Lundborg Perfumery

 Proprietors and Manufacturers: Young, Ladd & Coffin of New York

Lundborg's Perfumes were synonymous with luxury and refinement during the Victorian era, earning a reputation that extended well beyond American shores to international markets. This renown was built not only on the excellence of the products but also on the ingenuity and determination of its proprietors, Messrs. Young, Ladd & Coffin, who acquired the rights to the brand in 1872.

Origins: John Marlie Lundborg’s Vision

The Lundborg Perfumery was founded in 1850 by John Marlie Lundborg, a Swedish émigré who settled in Hudson, New Jersey. A chemist and botanist by training, Lundborg had an exceptional ability to analyze and replicate the scents of flowers, turning his passion for florals into an innovative and lucrative business. His work began as a hobby, experimenting with distillation and the art of preserving natural aromas. By 1860, Lundborg was established as a "perfumer," a title proudly listed in New York City business directories.

Recognizing the growing demand for fine fragrances, Lundborg's enterprise flourished. His formulations, including those for early successes such as Goya Lily and Swiss Lilac, demonstrated his mastery of capturing the true essence of flowers—a skill that would form the foundation of his brand's legacy.

Transition and Expansion

In 1872, Richard D. Young acquired Lundborg’s recipes, trademarks, and goodwill, partnering with Ladd & Coffin to form the firm of Young, Ladd & Coffin. Though Lundborg had ostensibly retired, his expertise remained integral to the business. Retained as head of the laboratory, he continued to refine and develop perfumes until his death in 1879.

During this period, Mr. Ladd immersed himself in the art and science of perfumery, studying closely under Lundborg. Upon the founder’s passing, Ladd assumed full responsibility for manufacturing operations, ensuring that Lundborg’s meticulous standards were upheld.

Overcoming Prejudice Against American Perfumery

The 19th-century fragrance market was dominated by European perfumes, with French, English, and German scents regarded as the epitome of sophistication. American-made perfumes faced significant skepticism, and it was Young, Ladd & Coffin who championed a shift in perception. With ample capital and an aggressive advertising strategy, they sought to establish Lundborg's perfumes as equal, if not superior, to their imported counterparts.

Their promotional campaigns, featured prominently in leading periodicals, emphasized the quality and artistry of Lundborg's creations. Striking advertisements showcased the luxurious Edenia, the delicate Goya Lily, and the vibrant Swiss Lilac, captivating audiences with their innovative designs and evocative imagery.

Commitment to Quality Manufacturing

The manufacturing ethos at Lundborg’s was unwavering. As Mr. Ladd explained: "The first requisite is quality, giving each perfume all the natural strength possible, introducing no foreign matter to make it more lasting, thereby destroying the character. Hence, Lundborg's perfumes maintain their character to the end. Each odor or bouquet is distinct, possessing the delicate fragrance of the flower, and actually represents the odor whose name it bears. In manufacturing, only the best materials the world produces are used."

Lundborg’s commitment to authenticity ensured that their perfumes delivered true-to-nature aromas, meticulously crafted to embody the essence of their floral inspirations. Their insistence on maintaining a fixed price, resisting discounts even for large orders, further cemented their reputation for quality and consistency.

Global Reach and Prestige

By the 1880s, the firm’s operations had expanded significantly. The head office, factory, and salesroom were located at 24 Barclay Street in New York City, with branches in Boston, Chicago, and San Francisco. Their international presence was marked by a depot at 32 Snow Hill, London, ensuring that Lundborg's perfumes were "known the world over."

Later Years and Legacy

In 1920, the Lundborg brand underwent a revival when it was acquired by a new company, renamed the Lundborg Company. This transition aimed to modernize the line while preserving its storied reputation. New formulas, improved shipping facilities, and competitive pricing were introduced, along with an expanded product range.

Despite these efforts, the Lundborg Company eventually ceased operations in 1954. However, its legacy endures as a symbol of innovation and excellence in American perfumery, representing a pivotal moment in the nation’s fragrance history.

Notable Perfumes of Lundborg’s Line

The brand’s repertoire included a wide array of iconic fragrances, such as:

• Edenia – A harmonious and romantic floral bouquet.
• Goya Lily – Celebrated for its rich, pure lily essence.
• Swiss Lilac – A soft and elegant interpretation of lilac.

These perfumes, crafted with the finest ingredients, were emblematic of Lundborg’s commitment to quality and artistry.

Bottles & Packaging:

Lundborg's perfumes were presented in packaging that exuded elegance and sophistication, reflecting the brand's commitment to quality and artistry. Many of their bottles featured trefoil-shaped stoppers—an intricate design that mimics a three-lobed cloverleaf. The trefoil symbol, often associated with purity, nature, and even the Holy Trinity, became a hallmark of the Lundborg brand, underscoring their focus on craftsmanship and a connection to botanical inspiration. These stoppers, crafted from fine glass, added a distinctive touch to the bottles and made them instantly recognizable.

In addition to their trefoil-stoppered bottles, Lundborg produced luxurious etched glass flacons. These bottles often showcased intricate designs that were either hand-etched or produced using advanced techniques of the time, lending a refined, high-quality finish to the packaging. Some of the bottles were fitted with hollow, blown-out stoppers that demonstrated the skill of the glassmakers involved. These stoppers not only enhanced the aesthetic appeal but also helped preserve the delicate fragrances inside, ensuring their freshness over time.

Lundborg's commitment to variety extended beyond perfumes. The company also offered a range of toiletries and beauty products, including sachet powders, hair tonics, and liquid green soap shampoos. Each product was packaged thoughtfully, with cold cream and lip rouge housed in convenient tubes and nail bleach presented in elegant containers. The labels, adorned with ornate typography and floral motifs, further emphasized the brand's attention to detail and their dedication to creating a cohesive and luxurious experience for their customers.

This meticulous approach to packaging, combined with the artistry of their glasswork and the quality of their products, contributed significantly to Lundborg’s reputation. Their bottles, now prized by collectors, serve as enduring examples of 19th-century perfumery design, showcasing the interplay between functionality and aesthetic beauty.

It was at the 1893 Chicago World's Fair that the Young, Ladd & Coffin firm was awarded the highest award for their Lundborg Perfumes. By this time, Lundborg had received eight medals in total for their perfumes.

In 1920, the Lundborg brand was purchased by a new company and renamed the Lundborg Company. along with all its formulas, trademarks and good will. The aim was to rejuvenate the entire line and restore the Lundborg name and the reputation to the high standard which it enjoyed in the past. Prices were changed, shipping facilities improved and the line was enlarged upon.

Ladd & Coffin's Magnificent Pavilion

The 1893 Chicago World's Fair, also known as the World's Columbian Exposition, was a monumental event showcasing advancements in industry, art, science, and culture. Among the many exhibits, perfumery held a distinctive place, reflecting the era's fascination with refinement, luxury, and the growing importance of consumer goods in the global market. The exhibition served not only as a platform for technological and artistic achievements but also as a stage for companies to elevate their brand prestige on an international scale.

Perfumery’s inclusion in the World's Fair reflected its cultural significance in the late 19th century. Fragrances were more than personal adornments; they were symbols of sophistication, artistry, and technological progress. Exhibitors like Ladd & Coffin demonstrated how science and art converged in the creation of exquisite products. The fair provided an ideal platform for perfumers to reach a global audience, elevate their status, and contribute to the narrative of modern consumer culture.

Ladd & Coffin, proprietors of Lundborg Perfumes, seized this unparalleled opportunity to showcase their products in a grand pavilion that exemplified American ingenuity and elegance. Located at the north end of the Manufactures and Liberal Arts Building, near the main entrance, their exhibit stood out for its sophisticated design and strategic placement. The price tag was $10,000 for the exhibit, a pretty expensive advertisement, but definitely one that worked. Unlike many exhibits that emphasized size, the Lundborg pavilion garnered attention through its harmonious proportions, tasteful decorations, and subtle opulence.

The pavilion, designed by New York architect W.B. Tubby and constructed by the Linspar Decorating Company, measured approximately 25 feet square and soared 36 feet high. It featured four arched entrances joined by rounded columns and quarter domes supported by Corinthian pillars. A bold entablature crowned the structure, and a large central dome rose above, accented by Renaissance-style relief decorations. Topping this architectural marvel was the figure of "Flora, awarding the palm to the victors," symbolizing the triumph of beauty and nature. The pavilion’s cream-colored exterior was accented with gold detailing and salmon-hued panels, creating a visually striking presence that captivated fairgoers.

 

Interior Design and Product Display

Inside, the pavilion resembled an opulent reception room, with a fine oak floor partially covered by a subdued Wilton carpet. Cherry wood showcases, elegantly lined with gauzy silk, displayed Lundborg’s signature perfumes and toiletries. Notable offerings included sachet powders like "Helio-Violet" and "White Rose," as well as popular toilet perfumes such as "Edenia," "Maréchal Niel Rose," and "Alpine Violet." The artistry of the packaging further enhanced the allure of these fragrances, emphasizing the company's dedication to quality and presentation.

The Iconic Silver Perfume Fountain

One of the pavilion's most celebrated features was the Lundborg Silver Perfume Fountain, a showpiece that had already achieved fame at the 1876 Centennial Exposition and the 1889 Paris Exposition. Designed by J. Matthews & Co., this "Floro-Delic" fountain was a masterful blend of artistry and function. Constructed from bronze and heavily plated with silver, it featured statuettes of children holding silver pitchers that emitted streams of perfume. Each statuette symbolized a specific fragrance: a girl with a rose represented "White Rose," a cherub with hay depicted "New Mown Hay," and another cherub astride a hobby horse poured "Jockey Club" perfume.

 In the center was a figure of a little girl, holding in one hand a rose, and in the other a pitcher, from which issued a stream of Lundborg's White Rose perfume. On the right is a cherub, in the character of a haymaker holding a sheaf of hay, from which dropped the New Mown Hay perfume. Another cherub was dressed as a jockey bestriding a hobby horse, in one hand he held a vial pouring out Jockey Club perfume.

The fountain's central cylindrical shaft was adorned with bas-relief figures and topped with a circular floral basin. In front of the bank of flowers was the escutcheon of the State of California with a grizzly bear upholding a large lily, from which issued a jet of California Water, reinforcing Lundborg’s connection to its origins. Valued at $5,000, the fountain drew throngs of visitors eager to perfume their handkerchiefs at no cost. A customer remarked that "the difficulty with these sampling exhibits is that they tend to block up the passages, and cause an extra expense to the exhibition authorities who have to hire extra policemen to make the public 'move on'." It was estimated that the fountain distributed over 10,000 samples weekly during the fair, with the fragrance "Edenia" being particularly popular.

 At the Centennial Exposition, it was placed inside of the 33ft x 15ft "Perso Florel" pavilion also worth around $5,000, designed by architect RM Upjohn. The gayly colored pavilion was of Persian design featuring a blue dome topped by a golden crescent. It was reported that two hundred gallons of perfume were distributed gratuitously perfuming over three million handkerchiefs.

The fountain was exhibited in "nearly all sections of the United States and other countries". The main floor of the Bloomingdale's store in New York City hosted the fountain in 1909 for the Industrial Exhibit. In 1913, it was exhibited in Atlantic City and the patrons of the summer resort town were treated to sampling and perfuming their handkerchiefs for free.

 

Legacy and Impact

The Lundborg exhibit was more than a marketing triumph; it represented the apex of American perfumery’s global recognition. At the World's Fair, Ladd & Coffin were awarded the highest honor for their fragrances, solidifying their reputation as leaders in the field. The pavilion's success was a culmination of Lundborg's legacy, which had already earned eight medals at prestigious events worldwide.

The silver fountain continued to serve as a traveling ambassador for the brand, appearing in prominent locations like Bloomingdale’s in New York and Atlantic City. Wherever it was displayed, the fountain enchanted audiences and underscored the brand's commitment to luxury and innovation.

By blending architectural grandeur, artistic presentation, and olfactory delight, the Lundborg pavilion at the 1893 World's Fair became a hallmark of American enterprise and refinement. It left an indelible impression on visitors and cemented Lundborg's place in the annals of perfumery history.

 

 You can read more here about Richard D. Young.

 

The perfumes of Lundborg:

• 1860 Violette Flor 
• 1873 Arcadian Pink (still sold in 1908)
• 1873 White Rose (still sold in 1908)
• 1873 Wood Violet (still sold in 1908) 
• 1874 Fascination, a line (still sold in 1887)
• 1874 Frangipanni (still sold in 1908)
• 1874 Heliotrope (still sold in 1887)
• 1874 Jockey Club (still sold in 1908)
• 1874 Moss Rose (still sold in 1887)
• 1874 Musk (still sold in 1887)
• 1874 Night Blooming Cereus (still sold in 1908)
• 1874 Patchouly (still sold in 1908)
• 1874 Pond Lily (still sold in 1887)
• 1874 Rose Geranium (still sold in 1887)
• 1874 Sweet Briar (still sold in 1887)
• 1874 Tea Rose (still sold in 1908)
• 1874 Ylang Ylang (still sold in 1887)
• 1875 California Water
• 1876 Bouquet de Caroline (still sold in 1887)
• 1876 Cassie
• 1876 Centennial 
• 1876 Jonquille
• 1876 Eglantine
• 1876 Essence Bouquet (still sold in 1887)
• 1876 Exquisite, a line
• 1876 Honeysuckle (still sold in 1887)
• 1876 International, a line
• 1876 Jasmine (still sold in 1887)
• 1876 Magnolia (still sold in 1887)
• 1876 Marechale Niel Rose (still sold in 1887)
• 1876 Mignonette (still sold in 1887)
• 1876 Millefleurs (still sold in 1887)
• 1876 Musk Rose (still sold in 1887)
• 1876 New Mown Hay (still sold in 1908)
• 1876 Orange Flower (still sold in 1887)
• 1876 Recherche, a line
• 1876 Reseda
• 1876 Rondeletia (still sold in 1887)
• 1876 Rose
• 1876 Spring Flowers (still sold in 1887)
• 1876 Sweet Pea (still sold in 1887)
• 1876 Tuberose/Tube Rose (still sold in 1908)
• 1876 Upper Ten (still sold in 1887)
• 1876 Verbena (still sold in 1887)
• 1876 Violet (still sold in 1908)
• 1876 West End (still sold in 1887)
• 1876 White Violet
• 1878 Tally Ho (still sold in 1887)
• 1879 Edenia (still sold in 1887)
• 1881 Criterion 
• 1883 Rhenish Cologne
• 1883 Alpine Violet (still sold in 1908)
• 1883 Lily of the Valley (still sold in 1908)
• 1884 Oil of Cologne
• 1887 Bridal Bouquet
• 1887 Harvest Queen 
• 1887 Marechale
• 1887 Ocean Spray (still sold in 1908)
• 1887 Stephanotis (still sold in 1887)
• 1888 Goya Lily (still sold in 1908)
• 1889 Heather of the Links
• 1890 Corsage Bouquet 
• 1890 Helio-Violet
• 1890 Opal
• 1890 Sweet Spray
• 1890 White Heliotrope (still sold in 1908)
• 1890 Swiss Lilac (still sold in 1903)
• 1891 White Musk
• 1892 Nada Rose (still sold in 1908)
• 1892 Triple Violet Water
• 1893 Forest Pansy (still sold in 1908)
• 1892 Marie Stuart
• 1894 Peach Blossom
• 1894 Opoponax
• 1894 Vio-Violet
• 1894 Edelweiss
• 1894 Crab Apple
• 1895 Trianon
• 1896 May Bells
• 1896 Lilac Bloom
• 1897 Fairy Frond
• 1897 Pansy
• 1897 Imperial, a line
• 1898 Ayli (As-You-Like-It)
• 1898 Purple Azalea
• 1898 Rose of Arden 
• 1898 Violette de Parme
• 1898 American Carnation
• 1899 Princess Ada
• 1899 Daisy Queen
• 1900 Violet Dew
• 1901 Clovera
• 1902 Golden Jasmine
• 1903 Cake Walk
• 1903 Edeol
• 1903 Bijou 
• 1903 Florida Blossoms (still sold in 1908)
• 1903 Little Trianon 
• 1903 May Pink (still sold in 1908) 
• 1903 Odorator 
• 1903 Opera 
• 1903 Swiss Rose 
• 1903 Trefoil 
• 1903 Velcrema 
• 1904 Arbor Rose (still sold in 1908)
• 1904 Jessamine
• 1904 Peau d'Espagne
• 1905 Arborea
• 1905 Carnation Pink (still sold in 1908)
• 1906 Society
• 1906 Manor Rose
• 1906 Violet Chic
• 1907 Dearie
• 1908 Tisnu Violet
• 1908 Apple Blossoms
• 1908 Cone Violet
• 1908 May Pink
• 1908 Nilotus
• 1910 Sakura
• 1916 Cher Ami
• 1917 Pixie
• 1918 Lure
• 1918 Oct 1, 1918
• 1919 Admiration, a line
• 1925 Narcissus
• 1930 Amber Antique
• 1931 Le Jasmin Ambre
• 1944 Stolen Secret (a woodsy perfume)

Ads below are from an 1893 Marshall Field's catalog.

The images below come from a 1901 AC McClurg & Co catalog.

Prices Current By Fuller & Fuller Co., Chicago, 1907: