Garwood's Standard Perfumes belonged to the energetic and rapidly expanding American perfume industry of the late nineteenth and early twentieth centuries, a period when domestic manufacturers increasingly competed with established European houses. Although the company later claimed an establishment date of 1852, available evidence suggests that its actual beginnings were probably somewhat later, likely around the 1870s, with its more formal development taking place under the Philadelphia firm of Schandein & Lind. By approximately 1900, Garwood had become a subsidiary or associated brand of Schandein & Lind, and during the first decades of the twentieth century the company introduced a broad range of fragrances and scented products.
The business itself was founded by Harry Schandein and Monroe P. Lind and was established in Philadelphia in 1886. Early records place the company at 208 North Fourth Street, while Schandein & Lind later operated from 583 Arch Street in Philadelphia. During this period, Philadelphia represented an important center for American manufacturing and commerce, including cosmetics, pharmaceuticals, and perfumery. Unlike the great French houses that often emphasized aristocratic luxury and artistic presentation, many American perfume companies sought to balance elegance with accessibility, creating products intended for a broader consumer market.
The fragrance names marketed by Schandein & Lind reveal many of the same themes found in European perfumery of the era: flowers, romance, royalty, and idealized natural imagery. Violet fragrances appear especially prominent, demonstrating the enormous popularity of violet notes during the late nineteenth century. Bouquet de Violette (Bouquet of Violets, 1897), Cuban Violets (1903), Meadow Violet (1903), and Violet Breath Hearts (1903) all illustrate the period's fascination with violet accords. Violet fragrances were especially admired because they possessed a soft, powdery elegance associated with femininity and refinement.
Rose compositions also formed an important part of the collection. Bulgarian Rose (1903) likely emphasized the highly prized rose oil produced in Bulgaria's famous Rose Valley, considered among the finest in perfumery. Catherine Mermet Rose (1903) referred to the popular hybrid tea rose cultivar introduced during the late nineteenth century and widely admired for its beauty and fragrance. Wild Rose (1903) similarly appealed to consumers through romantic associations with nature and garden flowers.
The company also drew heavily from botanical and floral imagery more broadly. Fragrances such as Lilac Blossoms (1903), Gardenia (1903), Sweet Apple Blossoms (1903), Wild Apple Blossoms (1903), May Buds (1903), and Sweet Scented Shrub (1903) suggest compositions intended to recreate gardens in bloom and springtime landscapes. Such names frequently attempted to evoke emotions and settings rather than merely listing ingredients.
Several fragrances reveal a fascination with exotic or romantic themes that reflected contemporary consumer tastes. Cuban Clover (1903) and Cuban Violets (1903) likely sought to capitalize upon American fascination with Cuba and tropical imagery following increasing political and cultural attention toward the Caribbean during the late nineteenth century. Eden Queen (1903) invoked images of paradise and idealized beauty, while Mary Queen of Scots (1903) drew upon historical romance and royal imagery, themes that frequently appeared in perfumes of the period.
The line also included products beyond traditional perfumes. Effervescent Perfumed Bath Tablets (1903) demonstrate the growing expansion of perfumery into broader personal care products. By the beginning of the twentieth century, perfume houses increasingly offered scented soaps, bath products, powders, and toiletries intended to create a complete fragrance experience rather than a single bottled scent.
Other products suggest practical or regional influences. Tuscan Cologne (1903) likely drew upon Italian associations of citrus freshness and Mediterranean elegance, while Clarice (1903) and Garwood itself appear to have functioned as proprietary or signature names rather than direct references to flowers or places.
Taken together, the Schandein & Lind fragrance list reveals a company participating in many of the major trends of turn-of-the-century perfumery. Floral bouquets, exotic themes, historical references, and expanding cosmetic products all reflected changing consumer tastes. Although Garwood's Standard Perfumes never achieved the international prestige of major French houses, it represents an important example of the flourishing American perfume industry and demonstrates how regional manufacturers adapted European traditions to an expanding domestic market.
Schandein & Lind:
- 1897 Bouquet de Violette
- 1903 Bulgarian Rose
- 1903 Catherine Mermet Rose
- 1903 Clarice
- 1903 Clove Pink
- 1903 Cuban Clover
- 1903 Cuban Violets
- 1903 Eden Queen
- 1903 Effervescent Perfumed Bath Tablets
- 1903 Gardenia
- 1903 Garwood (as applied to Perfumes etc)
- 1903 Lilac Blossoms
- 1903 Mary Queen of Scots
- 1903 May Buds
- 1903 Meadow Violet
- 1903 Sweet Apple Blossoms
- 1903 Sweet Scented Shrub
- 1903 Tuscan Cologne
- 1903 Violet Breath Hearts
- 1903 Wild Apple Blossoms
- 1903 Wild Rose
Garwood's Kathryn Extracts represented a substantial fragrance line that reflected the tastes and aspirations of late nineteenth- and early twentieth-century American perfumery. Like many perfume collections of the period, the line relied heavily upon floral themes, romantic imagery, exotic inspirations, and references to nature. Rather than building a brand around a few iconic perfumes, companies such as Garwood often introduced large numbers of fragrances, giving consumers a broad range of choices while following changing trends and seasonal fashions. The list of Kathryn Extracts illustrates how perfumery during this era blended botanical inspiration with sentiment, fantasy, and marketing appeal.
The earliest offerings from 1887 centered strongly upon traditional floral and botanical subjects. Bouquet (1887) likely represented a blended floral accord rather than a single flower note, while Wild Rose, Amaryllis, Orange Blossom, Lotus Blossom, Heliotrope, and Violet attempted to reproduce familiar floral scents popular among consumers. During the nineteenth century, floral fragrances dominated the market because they evoked femininity, refinement, and the beauty of nature. Orange blossom was associated with purity and bridal symbolism, heliotrope offered a soft almond-vanilla effect, and violet provided the powdery elegance that remained one of the most fashionable perfume notes of the period.
Several fragrances reflected an increasing fascination with exotic ingredients and distant places. Indian Clover (1887) and Ylang Ylang (1887) introduced more unusual themes to American consumers. Ylang-ylang in particular had become highly fashionable in perfumery for its rich tropical floral character. Jockey Club (1887), meanwhile, belonged to a very popular perfume style of the nineteenth century inspired by men's social clubs and equestrian culture, often combining floral notes with lavender, citrus, and coumarin.
The 1890 releases continued emphasizing floral themes while introducing more unusual botanical inspirations. Chinese Honeysuckle (1890) is especially notable because it was presented in a bottle featuring a Buedingen label and later appeared on the cover of The American Perfumer magazine in 1909, indicating that the fragrance or its presentation possessed particular visual appeal. Other perfumes including Stephanotis, Verbena, Jasmine, Magnolia, and White Rose followed established floral traditions. New Mown Hay (1890), however, stands apart because hay fragrances occupied a distinctive place in perfumery, often emphasizing coumarin's sweet, grassy, freshly cut aroma.
By the close of the nineteenth century and beginning of the twentieth century, Garwood increasingly expanded into seasonal and garden themes. Pink Carnation (1899), Trailing Arbutus (1900), Cherry Blossom (1900), Clove Pink (1900), Crab Apple Blossoms (1900), Lilac Blossoms (1900), May Buds (1900), and White Hyacinth (1900) all reflected an idealized vision of blooming gardens and spring landscapes. Such names appealed strongly to consumers because they evoked freshness, romance, and familiar natural experiences.
The company also embraced romantic and historical imagery. Mary Queen of Scots (1900) followed a common trend among perfume houses of borrowing the names of famous historical figures to lend elegance and sophistication. Likewise, Esterhazy (1907) likely referred to the noble Hungarian family long associated with European aristocracy and culture. Such names allowed perfumes to suggest luxury and refinement beyond their fragrance alone.
The 1907 introductions further expanded into exotic and international themes. Chinese Lily, Cuban Clover, Cuban Rose, and Cuban Violets reflected contemporary American fascination with foreign places and cultures. Cuba in particular had become a fashionable source of exotic imagery in the years following increased American involvement in the Caribbean. Alongside these appeared more traditional floral themes such as Gardenia, Locust Blossoms, Meadow Violet, Sweet Apple Blossoms, and Wild Apple Blossoms.
Garwood also expanded beyond conventional perfumes into novelty and ancillary scented products. Garwood's Hearts (1907), described as heart-shaped scented mints, demonstrates how fragrance and confectionery occasionally intersected. Perfumed Charms (1908), a range of presentations rather than a single perfume, suggests the increasing importance of decorative packaging and gift-oriented marketing.
The 1908 introductions reveal a particularly broad stylistic range. Tuscan Cologne and Bay Rum reflected traditional masculine and cologne styles, while Bulgarian Rose highlighted one of perfumery's most prized raw materials. Catherine Mermet Rose likely referenced the celebrated rose cultivar admired for both beauty and fragrance. More imaginative names such as Curfew, Eden Queen, Floradulcis ("Sweet Flower"), and Clarice emphasized mood and sentiment rather than specific flowers.
Later developments show the company's continued attempts to diversify. Garwood Smelling Salts (1920) demonstrate how perfumery intersected with health and personal care products during the period. Fragrances introduced during the 1920s such as Constance (1926) and La D'Arling (1926) suggest an effort to move toward more personalized and fashionable naming styles. Other names including Carnegie Pink, Dansante ("Dancing"), My Idea, White Heliotrope, and White Robin further reveal a shift away from strictly botanical themes toward more abstract and emotional concepts.
Taken together, Garwood's Kathryn Extracts present a fascinating snapshot of changing perfume tastes across several decades. The collection moved fluidly between flowers and fantasy, exotic places and aristocratic references, practical products and decorative novelties. While many of the fragrances themselves have disappeared, their names preserve a vivid record of how perfume companies appealed to consumers through imagination, romance, and the promise of beauty.
Garwood's Kathryn Extracts
- 1887 Bouquet
- 1887 Wild Rose
- 1887 Amaryllis
- 1887 Orange Blossom
- 1887 Indian Clover
- 1887 Lotus Blossom
- 1887 Ylang Ylang
- 1887 Jockey Club
- 1887 Heliotrope
- 1887 Violet
- 1890 Chinese Honeysuckle (Presented in a bottle with a Buedingen label: it was also featured on the cover of the American Perfumer periodical dated 1909)
- 1890 Stephanotis
- 1890 Verbena
- 1890 Jasmine
- 1890 Magnolia
- 1890 White Rose
- 1890 New Mown Hay
- 1899 Pink Carnation
- 1900 Trailing Arbutus
- 1900 Cherry Blossom
- 1900 Clove Pink
- 1900 Crab Apple Blossoms
- 1900 Lilac Blossoms
- 1900 Mary Queen of Scots
- 1900 May Buds
- 1900 White Hyacinth
- 1907 Bouquet of Violette
- 1907 Chinese Lily
- 1907 Cuban Clover
- 1907 Cuban Rose
- 1907 Cuban Violets
- 1907 Esterhazy
- 1907 Gardenia
- 1907 Garwood's Hearts (Heart shaped scented mints)
- 1907 Locust Blossoms
- 1907 Meadow Violet
- 1907 Sweet Apple Blossoms
- 1907 Sweet Scented Shrub
- 1907 Wild Apple Blossoms
- 1908 Tuscan Cologne
- 1908 Bay Rum
- 1908 Bulgarian Rose
- 1908 Catherine Mermet Rose
- 1908 Clarice
- 1908 Cuban Bouquet
- 1908 Cuban Daisy
- 1908 Curfew
- 1908 Eden Queen
- 1908 Floradulcis
- 1908 Perfumed Charms(a range of presentations)
- 1920 Garwoods Smelling Salts
- 1926 Constance
- 1926 La D'Arling
- Carnegie Pink
- Dansante
- My Idea
- White Heliotrope
- White Robin