Welcome!

Welcome to my unique perfume blog! Here, you'll find detailed, encyclopedic entries about perfumes and companies, complete with facts and photos for easy research. This site is not affiliated with any perfume companies; it's a reference source for collectors and enthusiasts who cherish classic fragrances. My goal is to highlight beloved, discontinued classics and show current brand owners the demand for their revival. Your input is invaluable! Please share why you liked a fragrance, describe its scent, the time period you wore it, any memorable occasions, or what it reminded you of. Did a relative wear it, or did you like the bottle design? Your stories might catch the attention of brand representatives. I regularly update posts with new information and corrections. Your contributions help keep my entries accurate and comprehensive. Please comment and share any additional information you have. Together, we can keep the legacy of classic perfumes alive!
Showing posts with label soap. Show all posts
Showing posts with label soap. Show all posts

Monday, June 4, 2018

Colgate Perfumes

Colgate & Co. was located at 55 John Street New York. Established 1806. Richard M. Colgate, Gilbert Colgate, Sidney M. Colgate, Austen Colgate.

Key Dates:

  • 1806: Company is founded by William Colgate in New York to make starch, soap, and candles.
  • 1857: After founder's death, company becomes known as Colgate & Company.
  • 1873: Toothpaste is first marketed.
  • 1896: Collapsible tubes for toothpaste are introduced.
  • 1898: B.J. Johnson Soap Company (later renamed Palmolive Company) introduces Palmolive soap.
  • 1910: Colgate moves from original location to Jersey City, New Jersey.
  • 1926: Palmolive merges with Peet Brothers, creating Palmolive-Peet Company.
  • 1928: Colgate and Palmolive-Peet merge, forming Colgate-Palmolive-Peet Company.
  • 1947: Fab detergent and Ajax cleanser are introduced.
  • 1953: Company changes its name to Colgate-Palmolive Company.
  • 1956: Corporate headquarters shifts back to New York.
  • 1966: Palmolive dishwashing liquid is introduced.
  • 1967: Sales top $1 billion.
  • 1968: Colgate toothpaste is reformulated with fluoride; Ultra Brite is introduced.
  • 1976: Hill's Pet Products is purchased.
  • 1987: The Softsoap brand of liquid soap is acquired.
  • 1992: The Mennen Company is acquired; Total toothpaste is introduced overseas.
  • 1995: Latin American firm Kolynos Oral Care is acquired; Colgate-Palmolive undergoes major restructuring.
  • 1997: Total toothpaste is launched in the United States; Colgate takes lead in domestic toothpaste market.
  • 2004: Company acquires European oral care firm GABA Holding AG; major restructuring is launched.



Colgate Company of Jersey City, NJ from 1879 to 1959.

Colgate & Company had been a pioneer in establishing international operations, creating a Canadian subsidiary in 1913 and one in France in 1920. In the early 1920s the firm expanded into Australia, the United Kingdom, Germany, and Mexico. Colgate or its successor firm next created subsidiaries in the Philippines, Brazil, Argentina, and South Africa in the late 1920s. In 1937 the company moved into India and by the end of the 1940s had operations in most of South America. By 1939 Colgate-Palmolive-Peet's sales hit $100 million.





Monday, July 25, 2016

Platine by Dana c1938

Platine by Dana: launched in 1938 in France and in USA by 1939.

The name means "platinum" and the bottles had silvery platinum foil flakes floating inside to resemble platinum. The fragrance was also released in Spanish-speaking countries as Platino.

Tuesday, March 29, 2016

Embrujo de Sevilla by Myrurgia c1933

"Embrujo de Sevilla," launched in 1933 by Myrurgia, emerged during the Great Depression, a period marked by economic hardship and a yearning for escapism. The early 1930s were characterized by global financial instability, widespread unemployment, and social unrest. During these challenging times, luxuries like perfume offered a form of affordable indulgence and a way to momentarily transcend the daily struggles. The allure of Seville, a city steeped in rich history and romance, provided the perfect backdrop for such a product, promising a sensory escape to a more exotic and enchanting world.

Seville, the capital of Andalusia in southern Spain, is renowned for its vibrant cultural heritage, stunning architecture, and lush gardens. The city's history is a tapestry woven with influences from various civilizations, including the Romans, Moors, and Christians. Landmarks like the majestic Seville Cathedral, the Giralda tower, and the Alcázar palace with its beautiful Mudejar architecture, are emblematic of Seville's storied past. The city is also famous for its passionate flamenco music and dance, vibrant festivals like Feria de Abril, and the intoxicating aroma of orange blossoms from its many gardens.

Films of the era, such as "Blood and Sand" (1922) and its remake in 1941, showcased the romantic and exotic allure of Spain, with themes of passionate love, bullfighting, and the picturesque Spanish landscapes. These films played into the public's fascination with romanticized views of Spanish culture, making the setting of Seville an appealing and evocative choice for a perfume.

Myrurgia's choice of the name "Embrujo de Sevilla," which translates to "The Spell of Seville" in Spanish, cleverly captures the essence of this captivating city. The word "embrujo" conveys enchantment, magic, and allure, evoking a sense of mystery and seduction. This makes "Embrujo de Sevilla" an excellent name for a perfume, as it promises an enchanting and transformative experience for the wearer.


Sunday, March 6, 2016

20 Carats by Dana c1933

20 Carats was first introduced in 1933 by Dana who launched Tabu just one year before. Originally only sold in their Parisian boutique, 20 Carats may have only been introduced to American women during this time by soldiers returning from duty in France, bringing home perfumes for their sweethearts, sisters and mothers.

Tuesday, November 17, 2015

Suspiro de Granada by Myrurgia c1922

In 1922, the year "Suspiro de Granada" was launched by Myrurgia, Spain was immersed in a fascinating period of cultural revival known as the "Silver Age," characterized by a resurgence of arts and literature. Granada, a city steeped in rich history, was at the heart of this romantic era. Known for its magnificent Alhambra palace, Granada symbolized the pinnacle of Moorish architecture in Spain. The city's gardens, such as those in the Generalife, were famous for their lush flora, including jasmine and roses, which infused the air with delicate fragrances.

During this time, the allure of Granada inspired numerous artists, writers, and filmmakers. Works like Washington Irving's "Tales of the Alhambra" (1832) had already established Granada as a mythical, romantic destination in the Western imagination. Films and literature of the early 20th century continued to portray Granada as a place of passion, beauty, and nostalgia, echoing the essence captured in the name "Suspiro de Granada."

"Suspiro de Granada" translates to "Sigh of Granada" in English. The name evokes a sense of longing and yearning, encapsulating the melancholic yet enchanting atmosphere of Granada's landscapes and historical legacy. Myrurgia, in choosing this name for their perfume, aimed to evoke the emotions and imagery associated with Granada - a place where the past whispers through the scent of flowers and the echoes of history.

Sunday, September 20, 2015

Flor de Blason by Myrurgia c1926

In 1926, Spain was a country rich with historical and cultural references to its chivalric past. The legacy of knights, noble families, and castles was still very much a part of the national consciousness. This era was characterized by a deep appreciation for Spain's medieval heritage, where the grandeur of castles, the intricate beauty of coat of arms, and the stories of valorous knights were celebrated. This period saw a romanticized view of the past, often depicted in literature, art, and emerging cinematic works.

Films and literature of the early 20th century often revisited these themes, glorifying the age of chivalry and the nobility. Movies that focused on medieval times, with their grandiose depictions of knights in shining armor and beautiful maidens, were popular. This historical nostalgia would have been a significant cultural backdrop against which Myrurgia launched "Flor de Blason."

The name "Flor de Blason" itself is deeply evocative and meaningful. In Spanish, "Flor de Blason" translates to "Flower of the Coat of Arms." The term "blason" refers to heraldic crests and coat of arms, symbols of noble lineage and heritage. The inclusion of "flower" evokes a sense of beauty, delicacy, and something treasured and admired. Therefore, the name combines notions of nobility and grace, suggesting a perfume that embodies these qualities.

"Flor de Blason" would make an excellent name for a perfume because it captures the essence of elegance and heritage. For women in 1926, a perfume named "Flor de Blason" would have conjured images of aristocratic splendor and timeless beauty. The name alone would evoke visions of lush castle gardens, the romanticism of noble lineages, and the refined, dignified life of the upper echelons of society.

Friday, July 24, 2015

Maja by Myrurgia c1921

Maja by Myrurgia was launched in 1921, a period marked by significant cultural and artistic developments in Europe, especially in the realms of fashion and beauty. The early 20th century saw the rise of new styles and a fascination with exoticism and romance, which were reflected in various forms of art and consumer products, including perfumes. During this time, Spain was recognized for its rich cultural heritage, vibrant arts scene, and captivating folklore, all of which influenced the creation of Maja.

Pronounced MA'-HA, the Spanish word "Maja" translates to "beautiful woman" in English. Myrurgia's choice of this name was a strategic one, aimed at evoking the allure and mystique of Spanish beauty. By naming the perfume Maja, Myrurgia tapped into the romantic and exotic image of Spanish women, renowned for their charm, grace, and passionate nature. The name itself conjures images of elegance, femininity, and a touch of the exotic, making it an appealing and marketable choice for a perfume.

The choice of "Maja" as a name for a perfume was likely influenced by the cultural connotations and emotional responses it would evoke among women of the time. A perfume named Maja would resonate with women seeking to embody or emulate the quintessential qualities of a beautiful Spanish woman. This desire for elegance, allure, and exotic appeal would have been particularly strong in the post-World War I era, a time when women were increasingly seeking new ways to express their identity and sophistication.

Women of the 1920s would have responded to a perfume called Maja with enthusiasm, as it represented not just a fragrance but an aspirational image. The name would evoke images of the quintessential Spanish beauty—graceful, passionate, and captivating. The cultural backdrop of the time, with its appreciation for exotic and romantic elements, would have made Maja a particularly enticing and desirable perfume.

The word "Maja" evokes strong images and emotions, such as elegance, sophistication, passion, and exotic beauty. It brings to mind the vibrant Spanish culture, with its rich traditions in dance, music, and art. The name also carries a sense of timeless allure, making it a unique and memorable choice for a perfume. Women interpreting the name Maja would likely associate it with these positive and aspirational qualities, enhancing the perfume's appeal.



The packaging of Maja by Myrurgia features an exotic eighteenth-century Spanish dancing girl, whose depiction is as evocative as the fragrance itself. This imagery pays homage to the legendary figure of the maja in Spanish culture—a woman known for her spirited and alluring persona. The maja is characterized by her full-skirted dress (basquina), adorned with lace (mantilla), and often seen with a handheld fan (ventilador de mano), embodying an irresistible femme fatale allure that captivated Spanish society.

In Spanish culture, the maja was celebrated for her vivaciousness and independence, contrasting with the more restrained norms of aristocratic society. Aristocratic ladies (petimetra) of the Spanish court were known to admire and emulate the maja's style, occasionally slipping away from formal gatherings to masquerade as majas themselves. This blend of admiration and emulation underscored the maja's cultural impact as a symbol of freedom and allure.

Francisco Goya, the renowned Spanish painter, famously depicted the Duchess of Alba as a naked maja in one of his paintings, causing both scandal and acclaim. This portrayal highlighted the maja's status as a subject of fascination and controversy, reflecting her enduring appeal in Spanish art and culture.

Maja, the perfume by Myrurgia, captures the essence of this spirited and vibrant persona. It is designed for those who embody the desire to dance until daylight, echoing the maja's energetic and passionate spirit. The fragrance evokes a sense of allure and excitement, mirroring the maja's legendary presence in Spanish society.

The distinctive label of Maja’s perfumes and soap boxes, inspired by the dancer Tórtola Valencia, added to its allure. Valencia, known for her captivating performances and stunning figure, embodied the essence of the Maja ideal. Her image on the packaging would have reinforced the perfume's connection to Spanish passion and seduction, making it even more appealing to women of the time.

In conclusion, the name Maja for Myrurgia's perfume was a masterful choice, evoking the beauty, passion, and elegance of Spanish culture. It resonated with the desires of women in the 1920s, offering them a way to connect with an exotic and romantic image. The perfume's launch during this vibrant cultural period, coupled with its evocative name and imagery, made Maja a significant and enduring fragrance in the world of perfumery. The packaging of Maja with its depiction of the eighteenth-century Spanish dancing girl not only enhances the visual appeal of the perfume but also enriches its cultural significance. It celebrates the maja as a timeless symbol of elegance and independence, inviting users to embrace their own inner maja and indulge in the fragrance's spirited allure. 


Goyesca?


When the renowned Spanish perfume house Myrurgia sought to introduce their popular fragrance Maja to an international market, they encountered a legal challenge. It was discovered that a Swiss fragrance already bore the name Maja, presenting a potential copyright issue. To navigate this complication and avoid infringement, Myrurgia opted to use the name "Goyesca" for their fragrance outside of Spain. This alternative name allowed Myrurgia to expand Maja's reach globally while respecting existing trademarks. Goyesca carried the same allure and essence as Maja, ensuring that the fragrance's distinctive charm was preserved for international audiences.

The Spanish word "Goyesca" translates to "pertaining to Goya" in English, referring to Francisco Goya, the celebrated Spanish painter known for his depictions of Spanish life, nobility, and majas wearing traditional costumes. The name Goyesca evokes the elegance, drama, and romance characteristic of Goya's art, making it a fitting choice for a perfume that aims to embody these qualities. Myrurgia's choice to use the name Goyesca alongside Maja underscores the cultural and artistic influences that shaped the fragrance.

Choosing "Goyesca" as an alternative name for the perfume Maja was a strategic decision by Myrurgia. It highlighted the historical and artistic connections that the fragrance represented. The name Goyesca would evoke the sophistication and timeless beauty of Goya's era, making it an appealing choice for a perfume intended to convey elegance and cultural depth.

Women of the 1920s, a period of cultural refinement and appreciation for the arts, would have been drawn to a perfume called Goyesca. The name would resonate with those who admired the romanticism and historical richness of Goya's works. Wearing a perfume named Goyesca allowed them to connect with this heritage and embody the grace and allure of the figures depicted in Goya's paintings.

The response to a perfume named Goyesca would likely have been one of admiration and desire. Women would appreciate the cultural connotations and the sophistication the name implied. The imagery associated with Goyesca would evoke a sense of nobility, romance, and historical elegance, making the perfume not just a fragrance but a means to connect with an idealized vision of Spanish beauty and culture.

The word "Goyesca" evokes images and emotions of classical beauty, artistic elegance, and historical romance. It brings to mind the richly adorned figures in Goya's paintings, dressed in traditional Spanish attire, exuding an aura of sophistication and grace. This name is unique for a perfume, standing out for its cultural and artistic references, appealing to women seeking a sense of timeless elegance.

Interpreting the word "Goyesca," one would think of the grandeur and beauty of Spain’s artistic heritage. It suggests a connection to the past, to the romantic and dramatic elements of Goya's art, and to the timeless qualities of beauty and elegance. The name would likely be seen as both sophisticated and evocative, offering a sense of cultural richness and refinement.

In conclusion, Goyesca, as an alternative name for the perfume Maja by Myrurgia, captured the essence of Spanish cultural and artistic heritage. The name, evoking Goya's timeless and elegant works, resonated with women of the 1920s who appreciated the romantic and sophisticated qualities of the past. Goyesca stood out as a unique and culturally rich name, making it a memorable and desirable perfume for those seeking to connect with Spain’s artistic legacy.


Fragrance Composition:



So what does it smell like? It is classified as a classic spicy oriental fragrance for women. A deep mossy chypre fragrance accented with rose, jasmine, and orange blossom overtones with a sophisticated blend of spices. 
  • Top notes: citrus notes, bergamot, geranium, carnation, orange
  • Middle notes: orange blossom, nutmeg, jasmine, wild lavender, cloves, rose d’Orient
  • Base notes: cypress, patchouli, vetiver, tonka bean, ambergris, sandalwood, oakmoss, labdanum

The Sketch, 1927:
"Maja, a perfume blended with artistry by MYRURGIA of Barcelona, most exquisite and delightful of Myrurgia perfumes; the chosen fragrance of those lovely ladies, wives, daughters, sisters of the proud grandees of Spain. A strange thing - fragrance. So unfailing its enchantment so subtle its allure. And women - sensitive women - know this; know how the merest breath of the just right perfume can conjure up colourful pictures inspire admiration, heighten charm or express the very soul of tremulous, unspoken thoughts. And in MAJA - lovely women find the true perfume of their dreams. The liquid essence of Youth and Love and Laughter, it breathes a message that no words can utter. For, fragrantly delicate and marvellously appealing; different, yet always in good taste, MAJA toiletries - Perfume, Eau de Cologne, Toilet and Bath Soap, Complexion Powder and Cream, are indispensable to the women who would be truly smart. Obtainable from all High class Hairdressers, Perfumers, Stores and Beauty Salons."


Scent Profile:


In the heart of Old Madrid, where the cobbled streets wind through centuries-old buildings adorned with wrought-iron balconies and sun-washed facades, the essence of Myrurgia's Maja perfume unfolds like a vibrant tapestry of scents and scenes from another era. As you wander through the bustling Plaza Mayor, a hub of activity and social exchange, you are surrounded by the lively chatter of locals and the rhythmic clatter of hooves from passing carriages.

Amidst the lively square, majas and majos, dressed in traditional attire, flirt playfully under the dappled shade of lacy mantillas. The women's dresses, richly hued and embroidered, catch the sunlight in intricate patterns that echo the spice-laden allure of Maja. Petimetras, the aristocratic ladies seeking respite from formalities, mingle with the crowd, their laughter mingling with the strains of guitars and tambourines played by street musicians nearby.

Stalls overflowing with ripe citrus fruits and fragrant herbs line the edges of the plaza, their vibrant colors and earthy aromas mingling with the perfume of Maja in the warm air. Nearby, artisans deftly craft leather goods and intricate lace, their workshops filled with the scent of tanned hides and freshly spun thread. The nearby gardens offer a respite from the bustling marketplace, their pathways lined with orange blossoms and lavender, their sweet, floral scents blending harmoniously with the spicy overtones of the perfume.

Passing by notable landmarks like the Royal Palace, its imposing facade a testament to centuries of royal patronage and artistic achievement, you catch glimpses of ornate gardens where roses bloom alongside ancient cypress trees. Here, the scent of jasmine and wild lavender hangs in the air, punctuated by the warm, earthy notes of patchouli and vetiver that evoke the timeless allure of Maja.

In this sensory journey through Old Madrid, you taste the sweetness of freshly squeezed oranges from a nearby vendor, their tangy juice awakening your palate. You feel the soft touch of silk mantillas displayed in market stalls, their intricate lacework a testament to the artisanal craftsmanship that defines Spanish elegance. And as you breathe in deeply, the complex layers of Maja unfold—citrusy bergamot and geranium mingle with the warm spice of cloves and nutmeg, while the floral bouquet of jasmine, rose d'Orient, and orange blossom dances on your skin.

As the day fades into evening, you find yourself enchanted by the lingering traces of sandalwood and oakmoss that whisper of ancient traditions and timeless allure. Myrurgia's Maja perfume, with its classic spicy oriental composition, embodies the spirit of Old Madrid—a blend of history, passion, and the vibrant soul of Spanish culture captured in every drop.



Tortola Valencia:


Tórtola Valencia, born in 1882 in Seville, Spain, and passing away in 1955, was a celebrated Spanish dancer and actress. She was renowned for her captivating performances and distinctive style that blended various dance traditions, including Spanish, Oriental, and classical ballet. Her real name was Carmen Tórtola Valencia, but she was widely known by her stage name, Tórtola Valencia.

Valencia's career spanned the early to mid-20th century, a time when she gained international fame for her artistic versatility and expressive dance. She was a prominent figure in the cultural and artistic scenes of Europe and Latin America, performing in major cities and captivating audiences with her innovative choreography and dramatic presence. Her performances were characterized by elaborate costumes and a unique ability to convey deep emotion through movement, which made her a standout figure in the world of dance.

Tórtola Valencia's influence extended beyond the stage; she was a muse for many artists, writers, and intellectuals of her time. Her image and persona embodied the romantic and exotic ideals that were highly prized in the early 20th century. She was often depicted in art and literature, and her style had a significant impact on the aesthetics of the period.

The distinctive label of Maja’s perfumes and soap boxes, inspired by Tórtola Valencia, featured her likeness and was a tribute to her allure and artistic legacy. Her image on the packaging of Maja products reinforced the perfume's connection to Spanish passion and seduction, making it even more appealing to women seeking to embody these qualities. Valencia’s association with Maja enhanced the fragrance's romantic and exotic appeal, cementing its place in the cultural and artistic fabric of the time.






Bottles:


Maja by Myrurgia has been presented in various exquisite perfume bottles over the years, each contributing to the fragrance's allure and connection to Spanish culture. The packaging is an essential aspect of Maja's charm, with boxes covered in paper printed with the image of a Spanish shawl in red, gold, and black. These colors are traditionally associated with Spain and evoke the vibrant, passionate spirit of Spanish culture.

The earliest flacons of Maja were designed by the renowned glass designer Julien Viard. His designs were intricate and elegant, reflecting the sophistication of the perfume itself. Some of these early bottles featured tall figural stoppers shaped like a fountain, adding a distinctive and artistic element to the presentation. These stoppers not only enhanced the visual appeal of the bottles but also symbolized the flowing and sensual nature of the fragrance.

Viard's bottles came in different forms, with some made of clear crystal and others crafted from rare black crystal. The clear crystal flacons allowed the golden hue of the perfume to shine through, creating a sense of purity and luxury. In contrast, the black crystal bottles were luxuriously accented with black gilding, offering a dramatic and opulent presentation that stood out on any vanity. The use of black crystal was particularly rare and added an element of exclusivity to the perfume.

The packaging of Maja was as carefully considered as the bottles themselves. The boxes were adorned with the image of a Spanish shawl, a symbol of traditional Spanish attire and culture. The red, gold, and black colors of the shawl design were not only visually striking but also deeply symbolic. Red often represents passion and love, gold signifies wealth and opulence, and black adds a touch of mystery and elegance. Together, these colors encapsulated the essence of Maja—passionate, luxurious, and enigmatic.

Overall, the design of Maja's perfume bottles and packaging played a crucial role in its identity and appeal. The collaboration with Julien Viard and the use of traditional Spanish motifs in the packaging created a harmonious blend of art and culture. These elements not only enhanced the aesthetic value of the perfume but also reinforced its cultural and emotional connections, making Maja a timeless symbol of Spanish beauty and passion.








Product Line:


The Maja by Myrurgia fragrance line expanded significantly over the years, offering a variety of products that allowed fans to enjoy the signature scent in multiple forms. This diversification not only catered to different preferences and needs but also helped solidify Maja's place as a versatile and enduring brand in the world of perfumery.

The Parfum (Extracto) was the most concentrated and luxurious form of Maja's scent. It offered an intense and long-lasting fragrance experience, capturing the essence of Maja in its most refined state. This version was typically housed in the most elaborate bottles, often featuring intricate designs and high-quality materials, emphasizing the exclusivity of the product.

Eau de Toilette (Aqua de Tocador) and Parfum de Toilette provided lighter, more versatile versions of the fragrance. These variations were suitable for everyday wear, offering a balance between the intensity of the pure parfum and the subtlety of a cologne. Eau de Toilette was particularly popular for its refreshing and uplifting qualities, making it ideal for daytime use.

Cologne (Colonia) was a more diluted version of the scent, offering a lighter and more invigorating fragrance. It was perfect for those who preferred a subtler scent or wanted a refreshing splash after a shower. The cologne often came in larger bottles, emphasizing its role as a generous and everyday fragrance option.

Lotion (Locion), similar to an Eau de Toilette, offered a fragrant yet light experience. It was a practical and versatile product, allowing users to enjoy the signature Maja scent in a format that was ideal for daily use. The locion provided a refreshing touch and was suitable for those who wanted a lighter, more easily wearable version of the fragrance.

Maja also offered face powder (polvos) and talcum powder (talco), which were infused with the signature scent. These products provided a subtle way to enjoy the fragrance while offering practical benefits. The face powder added a hint of scent while helping to mattify and set makeup, and the talcum powder provided a light, fragrant touch to the skin, ideal for after bathing.

Shower gel and body lotion expanded the line into personal care, allowing users to incorporate the fragrance into their daily routines. The shower gel provided a fragrant cleansing experience, while the body lotion offered hydration with the added benefit of the beloved Maja scent. These products made it easy to enjoy the fragrance in a more intimate and immersive way.

Liquid hand soap and scented soap (jabon) rounded out the product line, ensuring that the delightful aroma of Maja could be experienced throughout the day. The liquid hand soap was a convenient and luxurious addition to any bathroom or kitchen, providing a fragrant cleansing experience. The scented soap, often beautifully packaged, offered a traditional and elegant way to incorporate the scent into daily hygiene routines.

Overall, the extensive product line of Maja by Myrurgia allowed users to immerse themselves in the fragrance in various ways. From the concentrated luxury of Pure Parfum to the everyday practicality of cologne and personal care products, Maja offered a comprehensive and versatile fragrance experience that catered to a wide range of preferences and needs. This diverse product line played a significant role in maintaining Maja's popularity and cultural significance over the years.




Eau de Cologne (Colonia):


The early Eau de Cologne (Colonia) bottles of Maja by Myrurgia were distinctive in their design and underwent several changes over time, reflecting the evolution of both style and functionality in perfume packaging. Initially, these bottles were tall and almost oval-shaped, presenting a sleek and elegant silhouette that complemented the fragrance inside. The bottles were crafted to showcase the clarity of the liquid and often featured glass stoppers, adding a touch of luxury and refinement to the presentation.

As trends and manufacturing techniques evolved, the stoppers of the Eau de Cologne bottles underwent transformations. Initially adorned with glass stoppers, which enhanced the aesthetic appeal and provided a secure seal for the fragrance, the design later shifted to black Bakelite stoppers. Bakelite, a durable and heat-resistant synthetic material popular in the early 20th century, offered a practical alternative while maintaining a sleek appearance.

In subsequent iterations, the stoppers were further updated to a different type of plastic, adapting to modern materials and manufacturing methods. These changes in stopper materials not only influenced the aesthetic appeal of the bottles but also enhanced their functionality and ease of use for consumers.

The Eau de Cologne (Colonia) was available in several sizes, catering to different preferences and usage needs. This range of sizes allowed consumers to choose between smaller bottles for travel or sampling purposes and larger ones for everyday use or as a luxurious addition to their vanity.

Overall, the early Eau de Cologne bottles of Maja by Myrurgia exemplify the brand's commitment to both aesthetic elegance and practical functionality. Through their evolving design and choice of materials for stoppers, these bottles not only preserved the integrity of the fragrance but also reflected the changing tastes and technological advancements of their time, ensuring that Maja's allure remained timeless and appealing to perfume enthusiasts.

Glass stoppers:
  • 1/32 litre
  • 1/16 litre -
  • 1/8 litre - 
  • 1/4 litre - 
  • 1/2 litre - stands 9.75" tall (glass stopper)
  • 1 litre

Bakelite Caps:
  • 1/32 litre
  • 1/16 litre - stands 4" tall (bakelite cap)
  • 1/8 litre - stands 5.25" tall (bakelite cap)
  • 1/4 litre - stands 7" tall (bakelite cap)
  • 1/2 litre - 
  • 1 litre





Locion in the Maja product line, originally designed as a friction lotion to be applied to the skin, provided a luxurious and aromatic experience reminiscent of Old Madrid's vibrant charm. Unlike modern-day lotions, Locion served as an Eau de Toilette (toilet water), offering a lighter and refreshing fragrance. Housed in elegant glass bottles, these were tall, rectangular, and almost oval-shaped, echoing the design of Maja's Eau de Cologne (Colonia) counterparts. Adorned with black Bakelite screw caps or, alternatively, tall, narrow rectangular bottles with brass screw caps, Locion's packaging exuded a vintage allure that complemented its sophisticated blend of spices and floral notes.

  • 1/2 oz - stands 3.5" tall




Talcum Powder (Talco):


The talcum powder in the Maja product line was elegantly presented in a shaker top tin adorned with colorful graphics that harmonized with the overall packaging aesthetic of the brand. The tin itself was designed not only for practicality but also to enhance the visual appeal of the product. Covered in vibrant and intricate graphics, the tin captured the essence of Maja's allure, reflecting its Spanish heritage and the rich cultural motifs associated with the fragrance. The shaker top allowed for easy application, dispersing the fragrant powder lightly and evenly, imparting a subtle yet lasting scent that complemented the entire Maja experience. This attention to detail in packaging underscored Maja's commitment to blending functionality with artistic elegance, making the talcum powder a cherished part of the fragrance line for discerning enthusiasts.





Face Powder & Compacts:


The face powder (polvo) in the Maja product line was available in two distinct types of packaging, each designed to enhance the application and aesthetic appeal of the product. One option was a round cardboard box, while the other was presented in compacts, catering to different preferences and practical needs.

The round cardboard box housing the face powder exemplified Maja's attention to traditional elegance and craftsmanship. Adorned with colorful and intricate designs that echoed the brand's Spanish heritage, these boxes added a touch of vintage charm to any dressing table or vanity. The round shape not only facilitated easy storage but also ensured that the powder inside remained protected and pristine.

Alternatively, Maja also offered the face powder in compacts, which provided a more portable and convenient option for users on the go. These compacts featured durable and stylish casings, and embellished with motifs that complemented the overall packaging theme of the Maja line. The compact design allowed for effortless application, with a built-in mirror for quick touch-ups throughout the day.

Both the round cardboard boxes and compacts maintained the high standards of quality and aesthetic refinement that characterized the Maja brand. Whether housed in the nostalgic charm of a round cardboard box or the practical elegance of a compact, the face powder enriched the Maja experience with its luxurious texture and subtle fragrance, reflecting a blend of tradition and modernity that appealed to discerning users.


Rouge Maja:


Lipstick.




Cream Maja:


A face cream in glass boxes. "This is a cream of superlative degree of purity in the creation of which Myrurgia has drawn largely upon ancient cosmetic formulas of Arab tradition elaborated according to the most up-to-date methods of chemistry. Its scent is exquisite; its effect on the skin constitutes a marvel of dermatology, the receptacle that contains it is an ornament for the boudoir."

 



Brilliantine:


Solid brilliantine, a hair grooming pomade, was housed in black glass pots with screw on lids. Liquid brilliantine was contained in glass bottles with screw caps.





Shampoo Powder:




Soaps (Jabon):



Today, I use the scented Maja soaps, rich in lather and olive oil, they have a very soft, subtle scent that lingers on the skin hours after bathing.





Fate of the Fragrance:


In 1960, a new version of Maja emerged onto the market, appropriately named Nueva Maja (New Maja). This updated fragrance offered a fresh take on the classic Maja scent, introducing subtle variations while maintaining the essence that had captivated generations. Over the years, however, Nueva Maja was discontinued, becoming a rare find cherished by collectors and aficionados of vintage perfumes.

Despite the discontinuation of Nueva Maja, the original Maja fragrance continues to be available in various forms, ensuring that its timeless allure can still be experienced. However, finding the original fragrance in its authentic vintage form can be a rewarding pursuit, as it has undergone several reformulations throughout its history. Each formulation retains elements of the signature Maja scent, but vintage versions often carry nuances and complexities that perfume enthusiasts appreciate for their historical and olfactory richness.

Maja's enduring presence in the perfume market speaks to its lasting appeal and cultural significance. While Nueva Maja may no longer grace perfume counters, the legacy of Maja persists through its various formulations and products, offering a touch of Spanish elegance and allure to those who seek its distinctive fragrance.


Thursday, February 5, 2015

Savonnerie Parfumerie Maubert

Isnard - Maubert Parfumeur:  A perfumery, cosmetic and toiletry shop established at 17 rue Lamartine, Lille, France in 1819; also see ' Parfumerie du La Val Creux', associated with Chrome et Cie; associated with Savonnerie Parfumerie Maubert. Maubert Jeune.




Tuesday, December 16, 2014

Ann Haviland Perfumes

Ann Haviland of Haviland Laboratories. Established by Ann Haviland in 1909 at West 57th Street in. Ann Haviland reportedly learned the art of perfumery in far off Smyrna, Turkey, where she lived as a girl.

Sunday, September 28, 2014

Ming Toy by Parfums Forest c1923

The magnificent Ming Toy was created for Parfums Forest in 1923. The name is an anglicized version of a Chinese name. Ming Toy is a Chinese girl in the musical comedy "East Is West" from  (1918). The name is one of many exotic perfumes manufactured in the 1920s given Near Eastern inspired names including: Shanghai, Le Temple Chinois,  Mitsouko, Wanaranee, Crepe de Chine, Tsingtao, Mitsuiva, Hasu-No-Hana, Lucille de Chine, Kai Sang, Phul-Nana, Cha Ming, Kananga du Japon, Vale of Kashmar, Ming, Cho-Cho-San, Tsang-Ihang, Mai Wang, Kesako, Yoshiwara, Chin Ching, and Chu-Chin-Chow.


Fay Bainter and Hassard Short in Ming Toy.



Ming Toy Perfume Bottle. On March 25, 1924, Leon Cohn of Paris, France, patented his design in America for a perfume bottle. The bottle represented a seated figure of a Chinese girl with fan in hand and fancy headdress which formed the stopper of the bottle. The bottle was manufactured by Baccarat. The name "Ming Toy" is painted across the face of the fan, and the bottle of crystal glass has been decorated with colored enamels and gold. The bottle stands 4 3/8" tall.









Sunday, April 6, 2014

Blondeau et Cie & Vinolia

The perfumes of Blondeau et Cie:


Blondeau et Cie was a British-French company established in around 1885 by Dr Eggleston Burrows and James Hill Hartridge at Lever House, Victoria Embankment, Blackfriars, London. Though they were primarily a soap manufacturing company, they produced some beautiful perfume presentations up until 1930.

Blondeau et Cie were also the proprietors of the Vinolia Company Ltd, manufacturers of ‘Vinolia preparations’. The brand name "Vinolia" was adopted for the company's toiletries range, including soap, skin cream and powder advertised as suited to those with sensitive skin conditions. 


Merck Report, Volume 2, 1893:

"BLONDEAU ET CIE, NEW YORK.

 Vinolia Soap has become famous the world over first because of the inherent good qualities of the article and second because of judicious advertising. The proprietors Blondeau et Cie have their factory and head offices at Ryland Road, London England, a Paris office in the Rue de la Paix, and a New York office at 73 77 Watts Street England.
The latter is under the able management of FJE Welch, a native of Taunton, whose energy and enterprise have been fully proven by results in the two and a half years since the New York branch has been established. They first opened at 96 Fulton Street and moved to their present extensive quarters in July 1891.
The trade mark name 'Vinolia' used for the Soap is also employed in an entire series including Perfume, a most delicate bouquet, Shaving Soap, Shaving Foam, Lait Vinolia for the complexion, Pomade, Powder for toilet and nursery, Cream and Dentifrice.
 The latter is in three styles English, American, and No 2 and contains no soap is free from gritty particles, has no mineral acids, is antiseptic preservative and peculiarly refreshing.  It is handsomely boxed and also put up in ivory stoppered bottles. The latter form which is especially useful and economical incurs an additional duty of 20% over the ordinary form on account of the ruling that the bottles must be classed as cut glass.
Their perfumery includes fifteen odors but up to the present time only three special odors: Marequil, Jequilla and Vinolia Bouquet have been pushed in this country. They are bottled in 2 ounce size exclusively. The design see illustrations is original and pretty.

 

The Vinolia Shaving Soaps are superfatted with Bay Rum incorporated in the basis and prepared in both Stick and Cake form. The Sticks are in attractive silver metal cases with convenient loose bottom while the Cakes are put up in porcelain dish and silver metal cases. The Soap gives a very good firm lather that does not dull the razor or irritate the skin. Vinolia Shaving Foam in collapsible tubes, is a creamy preparation that leaves a cool and refreshing effect on the skin after use and is preferred by many to the use of shaving soap.
 The Lait Vinolia and Pomade are sold in dainty receptacles of Staffordshire ware artistically decorated in antique style. 
The Vinolia Powder is a very fine impalpable rose dusting powder free from zinc oxide or bismuth and is equally applicable to nursery uses and for the toilet. It is prepared in 3 sizes and in pink white and cream tints. Each box contains a pretty little puff and is therefore complete in itself. 
Of the five Vinolia Toilet Soaps sold at various prices, the Vestal is the most expensive and while retaining all the good qualities of the Vinolia Soaps in being free of excess of alkali, devoid of sugar and containing some extra free, stable unsaponified cream is lavishly perfumed and boxed in extremely is attractive packages of imitation calfskin with gold embossed name. The Toilet Otto Soap has a very large sale as it is perfumed with the finest Otto of Roses an odor which is especially liked by those of refined taste. The other Vinolia Soaps are the Premier, Floral and Balsamic (Medical). Each of these is put up in dozen boxes with gold silver or fine color work embossed labels. 
In placing the Vinolia Soaps on the market the manufacturers took up the cudgel against their rivals and predecessors by publishing home and scientific tests for the detection of adulterations, etc, such as bad fats, sugar as in transparent soaps, methylated spirit, excess of caustic alkali, arsenic, tartar emetic, mercurial coloring compounds, etc, most of which find place in some old style toilet soaps. They claim that the Vinolia Soaps are superfatted, their color being that of the pure oils used in their manufacture, that they are made from edible fats, are milled and not merely boiled, are guaranteed neutral, and to contain no irritating scents. Further that in washing they set free but little alkali and yield a cleansing emollient lather which is beneficial to delicate and diseased skins. 
For these reasons, Vinolia Soaps are largely recommended by leading dermatologists, who have found that skin diseases are often caused by the continued use of the impure toilet soaps. In conversation Mr Welch said: 'The advertising of this house has done a great deal to improve the quality of Toilet Soaps, especially in England, where we have the largest sale of any high class Toilet Soap, because in both Medical and Lay Journals, Blondeau et Cie have published from time to time, reliable tests which will readily determine whether the soap tested has any excess of free caustic alkali or any bad fats in its composition, and also if it is colored with injurious matters as mercurial compounds, etc. 
That the better class of soap makers appreciate these efforts to put soap making on a higher plane is shown by the fact that the Secretary of the Soap maker's Association of Great Britain wrote us some time ago to the following effect,' I wish to offer the proprietors of Vinolia Soap my most cordial wishes for their success in the efforts they are making to bring about the necessary reforms in the manufacture and supply of Soaps for Toilet use.' 
In connection with this work, it is also pleasing to say that at the recent Annual Conference of the Association of German Soap makers at Leipzig, a resolution was unanimously accepted to memorialize the Imperial Chancellor to the effect that the proposed legislation to restrict the fulling of Soap is not stringent enough, but that all fulling processes in which any insoluble materials are used should be prohibited.' The Association also agreed that the addition of sugar to soap did not increase the preserving capacity but only increased the weight at the expense of the cleansing powers of the article.
 Druggists are specially interested in this matter of good soaps as they handle the greater part of this business and their recommendation of any particular kind carries considerable weight.' 
'Our trade in the United States', continued Mr Welch, 'is rapidly growing to large proportions, which speaks well for the way in which our business has been pushed. In my opinion, no little of our success is due to the attention we have given to co operation with both wholesale and retail druggists, and to seeing that they get a good profit on Vinolia goods. There is a heavy demand in the United States for fine imported soaps, etc, and the drug trade has been found very willing to recommend good articles in preference to the cheaper untrustworthy ones. An interesting item of information we gained, was that each hand employed in their factory is allowed two weeks vacation in summer with full pay, and that a Mutual Sick Club has been established for the benefit of the employees, any expense incurred by protracted sickness including medical attendance being defrayed from this club. 
Space forbids us from making more than a passing mention of their Vinolia emollient Cream for the skin, in health and disease which is meeting with considerable recognition from the profession and said to have been highly spoken of in the British and American publications as being very serviceable in eczema, itching and burning insect bites, etc."

The "Vinolia" business was founded in the beginning of the year in 1888 and at first, Vinolia produced mainly soaps with a limited production of luxury perfume presentations starting in 1892. It carried on under the trade name of Blondeau et Cie, until April 1898, when for family reasons it was converted into a private company with a nominal capital of  £100,000, under the name of "Vinolia Company (Limited)". The Vinolia Company was formed as a limited liability company to take over the business of Blondeau et Cie, and in 1899 it was incorporated as a public company, to acquire the business of this previous Vinolia Company.

The Vinolia Company Ltd was established at 37-38 Upper Thames Street, London. Factories were established in Kentish Town and other parts of London. Their agents were Robert & Co of 76, New Bond Street, London and also at 5 Rue de la Paix, Paris.

By the end of the nineteenth century the Vinolia range included eau de cologne, brilliantine for the hair, toilet soap and powder, dentifrice, shaving sticks and a lip-salve that was to prove its most enduring product: Vinolia Lypsyl. 

In 1900 the company achieved the coveted accolade of a Royal Warrant as soap makers to Queen Victoria. The company was acquired by Lever Brothers on 1 October 1906 and in 1907 production of the Vinolia range was transferred to the Lever Brothers' factory in Port Sunlight.

Vinolia was seen as a luxury product and their soaps were provided to passengers on the Titanic in 1912. 

On 24 September 1915 another company, Blondeau et Cie, was formed to work in conjunction with the Vinolia Company, apparently to preserve certain patent rights belonging to the original concern of Blondeau et Cie.

By 1920 the Vinolia range also included toothpaste and bath salts, a baby range of soap and powder. Of special interest to my readers, Vinolia introduced and a range of perfumes contained in cut crystal bottles called the 'Cut Flower Series', including such fragrances as English Rose, Russian Violets, Aralys, Osiris and Sourire d'eté.

They later closed their London showrooms in 1939, but continued production under the Lever Brothers name until early 1960’s.


The perfumes of Blondeau:

  • 1889 Vinolia Bouquet
  • 1890 Violette de Parme
  • 1892 Jequilla (Vinolia)
  • 1892 Luxuria (Vinolia)
  • 1892 Marequil (Vinolia)
  • 1892 Vinolia Bouquet
  • 1893 Eau De Cologne
  • 1893 Ess Bouquet
  • 1895 Jasmin
  • 1893 Jockey Club
  • 1893 Marechale Niel
  • 1893 Millefleurs
  • 1893 Opoponax
  • 1893 Stephanotis
  • 1893 White Heliotrope
  • 1893 Ylang Ylang
  • 1895 Losaria (Vinolia)
  • 1895 One Drop Perfumes
  • 1895 Ambergris
  • 1895 Amaryllis
  • 1895 Frangipanni
  • 1895 Honeysuckle
  • 1895 New Mown Hay
  • 1895 Musk Rose
  • 1896 Chypre
  • 1896 Lys de France (soap)
  • 1896 Mignonette
  • 1896 Musk
  • 1896 Patchouli
  • 1896 Violet
  • 1896 Wallflower
  • 1896 White Lilac
  • 1896 White Rose
  • 1898 Clematis
  • 1898 Hyacinth
  • 1898 Lily of the Valley
  • 1898 Narcissus
  • 1898 Opoponax
  • 1898 Patchouli
  • 1898 Peau d'Espagne
  • 1898 Rhine Violets
  • 1898 Rondeletia
  • 1898 Rose d'Orient
  • 1898 Stephanotis
  • 1898 Violette
  • 1898 Violette de Parme
  • 1898 White Heliotrope
  • 1898 Wood Violet
  • 1919 Sweet Pea
  • 1919 Night Scented Stock
  • 1919 Persian Lilac
  • 1921 Mystic Charm


The perfumes of Vinolia:

  • 1892 Jequilla
  • 1892 Liril Violets
  • 1892 Marequil
  • 1892 Vinolia Bouquet
  • 1893 Losaria
  • 1893 White Heliotrope
  • 1893 Wood Violet
  • 1893 Ess Bouquet
  • 1893 Frangipanni
  • 1893 Jockey Club
  • 1893 Marechal Niel
  • 1893 Millefleur
  • 1893 Stephanotis
  • 1893 Opoponax
  • 1893 Ylang Ylang
  • 1893 Musk
  • 1893 Ambergris
  • 1893 Amaryllis
  • 1893 White Lilac
  • 1893 White Rose
  • 1893 Luxuria
  • 1895 Lavender Water
  • 1896 Honeysuckle
  • 1896 Vinolia Eau de Cologne
  • 1896 New Mown Hay
  • 1896 Lily of the Valley
  • 1896 Rondeletia
  • 1896 Narcissus
  • 1896 Clematis
  • 1896 Hyacinth
  • 1897 Mignonette
  • 1899 White Vinolia
  • 1899 Quadruple extract Carnation
  • 1899 Quadruple extract White Lilac
  • 1899 Quadruple extract Jockey Club
  • 1899 Quadruple extract Mylissa
  • 1899 Quadruple extract Opoponax
  • 1899 Quadruple extract Violette de Parme
  • 1899 Quadruple extract White Heliotrope
  • 1900 Sourire d'Ete
  • 1900 White Seringen
  • 1903 Quadruple extract Waneeta
  • 1910 Mon Caprice
  • 1910 Peau d'Espagne
  • 1911 Royal Rose
  • 1911 Royal Vinolia
  • 1911 Red Rose
  • 1911 Tulipe d'Or
  • 1913 Red Clover
  • 1914 Sweet Scented Daphne
  • 1919 Aralys
  • 1920 Alaba
  • 1920 English Rose
  • 1920 Golden Tulip
  • 1920 Osiris
  • 1920 Violet
  • 1920 Quadruple extract Wallflower
  • 1924 Floral Toilet Waters
  • 1925 Old English Lavender
  • 1927 Aralys Chypre
  • 1927 Eau de Cologne
  • 1930 Dylissia
  • Mitcham Lavender
  • Quadruple extract Mylissia
  • Quadruple extract Reine Violets
  • Triple Eau de Cologne
  • Blue Rose
  • Perfection
  • Tres Chic
  • Violets de parme
  • Witte Seringen

Pharmaceutical Journal - Volume 19, 1904:

Sunday, March 23, 2014

Garden Court Toiletries & Perfume

Garden Court Toiletries were manufactured by Nelson of 61 Brooklyn Avenue, Detroit, Michigan. Subsidiary of Penslar Stores.




Tuesday, January 21, 2014

Solon Palmer Perfumes

Solon Palmer: A Legacy in Fragrance and Toiletries

Solon Palmer, an influential figure in the world of perfumery and toiletries, established his company in 1847 in Cincinnati, Ohio. As a perfumer and chemist, Palmer's venture quickly became known for its high-quality products. His early offerings included Palmer's Invisible, a ladies’ face powder, and a selection of handkerchief extracts and toilet soaps. These initial products set the stage for Palmer’s subsequent success, helping to build a strong foundation for his business.

In 1870, Palmer expanded his operations by opening a branch in New York City at 12 Platt Street. This move was a strategic step to tap into the vibrant and growing market of New York. Shortly after, he relocated the branch to 372, 374, and 376 Pearl Street, reflecting the company's growth and increasing prominence. Palmer's presence in New York enabled him to reach a broader audience and enhance the brand's reputation on a larger scale.

By 1892, the company was under the leadership of Solon Palmer's son, Eddy Palmer. Eddy’s management marked a new phase for the business, continuing its growth and innovation. Eventually, the company came under the stewardship of Solon M. Palmer, ensuring that the family's legacy in the perfumery and toiletry industry continued. The Palmer family maintained the business until 1947, a testament to their enduring influence and the company’s resilience through changing times.

Throughout its history, Solon Palmer’s company expanded its product range significantly. From its early focus on face powders, handkerchief extracts, and soaps, the line broadened to include powders, sachet powders, rouges, lotions, cold creams, tissue creams, perfumes, brilliantine, and lipsticks. This diversification reflected the company’s adaptability and its ability to cater to evolving consumer needs and preferences.

The design of Palmer's perfume bottles also evolved over time. Early cologne bottles were distinguished by their beautiful deep emerald green or rich teal hues and typically featured a lay-down style. These bottles were not only functional but also aesthetically pleasing, enhancing the product’s appeal. As the years progressed, the design shifted to clear or light aqua glass bottles with cylindrical or hourglass shapes. These later bottles represented a more modern approach while maintaining the elegance associated with the Palmer brand.

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