Ganna Walska Perfumes

Ganna Walska Perfumes, Inc. of Paris & New York. The company was established in 1927 by Ganna Walska d'Eighnhorn Fraenkel Cochran McCormick (born Hanna Puacz in 1887), an untalented soprano opera singer originally from Poland (Brest-Litovsk, Russian Empire). Ganna is a Russian form of Hannah, and Walska "reminiscent of her favorite music, the waltz."

 
Ganna Walska partnered with noted Russian rejuvenation specialist and charlatan, Dr. Serge Voronoff, of 'monkey gland' fame. He specialized in transplanting animal glands into aging men with impotency, meant to improve and renew (unsuccessfully) their sexual virility. Vonoroff also experimented upon himself, by injecting parts of dog and guinea pig testicles into himself, in order to try to retard aging.

Dr. Serge Voronoff's experiments with "monkey gland" transplants and his quest for rejuvenation certainly make for a colorful, albeit controversial, aspect of history. It's intriguing to learn about his partnership with Ganna Walska, especially considering her background in the perfume industry. 

The short-lived company introduced its first perfume, Divorcons (Let's Divorce) in 1927 along with two others, Cordon Bleu and Pour Le Sport at the Palais de Glace exposition in Paris. Her beauty shop opened at 2 rue de la Paix, Paris in August of 1927. She then opened another branch in Manhattan in 1928 (9 East 54th Street), to be a sister store to the one in Paris, where she obtained small orders from department stores. The shop was then moved to 655 Fifth Avenue.

The perfumes of Ganna Walska:

• 1925 Près de Toi
• 1926 Chypre
• 1927 Divorcons (a bittersweet oriental perfume)
• 1927 Cordon Bleu (Blue Ribbon, a floral bouquet perfume)
• 1927 Pour le Sport (a sporty perfume)
• 1930 Niparys (a light clover type perfume)
• 1933 Pois de Senteur (Sweet Pea)
• 1933 Jasmin 
• 1933 Chypre
• 1933 Lilac
• 1933 Gardenia
• 1933 Carnation

It's fascinating to see how Ganna Walska ventured into the perfume industry with such a bold lineup of fragrances. The names of the perfumes, particularly "Divorcons," are intriguing and likely garnered attention, especially given the social context of the time. Opening beauty shops in both Paris and Manhattan shows her ambition and vision for her brand. 

The Paris store was closed in 1931 and all of the fixtures and stock were sold at auction. The shop only lasted three years as it was hit hard by the slump in the luxury trade at the beginning of the Depression.

It's unfortunate to hear that Ganna Walska's Paris store had to close its doors due to economic challenges, especially during the difficult times of the Great Depression. The luxury trade indeed faced significant downturns during that period, impacting many businesses. Despite the closure, Walska's venture into the perfume industry and her beauty shops left an interesting mark on the intersection of beauty, fragrance, and entrepreneurship. 

Her perfumes were contained in simple bottles resembling those used by Chanel, and were said to retail as high as $500 an ounce. A perfume, Niparys was launched in 1930 with a price tag of $400 an ounce. It was described by Walska as it "breathes the light clover aroma that hints of the morning dew in a hayfield." Some of the Ganna Walska Toilet Waters were sold in 4 ounce bottles up to huge 16 ounce glass bottles.One special bottle was a gilded glass atomizer called the "Vaporisateur Luxueux" which was probably sold empty along with a bottle of her perfume.

The descriptions of Ganna Walska's perfumes evoke a sense of luxury and elegance, fitting for the high-end market. The price tags you mentioned reflect the exclusivity and premium quality associated with her brand. It's interesting to note the variety in bottle sizes and designs, from the simple yet sophisticated to the ornate and extravagant, such as the gilded glass atomizer. Despite the challenges her business faced, Walska's commitment to creating luxurious fragrances and beauty products is evident.

She told the press "I must keep busy and have things to occupy my mind." On the topic of beauty, she replied that "This subject interests me as it interests nearly every woman, as it has interested practically all of the great women in history." She had made a study of perfumes, and with the advice of her chemists, put on the market some redolences which she claimed were new. "I certainly do not intend to give up singing. My art is my life; this business adventure is a sideline. It is a lighter role in life's program which it pleases me to do."

Ganna Walska's perspective on her beauty business reflects a multifaceted approach to life and career. Her desire to stay busy and engaged with various interests, including her passion for singing and her foray into the perfume industry, highlights her adventurous spirit and entrepreneurial drive. It's admirable how she embraced both her artistic pursuits and her business endeavors, recognizing the importance of balance and fulfillment in life. Her dedication to exploring new fragrances and beauty products shows a commitment to creativity and innovation. It's clear that she approached her business ventures with enthusiasm and a willingness to learn, even while maintaining her primary focus on her art.

In October of 1927, river thieves broke into her perfume factory in the village of Pantin, the perfume center near Paris and stole $25,000 worth of rare perfumes and gold and silver vanity cases. The robbers, according to police, loaded this loot onto a barge in the canal which runs close to the factory. A newspaper blurb speculated that the thieves were interested in imbibing the alcohol used for the perfumes.

The robbery of Ganna Walska's perfume factory sounds like a dramatic event, with the thieves making off with a considerable amount of valuable goods. The speculation about their motive adds an intriguing twist to the story, suggesting that they might have been interested not only in the perfumes themselves but also in the alcohol content used in their production. It's unfortunate that such incidents can disrupt the operations of businesses, especially ones as unique and specialized as Walska's perfume factory. 

In a full page ad from 1927, the organization of the company was described  as a "memorable event in the progress of feminine elegance."

Ganna was outspoken in her views on beauty and perfumes. In a 1927 newspaper article she admonishes the use of cosmetics and perfumes by American women. She goes on to say that "the American woman knows little about perfumes, and sometimes it is terrible to sit beside them in a warm theater, even as terrible as to sit beside some of these European men who cover themselves with rose water. Aboth are simply displaying their absurd lack of taste. A blonde woman should use delicate perfumes, such as violet and lily of the valley, and leave for the brunette the stronger scents of chypre and lemon."

"Remember, a delicate individual perfume adds greatly to the alluring charm of a woman," she said.

Ganna Walska's outspoken views on beauty and perfumes offer an interesting perspective on the cultural attitudes towards cosmetics and fragrance during her time. Her emphasis on individuality and the importance of choosing perfumes that complement one's natural scent and personality reflects a nuanced understanding of personal style and elegance. It's fascinating how she tailored her advice based on hair color, suggesting that different fragrances suit different types of individuals.

Her assertion that some American women may lack knowledge about perfumes highlights the cultural differences in beauty practices between Europe and the United States during that era. Walska's insights add depth to the discussion of femininity and elegance, emphasizing the role of fragrance in enhancing a woman's allure.

The description of the organization of her company as a "memorable event in the progress of feminine elegance" underscores the significance of her contributions to the beauty industry and the impact of her endeavors on women's lives.

Though she married six times, the singer was notorious for a highly publicized acrimonious divorce in 1920 from Alexander Smith Cochran, a multimillionaire, sportsman and carpet tycoon.

She later married another multimillionaire, Harold Fowler McCormick in 1922, but they had also divorced in 1931. It is to be noted that in 1921, McCormick had sought to fortify himself by undergoing an operation by Serge Voronoff because Walska had somehow convinced him that their sex life was lackluster and that he was inadequate to her needs. After paying Voronoff a large fee, the operation did not work and Walska left hi

If she didn't care for his sex drive, she must have enjoyed his wealth immensely as she reportedly bought $500,000 worth of Youssoupoff carved emeralds in 1927, by 1928, these were valued at $1 million dollars. She also acquired the Duchess of Marlborough Faberge Easter Egg in Paris in 1926.m, the divorce cost him $6 million dollars.

Ganna Walska's personal life certainly had its share of drama and intrigue, with her multiple marriages and high-profile divorces making headlines. The details surrounding her marriages to Alexander Smith Cochran and Harold Fowler McCormick, including the circumstances leading to their divorces, highlight the complexities of her relationships and the influence of wealth and social status.

The anecdote about McCormick seeking a medical procedure due to concerns about his sex life, allegedly at Walska's prompting, adds a layer of controversy to their marriage. It's a reminder of how personal matters can intersect with broader societal expectations and pressures, particularly within affluent circles.

Walska's penchant for acquiring luxurious items, such as the Youssoupoff carved emeralds and the Faberge Easter Egg, underscores her appreciation for opulence and beauty. Her ability to navigate the worlds of high society and wealth suggests a shrewdness and a keen understanding of the value of such acquisitions.

The significant financial implications of her divorces, particularly the hefty settlement paid by McCormick, highlight the high stakes involved in her romantic entanglements. It's a reminder that even amidst the glamour and extravagance, the realities of relationships and their consequences can be substantial.

In 1928, she acquired the Romanov sapphire and had Cartier fashion it into a necklace. From Sotheby's "The sides are composed of sapphire beads with an antique Indian cut rectangular sapphire of 197.75 carats at the center.  In 1923 Cartier created a magnificent sapphire and emerald sautoir for Ganna Walska which in the next few years underwent several changes until they created the final and most spectacular version 1929; the “Russian” sapphire was now the centre of a the magnificent jewel which supported a 256.60 carat Mogul carved emerald drop. This was just one of the jewels that she wore at the famous society wedding of Barbara Hutton to Prince Mdivani in Paris in 1933." You can see both versions of the necklaces below.

The description of Ganna Walska's acquisition and transformation of the Romanov sapphire into a necklace by Cartier is truly remarkable. The Romanov sapphire holds historical significance, and Cartier's craftsmanship in fashioning it into a stunning piece of jewelry reflects the epitome of luxury and artistry.

The evolution of the necklace, from its initial creation in 1923 to the final spectacular version in 1929, showcases Walska's discerning taste and Cartier's expertise in jewelry design. The addition of the Mogul carved emerald drop further enhances the necklace's elegance and grandeur.

It's fascinating to learn that Walska wore this magnificent jewel at the prestigious society wedding of Barbara Hutton to Prince Mdivani in Paris in 1933, highlighting her prominent place in high society and her affinity for exquisite jewelry.

The images of both versions of the necklace would undoubtedly be a sight to behold, capturing the beauty and opulence of Walska's collection of jewels. Such pieces serve as tangible reminders of the glamour and allure of a bygone era.

Sotheby's also lists other jewels owned by Walska "created by Cartier and as well as an exquisite butterfly brooch by Boucheron, circa 1894, the diamond wings carved with realistic veins and an important cushion-shaped Burma ruby mounted at the centre. There was also jewels by Seaman Schepps, Chaument of Paris and from Van Cleef & Arpels there was a superb enamel, carved coral, sapphire, jade and diamond Chimera Bangle dating from the late 1920s."

Ganna Walska's collection of jewels, as described by Sotheby's, is truly extraordinary, showcasing a diverse array of designs and craftsmanship from renowned jewelry houses. The pieces by Cartier, known for their elegance and innovation, would undoubtedly be exquisite examples of the jeweler's artistry.

The butterfly brooch by Boucheron, with its intricate diamond wings and stunning Burma ruby centerpiece, represents a timeless and iconic motif in jewelry design. Its craftsmanship and attention to detail would make it a standout piece in any collection.

The jewels by Seaman Schepps, Chaumet of Paris, and Van Cleef & Arpels further add to the richness and variety of Walska's collection. Each piece likely tells a unique story and reflects her discerning taste and appreciation for fine jewelry.

The Chimera Bangle by Van Cleef & Arpels, with its combination of enamel, carved coral, sapphire, jade, and diamond, exemplifies the imaginative and whimsical designs for which the house is known. It's a testament to Walska's eclectic style and willingness to embrace bold and unconventional jewelry choices.

Altogether, Walska's collection of jewels is a testament to her status as a tastemaker and a patron of the arts, showcasing the beauty and craftsmanship of some of the most esteemed jewelry houses of her time.

She certainly had an eye for treasures as she also had jewelry comprised of "diamonds, sapphires, rubies and emeralds together with some divine natural pearls. But the most outstanding and exceptional gemstone in the collection was undoubtedly the “fancy yellow diamond briolette of 95 carats”. As one of their major patrons it was fitting this magnificent stone was bought in the sale by Van Cleef & Arpels and immediately named the “Walska Briolette”. In 1971 fancy colored diamonds were still not graded as to the intensity and depth of their color but when the stone was re-graded by the GIA in 2010, by which time the new fancy coulor gradings were well established, it obtained the highest color grade for a colored diamond – Fancy Vivid. This is truly a stone not only with an important provenance- once owned by one of the most famous collectors of jewelry in the 20th century – but also an extremely important stone in it own right being one of the only two of the largest old antique-cut briolettes known and recorded."

Rumors had circulated years earlier that Walska was going to divorce McCormick as those who observed the fact that her first perfume was named "Divorcons", - Let's Divorce. In 1927, Walska stated "I emphatically deny that my going into business means divorcing Harold McCormick. Though this is the same year that McCormick filed divorce papers against her, claiming desertion as she was living in Paris while he was living at their home in Chicago. She had no intention of divorcing, probably because she enjoyed the wealth that came with her marriage. So she came back to the states in 1928 and claimed "I am going to live in America all the time now. I am going into the perfume business and I may appear in some good movies."

Ganna Walska's collection of jewels, including the remarkable "Walska Briolette" fancy yellow diamond, reflects her exquisite taste and appreciation for exceptional gemstones. The acquisition of such a magnificent stone by Van Cleef & Arpels, with its subsequent renaming in her honor, underscores her status as one of the foremost collectors of jewelry in the 20th century.

The story surrounding the naming of her first perfume, "Divorcons," and the rumors of her potential divorce from Harold McCormick add an intriguing layer to Walska's personal life. It's fascinating how public perception and speculation intersected with her business ventures and personal relationships.

Despite the challenges in her marriage and the rumors surrounding it, Walska's return to the United States and her declaration of intent to focus on her perfume business and potentially pursue a career in movies demonstrate her resilience and determination to carve out her own path, independent of her marital status.

Throughout her life, Walska remained a figure of fascination and intrigue, both for her romantic entanglements and her contributions to the worlds of art, beauty, and luxury. Her legacy lives on through her remarkable jewelry collection and her enduring impact on the realms of fashion and glamour.

Orson Welles claimed that McCormick's lavish promotion of Walska's opera career—despite her renown as a terrible singer—was a direct influence on the screenplay for Citizen Kane, wherein the titular character does much the same for his second wife.

Orson Welles's claim regarding Harold Fowler McCormick's promotion of Ganna Walska's opera career as an influence on the screenplay for Citizen Kane adds an intriguing layer of connection between real-life events and cinematic storytelling. In the film, Charles Foster Kane's efforts to promote the opera career of his second wife, Susan Alexander, despite her lack of talent, parallel the narrative surrounding Walska's own opera aspirations.

Welles's use of this real-life inspiration to craft a fictional narrative in Citizen Kane speaks to the film's exploration of themes such as ambition, power, and the complexities of human relationships. By drawing on elements of Walska's life and experiences, Welles adds depth and resonance to his portrayal of Kane's character and the dynamics of his marriages.

The parallels between Walska's situation and the portrayal of Susan Alexander in Citizen Kane offer a fascinating glimpse into the creative process behind one of cinema's most celebrated works. It's a testament to the enduring impact of real-life events on artistic expression and the ways in which filmmakers draw inspiration from the world around them to create compelling narratives.

Walska was a garden enthusiast who created the Lotusland botanical gardens at her mansion in Montecito, California. Ganna Walska died on March 2, 1984, at Lotusland, leaving her garden and her fortune to the Ganna Walska Lotusland Foundation.

Ganna Walska's passion for gardening and her creation of the Lotusland botanical gardens in Montecito, California, is a testament to her love for nature and beauty. The gardens, which she cultivated over the years, stand as a living legacy to her vision and creativity.

Her decision to leave her garden and fortune to the Ganna Walska Lotusland Foundation upon her passing demonstrates her desire to ensure the preservation and continuation of her life's work for future generations to enjoy and appreciate. It's a fitting tribute to her dedication to horticulture and her desire to share the beauty of her gardens with others.

Lotusland remains a cherished destination for garden enthusiasts and nature lovers, thanks to Walska's vision and the ongoing efforts of the foundation to maintain and enhance the gardens. Her legacy lives on through the beauty and tranquility of Lotusland, a living testament to her enduring passion for gardening and her commitment to preserving natural beauty for all to experience.

By 1932, her perfumes and toiletries were sold at rock bottom prices as she resigned as President of her perfumery company. I saw the Ganna Walska perfumes and toiletries still being sold in 1946.

The fluctuating fortunes of Ganna Walska's perfume company, from its initial introduction of high-end fragrances to its eventual sale of products at rock-bottom prices and her resignation as president, reflect the challenges and complexities of the business world. It's not uncommon for companies to face difficulties, particularly during periods of economic uncertainty such as the Great Depression.

The fact that I saw Ganna Walska perfumes and toiletries still being sold in 1946 suggests that despite the setbacks, the brand managed to endure and maintain a presence in the market. It's possible that the company underwent restructuring or strategic changes to adapt to changing circumstances and consumer preferences.

Walska's continued association with the perfume line, even after her resignation as president, highlights her enduring interest in the world of fragrance and beauty. While the company may have faced challenges, its ability to survive and continue selling products speaks to the resilience of the brand and its enduring appeal to consumers.

Drug Markets, Volume 21, 1927:

"Mme. Ganna Walska, opera singer, and wife of Harold F. McCormick, Chicago millionaire, is planning to distribute perfumes and cosmetics in the American market. She entered the beauty products business in Paris last March."

Advertising & Selling, Volume 13, 1929:

"Several of the French houses are putting out attractive new styles in perfume bottles. Ganna Walska has caught the spirit of the mode in her perfume bottles with flat stoppers rectangular in shape."

A 1930 New York Times article displayed early feminism on Ganna Walska's part:

"Ganna Walska d'Eighnhorn Fraenkel Cochran McCormick, assertive Polish second wife of Chicago's harvester tycoon, Harold Fowler McCormick, has three passions: Music, Perfume, Feminism. For Music she has labored many a weary year without spectacular success. For Perfume, she has founded and guided to success Ganna Walska Perfumes, Inc., of Paris and New York. For Feminism she gained a victory last week when the Third Division of the U. S. Customs Court unanimously conceded her a legal residence other than that of her husband. 

More than a year ago Mme. Walska landed in New York with 15 trunks and (she said) $2,500,000 of personal effects. Claiming that, as a separate human entity with a home and business in Paris, she was a nonresident, she refused to pay $1,000,000 in duties. Though her customs liability dwindled to $40.20 when she proved that she had bought most of her possessions in the U. S. before going to France, she fought with characteristic tenacity and much publicity for the principle involved (TIME, Oct. 8, 1928). 

That principle she established, at least so far as tariff duties go, when the Customs Court ruled: "The wife is now a distinct legal entity . . . upon terms of equality with her husband in respect to property, torts, contracts and civil rights. . . .[She] may acquire a domicile separate and apart from her husband by reason of his misconduct or abandonment or by his agreement either express or implied." (The McCormicks had agreed to live separately.) 

Concurring but not satisfied was Justice Genevieve R. Cline, only woman member of the court, first woman appointee in the Federal judiciary. In a separate opinion she objected to the court's implication that a separate domicile was to be taken as an exception, not as an accepted rule: ''. . . I can discern no reason why they [wives] should not have equal rights as to the selection of a domicile. . . . The common law has been practically expunged."