of a quarter of a century's research is this True Sweet Pea Perfume, price $37.50 per bottle." This statement underscored the meticulous effort and expertise that went into perfecting Sweet Pea, positioning it as a pinnacle of Renaud's perfumery legacy. The term "True Sweet Pea" emphasized the fragrance’s authentic representation of the sweet pea flower, renowned for its fresh and sweet scent.

The composition of Sweet Pea was a complex and luxurious blend of floral and gourmand notes. At its heart, jasmine, orange blossom, and tuberose contributed to its rich floral elegance, while rose and vanilla added creamy sweetness and depth. The base notes of tonka bean, musk, and civet provided a warm, sensual foundation.

The fragrance’s complexity was further enhanced by a selection of nuanced ingredients. Ionone imparted a subtle, violet-like sweetness, adding a soft, floral undertone. Guaiac introduced a smoky, woody element that brought a touch of exoticism to the blend. Hyacinthin offered a fresh, green floral note reminiscent of blooming hyacinths, while heliotropin added a sweet, powdery touch with a hint of vanilla. Terpineol contributed a crisp, citrusy nuance, enhancing the overall freshness of the fragrance.

Priced at $37.50 per bottle, Sweet Pea was both an accessible luxury and a favorite among perfume enthusiasts. Its frequent advertisements and Renaud’s praise highlighted its status as a cherished fragrance, celebrated for its floral elegance and the artistry behind its intricate composition.

Ghedma:

Ghedma was another notable fragrance from the esteemed Renaud perfumery, distinguished by its poetic description and luxurious pricing. Billed as "the flowers of happiness," Ghedma promised an uplifting and joyful olfactory experience, encapsulating the essence of bliss and contentment in its scent. This perfume retailed for $42.50 an ounce, underscoring its premium status and the value placed on its exquisite composition.

The word Ghedma has roots in the Arabic language, where it is associated with joy and happiness. The name itself adds an exotic and enchanting element to the perfume, aligning with Renaud's tradition of drawing inspiration from diverse cultures and distant lands. By choosing a name that conveys such positive emotions, Renaud effectively communicated the fragrance's intended impact on its wearers—imbuing them with a sense of happiness and well-being.

Ghedma was crafted to capture the essence of "the flowers of happiness," suggesting a blend of floral notes that evoke a sense of delight and serenity. This fragrance was likely designed to transport the wearer to a state of contentment, with each note carefully selected to contribute to a harmonious and joyful bouquet. The luxurious price point further emphasized Ghedma's status as a high-end, sophisticated choice for those seeking not only a beautiful scent but also an emotional uplift through their fragrance.

In sum, Ghedma represented a blend of cultural richness and emotional resonance, making it a cherished addition to Renaud's diverse and esteemed collection of perfumes. Its promise of happiness and its luxurious presentation ensured that it remained a favorite among discerning perfume enthusiasts.

List of perfumes by Renaud:

• 1919 L'Ile de France
• 1919 L'Isle
• 1920 Cour de Russie
• 1920 Lubentia
• 1920 Fleur de Manacao
• 1920 Fleurs de Grasse
• 1920 Forest of France/Foret de France
• 1920 Jardins Celestes
• 1924 Geraine (Rose Geranium)
• 1925 Gardenia
• 1925 Orchidee
• 1925 L'Acacia
• 1925 Egyptia
• 1925 Fragrance
• 1925 Ghedma
• 1925 Coeur de Russe/Cuir de Russie
• 1925 Sweet Pea
• 1925 Spice of Life
• 1925 Bouquet/Bocage
• 1925 Orchid
• 1925 Notchenka
• 1926 Golden Lotus (bath salts)
• 1926 Lavender (bath salts)
• 1926 Bocage
• 1926 Chypre
• 1926 Rose
• 1926 Jasmin
• 1928 Araby
• 1928 Ambrée (a line)
• 1928 Lilac
• 1928 Narcisse
• 1928 Muguet
• 1929 Magnolia
• 1929 Lotus
• 1929 Violet
• 1929 Day & Night
• 1929 Red Carnation
• 1933 Fleur d'Olivier (Blossom of the Olive Tree)
• 1934 Heliotrope
• 1934 Lilas
• 1934 Orange Blossom
• 1936 Parfums of Royalty (a line)
• 1940 Bateau Ivre
• 1940 Sur Deux Notes
• 1943 Glissade
• 1949 Foret
• 1949 Jasmin de Paris

Popular Mechanics, 1924:

"We Will Send Prepaid, no money down, 12 bottles of guaranteed rarest French Perfume made ​​by Renaud, Paris, world's finest Perfumers. One of these Odors was made ​ exclusively for Czarina of Russia before the war. Others have sold as $100 an ounce. Today you sell these 12 bottles assorted odors 50c each and remit to us after selling a total of $2.50. If you want to represent us give three references or cash in advance. Glee Products Co. Importers, Leicester, Mass."

Federal Trade Commission, 1940:

"The Sweet Pea is naive, the Gardenia subtle, the Orchid exotic. Each comes in a lovely flacon that reposes in a gift box. Famous in France - RENAUD'S Perfume 3.95."

Bottles:

Drug and Cosmetic Industry, 1936:

"RENAUD'S "Parfums of Royalty" trio comes in individual flacons in French ivory [celluloid] containers for the purse,- three odors. Renaud also presents a new size flacon packaged in a jewel case holding 1/4 drams."

Opaque Glass Bottles:

The opaque slag glass bottles manufactured by Cristalleries de Nancy from 1924 to 1934 showcase a distinctive and artistic design, particularly noted for their rectangular shape with rounded corners. These bottles were available in a variety of colors and shapes, reflecting the period's emphasis on both functionality and aesthetic appeal. Notably, these bottles were also produced in clear glass with a frosted stopper, adding a touch of elegance to their presentation.

Among the most common colors for these bottles were red, coral orange, green, and black. Each color often corresponded to the specific perfume it contained, enhancing the visual appeal and making it easier for users to identify their favorite scents. For example, yellow bottles were used for L'Acacia, green for Sweet Pea, and red for Notchenka. Ghedma bottles could be found in gilded or red finishes, and Cour de Russie was typically housed in a yellow bottle. Other notable colors included purple for Orchid, white or green for Gardenia, and red for Gerain.

Some of the rarer colors included yellow ochre, purple, white, and turquoise. Each of these hues contributed to the unique character of the bottle, making them particularly sought-after by collectors. In addition to these colors, certain bottles were entirely covered in gold enamel, adding a luxurious and opulent touch.

The bottles featured pointed glass stoppers and came in various sizes, including:

• 3.5 inches tall
• 2 3/4 inches tall
• 2 7/8 inches tall
• 2 1/8 inches tall

These variations in size and color not only allowed for a broad range of aesthetic choices but also enhanced the allure of the perfumes contained within, aligning with the elegant and sophisticated style of the era.

The square bottles with rounded shoulders and brass screw caps, used for toilet waters, exhibit a classic and functional design, reflecting the elegance of early 20th-century packaging. These bottles stood either 3.5 inches or 4.25 inches tall, offering a sleek and sturdy container for personal fragrances. The rounded shoulders of the bottles give them a soft, refined silhouette, complementing the practical functionality of the brass screw caps, which ensure secure closure and preserve the fragrance inside.

The base of each bottle is meticulously molded with the inscription "Renaud Paris 1817 made in France Patents Pending," which not only indicates the brand and its Parisian origins but also highlights the attention to detail and innovation that Renaud took pride in. This marking serves as a testament to the brand's longstanding tradition of quality and its commitment to craftsmanship.

In addition to the standard-sized bottles, a smaller version was also available, measuring just under 2 inches tall. This compact bottle was designed specifically for parfum, catering to those who wished to carry their favorite fragrance conveniently in their handbag. Despite its reduced size, this miniature version maintained the same attention to detail as its larger counterparts, reflecting Renaud's dedication to offering both elegance and practicality in their packaging.

An unusual and distinctive toilet water bottle, produced by Cristalleries de Nancy, features an elegant design crafted from opaque slag glass. This tall bottle stands at 4 1/4 inches and embodies a refined aesthetic with its striking material and height. It has a brass screwcap closure. The opaque slag glass gives the bottle a unique texture and appearance, setting it apart from more conventional glass bottles. The base of the bottle is subtly marked with "Made in France," affirming its origin and craftsmanship. This bottle’s unusual design and premium material make it a noteworthy example of early 20th-century perfume packaging, showcasing both functional and decorative elements.

In the 1920s and 1930s, opaque slag glass was prominently used by Renaud not only for its distinctive perfume bottles but also for a range of other beauty products. This versatile material adorned various containers, including talcum powders, bath salts, Parfum en Poudre sachets, and creams.

The talcum powder bottle stands at 5 inches tall and features a brass screw cap. When used for talcum powder, the cap is fitted with a sifter equipped with a sliding closure, a mechanism patented in 1921 to control the powder's dispensation. For bath salts, the bottle is fitted with a simpler brass screw cap, removing the sifter to accommodate the different product.

The squat Parfum de Poudre sachet bottle, designed to hold scented powder, measures 2.5 inches tall and also features a brass screw cap. This compact design reflects the luxurious and practical nature of the packaging used for these finer products.

Renaud also offered cosmetics in slag glass containers, with green being the most commonly found color. These containers include rouge compacts, face powder jars, and face cream jars. The face powder jars were available in various fragrances, including Sweet Pea, L'Acacia, Geraine, and Orchid, providing a coordinated olfactory experience to complement the perfumes.

The low round face cream jars measure 3 inches in diameter and stand 2.25 inches tall, featuring brass screw lids. For a more substantial option, the taller cream jar stands at 3 3/8 inches tall and has a diameter of 2 1/8 inches, also fitted with a brass screw lid. These jars demonstrate Renaud's commitment to both functionality and elegance in their packaging, reflecting the same meticulous attention to detail seen in their perfume bottles.

Stylo Flacons:

The cylindrical bottles known as "stylo flacons" were a notable feature of Renaud's perfume collection, distinguished by their innovative design and luxurious packaging. These bottles were fitted with brass screw caps, a design patented in 1931. The brass cap was a functional yet elegant component, ensuring the secure closure of the perfume bottle.

To enhance their appeal, these stylo flacons were housed in little leather jeweler's cases, which added an extra layer of sophistication and protection. Special editions of these cases could hold two or three bottles, catering to the needs of perfume enthusiasts who desired a curated collection of scents.

The earliest versions of these bottles were crafted from clear cut glass and featured glass inner stoppers with long, thin daubers, allowing for precise application of the perfume. These bottles were also equipped with metal over caps, adding a touch of refinement and durability.

In the 1920s, Renaud also offered striped glass perfume vials that were made in Germany. These vials were distinct for their striped glass design and came with brass caps that were marked with "Germany," indicating their origin.

Later versions of the stylo flacons were made from opaque colored glass and were produced by the Kimble Glass Company. Advertised starting in 1930, these bottles were available in shades such as orchid, green, and lavender, reflecting the stylish trends of the era.

The Drug and Cosmetic Industry magazine in 1939 described these pocket-size quantities of Renaud perfumes as being colorfully packaged in Kimble Glass vials, complemented by flashing metal screw caps and encased in attractive leather cases with snap or zipper closures. This description highlighted the combination of elegance and practicality in Renaud's packaging approach.

Similarly, the Glass Packer magazine in 1939 noted that Renaud’s finest perfumes were presented in glass vials supplied by Kimble Glass Co., packaged by Dale S. Davis' Associates in Watertown, Mass. This further underscored the meticulous attention to detail and the premium quality associated with Renaud’s perfume presentation.

Cut Glass Flacon with Colored Glass Stopper:

Among the distinctive offerings from Renaud, you may encounter the elegant tapering clear glass bottles adorned with colored glass stoppers. These bottles were designed with intricate etched designs featuring lily of the valley blossoms, an artful touch that mimicked the appearance of fine cut glass. The stoppers were available in a variety of transparent colors, including blue, vaseline, peach, and amethyst, each adding a vibrant and luxurious detail to the bottles.

These flacons came in three sizes:

• 4.5 inches tall
• 3 inches tall
• 2.75 inches tall

Some of the taller bottles were made in France and might feature an acid-etched mark on the base reading "Made in France," signifying their origin. Additionally, some bottles were reported to be produced in America by Tiffin, reflecting the international craftsmanship involved in their creation.

Originally, these bottles were housed in a gilt octagonal presentation box, which was topped with a gold and black silken tassel. This opulent packaging underscored the luxury and refinement of the perfume, enhancing the overall presentation.

An advertisement in the Los Angeles School Journal of 1928 described these bottles as part of Renaud's luxurious collection, highlighting their royal allure. Priced at $2.95, the bottles were celebrated for capturing subtle fragrances and gay loveliness. The ad mentioned the perfumes housed within these bottles, such as L'Acacia—evoking the breath of the desert, Egyptia—offering the alluring fragrance of Egyptian perfumery, and Gardenia—providing the true scent of gardenia, each fragrance reflecting Renaud's commitment to creating exquisite and evocative olfactory experiences.

Other Bottles:

The squat clear and frosted glass bottle featuring a blue satin glass flower stopper is a rare and distinctive piece. This bottle's design closely resembles the one used for Narcisse Noir by Caron, albeit with a striking twist: the stopper is rendered in blue glass instead of the traditional black. The frosted glass body enhances the bottle's delicate and refined appearance, while the blue satin stopper, shaped like a flower, adds a touch of elegance and uniqueness. Due to its unusual design and limited visibility, this bottle stands out as a rare find among collectors and perfume enthusiasts.

Notchenka:

The exquisite bottle designed to hold Notchenka is a masterpiece of elegance and craftsmanship. Made from jet black opaque glass, it features intricate molded details that are highlighted with a striking nile green patina, adding a touch of opulence and contrast. This bottle, designed by the renowned Julien Viard, stands at a refined 3 inches tall and is a testament to sophisticated design.

Originally, the bottle was housed in a black and gold presentation box, which was topped with a luxurious bullion tassel, enhancing its appeal and making it a truly special item. When Notchenka was first introduced in 1928, the bottle was priced at $55, reflecting its high-end status and exclusivity. However, by 1932, the price had dramatically dropped to $8.75, a significant reduction that likely mirrored changes in market conditions or production costs over the years. This dramatic shift in pricing underscores the bottle's journey from a luxurious item to a more accessible, yet still cherished, collectible.