Madhva - Parfums des Divinites de l'Inde

Madhva, subtitled Parfums des Divinités de l'Inde, was a French perfume house established in 1923 by Daniel Jacquet, who had earlier founded Fontanis in 1919. The name Madhva is derived from Sanskrit—Mādhva (pronounced MAA-dhvuh)—and refers to a follower of Madhvacharya, a 13th-century Indian philosopher and theologian who founded the Dvaita (dualist) school of Vedanta. The term carries spiritual and philosophical connotations rooted in Indian religious tradition, and its use here reflects the early 20th-century French fascination with Orientalist themes, particularly India’s mysticism and divine iconography.

To help establish a cohesive and exotic brand identity, Madhva Perfumes retained Polish artist and illustrator Alexandre Rzewuski, who was responsible for naming the fragrances and creating their visual presentation. Rzewuski selected evocative and exotic names for each perfume, reinforcing the Indian theme suggested by the brand's subtitle. He collaborated with renowned French designer Julien Viard in designing all five of the perfume presentations. Viard, celebrated for his work in luxury flacon design during the Art Deco era, worked alongside Baccarat, which produced all of the bottles for Madhva. These bottles are characterized by their intricate craftsmanship and elegance, consistent with Baccarat’s high standard of glass artistry.

The firm appears to have gone out of business by around 1931, which is the last year in which advertisements for Madhva perfumes are known to have appeared in contemporary newspapers. Today, Madhva remains largely unknown to the general public, surviving mainly in the memories of dedicated collectors and historians of early 20th-century perfumery. Any surviving Madhva perfume, particularly with its original Baccarat flacon and presentation, is considered highly collectible and rare—treasured not only for the fragrance itself but also for the artistry of its bottle and branding.

The perfumes of Madhva:

• 1923 Damaya (Sub-titled 'Poetry of Love')
• 1923 Ta Wao (Sub-titled 'High Priest of Llassa')
• 1923 Tamya (Sub-titled 'Bayaderes of Burma')
• 1924 Ananya (Sub-titled 'Goddess of Love')
• 1925 Rahna (Sub-titled "Sacred odor of the Benares'")

Rahna:

Launched in 1925, Rahna was one of the five perfumes released by Madhva, a French perfume house that drew inspiration from Indian spirituality and mysticism. The subtitle for Rahna was “Parfum Sacré de Bénarès”, which translates into English as “Sacred Odor of Benares.” The name Rahna (pronounced RAH-nah) does not have a direct translation in French or Sanskrit, but its soft, melodious syllables evoke an exotic and poetic quality in keeping with the theme of the line. It may have been coined to suggest serenity or transcendence, aligning with the spiritual and sacred associations of its subtitle.

Bénarès is the French name for Benares, more commonly known today as Varanasi, one of the oldest and most sacred cities in India. Situated on the banks of the Ganges River, Varanasi is a major center for Hindu pilgrimage, rituals, and learning. It is revered as a place of spiritual purification and divine connection, where the living commune with the eternal. By invoking Benares in its subtitle, the perfume Rahna was clearly meant to conjure an air of sacredness, mystery, and devotion.

Given the reference to Benares and its deep religious significance, the perfume Rahna likely carried a meditative, incense-laden character. The scent may have drawn on olfactory elements associated with Indian temples and spiritual rites—perhaps sandalwood, patchouli, myrrh, benzoin, or frankincense, enriched with floral notes like jasmine or lotus, which are commonly used in devotional offerings. The concept of a “sacred odor” suggests a composition that would have been warm, resinous, and possibly smoky—designed to evoke the atmosphere of ancient altars and burning incense wafting along the ghats of the Ganges.

The presentation of Rahna was as rich and evocative as its name. The perfume was housed in a beautifully cut glass bottle, masterfully produced by Baccarat, France’s premier glassmaker. Baccarat model number 515. The bottle itself was finely faceted to catch the light, enhancing its jewel-like appearance. It was heavily enameled with silver trimming, giving it a luxurious, almost ceremonial aura in keeping with the perfume’s sacred theme. The stopper, equally ornate, was also covered in silver enameling, suggesting not only aesthetic harmony but a dedication to craftsmanship and detail throughout the presentation.

Tied around the neck of the bottle was a gold tassel, adding a final flourish of opulence. The use of a tassel—a common decorative accent in luxury packaging of the time—underscored the perfume’s sense of ceremony and refinement. The bottle held approximately 2 ounces of fragrance, a generous size for a perfume of such rarity and quality.

The perfume was presented in a heavy coral silk covered container, which served both as a protective case and an extension of the perfume’s aesthetic. The coral hue was a rich, warm tone, visually connecting to the sacred themes of India while also signaling luxury and sophistication. The silk covering would have offered a sensuous contrast to the cool glass of the flacon, elevating the tactile experience of unboxing the perfume.

In 1924, Rahna retailed for $14.40, a substantial sum at the time. When adjusted for inflation, this would be equivalent to approximately $267.58 in 2025, placing it firmly in the realm of high-end luxury. This pricing, along with the lavish presentation and Baccarat craftsmanship, reflects Madhva’s position as a prestige perfume house catering to an elite clientele with a taste for the exotic and the exceptional. Today, any surviving example of this presentation is considered extraordinarily rare and highly collectible among connoisseurs of perfume and decorative arts alike.

 

Tao-Wao:

Launched in 1923, Ta-Wao was one of the original perfumes released by Madhva, a French perfume house known for weaving exotic and spiritual themes into its creations. The name Ta-Wao (pronounced tah-WOW) is likely an invented or stylized name meant to sound foreign and mysterious to a Western audience. It evokes the cadence of East Asian or Tibetan language, though it does not directly translate to a known word in those regions. Instead, its role is to conjure a sense of distant ritual and mysticism.

The subtitle, “High Priest of Llassa,” refers to Lhasa, the capital of Tibet (spelled Llassa in older French or Anglicized usage). Lhasa (pronounced LAH-suh) is not only a geographic location but a deeply symbolic one—it is the spiritual heart of Tibetan Buddhism and the traditional seat of the Dalai Lama. The phrase “High Priest of Lhasa” evokes the image of a powerful spiritual figure presiding over sacred rituals in an ancient, secluded mountain city. In 1920s Europe, Tibet was often viewed through an Orientalist lens, shrouded in mystery and reverence. Madhva’s use of this imagery reflects the era’s fascination with far-off lands, perceived as spiritual, untouched, and full of esoteric wisdom.

Based on the name and subtitle, Ta-Wao would likely have been composed to evoke the solemn, sacred ambiance of a Tibetan monastery. The perfume may have featured dry, smoky, and resinous notes—suggestive of burning incense, temple wood, and mountain air. Ingredients such as sandalwood, cedar, and frankincense would have created a meditative and contemplative base. One might also expect touches of myrrh, styrax, or benzoin, materials long associated with ritual and purification. Based on its name, Tibetan musk would be most likely included. Given its masculine subtitle and the title of "High Priest," the fragrance may have leaned toward a dry, woody, and austere profile, with perhaps subtle herbaceous or mineral nuances to represent the stark, elevated landscapes of Tibet.

Ta-Wao “High Priest of Llassa” was conceived not merely as a perfume but as a sensory portal to an imagined, sacred world far removed from everyday life. Released in 1923, it was part of Madhva’s vision of transporting the wearer through fragrance—blending exotic storytelling, high craftsmanship, and a touch of early 20th-century spiritual romanticism.

The presentation for Ta-Wao, subtitled "High Priest of Llassa", was among the most visually striking and conceptually unified of all the perfumes launched by Madhva in 1923. Designed by renowned artist Julien Viard and produced by Baccarat, the bottle was a miniature sculpture in itself—rich in symbolic meaning and crafted with exceptional detail. Listed in Baccarat’s archives as model number 517, the bottle stood approximately 7 centimeters tall and was made from clear pressed crystal.

What made this bottle extraordinary was its surface treatment: the entire form was lacquered in thick gold leaf, transforming the clear crystal into a gleaming golden figure. The silhouette depicted the robed form of a Manchu man, suggesting spiritual or courtly nobility, perfectly suited to the perfume’s subtitle referencing the "High Priest." The gilding was not merely decorative—it served to emphasize the folds of the robe, the posture of the figure, and the overall impression of stately calm and authority, lending the bottle an almost totemic presence.

The stopper added a vivid and culturally resonant finishing touch. It was enameled in red and black, carefully shaped to represent a Mandarin hat—a traditional Chinese headpiece worn by high-ranking officials. The choice of this specific form, with its domed top and distinct colors, created an unmistakable reference to East Asian court dress, further enhancing the perfume’s theme of sacred ritual and spiritual hierarchy.

The presentation box echoed the visual richness of the flacon— lined in silk and finished in dark lacquered or oriental-inspired tones to align with the aesthetic of the bottle.

Every aspect of Ta-Wao’s presentation—from Viard’s symbolic design to Baccarat’s technical excellence—was crafted to transport the wearer into a mythic vision of the East. Today, the perfume is exceptionally rare, and surviving bottles are considered masterworks of Art Deco perfumery—treasured by collectors for their artistry, cultural narrative, and craftsmanship.

Ananya:

Launched in 1924, Ananya was one of the final perfumes released by the French house Madhva, known for its spiritually inspired fragrances rooted in both Eastern mysticism and French refinement. The name Ananya (pronounced ah-NAHN-yah) is a word of Sanskrit origin, meaning “unique,” “incomparable,” or “without equal.” In this context, the name was likely chosen to evoke the image of a divine feminine presence—Ananya as the Goddess of Love—a sacred embodiment of perfect, unattainable beauty and transcendent affection.

The perfume’s subtitle, “De la Divinité de l’Amour”, translates from French as “Of the Divinity of Love.” This pairing of Sanskrit and French, a hallmark of Madhva’s branding, beautifully merges cultural influences to portray Ananya not merely as a romantic muse, but as a deified figure of love itself—a celestial being whose essence is both tender and powerful, timeless and all-encompassing.

Drawing from this rich symbolic narrative, the perfume Ananya was almost certainly designed to evoke an intensely feminine and sensual fragrance, softened by an air of reverence. The scent likely featured a sumptuous floral heart—perhaps a blend of rose, jasmine sambac, or tuberose, all traditional symbols of divine love and feminine power. These florals may have been wrapped in warm, glowing notes of sandalwood, amber, or musk, representing sacred rituals and spiritual depth. Touches of vanilla, ylang-ylang, or orris may have added a creamy softness, suggesting the comforting, nurturing aspect of a goddess devoted to love.

Ananya “De la Divinité de l’Amour” was envisioned not just as a perfume, but as an olfactory shrine to the goddess of love herself. Everything about it—from the name and subtitle to the luxurious presentation—was meant to celebrate the divine feminine. Released during the Art Deco era, it stood as a tribute to the mystical and the romantic, the sacred and the sensual, all in one rare and radiant creation.

The bottle and presentation for Ananya “De la Divinité de l’Amour”, launched in 1924 by Madhva, embodied both opulence and symbolic design, perfectly suited to its theme—the Goddess of Love. The Baccarat flacon, model number 507, produced in clear pressed crystal, featured an elegant cylindrical form with an oval cross-section, giving it a graceful, almost sculptural silhouette. Its body was subtly hull-shaped, suggesting the form of a protective vessel—perhaps metaphorically cradling the divine essence within. Adorning the surface were six vertical grooves, each lacquered in gold, which not only added decorative depth but evoked the impression of radiating energy or golden rays—an appropriate motif for a deity associated with love and light.

The stopper was equally considered in its design. Faceted and shell-shaped, it was also finished in gold lacquer, echoing both the shimmer of divine ornament and the sacred feminine symbolism often associated with seashells in classical mythology. The inclusion of a tassel tied around the neck—a delicate and tactile touch—enhanced the visual harmony of the piece, imbuing it with the kind of soft elegance expected from a perfume that paid homage to a goddess.

Containing approximately 2 ounces of perfume, the bottle was nestled within an exceptionally refined white brocaded silk container, continuing the divine theme. The silk fabric, richly textured and shimmering in the light, gave the box a celestial purity, while its adornment with a strand of amber-colored beads and a gold tassel added warmth, richness, and a hint of the exotic. This combination of colors—white, gold, and amber—evoked both luxury and spiritual light, reinforcing the perfume’s concept of sacred love.

Priced at $14.40 in 1924—the equivalent of about $267.58 in 2025—Ananya was presented as a package de luxe, or luxury package. Every detail of the presentation, from the flacon’s golden accents to the embellished silk box, was meant to elevate the perfume into an object of devotion. It wasn’t merely a scent, but a beautifully crafted tribute to divine femininity—worthy of a place on any vanity or altar to beauty. Today, the bottle and presentation are considered rare treasures among collectors of Art Deco perfume history.

Tamya:

Launched in 1923, Tamya was the first perfume introduced by the French house Madhva, whose fragrances were inspired by spiritual and cultural imagery from South and Southeast Asia. The name Tamya (pronounced TAHM-yah) appears to be an invented name—soft, feminine, and evocative of the exotic allure that pervaded early 20th-century French Orientalism. It may have been crafted to sound lyrical and mysterious, in keeping with the perfume’s subtitle: “Des Bayadères de Birmanie”, which translates to “Of the Bayaderes of Burma.”

The word bayadère is a French term historically used to refer to temple dancers in India or Southeast Asia, often misunderstood or romanticized in Western art and literature. In reality, the term stems from the Portuguese word bailadeira, meaning “female dancer.” In French usage, it came to denote an exotic, often idealized figure—graceful, mysterious, and associated with religious or court rituals. In this case, “Bayadères de Birmanie” refers to the traditional female dancers of Burma (now Myanmar), who performed stylized classical dance, often in richly embroidered costumes, for ceremonial or royal occasions. These dancers, through the lens of French perfume marketing in the 1920s, symbolized sensuality, elegance, and the mystique of the East.

Based on the name and subtitle, Tamya was almost certainly intended to capture the olfactory atmosphere of Burmese temples and court dances, rendered through a French artistic imagination. The perfume may have opened with spicy or balsamic top notes—perhaps cardamom, clove, or cinnamon—blended with resinous and warm heart notes such as benzoin or opoponax, both of which were commonly associated with sacred incense. These could have been softened by a base of sandalwood, amber, or musk, evoking the heat of the tropics and the slow, hypnotic rhythms of ceremonial dance. Delicate floral notes such as frangipani or ylang-ylang, both native to the region, may also have been part of the composition, adding a feminine grace to the structure.

Tamya “Des Bayadères de Birmanie” was likely conceived as an atmospheric, opulent fragrance—intended to immerse the wearer in an imagined world of temple dancers and sacred rituals beneath the golden roofs of Burmese pagodas. As the debut offering from Madhva, it established the brand’s identity as a purveyor of fragrances that blended exquisite French perfumery with exotic Eastern inspirations.

The bottle and presentation for Tamya embodied the refined exoticism that defined the house’s aesthetic. The flacon was a fancy cut glass bottle produced by Baccarat, under model number 516, and was designed by the celebrated French sculptor and bottle designer Julien Viard. True to Viard’s luxurious Art Deco sensibilities, the bottle featured a refined, geometric form softened by ornamental details. The shoulders of the bottle were enameled in turquoise and gold, adding an elegant luster that played beautifully against the transparency of the glass. The stopper, also elaborately shaped, was adorned with matching gold and turquoise enameling, giving the entire presentation a sense of richness and ceremonial luxury.

Tied around the neck of the bottle was a green silk tassel, which provided a contrasting splash of color while reinforcing the exotic theme. This small detail added a tactile elegance and further distinguished Tamya from other perfumes of the period. The bottle contained approximately 2 ounces of fragrance, a generous volume for a high-end perfume of the 1920s.

Tamya was housed in an equally lavish presentation box, made of black silk, a material associated with sophistication and evening luxury. The box was ornamented with accents of jade green and gold, a color pairing that conjured associations with East Asian art and treasure. The jade and gold ornamentation likely took the form of decorative trim or perhaps even a central motif or clasp, further enhancing the sense of ceremonial reverence and preciousness.

As with other deluxe offerings from Madhva, Tamya retailed for $14.40 in 1924, a significant amount at the time. Adjusted for inflation, this would be the equivalent of approximately $267.58 in 2025, placing it firmly in the realm of prestige perfumery. Every element of the design—from the Viard-Baccarat collaboration to the silk-lined box—was crafted to offer not just a fragrance, but an immersive sensory experience. Today, any surviving example of Tamya's original bottle and box is considered an extraordinary collectible, prized for its rarity, design pedigree, and link to a brief but dazzling chapter in French perfume history.

Damaya:

Launched in 1923, Damaya was one of the earliest offerings from Madhva, the French perfume house renowned for its spiritually themed and artistically conceived fragrances. The name Damaya (pronounced DAH-mah-yah) has a lyrical, gentle sound and likely draws inspiration from Sanskrit or Indo-Persian roots, though it does not directly translate to a known word. Its phonetic softness and rhythm give it a feminine, delicate presence, making it an ideal name for a perfume subtitled “Poetry of Love.”

The subtitle “Poetry of Love”—a straightforward English phrase—is expressive of the romantic and artistic vision behind the fragrance. Unlike some of Madhva’s other perfumes, which were framed through exotic religious or cultural imagery, Damaya is positioned as an emotional and aesthetic experience. The name and subtitle together suggest not just love, but the refined expression of love, perhaps interpreted as longing, elegance, and quiet passion. It implies a fragrance that is as much about the emotions of love as the act itself—capturing the lyrical, dreamlike moments that surround intimacy and desire.

Based on this poetic premise, Damaya likely expressed itself through a soft, romantic floral composition, refined and luminous rather than bold or sensual. The fragrance may have opened with tender notes of violet, rose, or lily of the valley, evoking feelings of sweetness and first affection. A heart of jasmine, heliotrope, or iris would have added depth, powdery smoothness, and a touch of vintage refinement, while the base may have featured sandalwood, musk, and vanilla to ground the composition in warmth and tenderness. Rather than overt seduction, Damaya likely conveyed romantic nostalgia and emotional vulnerability—a perfume meant to be worn close, like a whispered verse.

Damaya “Poetry of Love” was Madhva’s fragrant ode to the quiet beauty of romantic emotion. Released in 1923 during a period when perfumery was beginning to embrace abstract storytelling, it exemplified the house’s dedication to combining evocative names, cross-cultural references, and high artistic design to create perfumes that were as much literary and visual expressions as they were scents.

The bottle and presentation of Damaya exemplify the elegance and artistic craftsmanship characteristic of the brand. The perfume was housed in a pressed molded clear crystal bottle made by Baccarat, recorded as model number 514. The bottle’s shape was inspired by classical forms, designed with a cylindrical oval section reminiscent of a grooved amphora—a nod to ancient vessels traditionally used to hold precious oils or perfumes. This design choice lent the bottle a timeless and refined quality, bridging classical heritage with early 20th-century luxury.

The surface of the bottle was enhanced with silver enamel, which traced the grooves and contours, emphasizing the sculptural form and adding subtle shimmer. This silver detail gave the flacon an ethereal glow, aligning with the poetic and romantic theme of the perfume. The stopper, crafted from crystal and shaped like an olive, was lacquered in silver, complementing the bottle’s decoration while adding a rounded, organic contrast to the bottle’s vertical lines.

Measuring approximately 11.5 centimeters tall, the bottle was substantial but gracefully proportioned, reflecting both usability and display value. It was presented in a rectangular cardboard box covered in burgundy and gray satin, luxurious textiles that added softness and richness to the packaging. The top of the box was particularly striking, adorned with an Indian-style filigree openwork metal mesh, a delicate lattice that brought an exotic flourish to the otherwise restrained design. This detail reinforced Madhva’s signature theme of blending Eastern inspiration with French elegance.

Together, the silver-enamelled amphora-shaped bottle and the richly textured, filigree-topped box formed a sophisticated and evocative presentation. It highlighted Damaya as not only a perfume but a collectible piece of decorative art—a tactile and visual expression of the “Poetry of Love” promised by its name. This combination of fine craftsmanship and symbolic design continues to captivate collectors and admirers of Art Deco perfumery today.

photo from my friends at Perfume Bottles Auction

 

Another exquisite presentation of Damaya by Madhva is found in a distinctive snuff bottle design, produced by Baccarat in 1924 as model number 530. This bottle was crafted from molded colorless pressed crystal with an oval cross-section and a gently curved body, evoking the elegant shape typical of traditional snuff bottles used throughout Asia. Unlike the larger perfume flacon, this smaller format was intimate and collectible, designed to be both functional and ornamental.

Affixed to one side of the bottle was a delicate label, likely bearing the perfume’s name or emblem, adding a refined detail without detracting from the crystal’s clarity. Around the neck of the bottle, a decorative trimming enhanced the overall silhouette, contributing to the sense of careful craftsmanship and luxury. The stopper was a standout feature—gold lacquered and intricately shaped to resemble the capital of a Hindu temple, complete with an earring motif. This rich symbolism connected the perfume directly to its spiritual and exotic inspirations, reflecting Madhva’s consistent theme of blending artistry with cultural imagery.

The bottle was housed in a luxurious octagonal cardboard box, distinguished by its polychrome paper covering. The box was richly illustrated with vibrant scenes: elephants and exotic flowers adorned its surfaces, while one panel depicted a libation scene in a Hindu temple, taken from a drawing by Alexandre-Ceslas Rzewuski, the artist responsible for much of Madhva’s visual identity. This detailed illustration reinforced the perfume’s narrative of sacred rites and divine beauty, immersing the owner in the same atmosphere of mysticism and reverence.

Standing about 7.5 centimeters tall, this snuff bottle presentation of Damaya was a smaller but no less significant counterpart to the larger perfume bottles. It combined exquisite Baccarat crystal work with culturally rich symbolism and high-quality packaging, making it a treasured piece both for its artistic merit and its place within Madhva’s unique perfume legacy.

other images from drouot and worthpoint