The United Drug Company, best known through its retail identity Rexall, was one of the most influential pharmaceutical and cosmetic distributors in the United States during the late nineteenth and early twentieth centuries. The company was founded in 1903 in Boston, Massachusetts, by Louis K. Liggett, a visionary druggist who sought to unite thousands of independent pharmacies under a single cooperative system. Rather than operating traditional chain stores at first, United Drug functioned as a purchasing and manufacturing organization that supplied member druggists with medicines, toiletries, cosmetics, and household goods sold under proprietary brand names. These products were marketed as high-quality alternatives to nationally advertised brands and were sold exclusively through affiliated pharmacies. Over time the Rexall name—derived from the phrase “King of All”—became the company’s most recognizable trademark, appearing on medicines, personal care products, and eventually cosmetics and perfumes sold in drugstores across the United States.
By the 1910s and 1920s, United Drug had expanded into the lucrative beauty and fragrance market, creating a series of proprietary cosmetic lines designed to compete with prestige department store brands while remaining affordable to the everyday consumer. Among the most famous of these were Cara Nome, Jonteel, and Shari, each carefully developed to appeal to different tastes and price ranges. To produce the elegant compacts, vanity cases, and perfume bottles associated with these lines, United Drug often worked through the name Langlois, which functioned as a manufacturing and branding mark on certain cosmetic accessories. As a result, vintage compacts may be stamped Langlois while carrying the product name Cara Nome, Jonteel, or Shari on the lid or interior. These accessories were designed to give drugstore cosmetics the same luxurious presentation found in department store beauty counters.
The Cara Nome line was introduced in the 1920s and quickly became Rexall’s flagship cosmetic brand. The name itself—loosely Italianate and romantic—was chosen to evoke elegance and continental sophistication. Cara Nome products included perfumes, face powders, rouges, lipsticks, skin creams, and elaborately decorated powder compacts, many produced during the glamorous Art Deco era. The fragrances associated with the line were often soft floral or powdery blends designed to complement the cosmetics rather than dominate them. Cara Nome advertising emphasized refinement and femininity, presenting the products as an affordable luxury available at neighborhood Rexall drugstores rather than exclusive department stores.
Another important Rexall fragrance brand was Jonteel, introduced around 1915 and arguably the company’s most famous perfume. Jonteel was marketed as a fresh floral fragrance inspired by the scent of spring flowers. Advertisements described it as a bouquet-like blend suggesting lilac, rose, violet, and woodland blossoms, evoking the feeling of walking through a sunlit garden after rain. The scent became extremely popular in the early twentieth century and was sold in a wide array of products including perfumes, sachets, talcum powders, bath salts, soaps, and face powders. Jonteel was marketed heavily through Rexall drugstores, often with colorful display cards and elegant packaging that helped elevate the perception of drugstore fragrances during that era.
The Shari line, introduced in the 1920s, reflected the fascination with exoticism that was popular in perfume marketing between the two world wars. The name suggested an alluring, possibly Middle Eastern or Asian inspiration, a common advertising trope of the time meant to evoke mystery and romance. Shari perfumes and cosmetics were typically richer and more sensual in character than the lighter floral Jonteel fragrances. Packaging often incorporated decorative motifs or glamorous compact designs meant to appeal to women who wanted something slightly more dramatic or evening-appropriate.
United Drug’s cosmetic brands were widely distributed throughout North America thanks to the enormous network of Rexall drugstores. By the 1920s and 1930s there were thousands of Rexall-affiliated pharmacies, making the company one of the largest retail drug organizations in the world. The accessibility of these products meant that many women experienced their first perfumes and cosmetics through Rexall brands rather than luxury European houses. Beautifully crafted compacts marked Langlois, often bearing the names Cara Nome, Jonteel, or Shari, remain popular collectibles today. Their ornate metalwork, mirrors, and powder compartments reflect a time when even everyday drugstore cosmetics were presented with a sense of elegance and craftsmanship.
Although the Rexall system eventually declined during the latter half of the twentieth century as retail chains consolidated and the drugstore industry transformed, the fragrances and cosmetics produced by United Drug remain a fascinating chapter in American beauty history. Brands like Cara Nome, Jonteel, and Shari demonstrate how early twentieth-century drugstores helped democratize perfume—bringing scented luxuries once reserved for elite Parisian houses into the hands of ordinary consumers across the United States.
The perfumes of Langlois:
- 1910 Juneve
- 1915 Bouquet Dazira
- 1916 Narcisse
- 1916 Cara Nome
- 1917 Coeur d'Or
- 1917 Duska
- 1918 Violet Dulce
- 1918 Jonteel
- 1918 Truflor
- 1920 Arbutus
- 1920 Cœur d’Or
- 1920 Fleur des Bois, this is the rebranded Dazira
- 1920 Jasmine
- 1920 Gardenia
- 1920 Sweet Pea
- 1920 Ambre
- 1920 Rose
- 1920 Violette
- 1920 Narcissus
- 1920 Lavender
- 1921 Juneve, relaunched
- 1921 Bouquet Ramee
- 1921 Harmony (a line)
- 1921 Harmony Trefle
- 1921 Harmony Lilac
- 1921 Harmony Lilac Vegetal
- 1921 Harmony Rose
- 1921 White Rose
- 1921 Lilac
- 1921 Dazira
- 1922 Coeur de Trefle
- 1922 Coeur de Violette
- 1922 June Bouquet
- 1922 Nacre
- 1922 Shari
- 1922 Alma Zada
- 1922 Fleur des Bois
- 1922 Intense
- 1922 White Lilac
- 1923 Duska Toilet Water
- 1925 Plymouth Garden
- 1925 Narcisse des Alpes
- 1925 Tish Tish
- 1930 Fair Warning
- 1930 Georgia Rose
- 1935 Lilas Fleur
- 1951 Cara Nome White Mink
- 1954 Cara Nome Springwood
- 1962 Cara Nome Spring Lily
Shari:
Introduced in 1922, Shari was one of the most ambitious cosmetic and fragrance lines produced by Langlois, a brand associated with the beauty products distributed through the United Drug Company and its extensive Rexall drugstore network. From the outset, Shari was conceived not merely as a single perfume but as a complete coordinated beauty line, reflecting the growing trend in the 1920s toward unified cosmetic collections in which fragrance, powders, creams, and makeup all carried the same scent and aesthetic identity. The line included an impressive array of products for the modern woman’s dressing table: perfume, toilet water, beauty cream, cleansing cream, talcum powder, toilet powder, body powder, face powder, rouge, lipstick, and eyebrow pencil. By offering an entire regimen under one name, Shari allowed customers to layer the same delicate fragrance across multiple products, a concept that was becoming increasingly fashionable during the early twentieth century.
The presentation of Shari products was designed to evoke elegance and a touch of exotic refinement. Many of the items were packaged in white silk-covered boxes printed with delicate floral Chinoiserie motifs, reflecting the era’s fascination with East Asian-inspired decorative arts. Chinoiserie—an ornamental style popular in Europe and America since the eighteenth century—often featured stylized blossoms, birds, and graceful botanical patterns reminiscent of Chinese silk textiles and lacquerware. The silk-covered boxes gave the cosmetics a luxurious appearance that rivaled the presentation of more expensive department-store brands. Powder compacts, both single and double varieties, were also produced, allowing women to carry face powder and rouge in a single elegant case for convenient use throughout the day.
The fragrance itself was described in advertising as possessing “the fragrance and charm of early blossom time,” an evocative phrase suggesting the freshness of spring gardens just coming into bloom. The perfume composition reflected this theme with a soft, romantic bouquet built around rose, jasmine, orange blossom, lilac, and violet. Rose likely provided the warm, velvety foundation of the floral accord, offering a classic sweetness that anchors many traditional perfumes. Jasmine would have added a deeper, more sensual nuance with its creamy, slightly indolic floral character, while orange blossom contributed a luminous brightness—sweet yet slightly citrusy—often associated with Mediterranean gardens. Lilac introduced a cool, airy freshness reminiscent of spring hedgerows, and violet added a powdery, delicate sweetness that gave the fragrance its refined cosmetic softness. Together, these notes created a light yet elegant floral blend intended to evoke the sensation of standing in a garden filled with freshly opened blossoms.
Shari perfume was offered in a range of bottle sizes and price points to suit different budgets. By 1927, the fragrance retailed for between $1.50 and $10.00, depending on the size and concentration of the bottle. In the context of the 1920s, this represented a moderately luxurious purchase—affordable enough for middle-class consumers yet still positioned as a refined personal indulgence. The perfume was housed in imported bottles, lending an air of continental sophistication to the product. The clear glass parfum flacons were octagonal in shape, a design that reflected the geometric elegance favored during the Art Deco era. These bottles were produced in ¼ ounce, ½ ounce, and 1 ounce sizes, their faceted sides catching the light in a manner that emphasized the purity of the perfume within.
Despite its elegant presentation and carefully coordinated cosmetic line, the Shari brand enjoyed only a relatively brief life. By 1936, the line had been discontinued, likely due to changing consumer tastes and the economic pressures of the Great Depression, which reshaped the cosmetics industry during the 1930s. Yet surviving bottles, compacts, and silk-covered boxes remain highly appealing to collectors today. Their delicate floral decoration, graceful bottle design, and association with the glamorous beauty culture of the 1920s make Shari an intriguing example of how American drugstore brands sought to bring sophistication and charm to everyday cosmetic products.
Cara Nome:
Introduced in 1916, Cara Nome was one of the most ambitious and successful beauty lines created by Langlois, the cosmetic division associated with the United Drug Company and its vast network of Rexall drugstores. From the beginning, Cara Nome was conceived as a complete coordinated beauty system, an idea that was becoming increasingly popular in the early twentieth century as women sought cosmetics and toiletries that worked together in scent and presentation. The range was remarkably extensive, encompassing nearly every item a woman might keep on her dressing table. In addition to the perfume itself, the line included beauty cream, cleansing cream, talcum powder, vanishing cream, hand cream, pancake makeup, toilet powder, toilet water, bath salts, deodorant, bubble bath, face powder, sachets, cologne, rouge, eyebrow pencil, mascara, lipstick, night cream, and even permanent wave kits. By offering such a comprehensive selection, Cara Nome allowed women to incorporate the fragrance and identity of the brand into every aspect of their beauty routine, from skincare and cosmetics to bath products and personal scent.
The perfume itself was presented in a variety of bottles reflecting the evolving design tastes of the early twentieth century. Some bottles were produced domestically in the United States, while others were imported from celebrated glassmakers abroad, including Baccarat in France and skilled glassworks in Czechoslovakia, which was internationally renowned during the 1920s and 1930s for its finely cut crystal and decorative perfume flacons. These bottles ranged from simple elegant designs to more elaborate Art Deco styles, and the diversity of flacon designs reflected the brand’s broad appeal and long production life. Cara Nome perfumes were sold in several sizes and concentrations, with prices in 1927 ranging from approximately $1.00 to $9.00, making them accessible to a wide spectrum of customers. While affordable compared to luxury European perfumes, Cara Nome was marketed with an air of sophistication that allowed it to compete with the prestige of imported fragrances.
Advertising for the fragrance emphasized refinement and delicacy. A description published in 1943 proclaimed that Cara Nome was “created by Langlois” and was recognized as the equal of the finest French perfumes. The advertisement went on to describe the fragrance as possessing a bouquet of such exquisite subtlety that words could scarcely capture its beauty. This language reflects how American cosmetic companies of the period often sought to position their products alongside the revered perfume traditions of France, which remained the global benchmark for fine fragrance. Cara Nome’s scent itself was generally described as a soft floral bouquet with a smooth powdery elegance—an approachable yet sophisticated fragrance that could be worn daily.
Over time the success of the fragrance transformed Cara Nome from a single cosmetic line into a full division within the company, with its own identity and additional perfumes introduced under the name. In 1951, the line released White Mink, a fragrance whose name reflected the mid-century fascination with luxury and glamour. This was followed by Springwood in 1954, which likely evoked fresh woodland florals and green springtime notes, and Spring Lily in 1962, a fragrance suggesting delicate white floral freshness inspired by lily blossoms. These later perfumes reflected changing tastes in mid-twentieth-century perfumery, when lighter, cleaner floral compositions were becoming increasingly fashionable.
Despite its long success and broad product range, the Cara Nome line eventually faded as the cosmetics industry changed in the postwar era. By the early 1960s, competition from large international beauty companies and evolving retail patterns gradually diminished the prominence of Rexall-affiliated cosmetic brands. Cara Nome was discontinued shortly after 1962, bringing to a close nearly half a century of production. Today, surviving Cara Nome perfume bottles, powder compacts, and cosmetic containers remain popular among collectors of vintage beauty products. Their elegant glass flacons, often crafted by notable glassmakers, and their association with the golden age of American drugstore cosmetics make them evocative relics of a time when even everyday beauty products were presented with remarkable artistry and charm.
Jonteel:
Introduced in 1918, Jonteel was one of the most beloved fragrance lines created by Langlois, the cosmetic division associated with the United Drug Company and distributed widely through Rexall drugstores. Like several beauty lines of the period, Jonteel was conceived as a complete coordinated range of scented products, allowing women to enjoy the fragrance not only as a perfume but also as part of their daily toilette ritual. The line included perfume and toilet water as its centerpiece, but also extended to face powder, talcum powder, vanishing cream, cold cream, soap, wool powder puffs, and other toilet preparations. This coordinated approach was typical of early twentieth-century perfumery, when consumers often layered scent through multiple products, creating a subtle and lasting aura of fragrance that lingered throughout the day.
One of the most recognizable aspects of Jonteel was its distinctive packaging, which frequently featured the image of an exotic parrot. The colorful bird motif reflected the early twentieth century fascination with distant lands and tropical imagery, themes commonly used in perfume advertising to suggest romance, fantasy, and escape. The parrot graphic added a touch of vibrancy and whimsy to the otherwise refined packaging, making Jonteel products instantly recognizable on pharmacy shelves. This imagery helped distinguish the brand in the crowded cosmetic market and reinforced the idea that the fragrance itself contained the essence of flowers gathered from across the globe.
The perfume composition was described in promotional materials as a remarkable blend of twenty-six different floral essences, an ambitious formula intended to evoke the richness of a vast flowering garden. Advertisements poetically claimed that “the flower gardens of the entire world have yielded up their choicest blooms for Jonteel,” suggesting a bouquet drawn from countless blossoms. Though the precise formula was proprietary, the fragrance was generally understood to be a fresh, sweet floral blend, likely incorporating notes reminiscent of lilac, rose, jasmine, violet, and other classic flowers popular in perfumes of the era. The result was a soft yet lively fragrance that conveyed the impression of springtime gardens in full bloom—light, romantic, and approachable enough for everyday wear.
For more than two decades Jonteel remained a familiar name in American drugstores, its powders and perfumes becoming part of the daily grooming rituals of many women during the 1920s and 1930s. The fragrance’s popularity was helped by its accessibility; sold through the vast Rexall network, it allowed customers to enjoy a refined floral perfume without the higher prices associated with imported European scents. However, as consumer tastes shifted and the cosmetics industry evolved during the late 1930s and early 1940s, the line gradually faded from the market. Jonteel was discontinued by 1941, ending its run after more than twenty years. Today, surviving bottles, powder tins, and advertisements featuring the charming parrot emblem remain treasured collectibles, offering a glimpse into the era when American drugstores played an important role in bringing fragrance and beauty products to everyday consumers.
Bouquet Ramee:
Introduced in 1921, Bouquet Ramee was another fragrance created by Langlois, the cosmetic and perfume division associated with the United Drug Company and widely distributed through Rexall drugstores. Compared with some of the larger Langlois beauty lines such as Cara Nome or Jonteel, Bouquet Ramee was a more compact offering, consisting primarily of perfume, toilet water, and face powder. Despite the smaller product range, it was positioned as an elegant fragrance, reflecting the early twentieth-century fascination with refined floral perfumes inspired by European perfumery traditions.
The name “Bouquet Ramee” itself evokes imagery drawn from classical French perfume terminology. The phrase suggests a branch or cluster of flowers gathered together, implying a carefully composed bouquet rather than a single dominant floral note. Fragrances bearing such names were typically designed to resemble the scent of a freshly gathered arrangement of blossoms—soft, balanced, and harmonious. Although the exact formula has not survived, perfumes of this type often blended notes of rose, violet, jasmine, lilac, and other garden flowers, layered to create a smooth and graceful floral accord. The result would likely have been a gentle, romantic fragrance suitable for everyday wear, especially when paired with the lightly scented face powder offered in the same line.
Bouquet Ramee was sold at a price that placed it within reach of many middle-class consumers while still presenting it as a refined luxury. By 1927, a bottle of the perfume retailed for $3.75, a respectable price for the era that positioned it slightly above some drugstore fragrances but still below the cost of many imported French perfumes. Through the extensive Rexall distribution network, customers could purchase the scent at neighborhood pharmacies rather than exclusive department stores, bringing a touch of European-style perfumery into everyday American life.
Although Bouquet Ramee enjoyed a modest presence during the 1920s and early 1930s, the fragrance eventually disappeared from the market as the cosmetics industry evolved and new brands replaced older lines. By 1938, the perfume had been discontinued, likely due to shifting consumer tastes and the economic pressures that affected many cosmetic brands during the years surrounding the Great Depression. Today, surviving bottles and powder containers from the Bouquet Ramee line are rarely encountered and remain intriguing relics of the era when Langlois perfumes helped introduce affordable, elegantly styled fragrances to the American public.
Truflor:
Introduced in 1918, Truflor was a distinctive fragrance line created by Langlois, the perfume and cosmetic division associated with the United Drug Company and distributed through Rexall drugstores. Unlike some of Langlois’ more elaborate perfumes that blended numerous ingredients into complex bouquets, Truflor was designed as a collection of single-note floral fragrances, each intended to capture the recognizable scent of an individual blossom. This approach reflected a popular trend in early twentieth-century perfumery in which consumers enjoyed wearing simple, clearly identifiable flower scents rather than intricate compositions. The Truflor line offered a selection of classic garden fragrances, including Jasmine, Sweet Pea, Rose, Gardenia, Arbutus, Narcissus, Violette, and Lilas (lilac)—flowers that were among the most beloved and familiar in perfumery at the time.
Each fragrance attempted to evoke the character of its namesake bloom. Jasmine would have presented a creamy, heady floral aroma with a faintly indolic richness that suggested warm summer evenings. Sweet Pea, a favorite Edwardian garden flower, likely conveyed a soft, airy sweetness with green floral nuances. Rose, the timeless centerpiece of many perfumes, would have offered a warm, honeyed floral scent reminiscent of freshly opened petals. Gardenia provided a lush, velvety white floral note—rich and slightly tropical—while Arbutus, also known as trailing arbutus or mayflower, evoked the delicate woodland blossoms associated with early spring. Narcissus added a deeper, slightly green floral note with a faintly animalic undertone, giving the line a touch of sophistication. Violette captured the powdery, nostalgic sweetness of violet blossoms, while Lilas, the French word for lilac, suggested the cool, airy fragrance of lilac clusters blooming in spring gardens.
The Truflor perfumes were marketed as affordable yet refined personal fragrances. By 1927, they retailed for approximately $1.50, placing them within easy reach of many customers who visited Rexall drugstores. At this price point, they served as charming everyday scents—simple, recognizable florals that could be worn alone or occasionally layered with other toilet products. The concept of single-note perfumes also allowed customers to select the flower they most loved, making the line particularly appealing to those who favored one specific blossom rather than a blended bouquet.
Despite its appealing concept, the Truflor line appears to have had a relatively short lifespan. Newspaper advertisements mentioning the brand become scarce after 1927, suggesting that it may have been discontinued around that time. The disappearance of the name from advertising could indicate that Langlois shifted its focus to more complex fragrance lines such as Cara Nome and Jonteel, which had broader cosmetic ranges and stronger brand identities. Today, references to Truflor are relatively rare, and surviving bottles—if encountered—offer a glimpse into a period when simple, single-flower perfumes were a beloved part of everyday fragrance culture in early twentieth-century America.
Juneve:
Introduced around 1910, Juneve was one of the earlier fragrance and cosmetic lines produced by Langlois, the beauty products division associated with the United Drug Company and its Rexall retail network. During the early twentieth century, drugstore chains increasingly offered proprietary perfumes and toiletries that could compete with the more expensive imported products sold in department stores. Juneve formed part of this strategy, presenting customers with an elegant yet accessible line of scented beauty preparations. The range included perfume, toilet water, cold cream, talcum powder, and face powder, allowing women to enjoy the fragrance not only as a personal scent but also through their everyday grooming and cosmetic routine.
Like many cosmetic lines of the era, Juneve likely emphasized refinement and softness in its fragrance character. Although surviving descriptions of the exact composition are scarce, perfumes introduced during this period were typically built around light floral bouquets—combinations of rose, violet, lilac, jasmine, or other garden blossoms that created a gentle, feminine aroma suitable for daily wear. The accompanying powders and creams would have been lightly perfumed with the same scent, creating a harmonious layering effect when used together. Cold creams were particularly popular at the time for cleansing and moisturizing the skin, while talcum and face powders helped leave a delicate fragrance on the skin and clothing.
The Juneve line appears to have enjoyed a modest presence during the 1910s and early 1920s, distributed through Rexall drugstores and similar outlets where Langlois products were sold. However, the brand seems to have gradually disappeared as newer cosmetic lines were introduced. Newspaper advertising for Juneve becomes difficult to find after 1928, suggesting that the line was likely discontinued around that time. This disappearance coincided with the growing prominence of other Langlois brands such as Cara Nome and Jonteel, which offered broader product ranges and stronger marketing identities.
Today, Juneve is one of the more obscure names among early twentieth-century Rexall-associated perfumes. Because the line was produced for a relatively short period and predates the peak collecting era of drugstore cosmetics in the 1920s and 1930s, surviving bottles or packaging are rarely encountered. Nevertheless, Juneve represents an interesting glimpse into the early years of American drugstore perfumery, when companies like Langlois were beginning to develop their own fragrance lines to bring affordable elegance and everyday luxury to customers across the country.