Gondola by Richard Hudnut c1925

Gondola by Richard Hudnut: launched in 1925.

So what does it smell like? There are no published notes on this perfume.

Discontinued, date unknown.

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Richard Hudnut Perfume Tester Rack c1910

The bottles are clear glass and have started to turn purple from the maganese content in the glass.  Each bottle stands 3" tall. Each stopper has a long dauber. The rack is made of copper with a enameled metal "RICHARD HUDNUT" label on the front. The brass rack is approximately 5" across and 3" tall. The bottles are fixed in place and cannot be removed.  Only the top with dauber is removed when testing the fragrance.

Vertrose by Richard Hudnut c1895

Vertrose by Richard Hudnut: launched in 1895.

So what does it smell like? It was a rose soliflore perfume.

Discontinued, date unknown.

Hudnut's Tenfold Perfumes c1936

Drug and Cosmetic Industry - Volume 38, 1936:

"Hudnut has desired this new mirrored bulk perfume stand for the recently introduced Tenfold Floral Perfumes of Gardenia, Lily of the Valley, Lilac, Jasmin and Rose."

Drug and Cosmetic Industry, Volume 42, 1938:

"Hudnut's Tenfold perfumes are now exquisitely bottled in a delicate fluted glass column. This package is obtainable in nine fragrances, Jasmin, Narcisse, Soul of the Violet, Gardenia, Lilac, Lily of the Valley, Rose, Yanky Clover and Carnation."

 

Rose of Omar by Richard Hudnut c1912

Richard Hudnut’s choice of the name Rose of Omar in 1912 for his perfume was inspired by the romantic allure of The Rubáiyát of Omar Khayyám, the famous collection of Persian quatrains by the 11th-century poet. In this context, Rose of Omar alludes to the poem’s themes of fleeting beauty, sensual pleasures, and a contemplative embrace of life, symbolized by the rose. The name “Omar” is pronounced as oh-MAHR, evoking an exotic, faraway charm. By tying the fragrance to the legendary Persian poet, Hudnut infused the scent with an image of luxurious, dreamlike mystique that resonated with the era’s fascination for the East.

Rose of Omar would have conjured images of lush, aromatic gardens under moonlight, mingling with an air of introspection and elegance. For women in the early 20th century, this name would have suggested a fragrance inspired by the wisdom and beauty of ancient Persia, aligning with the popular Orientalist aesthetic of the time. The fragrance would likely evoke a sense of refined seduction—like wearing a poetic relic from a distant land that whispered of enchanting beauty.

The scent of Rose of Omar is centered around rose, which was a staple note in perfumery, beloved throughout the 19th and early 20th centuries for its delicate yet impactful character. Perfume houses competed fiercely to present new interpretations of rose, crafting names that distinguished their fragrances within a crowded market. Rose of Omar stood out with its name and inspiration, capitalizing on the Western allure of Orientalism, which saw the East as mysterious, sensual, and opulent.

Tout Mon Jardin Pot Pourri Sachet by Richard Hudnut c1914

Richard Hudnut’s Tout Mon Jardin Pot Pourri Sachet, launched in 1914, offered a sensory journey that harkened back to the luxurious gardens of Europe. The name, meaning "All My Garden" in French, was a nod to the potpourri's essence, filled with fragrant petals and blossoms as if plucked from an abundant, lush garden. Pronounced as “Too Mohn Zhar-dan Po Pooree Sah-shay,” the name evoked an exotic elegance and old-world charm, appealing to early 20th-century women who cherished hints of European refinement and the romance of an “Old World” fragrance steeped in timeless beauty.

The description of Tout Mon Jardin Pot Pourri Sachet as "a breath of perfume from the Old World" drew a picture of distant gardens filled with rose petals, lavender, and fragrant woods from France and the Orient, evoking wanderlust and luxury. The sachet was marketed for use in linen chests, rose jars, or even as a boudoir accessory, where it would release delicate and enchanting aromas, creating a personal retreat for women. The advertising copy painted it as indispensable, a fragrant adornment for a refined home, cultivating the ambiance of a garden in full bloom.

Le Debut Noir by Richard Hudnut c1927

Le Debut Noir, launched by Richard Hudnut in 1927, stands as a testament to the evolving fragrance landscape of the early 20th century. As part of the Le Début collection—comprising Blanc, Vert, Bleu, and Noir—this perfume was crafted to suit the ever-changing moods of women, embodying modern sensibilities with its inclusion of aldehydes and carefully selected modifiers. The term "debut," derived from French, signifies a beginning or a first appearance, and in this context, it suggests a new chapter in perfumery that embraces complexity and sophistication.

The choice of the name Le Début Noir evokes a sense of mystery and allure. "Noir," French for "black," connotes depth and elegance, conjuring images of moonlit soirées and glamorous evening gatherings. This rich, dark hue suggests a fragrance designed for special occasions, aiming to resonate with the desires of women who seek to express their sophistication and refinement. The word itself, pronounced layman’s terms as "luh deh-byoo nwahr," elicits emotions of confidence and allure, appealing to the aspirational nature of women during a period when elegance was paramount.

Three Flowers by Richard Hudnut c1915

Launched in 1915 by American perfumer Richard Hudnut, Three Flowers, also known as Tres Flores in Spanish-speaking markets, encapsulated the essence of femininity through its evocative name and floral composition. The choice of "Three Flowers" is deeply symbolic, likely drawing inspiration from the 1898 poem "To the Daughter of the Regiment" by Reuben Moore. In the poem, each flower symbolizes Faith, Hope, and Charity, imbuing the fragrance with a sense of emotional depth and resonance. However, Hudnut reframed this symbolism to reflect romantic ideals, with his advertisements suggesting that the rose represents romance, the shy violet embodies charm, and the lily of the valley signifies youth.

The phrase "Three Flowers" evokes imagery of a lush garden in full bloom, conjuring feelings of beauty, grace, and tranquility. For women of the early 20th century, the name would likely resonate with ideals of love, elegance, and femininity, reflecting the cultural values of the time. The floral arrangements would remind them of romantic ideals and the flourishing nature of womanhood, providing an olfactory tribute to the traits they aspired to embody. The interpretation of the fragrance would be as multi-faceted as its name, with the bouquet of scents speaking to the complex emotions associated with love, youth, and personal charm.

The fragrance's composition centered around three primary flowers—lily, rose, and violet—inviting a sensory experience that mirrored its title. Each flower contributed a distinct note to the overall accord. The lily, with its rich and creamy aroma, evokes a sense of purity and innocence. The rose provides a romantic and passionate undertone, while the violet, with its soft and powdery sweetness, adds an element of charm and playfulness. Together, these notes create a harmonious blend, inviting the wearer into a floral dreamscape that reflects both the beauty of nature and the complexity of human emotions.

In the context of 1915, the perfume market was thriving with an array of floral fragrances, yet Three Flowers stood out for its unique blend and marketing narrative. During this period, there was a notable trend toward lighter, more delicate scents, and Hudnut’s interpretation of the floral bouquet aligned with contemporary preferences for elegant and refined fragrances. Unlike many perfumes of the time that leaned heavily into more overtly sensual notes, Three Flowers offered a fresh and youthful approach, emphasizing charm and innocence rather than seduction.

The popularity of floral perfumes in the early 20th century, alongside the growing accessibility of cosmetics and fragrances for the middle class, made Three Flowers a timely addition to the market. As women began to embrace their identities as consumers, Hudnut's fragrance provided them with an affordable luxury, allowing them to feel elegant and sophisticated in their daily lives. The fragrance thus became not only a personal indulgence but also a symbol of the changing social dynamics of women during this era, capturing the essence of a time when femininity was celebrated and elevated through artful compositions and evocative marketing.

Yanky Clover by Richard Hudnut c1898

Yanky Clover by Richard Hudnut, introduced in 1898, is a fragrance that captures the spirit of American identity and charm. Richard Hudnut chose the name "Yanky Clover" to evoke a sense of playful patriotism and distinctly American heritage. The term "Yankee," originating from English and Dutch languages, historically referred to someone from the United States. 

In the 19th century, the British commonly used "Yankee" to identify Americans in general, while within the United States, it often specified people from New England and, more broadly, from the northern states. Over time, "Yankee" became synonymous with a unique American identity. In the context of Hudnut's perfume line, this light-hearted adaptation, "Yanky," likely aimed to appeal to the pride and affection Americans felt for their country at the turn of the century, tapping into a growing sense of national pride and identity.

The name "Yanky Clover" itself evokes images of American meadows and the freshness of clover fields under morning light, suggesting a fragrance that is both wholesome and charming. For women of the time, the perfume name would have conjured associations with the idyllic, pastoral landscapes of their homeland. With patriotism surging at the turn of the century, a perfume titled "Yanky Clover" might have stirred pride and nostalgia, while also resonating with an expanding interest in American-made luxury products.