Hello and welcome! Please understand that this website is not affiliated with Guerlain in any way, it is only a reference site for collectors and those who have enjoyed the classic fragrances of days gone by. All trademarks belong to their respective owners. The main objective of this website is to chronicle the 200+ year old history of the Guerlain fragrances and showcase the bottles and advertising used throughout the years. Let this site be your source for information on antique and vintage Guerlain perfumes. Another goal of this website is to show the present owners of the Guerlain company how much we miss many of the discontinued classics and hopefully, if they see that there is enough interest and demand, they will bring back these fragrances! I invite you to leave a comment below (for example: of why you liked the fragrance, describe the scent, time period or age you wore it, who gave it to you or on what occasion, what it smelled like to you, how it made you feel, any specific memories, what it reminded you of, maybe a relative wore it, or you remembered seeing the bottle on their vanity table), who knows, perhaps someone from the current Guerlain brand might see it. If you have any questions, please send all images of your bottle and pertinent information directly to me at cleopatrasboudoir@gmail.com. I will try to assist you the best I can.

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Sunday, February 3, 2013

Vintage 1930s- Guerlain Perfume Tester Rack Version #2

Vintage late 1930s-early 1940s Guerlain Perfume Tester Rack, looks like it is clear lucite, which would have sat on the counter at the Guerlain boutiques or in the department store where Guerlain perfumes were sold. 

As you can see from the vintage illustration, the most popular Guerlain perfumes were presented:


  • Shalimar
  • Jicky
  • Vol de Nuit
  • Dawamesk
  • Coque D'Or
  • Mitsouko
  • Bouquet de Faunes
  • Geranium D'Espagne
  • A Travers Champs
  • Apres L'Ondee
  • Lavande
  • Rue de la Paix
  • Liu
  • Djedi
  • Vetiver

Curiously, I do not see Sous Le Vent represented...

The bottles are clear glass with glass stoppers with daubers that reach all the way down. Their white labels display the red Marly horse logo.




photo by scansione0002

Bora-Bora c2010

Bora-Bora: Created in either 2010. First noted by Octavian Coifan as seen in Madame Figaro magazine. This perfume was a limited edition created by Thierry Wasser.


Rare Guerlain Perfume Coffret c1842-1914

(15 Rue de la Paix period 1842-1914) "Bouquet of Princess Alice" "Double Rose Extract" Exceptional and rare oval cabinet veneered rosewood, friezes wrapped in gilded bronze, richly inlaid motifs in ivory on its cover, padded interior, including three bottles of extract section and cylindrical form decorated with a blue opaline mount pomponne ornate, decorated each capsule reserve a macaroon Paris porcelain polychrome decorated with flowers, with their colorless glass stopper, two bottles emblazoned with the label titled Guerlain, 15 rue de la Paix. Above. 7 cm each. 




Photo and description from Lombrail-Teucquam Auction 2009.

Eau de Lingerie c2013

Guerlain has decided to enter the world of clothing, by way of a limited edition lingerie line in connection with Absolutely Pom, which features a unique scented fabric fragrance, Eau de Lingerie, which is meant to be sprayed onto lingerie. The perfume was released on Valentine's Day, 2013, as a part of Les Elixirs Charnels collection.


Marie Claire c1996

Marie Claire: In 1996, Guerlain created an eau de par­fum for the tenth anniversary French edition of Marie Claire mag­a­zine — limited to only 1000 examples — which were assigned to recip­i­ents by way of a com­pe­ti­tion.


Heliotrope Blanc 000 by Guerlain c1870

Héliotrope Blanc 000, created in 1870, very popular during 1878-1883. The 000 after the name means that this is a triple-strength floral extract.

Heliotrope is a sweet-scented plant which is called Heliotrope because it follows the course of the sun. After opening it gradually turns from the east to the west and during the night turns again to the east to meet the rising sun. The Ancients recognized this characteristic of the plant and applied it to mythology.


Guerlain's Historical Cosmetics


Pierre-Francois-Pascal Guerlain was born in 1798 in Abeville. In 1817, he began a career as a "commited merchant" in the House of Briard, which manufactured and sold perfumes. Soon, he was hired by the House of Dissey et Piver, a cosmetic and perfume house, where he worked as a salesman and helped create perfumes.

In 1828, at the age of just 30, Pierre-Francois-Pascal Guerlain opened his first boutique, at 42 rue de Rivoli,an arcade-lined street located in the heart of Paris. Fortunately, this was also the location of the fashionable Hotel Meurice, a favorite haunt of the British high society.

To exploit this fact, he used his knowledge of popular British toiletry products from his days as a salesman, Guerlain began his business by importing upscale products from Britain, but he was soon developing his own, original, trendsetting formulas for toilet waters, scented toilet vinegars, soaps, creams, pomades, cosmetics, perfume extraits and perfume essences for handkerchiefs. many of the products bore English writing on the labels. He used imported ingredients for cosmetics: cochineal from Goa, alum and vermilion from China, and myrrh and rose water from Persia.


He created recipes similar to those from Dissey et Piver, namely Serkis de Sultanas, which they sold as Serkis de Serail, a skin whitening cream, the so called Secret of the Harem. Other products such as Cream de Perse, a Persian face cream, was also produced by both houses.

These swanky products were all the rage with the British aristocrats, especially the young Queen Victoria for whom Guerlain created the perfume Bouquet de la Reine Victoria in honor of her ascension to the throne.

Not long after the Guerlain boutique was opened in 1834, he offered his products to the French market, and it was a most popular and natty place for ladies to purchase the latest skincare and cosmetics.

A fashionable Parisian lady during the 19th century may have used Guerlain's perfumed vinegars to scent her apartment with the Vinaigrillon Seville, which she could also use to heal cuts or sores on her body.

The lady would have also used Guerlain's famous Savon Sapoceti, a rich soap, made up of whale blubber to cleanse her body and whiten the skin. It could be had in either a jasmine, ylang ylang, frangipani, heliotrope, benzoin, acacia, verbena, gardenia, honey or rose, or even one of Guerlain's special perfumed blends, Fleurs de Alpes, Huile d'Amande, or Marcehal Duchesse.

A long soak infused with L'amidon de Guimauve, a starch made from the marshmallow plant, would have softened the bath water.

When she wanted to remove superfluous hair on her face, neck or arms, she could mix some of Guerlain's Epilotoire with a bottle of its Prepared Water to create a hair removing paste.


After bathing and depilating her unwanted hair, she may have dusted her body with Poudre d'Amande in a cloud of pulverized almonds.

To cleanse her face she may have used Laits d'Iris ou de Concombres, a cucumber and iris infused milk from a glass bottle, followed by the citron based astringent, L'Essence de Cedrat or Eau de Pearl to tone her skin and shrink her pores.


By massaging Crème à la Fraise, in a white porcelain jar with a small strawberry molded on the lid, or Creme Emolliente au Suc de Concombres, a cucumber cream, from white porcelain jar, this would moisturize and freshen her face.





To lighten her skin's complexion she may have used some Lotion de Golwond, or the cold cream made up of snails, Creme Froide de Limaçons or the pearly white cream of Blanc de Perles. If she had a blemish a little dab of Creme Camphrea, a so-called miracle cream, from a tin pot would help, it was promoted to make your skin look like one of the porcelain dolls from your childhood.



Before bed, she may have slathered on night cream, possibly Creme Lenitive, an analgesic cream to smooth the skin and to make to maintain its elasticity, and to fade age spots or freckles, she would use Creme Patti or Creme Nivea, both from white porcelain jars.




To clean her teeth, she would use Tresor de la Bouche, a vegetable powder based tooth powder she would moisten with water, it was advertised as preventing tooth decay and would not harm the enamel on the teeth.

To ensure that her mouth was freshened, she would have swished with either L' Elixir de Guerlain, a balsamic antiseptic mouthwash to keep her gums and teeth strong and healthy, or Alcoolat Cochlearia et de Cresson, a watercress infused mouthwash..

To give her complexion a little color, she may apply Serkis de Sultanas, the secret formula of the harem queens. This would be followed by a dusting of Poudre de Lys or Poudre de Cypris culled from its decorated cardboard box with a swansdown puff to cut down on the shine and give her an alabaster like complexion.



To bring a natural glow to her visage, she may have rubbed a little liquid blush, Bloom of Roses on her cheeks with a cotton ball, or swiped a little powdered Rouge au Carmin de Chine or Rouge de Damas on the apples of her cheeks which was pressed into a small glass mortar decorated with gold.






A genteel lady would have used Roselip, a subtle rose-tinted lip balm housed in a tiny Sevres porcelain pot, but a more adventurous lady may have applied a little Rose du Moulin, a rosy lip colour with her finger from a small green glass tub or Extrait de Rose from a glass bottle.




The more daring woman may have even lined her eyes with La Pyrommee, an Arabian style kohl powder for the eyes kept inside an ivory tube decorated with an eye motif. Advertising of the era told a story that Pierre-Francois-Pascal Guerlain learned the secret formula from an Armenian Pasha who gave it to the ladies of his harem



To keep her body moisturized and supple throughout the day, she may have rubbed on some Creme Nivea to her arms and legs and during winter or harsh, windy weather, when her skin needed more protection, a thicker emollient the Cold Cream of Roses would have made sense.





 If she was a nursing mother, she may have applied Baume de la Ferte, a balm made from the tannins in Bordeaux wine, benzoin, beeswax and almond oil, to soothe her chapped nipples, the antiseptic qualities of the benzoin and wine tannins would promote healing. Years later in the 20th century, the formula for this balm would be used to restore flexibility to the lips.





She may have then used Crème de Perse to soften her hands, removed her cuticles with Pate d'Amande au Miel, a honey and almond paste, and applied a little Huile de Rosat to give a rosy gloss to her nails..

Her hair would be cleansed with L'Eau de China, to condition her hair, she would have used the Veritable Moelle de Boeuf, a pomade made up of beef marrow to promote hair growth.
To complete her hairdressing, hen she would have applied some l'Eau Lustrale, a liquid hair groom which would have gave it a lustrous shine. A touch of either Veritable Graisse d'Ours or Graisse d'Ours Liquéfie, pommades made of bear's grease, would help keep that jaunty cowlick from popping out from her coiffure in addition to strengthening and prevent color fading of the hair.





Before heading outside she may have applied Pate a L'Huile d'Amandes de Pistache, a pistachio paste made with almond oil, to make skin supple or Creme Huve de la Providence to her face to protect it from the sun's rays.




Her toilette would be complete with a splash of Esterhazy Bouquet, a cologne rumored to have aphrodisiacal qualities was a blend of orange blossom, rose, vetiver and vanilla. Her copy of Le Journal des Elegances, a fashionable magazine of the time, even had its pages of a special edition sprinkled with the famed essence.







Fashionable cosmetic and skin care products were:

19th century:
  • Cold Cream of Roses (1828) 
  • Veritable Graisse d'Ours (bears grease hair pomade, c1830) 
  • Veritable Moelle de Boeuf (beef marrow pomade c1830) 
  • Savon Sapoceti (soap, made up of whale blubber, c1830 -1960) 
  • Guerlain's Saponaceous Ambrosial Cream (emollient shaving cream soap for men, c1835) 
  • Guerlain's Shaving Cream (made of almond oil and the finest perfume, c1839) 
  • Crème à la Fraise (strawberry face cream, c1840-onward) 
  • Bloom of Roses (liquid blush, 1840) 
  • Otto Rose Soap (soap perfumed with otto of roses, c1840) 
  • Rouge au Carmin de Chine (blush, 1840) 
  • Rouge de Cour (Court Rouge, a blush,1840) 
  • Rouges de Carthame (Safflower Rouge, a blush, 1840) 
  • Rouge de Damas (Damascus Red, a blush, 1840) 
  • Creme Emolliente au Suc de Concombres (cucumber face cream) 
  • L'Essence de Cedrat (Citron based facial astringent) 
  • L'amidon de Guimauve (bath water softener made up of marsh mallow starch) 
  • Laits d'Iris ou de Concombres (cucumber and iris milk, cleanser) 
  • Lotion de Golwond (a skin bleach) 
  • Creme Froide de Limaçons (a cold cream, made from snails) 
  • Blanc de Perles (Pearl White, a skin lightener) 
  • Creme Camphrea (a zit cream, c1870) 
  • Creme Lenitive (an analgesic cream to smooth the skin and to make to maintain its elasticity) 
  • Creme Nivea (skin bleaching cream) 
  • Creme Patti (skin lightener) 
  • Tresor de la Bouche (a vegetable powder based tooth powder) 
  • L' Elixir de Guerlain - Dentifrice Antiseptique (antiseptic mouthwash) 
  • Alcoolat Cochlearia et de Cresson (a watercress infused alcoholic mouthwash) 
  • Serkis de Sultanas (a tinted face cream) 
  • Pate d'Amande au Miel (Honey and almond paste) 
  • Poudre de Lys (face powder) 
  • Poudre de Cypris (Cypress Powder, a face powder c1890) 
  • Poudre de Cygne (Swan's powder, a face powder) 
  • Poudre aux Fleurs (Powder of Flowers, face powder ) 
  • Alba Pulvis (white face powder) 
  • Roselip (rose tinted lip balm) 
  • Extrait de Rose (liquid lip tint) 
  • Baume de la Ferte (nipple balm made from Bordeaux wine tannins, benzoin, beeswax & almond oil, c1878) 
  • Ne M'Oubliez Pas (the first lipstick from 1870) 
  • La Pyrommee (kohl, a powdered eye liner, from 1878-1940) 

20th century:
  • Lotion Vegetale (a hair dressing first made around 1900, came in various scents) 
  • Secret de Bonne Femme Creme Pour le Visage (face cream, scented with Apres L'Ondee perfume, 1904-2001) 
  • Rose du Moulin (Moulin red, a blush, a play on the name Moulin Rouge, made from 1907-1950) 
  • Rouge d'Enfer (Rouge Inferno, first indelible lipstick c1924) 
  • La Poudre C'est Moi (face powder scented with Shalimar, created in 1925) 
  • Stilboide Fluide (a hair dressing, used to add lustre and fix the hair, created in 1923. It was perfumed with Jicky, L'Heure Bleue, Shalimar, Mitsouko, Fleur de Feu,Sous Le ent and Hegemonienne ) 
  • Creme au Citron (a lemon scented moisturizing face cream c1930) 
  • Huile Pour Brunir (tanning oil, 1936) 
  • Cremaliment (1941) 
  • Emulsion Ambrosia (anti aging serum c1950) 
  • Creme Super Nourissante No.2 (1952) 
  • Hydroserum (1955) 
  • Creme Hydrante Pour Le Corps (Body Moisturizer in various scents, Shalimar, Ode, Mitsouko, L'Heure Bleue, Chant D'Aromes, Chamade) (1959) 







Bloom of Rose




Milk of Cucumbers



Creme Froide de Limacons


 


 

Secret de Bonne Femme























La Mode, 1838:
"Guerlain, located on Rue de Rivoli, remains our favorite perfumer. He offers wonderful products, perfect for the winter months. To combat chapped skin, there’s Oléine Emulsive for frostbite, and Baume de la Ferté, which is ideal for young hands busy with writing tasks. For keeping the smooth hairstyles of women intact, even in the chilly January air, there’s Crème Sidonia. A visit to Guerlain is full of delightful discoveries for both buying and gifting. Resting in his shop feels like sitting near a field of roses or under the shade of orange trees."

La Mode, 1838:
"In the world of perfumery, the perfumer plays a crucial role in extending the beauty of spring into the winter months. They capture and prolong the enchanting scents of flowers, ensuring that their fragrances continue to delight throughout the snowy season. To achieve this, a perfumer must study the finest and most delicate aspects of nature, immersing themselves in the intense aromas of roses, lilies, tuberoses, and orange blossoms.
GUERLAIN, seeing that flowers are fading with the good weather, is busy inventing new eaux, new essences, and new bouquets.
When Guerlain sends out its representatives, they are directed to the most poetic and cherished regions—like the fields of Provence, the islands of Hyères, the plains of Italy, and the gardens of Naples and Palermo. Since smooth hair has replaced curly styles, there has been a need for a product that provides shine and hold. Ancient pomades and oils were inadequate for the sleek and polished look required. Guerlain has addressed this need with Crème de Cydonia, a revolutionary product that gives hair a brilliant and smooth finish, solving a longstanding problem for both hairstylists and women.

Crème de Cydonia represents a complete revolution in hair care, surpassing older products and providing a tasteful and effective solution. Guerlain’s Eau Lustrale has also gained popularity for its benefits to hair care, with demand rising both in France and abroad. 
No matter how much he rubs his forehead and strains his genius, he won't do better this winter than his Oléine Émulsive."

 

 

"

La Mode, 1838:
"We can’t finish listing the fashion trends we noticed last week without mentioning Guerlain's perfumes. Whether in the countryside, at the waterside, or in Paris, we recognized them this summer when flowers seemed to compete with the skilled perfumer. But now that the roses have faded, the orange blossoms are being brought into greenhouses, and the tuberose, heliotrope, and carnations have finished scenting the gardens, fashionable society is returning to Guerlain's store for its delightful fragrances, seeking refuge from the autumn winds and winter chill.

Recently, we saw eight beautiful, heraldic carriages parked in front of the store. As the icy breath of January approaches, the crowds will gather under the arcades, remembering with gratitude the soothing Oléine Émulsive and seeking the Baume de la Ferté, without which faces would become weathered and chapped."


Some photos used in this blog were culled from Beautesse.at

Sapoceti c1828




Created in 1828, Sapoceti,  was a rich soap made of whale blubber. It was meant to cleanse not only the body, but to whiten the skin as well. Guerlain registered this as a trademark in 1926, again in 1967 and the trademark finally expired in 1987.

Quand Vient La Pluie c2007

Quand Vient La Pluie: ("When the Rain Begins"): launched in 2007, a limited edition fragrance for women. It was created in cooperation with two noses, Thierry Wasser and Sylvaine Delacourte.

The perfume was created as an homage to the successful Apres L'Ondee (“After the Rainstorm”) perfume, but as co-creator Sylvaine Delacourte explains, "to treat Après l'Ondée in a more contemporary way, with an intenser and more addictive base."


Vintage 1930s Guerlain Perfume Tester Rack

Vintage 1930s Guerlain perfume tester rack, would have sat on the Guerlain counter either at one of their boutiques or at the department store where they were sold. The rack is made up of wood and metal and measures 9" in length and is 2 1/2" wide.  It can hold up to six glass tester bottles. Each bottle stands 2 3/4" tall and features a glass stopper with a full length dauber. Two of the bottles have labels for Shalimar (c1925) and Sous Le Vent (c1933).

Photo by ebay seller looknforperfs



Additional tester bottles that would have been used in this rack.
Vega (c1936), L'Heure Bleue (c1912) and Jicky (c1889)

Photo by drouot




Rococo À la Parisienne by Guerlain c1879

Rococo À la Parisienne by Guerlain, launched in 1879, reflects a masterful blending of historical allusion and modern allure. Created by Aimé Guerlain, the perfume’s name is a tribute to the opulent and whimsical aesthetic of the Rococo period, but with a distinctly Parisian flair. The term "Rococo" originates from the combination of two French words—rocaille, meaning rock or stone, and coquille, referring to the crescent-shaped decoration of cockleshells. These terms evoke the intricate designs often seen in Rococo art and architecture, which were characterized by their lightness, elegance, and elaborate ornamentation. By choosing the name "Rococo À la Parisienne," Guerlain conjures a sense of luxurious, playful sophistication deeply connected to both French cultural heritage and the romantic, fashionable sensibilities of Paris in the late 19th century.

The phrase "À la Parisienne," meaning "in the Parisian style," brings a sense of modernity and urban chic to the name. Together, "Rococo À la Parisienne" evokes images of a world where decadence meets refinement. The name is steeped in French language and culture, combining historical opulence with the contemporary elegance of Paris, the epicenter of fashion and art during the late 19th century.

The word "Rococo" alone summons visions of ornate interiors, delicate pastel colors, gilded furnishings, and scenes of aristocratic leisure. By combining it with "À la Parisienne," the fragrance suggests a modern, urban interpretation of these baroque ideals. The imagery of seashell motifs, rock formations, and playful curves found in Rococo design translate into a perfume that would be light, delicate, yet exuberant—a scent that plays with contrasts of softness and sharpness, sweetness and depth. In fragrance terms, this could be imagined as a blend of powdery florals, soft citrus, and perhaps a delicate musk or amber, capturing both the light-heartedness and richness of the Rococo era.


Jacinthe by Guerlain c1833

Jacinthe by Guerlain, launched in 1833, carries with it a name rich in historical and botanical significance. The word “Jacinthe” is French for “hyacinth,” derived from the Greek word “Hyakinthos.” In Greek mythology, Hyakinthos was a youth loved by the god Apollo, whose death was mourned by the transformation of his blood into a flower. This classical association imbues the name with a sense of timeless beauty and sorrowful romance.

In the 19th century, the hyacinth flower was celebrated for its vibrant colors and intoxicating fragrance. Guerlain’s choice of “Jacinthe” for their perfume evokes images of lush, blooming gardens bursting with the rich, heady scent of these flowers. The name conjures emotions of elegance and refinement, suggesting a fragrance that is both opulent and sophisticated. It resonates with the delicate, yet powerful presence of the hyacinth, known for its striking beauty and strong, sweet aroma.

Interpreted through scent, “Jacinthe” would likely offer a lush floral experience, capturing the essence of hyacinth’s heady, sweet fragrance. This would be complemented by the subtle, green undertones that characterize the flower, providing a fresh yet complex olfactory experience.

During the early 19th century, the fragrance market was dominated by floral and aromatic scents. Jacinthe would have stood out for its emphasis on a singular, distinctive floral note. The period was marked by a growing interest in botanical perfumes, and while many perfumeries of the time included hyacinth in their offerings, Guerlain’s Jacinthe would have been distinguished by its quality and refinement. The fragrance reflects a broader trend towards luxurious, well-crafted perfumes that emphasized both natural beauty and intricate composition.

Guerlain’s Jacinthe would have appealed to women of the era who valued sophistication and exclusivity in their personal fragrances. It would have been seen as a symbol of refinement and grace, aligning with the 19th-century trend of showcasing one’s social status through carefully selected and luxurious scents.

Gardenia by Guerlain c1857

Gardenia: Originally created around 1857, then relaunched in 1935?







Plagia by Guerlain c1904

Plagia by Guerlain, launched in 1904, carries a name that intrigues with its complex layers of meaning and historical context. The term "Plagia" translates to "plagiarism" in French, a provocative choice that likely reflects Guerlain's awareness of the growing trend of competitors mimicking their successful creations. By naming the perfume "Plagia," Guerlain might have been making a subtle comment on the imitation of their original fragrances by other perfumers, thus drawing attention to their own innovation and authenticity amidst a sea of replicas.

However, the name "Plagia" could also carry botanical connotations. Guerlain was known for experimenting with various plant extracts, and "Plagia" may be a nod to Plagianthus, a genus of plants known for its aromatic qualities. This dual interpretation of the name could evoke images of both intellectual property and natural beauty, reflecting Guerlain's commitment to both innovation and nature.

In terms of scent, the name "Plagia" might suggest a fragrance that stands out distinctly from its competitors—one that blends the allure of originality with the richness of botanical influences. Women of the early 20th century, a time characterized by a burgeoning interest in sophisticated and novel fragrances, would likely have viewed "Plagia" as a symbol of Guerlain's mastery and creativity. The period was marked by a growing appreciation for unique and high-quality perfumes, and "Plagia" would have appealed to those seeking an exclusive and distinguished scent experience.

The early 1900s were a time of significant change and experimentation in the perfume industry. As new trends emerged and the market became increasingly competitive, Guerlain's choice to name a perfume "Plagia" underscores both their confidence in their own creations and their recognition of the evolving landscape of fragrance innovation.