Parfums Chevalier Garde, Inc.

Parfums Chevalier Garde, Inc. was founded in 1937 by Alexandre “Sasha” Georgievich Tarsaidze, a former officer in the Imperial Russian Navy who had immigrated to the United States. Tarsaidze’s background in perfumery began in the 1930s when he joined the Prince Matchabelli perfume company. He later collaborated with Prince Serge Obolensky to establish Parfums Chevalier Garde in 1937. The enterprise also included Baron Serge de Gorin, another Russian émigré, who served as the company’s representative and likely contributed to the development of its perfumes and cosmetics. The company aimed to offer a curated yet complete line of high-quality French perfumes, cosmetics, and toiletries. Baron Serge de Gorin  was president of Parfums Chevalier Garde until 1940, when the war cut them off from French imports.

The Beginning:

 

 

The Chevalier Garde salon, opened in 1937 at 730 Fifth Avenue in New York City, became a focal point of the brand’s identity. Its design, conceived by renowned Russian artist and illustrator Vladimir Bobri, reflected the Russian Empire style of the early 19th century. The interior featured a color scheme dominated by white, blue, and gold, reminiscent of imperial elegance. Murals painted by Bobri depicted the Champ de Mars in St. Petersburg, a historic parade ground for the czarist imperial guards. One striking mural portrayed a Russian empress on horseback, clad in the uniform of the Chevalier Garde regiment, while the opposite wall showcased an Ionic column topped with the double-headed eagle, echoing a monument from the Winter Palace Square in St. Petersburg. Delicate "café au lait" wall colors, custom-designed period furniture, and a large window overlooking Central Park, framed to resemble a landscape painting, further enhanced the salon's luxurious and historically inspired ambiance.

A 1937 advertisement reads:

" Introducing CHEVALIER GARDE PERFUMES... HRH, delicately glamorous; Fleur de Perse, quite Oriental, and Roi de Rome, a languorous scent, each $12.00."

Fate of Parfums Chevalier Garde, Inc:

In 1938, Chevalier Garde expanded its reach by licensing its signature perfume to Imra, a company producing depilatory products. This collaboration marked a unique intersection of perfumery and cosmetics, with Bobri also designing the typography for the product’s packaging. However, the outbreak of World War II disrupted the company’s operations, cutting off its access to French imports. In 1940, Imra rebranded as Artra Cosmetics Co., reflecting a shift in its focus, while Parfums Chevalier Garde began to phase out of prominence.

Printers' Ink, Volume 194, 1941:

"The company marketing Imra was first known as Parfums Chevalier Garde, Inc., and was an established firm in the cosmetic field. Last summer the name was changed to Artra Cosmetics, Inc., so that it would better agree with the feature line of.."

By 1941, Parfums Chevalier Garde had transitioned into a cosmetics company under the name Artra Cosmetics, Inc., as detailed in Printers' Ink. This move aligned the brand more closely with its product offerings, particularly its depilatory line. The Chevalier Garde name resurfaced in 1961 when it was acquired by the Schering Corporation, but this appears to be the last mention of the brand in publications. The story of Parfums Chevalier Garde encapsulates the cultural and entrepreneurial influence of Russian émigrés in the American cosmetics and fragrance industry, blending imperial heritage with modern luxury.

The Perfumes:

The perfumes of Chevalier Garde:

• 1936 Roi de Rome  
• 1936 Fleur de Perse  
• 1936 HRH 
• 1940 Jubilee
• 1940 Mine Alone
• 1940 Arghavani
• 1940 Rose Petal
• 1940 Garde

Roi de Rome:

Chevalier Garde’s Roi de Rome is a fragrance steeped in history and romance, named in honor of Napoleon Bonaparte’s son, the ill-fated King of Rome. Known affectionately as L’Aiglon—the Eaglet—the young prince symbolized the emperor’s hopes for a legacy, though his life would ultimately become a poignant tale of ambition, exile, and longing. In creating this scent, Chevalier Garde captured the spirit of this delicate yet regal figure, embodying the nostalgia of a bygone era.

Described in Harper’s Bazaar (1937) as a "clinging fragrance, typically French," Roi de Rome evokes the opulent flower gardens of the 19th century. Its composition mirrors the romantic idealism of Napoleon’s time, recalling fragrant, meticulously curated blooms that once adorned palace grounds. The perfume offers more than an olfactory journey; it conjures tender memories of a young prince born into a world of grandeur yet destined for a life of longing.

Housed in a crested spherical bottle, Roi de Rome itself is an artistic tribute to the imperial heritage. The rounded form, emblematic of completeness and eternity, is crowned with a crest that speaks to the lineage and aspirations of its namesake. This elegant design mirrors the luxuriousness of the fragrance it contains—a scent as enduring as the myths surrounding Napoleon’s empire.

With its lush, heavy florals and rich base, Roi de Rome transcends mere fragrance to become a symbol of imperial ambition, lost innocence, and the enduring allure of history. It is a testament to Chevalier Garde’s mastery, merging scent and story into an unforgettable experience.

 
So what does it smell like? It is classified as a heavy floral fragrance for women. Described as "a luxuriant, heavy, voluptuous, floral scent" and "a glamorous perfume that is an aroma of flowers, poetic as the languorous gardens of Rome"

• Top notes: aldehydes, petitgrain, galbanum, bergamot, neroli, orange blossom, and heliotrope
• Middle notes: orris, cinnamon, clove, tuberose, gardenia, orchid, honey, rose, ylang ylang, jasmine, carnation, and lilac
• Base notes: patchouli, civet, oakmoss, benzoin, labdanum, vanilla, tonka bean, sandalwood, amber, musk, ambergris, and vetiver

Chevalier Garde’s Roi de Rome is a symphony of opulence, each note unfolding like a scene from a romantic garden bathed in golden sunlight, enveloping you in layers of richness and intrigue. To experience its ingredients firsthand is to step into a fragrant tapestry woven with emotion and sensuality.

As the first dab touches the air, aldehydes sparkle like morning dew, imparting a crisp, effervescent clarity that lingers as a radiant veil. The green, citrusy essence of petitgrain unfurls, evoking freshly crushed orange leaves with a faint woodiness that adds a natural crispness. Galbanum follows, verdant and resinous, with an almost bitter sharpness that cuts through the sweetness like a brisk gust of wind.

Next, bergamot takes center stage, its tart, sunlit citrus blending with the soft, floral nuances of neroli, which lends a honeyed brightness. Orange blossom weaves its magic, exuding a creamy, luminous sweetness with just a hint of waxy petal softness. Finally, heliotrope introduces a delicate powderiness, whispering of almond blossoms and soft vanilla, hinting at the decadence to come.

The floral heart blooms gloriously, as if stepping into an overgrown Roman garden at the height of summer. Orris root introduces a velvety sophistication, with its buttery, powdery texture evoking the earthiness of fresh violets. Cinnamon and clove add a spicy warmth, like the lingering scent of a sun-dappled kitchen where spices have been freshly ground, their aromatic intensity weaving through the bouquet.

The narcotic richness of tuberose dominates, intoxicating with its creamy, opulent sweetness, while gardenia adds a lush, waxy floral tone, like a pristine bloom warmed by the sun. The exotic allure of orchid is more elusive—faintly sweet and fruity, with a tender, almost ethereal quality. Honey drapes the florals in a golden, syrupy veil, amplifying the luxurious richness with its animalic undertones.

Roses in full bloom emerge next, redolent of velvety petals, their sweetness deepened by the tropical creaminess of ylang-ylang. Jasmine lends its indolic intensity, heady and almost animalic, while carnation introduces a spicy clove-like accent. Finally, lilac's delicate floral whispers add a soft, springlike freshness, contrasting with the heavier blooms.

As the fragrance settles, the base reveals itself, enveloping you in an irresistibly warm, earthy embrace. Patchouli takes the lead, earthy and damp, with its dark, woody undertones evoking the richness of forest soil. Civet adds an animalic sensuality, musky and raw, that mingles seductively with the oakmoss’s deep, green mossiness.

Benzoin lends a resinous sweetness, reminiscent of warm, golden amber, while labdanum adds a smoky, leathery richness. Vanilla and tonka bean together create a creamy, comforting warmth, sweetened with a hint of almond and spiced hay. Sandalwood’s smooth, milky quality tempers the richness, grounding the fragrance with a meditative calm.

Amber provides a golden glow, both sweet and resinous, harmonizing with the musk's sensual, skin-like warmth. Ambergris adds a salty, oceanic nuance, its ethereal quality lending an almost otherworldly depth. Finally, vetiver brings a dry, smoky greenness, its rootsy essence tying the composition together like the final stroke of a masterpiece.

Roi de Rome is an experience—a journey through vivid sensations and timeless elegance. It envelops you in an atmosphere both regal and poetic, as if you’re wandering through a languorous Roman garden, the air thick with the mingling aromas of flowers, spices, and the warm earth. It’s a scent that lingers, evoking passion, mystery, and romance.

Fleurs de Perse:

Chevalier Garde's Fleurs de Perse, introduced in 1936, was an olfactory homage to the mystical allure of Persia, capturing the enchantment of a culture long admired in the West for its artistic beauty and sensual opulence. The perfume was described as “barbaric, quite Oriental,” a phrase evoking an exotic, untamed elegance, resonant with the romanticized ideals of the East prevalent in 1930s Western culture. Described as "elusive as the smoke of the narghile, enchanting as a miniature of Ispahan, this fantastic perfume." The references to the narghile and Ispahan suggest a deep connection to Persia’s rich cultural tapestry, weaving imagery of ornate palaces, perfumed gardens, and the languorous waft of incense into the fabric of the fragrance’s identity. 

Persia, now Iran, has historically symbolized a crossroads of civilizations, celebrated for its poetry, intricate art, and deeply rooted traditions of perfumery. By drawing on Persia as inspiration, Chevalier Garde tapped into the timeless mystique of a land whose gardens and aromatic heritage were synonymous with beauty and luxury. Persian gardens, designed as paradises on earth, were famed for their floral abundance, with roses, jasmine, and orange blossoms blooming alongside fountains and pools, their scents mingling with the dry desert air. It is no surprise that a fragrance aspiring to capture an air of enchantment would look to this region for its muse.

Ispahan, or Isfahan, was once the capital of Persia and remains an enduring symbol of its grandeur. Known as “Half the World” due to its splendor, Isfahan boasts awe-inspiring mosques, ornate palaces, and sprawling gardens, epitomizing the artistic and architectural achievements of Persian civilization. The miniature art referenced in the description likely refers to the exquisite Persian miniatures—delicately painted scenes that depict gardens, courtly life, or epic tales, often embellished with luminous colors and gold leaf. This intricate artistry parallels the complexity of the perfume itself, a blend of contrasting notes evoking an opulent and sensual atmosphere.

A narghile, commonly known as a hookah or water pipe, is a traditional Persian smoking instrument used for burning flavored tobacco. The aromatic smoke, often infused with fruit or floral essences, drifts languorously, enveloping the senses in an ethereal haze. The comparison to the smoke of a narghile underscores the perfume’s elusive, seductive quality—its ability to shift and transform like perfumed vapors in the air, never fully graspable yet utterly captivating.

Through Fleurs de Perse, Chevalier Garde evoked a dreamscape of Persia—a land of shimmering beauty, intoxicating scents, and eternal romance. The perfume’s name, meaning "Flowers of Persia," not only referenced its rich floral bouquet but also the evocative sensory journey it offered, transporting wearers to a mythical realm where art, nature, and fragrance coalesce in perfect harmony.

So what does it smell like? Fleurs de Perse is classified as a tangy floral oriental fragrance for women.  

• Top notes: cumin, saffron, mandarin, orange blossom, galbanum, aldehydes, bergamot, lilac, lemon
• Middle notes: honey, ylang ylang, tuberose, carnation, clove, cinnamon, opoponax, myrrh, rose, jasmine, incense, spices
• Base notes: civet, patchouli, labdanum, styrax, benzoin, cedar, leather, tonka bean, Peru balsam, tobacco, sandalwood, castoreum, musk, ambergris, vanilla

The initial burst of cumin is earthy and subtly spicy, bringing to mind sun-warmed fields and the pungent, savory allure of the spice markets of Persia. Saffron follows, its golden threads exuding a bittersweet warmth, tinged with metallic undertones and the faint aroma of dry, sunlit hay. The vibrant mandarin adds a lively sparkle, its citrus sweetness ripe and juicy, while the delicate orange blossom threads through with creamy floral nuances, reminiscent of spring mornings in a Persian garden. A sharp, green note of galbanum cuts through, grounding the brighter citrus with a resinous, herbaceous edge. Aldehydes lift this opening with a fizzy, effervescent quality that feels almost like cool, sparkling sunlight. The tart brightness of bergamot and lemon refreshes the senses, while the airy, powdery floral of lilac softens the sharper edges, blending the tangy and the sweet into a harmonious introduction.

The heart unfurls like a luxurious Persian tapestry, richly layered and intricate. Sweet, golden honey drips over the composition, bringing a luscious, sticky warmth that complements the creamy and intoxicating ylang ylang. Tuberose, opulent and heady, blossoms with narcotic intensity, its richness balanced by the spicy clove-like warmth of carnation. A touch of fiery clove and the warm spice of cinnamon lend an exotic depth, while the smoky, resinous richness of opoponax and myrrh weaves a mystical, incense-laden thread through the heart. The honeyed warmth of rose mingles with the jasmine’s velvety white petals, both balancing the deeper, drier notes. Incense swirls like the fragrant smoke of a narghile, enhancing the Oriental character with a hypnotic allure, while a mélange of spices adds complexity, evoking the mysterious bazaars of Persia.

The dry-down is deep, sensual, and grounding. Civet lends an unmistakable animalic depth, softened by the sweet resinous warmth of benzoin and styrax. Patchouli adds an earthy, mossy richness, its dark greenness pairing beautifully with the leathery, smoky quality of labdanum. Cedar and sandalwood provide a robust woody base, the latter exuding creamy, smooth warmth, while the leathery facets of castoreum and leather bring a tactile, almost velvety texture. Sweetness lingers with the creamy, gourmand-like vanilla, the nutty-spicy tonka bean, and the balsamic richness of Peru balsam, each adding layers of softness and sophistication. Smoky, aromatic tobacco mingles with the salty-animalic tang of ambergris and the sensual muskiness of musk, creating a long-lasting, enveloping base that feels at once luxurious and primal.

As the fragrance settles, it feels like the very embodiment of Persia: rich, warm, and intoxicating, filled with contrasts of light and shadow, sweetness and spice, and mystery and warmth. The notes together evoke the magic of ancient gardens, desert winds, and the opulent courts of Persian kings.

H.R.H.

Launched in 1936, H.R.H. was a fragrance of elegance and refinement, dedicated to Her Royal Highness Princess Marina, Duchess of Kent, with special permission granted for this honor. Princess Marina of Greece and Denmark (1906–1968) was a glamorous figure in European royalty. Married to Prince George, Duke of Kent, in 1934, she became a beloved member of the British royal family. Known for her grace and beauty, she represented a modern yet timeless embodiment of royal sophistication. Her connection to H.R.H. perfume lent it an air of aristocratic luxury, befitting her standing as a style icon of her time.

The New Yorker, 1939:

"Chevalier Garde: HRH, a light, fresh scent, comes in a round bottle with the famous eagle watching over it; from $4.00."

The perfume itself captured a delicate charm, described as "light, fresh, delicate, sweet, and floral." It was said to be "as delicate as drifting clouds," evoking the image of Marina’s ethereal elegance. The composition was also "glamorous as a cavalcade of knights," conjuring images of pageantry, tradition, and the nobility of yesteryears—a tribute to the Duchess’s lineage and regal bearing.

H.R.H. was a fragrance crafted to celebrate a blend of understated opulence and fresh femininity, a scent that could evoke both the airy grace of English gardens and the noble grandeur of royal life. The creation embodied the refinement and poise associated with Princess Marina, making it a fitting homage to a Duchess who captured hearts both within and beyond royal circles.

Through its composition and its royal dedication, H.R.H. perfume was not merely a scent but a tribute to a figure who exemplified elegance and modernity within the traditions of monarchy, offering a fragrant glimpse into a world of timeless sophistication.

So what does it smell like? It is classified as a sweet floral fragrance for women. Described as "light, fresh, delicate, sweet and floral" and "delicate as drifting clouds, glamorous as a cavalcade of knights."  

• Top notes: aldehydes, mandarin, lemon, violet leaf, lily of the valley, bergamot, gardenia, peach, apricot
• Middle notes: honey, orris, lily of the valley, orange blossom, peony, freesia, heliotrope, rose, jasmine, carnation
• Base notes: galbanum, tonka bean, benzoin, cedar, musk, sandalwood, vanilla, amber 

Chevalier Garde's H.R.H. is a captivating sweet floral fragrance that evokes the delicate grace and fresh elegance of a royal presence. It is a fragrance that floats like a wisp of air, light and airy yet full of tender complexity, embodying the ethereal qualities of its namesake, Princess Marina, Duchess of Kent. From the very first spritz, H.R.H. envelops the senses in a soft, crystalline veil of top notes that feel like a breath of fresh air. The aldehydes add an almost sparkling effervescence, giving the fragrance an airy, clean feel, as if it is made of light itself. The mandarin and lemon add a zesty brightness, with their tangy citrus notes opening up like a morning sunrise, a gentle burst of energy. The violet leaf introduces a cool, green freshness, bringing a sense of nature’s dewy embrace, while the lily of the valley adds a sweet, slightly powdery floral aspect, reminiscent of a spring garden in full bloom. The subtle juiciness of peach and apricot brings an almost edible sweetness, enhancing the fragrance’s overall fruitiness with soft, velvety warmth.

As the fragrance settles, the middle notes emerge, unfolding like the delicate petals of a flower in full bloom. Honey brings a rich, golden sweetness, enveloping the other florals in a soft, syrupy warmth, while orris offers its powdery, iris-like scent, bringing a touch of old-world sophistication. The lily of the valley reappears here, its delicate, sweet fragrance reinforcing the sense of purity, while the orange blossom adds a sunny, slightly bitter floral nuance that contrasts beautifully with the honeyed sweetness. The peony offers a soft, rose-like aroma, lightly floral and dewy, while freesia introduces a bright, slightly citrusy floral touch that makes the heart of this perfume feel airy and luminous. The heliotrope brings a creamy, almond-like scent with a hint of vanilla sweetness, adding depth and warmth. Rose and jasmine appear like two queens of the floral kingdom, with the rose contributing a classic, full-bodied petal scent and the jasmine adding its heady, intoxicating essence. Carnation brings a spicy, clove-like nuance, adding a surprising depth and complexity to the floral bouquet.

As H.R.H. settles further, the base notes emerge with their grounding and comforting warmth, providing a lasting foundation to the fragrance. The galbanum introduces a green, resinous note that’s slightly herbal, grounding the otherwise light and sweet florals with a touch of earthiness. The tonka bean adds a smooth, warm sweetness, its scent reminiscent of vanilla with a slight almond and spice undertone, blending beautifully with the warmth of benzoin, which imparts a rich, balsamic, resinous sweetness that deepens the fragrance. Cedar brings a dry, woody element, adding sophistication and structure, while musk contributes a soft, animalic warmth, making the scent feel intimate and alluring. The sandalwood enhances this warmth with its creamy, rich woodiness, and vanilla adds a comforting sweetness, softening the scent with its smooth, velvety touch. Finally, amber envelops the composition in its golden, resinous warmth, lending a final layer of richness and depth to this beautiful, royal fragrance.

H.R.H. is a perfume that dances between sweetness, freshness, and floral opulence, capturing the delicate yet glamorous essence of Princess Marina. It is a fragrance that lingers in the air like a soft breeze, both uplifting and comforting, as regal and refined as the woman it was made to honor.

Bottles:

The bottles used for Chevalier Garde's perfumes were masterpieces in their own right, crafted by three notable designers: Tarsaidze, Basil Sabaneeff, and Vladimir Bobri . Each bottle was a striking representation of the opulence and grandeur associated with the Chevalier Garde, drawing inspiration from the noble heritage of the Guard of Honor of Emperors. The packaging itself, modern yet luxurious, was designed to evoke the splendor of the uniforms worn by the imperial guard—white and gold, gleaming like the splendor of royalty. Each bottle was nestled in a pristine, white presentation box, lined with gold accents that underscored the regal nature of the fragrance within.

The most iconic of these bottles was the crystal sphere bottle, a symbol of prestige and power. It was designed to resemble a globe, its clear crystal surface glinting in the light, reflecting a sense of refined elegance. Perched atop this sphere was a pair of twin eagles, their majestic wings outstretched, symbolizing strength, protection, and imperial authority. These eagles were said to have been directly inspired by the officer’s helmet of the Chevalier Garde’s elite unit, offering a direct connection to the grandeur and military honor of the past. The eagles, their details painstakingly sculpted, added a striking sense of nobility to the design, creating a striking contrast between the smooth, polished crystal and the intricate, bold figures perched on top.

The overall design of the bottle, with its blend of classical grandeur and modern sleekness, reflected the very essence of the Chevalier Garde brand. The twin eagles atop the crystal sphere acted not only as a reminder of imperial honor but also as a symbol of the perfume’s regal and luxurious nature. The crystal bottle itself, a delicate yet robust work of art, was the perfect vessel for such a lavish fragrance, making it an objet d'art in its own right. The entire presentation—bottle and box alike—was designed to transport the wearer into a world of opulence and sophistication, where the fragrance was not just a scent but an experience steeped in history and grandeur.

Parfum bottles were available in three sizes:

• Small (original retail price was $4.00)
• Medium (original retail price was $6.50)
• Large (original retail price was $12.00)

Bottle sizes with the frosted base:

• 5.25" tall
• 5.75"

Bottle without the frosted base were known as the "Eaglet": 

• 2.25"
• 0.50 oz bottle stands 2 3/4" tall.
• 3.5" 
• 5"
• 5.25"
• 5.5"  

Chevalier Garde expanded its luxurious offerings beyond perfumes to create a comprehensive line of cosmetics and toiletries, each crafted to embody the same refinement and opulence as its signature fragrances. Among the various products were Eau de Toilettes, Eau de Colognes, bath oils, and sachets, all infused with the distinctive scents of their perfume collections. The line also included IMRA, a chemical-free depilatory that provided an elegant solution to personal care. This depilatory, like the other products, was crafted with the same level of sophistication and attention to detail that defined the Chevalier Garde brand. The delicate fragrances of the Eau de Toilettes and Colognes offered an enticing way to wear the Chevalier Garde perfumes in a lighter form, while the bath oils were designed to create a luxurious bathing experience. These products helped to immerse the user in the aromatic world of Chevalier Garde, turning daily routines into indulgent rituals.

The cosmetics and toiletries themselves were housed in beautifully designed packaging, which added a touch of prestige to everyday items. The square compacts and lipstick cases were crafted from white enamel, their smooth surfaces adorned with the blue Maltese Cross, a symbol that carried the weight of history and honor. This emblem, associated with the Russian order of the Chevalier Garde, made each item feel like a treasure, linked to the elite and storied past of the imperial guard. The enamel pieces were not merely functional but were elevated to objets d'art, their refined design offering a sense of aristocratic glamour and prestige with every use.

The Eau de Toilette was a standout item in the range, available in a single size and priced at $10.00, which, during the 1930s, was considered a premium price. This elegant fragrance, with its lighter composition compared to the richer perfumes, was perfect for those seeking the Chevalier Garde experience in a more subtle form. Mare Nostrum, a bath oil introduced by the company, was a particularly evocative creation. The oil was described as combining the aromas of amaryllis, mimosa, and sweet herbs from the Dalmatian Coast, evoking the breezes and scents of a Mediterranean paradise. Its carefully crafted blend of floral and herbal notes transported users to a serene, sun-drenched landscape, making the act of bathing a sensual and aromatic escape. The bottle for Mare Nostrum was designed to reflect the perfume’s elegance and refinement, complementing its contents with a luxurious aesthetic.

Together, these products formed a cohesive line that not only celebrated the art of perfumery but also embraced a full range of beauty and personal care. Chevalier Garde created a world where scent, design, and tradition merged to offer a sensory experience that was as aristocratic as it was indulgent.

The "Russian Countess" line of "Perfume Colognes" was a distinctive offering from Chevalier Garde, introduced in 1940. This line was not just a typical Eau de Cologne, but a highly concentrated fragrance, equivalent to what we would now recognize as Eau de Parfum. The Russian Countess colognes were designed to deliver a richer, more enduring scent experience, providing a luxurious alternative to lighter colognes. The advertisements proudly claimed that these Perfume Colognes could be used in the same way as Parfum, making them a versatile and elegant choice for those who sought a more potent expression of their favorite floral scents.

The fragrances within this line were designed to evoke a sense of classic femininity, with true floral scents like Lilac, Gardenia, and Bouquet. Each of these fragrances carried a depth and sophistication that mirrored the prestige of the Russian Countess name. The Lilac fragrance, with its fresh, slightly powdery note, captured the essence of springtime blooms. Gardenia, rich and creamy, brought to mind lush, velvety petals with their intoxicating sweetness. The Bouquet was a harmonious blend, carefully crafted to capture the complexity of a garden full of mixed blossoms, exuding a timeless, romantic allure. These scents, while floral, were designed with a modern intensity that ensured their presence was both noticeable and enduring, much like the grandeur of the countess for whom the line was named.

The packaging for these Perfume Colognes was just as exquisite and refined as the fragrances inside. The tall, narrow, upright rectangular glass bottles gave the products an air of elegance and sophistication. The slender silhouette of the bottle was both graceful and regal, fitting for a line inspired by the Russian aristocracy. Each bottle was topped with a cap molded with the double eagle motif, a symbol deeply tied to the Russian imperial heritage. This emblematic design not only honored the legacy of the Russian nobility but also added a layer of visual distinction that made the bottles appear as small treasures on any vanity.

Together, the Russian Countess Perfume Colognes embodied the essence of aristocratic luxury, offering a sophisticated and potent fragrance experience in a beautifully designed package. With their rich floral scents and impeccable presentation, these products were a true reflection of the refinement and grandeur associated with the Chevalier Garde brand.

Esquire, 1939:

"Chevalier Garde's complexly elegant H. R. H. created to match the May- fair sophistication of the Duchess of Kent, and Fleurs de Perse, barbaric, Oriental, exotic. ."

Notable Contributors to Chevalier Garde:

Alexandre Tarsaidze:

Alexandre Tarsaidze was born in 1901 in a town called Gori, near Tiflis, Russia, into a family of old Georgian nobility. He claimed that the name Tarsaidze means "the son of the early Christians" in Persian and that his family was subjugated by Persia in the fifteenth century, and that he was kin to the Celts and the Basques. His father, Dr. George A. Tarsaidze, was an oculist by trade and his mother, the former Elizabeth Eristoff, was a princess who descended from King Irakli II, of what had once been the kingdom of Georgia before it was absorbed by czarist Russia early in the nineteenth century.

As a child, he read Jack London's exciting stories about fleets of windjammers going to Alaska and the wilderness of the Klondike, so he decided to become a naval officer. In 1918, he graduated from the Imperial Naval Academy, Petrograd. He then returned to his native Georgia, which declared independence on May 26, 1918, and worked with the Allied High Commissioner, Colonel William N. Haskell in Tiflis until being forced into exile by the Red Army invasion of Georgia.

In 1921, he escaped from the Bolsheviks to Constantinople, he was penniless, but had a good understanding of the English language where he was able to get work for American Relief Administration from 1923-1941, as well as a $13-a- week book-wrapper at Macmillan. By 1926,  he got a job as a buyer in the fine jewelry department of Saks Fifth Avenue and B. H. Macy and Co.

In 1934, he worked for Prince Matchabelli Perfumes as a sales promotion and advertising manager. Matchabelli died the following year while Tarsaidze was organizing a London office for Serge Obolensky.  In 1937, he severed his connections with Prince Matchabelli Products Corporation, New York, as treasurer, a director of the American and French companies, director of sales, advertising, promotion and publicity.

Together with a fellow friend, Prince Serge Obolensky, he started Parfums Chevalier Garde in 1937. They were joined by fellow Russian émigré Baron Serge de Gorin, who served as the firm's representative and may have been involved in the creation of the Chevalier Garde perfume and cosmetics lines. Parfums Chevalier Garde was intended to be a company that produced a small, but complete line of French perfumes, cosmetics and other toiletries. He was president of Parfums Chevalier Garde until 1940, when the war cut them off from French imports.

After his business closed, he worked for other retailers in cosmetic and jewelry businesses. Tarsaidze actively assisted two of the annual White Russian social events, the Allaverdy Ball and the Russian Naval Ball. He was a member of the Association of Former Russian Imperial Naval Officers, a member of the Georgian Society in the U.S.A.  The Director of the Caucasian Society "Allaverdy".

From 1941-1944 he worked for U.S. Army intelligence. During 1945-1958 he was the Director of Public Relations for Serge Obolensky Associates.

He married Madeleine Black, the daughter of the late A. Van Lear Black, publisher of The Baltimore Sun., on May 18, 1940, but the two divorced in 1945. In 1947, he married the German-born Elisabeth Wladimirovna Sverbeev.

In the 1950s, fearing that much material in the Soviet Union on the Imperial family had been destroyed or lost, Tarsaidze scoured the world to find all the film clippings he could of the Imperial family. Then in 1956 he put them together into a full-feature film (approx. 50 minutes long) called "Emperor Nicholas II; Last Czar of Russia". His monarchist colleagues were still showing it to groups in the 1980s.

He wrote many important books on Russia's Imperial history. He still remembered the excitement the day Stalin robbed a bank in Tiflis.

In 1958, Tarsaidze published a fascinating study of the friendly relations which existed between the Russian Empire and the USA before the Revolution. It's called: "Czars and Presidents, The Story of a Forgotten Friendship".

From 1959-1978 he worked as a freelancer for public relations.

All three of his marriages ended in divorce. When he passed away at his home, located at 520 East 76th Street, New York, in 1978, at the age of 77, he left no immediate survivors.

Biographical Note

• 1901 Born, Tiflis, Russia into family of old Georgian nobility
• 1918 Graduated, Imperial Naval Academy, Petrograd
• 1918-1921 Worked with Allied High Commissioner, Col. W. Haskell, in Tiflis
• 1921 Escaped from Bolsheviks to Constantinople
• Worked for American Relief Administration
• 1923-1941 Emigrated to the United States
•  Worked for Matchabelli Perfumes, R.H. Macy Co., Parfum Chevalier Garde and other retailers in cosmetic and jewelry business
•  Member, Association of Former Russian Imperial Naval Officers
•  Member, Georgian Society in the U.S.A.
•  Director, Caucasian Society "Allaverdy"
• 1940 Married Madeleine Black 
• 1941-1944 Worked for U.S. Army intelligence
• 1944 Author, Morskoi Korpus za Chetvert' Veka, 1901-1925, N.Y.
• 1945 Divorced from Madeleine Black
• 1945-1958 Director of Public Relations, Serge Obolensky Associates
• 1947 Marries Elisabeth Wladimirovna Sverbeev
• 1958 Author, Czars and Presidents
• 1969 Author, Chetyre Mifa
• 1977 Author, Katia: Wife Before God
• 1959-1978 Freelancer, public relations
• 1978 Died, New York City

Prince Serge Obolensky's involvement:

Prince Sergei Platonovich Obolensky Neledinsky-Meletzky was born in Tsarskoe Selo, Russia in 1890 to Prince Platon Sergeyevich Obolensky-Neledinsky-Meletzky and Maria Konstantinovna Naryshkina. 

Obolensky emigrated to London and graduated with honors from Christ Church, Oxford University. He put use his knowledge of agriculture, which he intended to apply to the family estates. He first worked with an agricultural machinery firm, then changed to a brokerage business. But, he rushed back to his native country when war was declared, enlisting as a common trooper in the Russian army, and came out as an officer of the Chevalier Guard. He won the Cross of St George for heroism three times. He once served as Russian ambassador to Poland. 

He met his first wife while he was a patient in Yalta. Princess Catherine Alexandrovna Yurievskaya, the youngest daughter of Russian Emperor Alexander II. She was the widow of Prince Alexander Vladimirovich Baryatinsky with two children and working as a war nurse. They were married on October 6, 1916, but their marriage did not last long and they divorced in 1924 without producing children of their own.

Unfortunately for Obolensky, the Bolshevik Revolution put an end to the family fortune and to his life in Russia, he escaped to back England and went to work on the Stock Exchange. 

In London on July 24, 1924, he married Ava Alice Muriel Astor, the daughter of famous Titanic victim and millionaire John Jacob Astor IV. After his second marriage, they came to America, and he worked for three solid years at the Chase National Bank learning the ways of American business, and then worked in real estate and other business ventures with his brother-in-law, the real estate entrepreneur Vincent Astor. Before divorcing in 1932, Obolensky had two children with Ava. In 1935, he was at the bedside of his good friend Prince Matchabelli while he was dying of pneumonia. He also attended the funeral service for the late prince.

In 1937, he started a business, Parfums Chevalier Garde, with Aleksandre Tarsaidze. Tarsaidze served as president of the firm until 1940. It seemed that the perfume business screeched to a halt at the start of the Second World War as they were unable to obtain the necessary ingredients from their French suppliers. Not one to shy away from duty, and always willing to stand up for his country, in this case, his new American home, Obolensky served as a lieutenant colonel in the U.S. paratroopers and a member of the Office of Strategic Services (OSS), forerunner of the CIA. Due to his success in the military, he was made a Major in the United States Army in 1942 and made his first five jumps in 1943 at the age of 53. In recognition of his service, "Serge Obolensky Room" was created as a tribute at the Soldiers', Sailors', Marines', Coast Guard and Airmen's Club in Manhattan.

Serge Obolensky became known as a rejuvenator of hotels using a combination of his good looks, the prestige of his aristocratic background, and keen sense of taste. In one instance, in 1936, he was director of the Maisonette Russe in the Hotel St. Regis, said to be one of the most beautifully appointed night clubs in Manhattan. The Maisonette Russe incorporated all the trappings of imperial Russia and it was reported that more champagne is drunk there than any other restaurant in New York. The menu featured dishes that were part of the cuisines of famous Russian homes and imported Russian singers to add a final touch of glamour to the atmosphere, unlike any other in America at the time. Prince Serge was assisted by Count Alderberg, whose father was once the military governor of St. Petersburg.

Another instance was his involvement in the resurrection of the El Morocco from a night club to a members only social club, but keeping its historic name.  He was made vice chairman of the board of Hilton Hotels Corporation in 1958. 

In 1949, he started his own public relations firm in New York City, Serge Obolensky Associates, Inc., handling clients ranging from department stores and social clubs and resorts to liquor companies like Piper-Heidsieck champagne.  

On June 3, 1971, he married for the third and final time to Marilyn Fraser-Wall of Grosse Pointe Farms, Michigan, with whom he did not have children. Obolensky died in 1978. You can learn more about that man in his 1958 autobiography, One Man In His Time. The Memoirs of Serge Obolensky.  

Serge de Gorin's involvement:

As I mentioned earlier, Tarsaidze employed another fellow Russian émigré Baron Serge de Gorin as a representative for Parfums Chevalier Garde. I believe he also assisted in the creation of some perfumery and cosmetic products for the company as well. 

A 1938 newspaper article in the Palm Beach Daily News reads:

"A new perfume, called Chevalier Garde, is being introduced by Saks Fifth Avenue Shop, the representative being Serge de Gorin, who is a visitor in Palm Beach. 

An old Roman custom was that of attaching dripping vials of scent to birds that were released to fly over the scene of a great festival, and when the Chevalier Garde scent was launched, following out of this pagan custom, a flock of white pigeons with tiny vials of this perfume tied to their legs were set free over New York. 

Its creator is Alexander Tarsaidze, formerly with the firm of Prince Matchabelli, while in his native Russia, this new perfumer was an officer in the Czar's Imperial Navy.  

His perfume is beautifully bottled, and inspired by the helmet of the officer, with the Naval insignia, an Imperial eagle delicately etched in crystal."

Baron Serge de Gorin Goriani, born in Kieff, Russia in 1898, a captain of artillery in the Imperial Guard in the Russian Army which was composed of the highest Russian nobility up to the time of the revolution, and served at the outbreak of the first World War. He fought with General Denikin's Great White Army and with General Wrangle. He was a one-time attache to the Russian embassy in Bucharest. He was later transferred to both the French and British Army aviation forces because of his knowledge of color photography and aerial map making, de Gorin was a pioneer in the making of maps from air pictures. After the entry of the United States into the war, he was attached to American forces in the intelligence corps and received decoration of the Military Order of the World War from the United States. He was also a member of the Russian Order of St George and was decorated by France with the Crown of Charlemagne.

He immigrated to the US in 1923, in 1933, he became a card-carrying member of the Russian Nobility Association in America, which provided assistance to members of the former Russian Nobility who had fled the aftermath of the Russian Revolution of 1917, the Russian Civil War of 1917–1922, and the Stalinist purges of the 1930s. Looking to make a life for himself in America, he decided that an occupation in the world of cosmetics was in his future and went to school to obtain the skillset he would need for such a specialized position. 

Chemistry formed an important part of his college curriculum, and this was later supplemented by more intensive study, it was this knowledge combined his military experience of chemistry and physics that helped to form his enterprise. He studied the way light and color affected the skin to become a cosmetician, and took a special interest in refining the technique of dramatic eye shadow effects. His talent for blending colored face powders to suit individual complexions was unparalleled in his field. 

He toured the United States on behalf of various department stores and large drug store chains where he would demonstrate makeup applications and analyze complexions of customers, diagnosing each particular skin type and advising its proper care. His methodology for determining the perfect shade of makeup for each woman would be to observe the color of her skin, the hair, the eyes then the unique contour of the face. He would then choose the cosmetics tinted with the complement colors to the individual's coloring. Then, according to differing light variations in daylight, twilight and evening, he would prescribe three customized cosmetic harmonies for each person. 

It was this mastery that landed him a coveted job working as a makeup artist in Hollywood for the Techni-Color Motion Picture Corp, making up the beautiful faces of the glamorous stars of the movie industry such as Norma Shearer, Greta Garbo, Gloria Swanson, Marion Davies, Ilona Massey, Hedy Lamar, Rita Hayworth and Jennifer Jones. He also provided his masterful talents to the theatrical stages for the famous Ballet Russe and the Paris Opera Comique during the 1930s. 

He had written quite extensively for some of the leading beauty culture magazines of the era. He worked as a representative for the House of Lu-Ray (in 1930) and the Kurlash Company (in 1936) prior to his involvement with Chevalier Garde, Inc in 1938. 

During the second world war, when importation of French supplies was halted and business could not continue as usual, he took a break from beauty and joined the American forces again working as an intelligence officer. His fluency in French, Russian, English, Serbian and Romanian came in handy when engaging in counter-espionage work in both Europe and Asia. After the war, he went back to the world of beauty without going back to work with Chevalier Garde, instead, he worked for Helena Rubinstein as a dermatology consultant (in 1939) after this stint, he peddled perfumes for Rigaud (in 1948) and Robert Piguet (also in 1948) before finally working for Coty (in 1951) developing a distinctive complexion analyzer called the Coty-Scope. Virtually unknown today, Serge de Gorin died in 1969. No further information has been found on him.

ASTA Travel News, 1948:

"PIERRE ROUSSELLE, receives from Serge de Gorin, a presentation bottle of Rigaud's perfume for a lucky Paris-bound passenger on the Air France's Golden Comet."