Concrete Essences c1900

Concrete Essences were alcohol free perfume oils made in various flower scents. These concentrated extracts were housed in clear glass cylindrical bottles fitted with ground glass stoppers with long, twisted glass daubers. The bottles were packaged in boxwood treen cases. The bottles stand 2 ¼” high and teh cases stand 3 & ¼” tall.


The idea of concentrated essences was not knew or reserved to Richard Hudnut alone, other companies such as Paul Reiger had his Flower Drops and Germany's Georg Dralle hd his "Illusion" scents. These were also sold in glass bottles packaged in boxwood treen cases.

The following scents were sold by Richard Hudnut as the Concrete Essences:

• Violet
• Gardenia
• Rose
• Heliotrope
• May time (lily of the valley)
• Lilac

Prescott Evening Courier - Mar 27, 1936:

"Concrete Essence of Gardenia is a perfume representation of the gardenia flower in the most concentrated form. It lasts for days."

RSVP by Richard Hudnut c1936

RSVP by Hudnut: launched in 1936.

Soul of the Violet by Richard Hudnut c1912

Soul of the Violet by Richard Hudnut: launched in 1912.

So what does it smell like? It was a violet soliflore perfume. Had a "green," rather rough note.

Discontinued, date unknown.

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Gemey by Richard Hudnut c1922

Gemey by Richard Hudnut: launched in 1922. Originally introduced in Europe and South America, was finally launched in the USA in 1935.

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.