Queen of the Nile by Prince Matchabelli c1928

Queen of the Nile by Prince Matchabelli was launched in 1928, introduced alongside its similarly themed sister scent, Queen of Babylon. The name Queen of the Nile evokes grandeur, opulence, and sensual mystery—qualities associated with ancient Egypt, a civilization whose allure had long captured the Western imagination. The perfume likely pays tribute to one of history’s most iconic and romanticized figures: Cleopatra, the last active ruler of the Ptolemaic Kingdom of Egypt. Known for her intelligence, political acumen, and legendary beauty, Cleopatra had become a symbol of feminine power and seduction—an ideal muse for perfumery.

There’s reason to believe Queen of the Nile may have originally been released under the name Queen of Egypt in 1925, with a potential name change prompted by trademark concerns or to more clearly evoke the imagery of the Nile itself, Egypt’s life-giving river. The new name better conjures the image of a regal woman ruling from the lush banks of the Nile, steeped in sunlight, incense, and myth.

The late 1920s were a peak era of Egyptomania. The 1922 discovery of Tutankhamun’s tomb had set off a wave of cultural fascination that extended to fashion, cinema, and decorative arts. Designers incorporated Egyptian motifs into jewelry and textiles, while Hollywood and Broadway embraced pharaonic themes in lavish productions. Films such as The Ten Commandments (1923), Ben-Hur (1925) and operas like Aida were part of this broader cultural obsession. In this context, a perfume named Queen of the Nile would have felt both modern and steeped in ancient mystique—an olfactory costume through which women could inhabit a romantic fantasy of sovereign allure.

Queen of the Nile was described as “rather spicy and exotic,” placing it firmly within the oriental fragrance family. Compared to Queen of Babylon, which leaned more heavily into resinous, animalic, and civet-laced undertones, Queen of the Nile emphasized softer balsamic resins, warm incense, sweet woods, and amber notes, reminiscent of temple rituals and desert warmth. One can imagine notes such as frankincense, myrrh, sandalwood, benzoin, opoponax, and perhaps the sweetness of labdanum or vanilla evoking perfumed oils anointed on royal skin.

The year 1928 marked the tail end of the Roaring Twenties, a decade known for jazz-age liberation, flapper fashion, and bold new expressions of femininity. Fragrances of the time were increasingly daring, embracing heavy florals, complex spices, and exotic inspirations. In this cultural atmosphere, Queen of the Nile would have been more than a perfume—it was a wearable myth, inviting the wearer to embody the commanding beauty and magnetic power of a legendary queen.

For women of the era, Queen of the Nile was likely a fragrance of transformation. It countered the crisp florals and citrus eaux de cologne still popular in the early 20th century, offering instead an opulent, velvety, and mysterious alternative. It allowed modern women to channel ancient royalty, suggesting sensual confidence and timeless allure. While Queen of the Nile fit comfortably within the exotic perfume trends of the period, its concept and execution gave it a narrative richness that set it apart—its scent not just an aroma, but a story.

Fragrance Composition:

So what did it smell like? Queen of the Nile by Prince Matchabelli is classified as a sweet, spicy oriental fragrance for women with touches of ancient incense and sweet ambery woods. 

• Top notes: aldehyde C-10, aldehyde C-11, Calabrian bergamot, Sicilian neroli, Paraguayan petitgrain, lotus accord, Algerian cassie, linalool, phenyl ethyl alcohol, North African tagetes, Ceylon cardamom
• Middle notes: Saigon cinnamon bark oil, Jamaican pimento berry oil, Malabar black pepper, Indonesian nutmeg oil, Zanzibar clove bud oil, Russian coriander seed oil, Indian carnation, lily, Egyptian jasmine, Turkish rose, Moroccan orange blossom, Manila ylang ylang oil, heliotropin, Grasse mimosa, Tuscan violet, Florentine orris, ionone, Omani frankincense, Sudanese myrrh, Yemeni opoponax, Somali olibanum, Cyprus labdanum  
• Base notes: Peru balsam, South American tolu balsam, Sumatran styrax, Maltese cistus oil, guaiac wood, Tibetan musk, Canadian castoreum, Abyssinian civet, ambergris, ambreine, Mysore sandalwood, Malaysian patchouli, Tyrolean oakmoss, Java vetiver, Mexican vanilla, vanillin, Siam benzoin, Venezuelan tonka bean, coumarin

Scent Profile:

Queen of the Nile by Prince Matchabelli unfolds as a richly layered, sweet and spicy oriental fragrance that evokes the grandeur and mystery of ancient Egypt. As you first lift the scent, a bright and sparkling chorus of aldehydes—particularly C-10 and C-11—shimmers in the air. These synthetic aldehydes contribute a clean, soapy brilliance with a subtle citrusy-fatty quality, amplifying the natural freshness of Calabrian bergamot, whose sun-drenched Italian groves are famed for producing vibrant, nuanced citrus oils. The Sicilian neroli adds an elegant, green-floral brightness, sourced from bitter orange blossoms that perfume Mediterranean breezes with their intoxicating aroma. Paraguayan petitgrain brings a sharper, woody-green facet, harvested from the leaves of the bitter orange tree, distinct from neroli’s softer floral nuances. 

This early burst is further enriched by an unusual lotus accord, lending a watery, ethereal freshness reminiscent of Egyptian ponds and sacred lotus flowers, while North African tagetes introduces a subtly bitter, green floral tone. Ceylon cardamom warms the top notes with a crisp, spicy sweetness, balanced by the soft, rosy facets of Algerian cassie (acacia), delicate linalool, and phenyl ethyl alcohol, which together deepen the floral complexity.

As the perfume settles, its heart reveals a rich tapestry of exotic spices and opulent florals. The spicy notes are a masterful blend of Saigon cinnamon bark, known for its sweet, warm, and woody character; Jamaican pimento berry, imparting a peppery warmth reminiscent of allspice; Malabar black pepper’s sharp bite; Indonesian nutmeg oil’s earthy spiciness; and Zanzibar clove bud’s intense, aromatic heat. Russian coriander seed oil adds a citrusy, slightly woody and warm spice that harmonizes this complex bouquet. 

These spices entwine beautifully with a floral ensemble that reads like a perfumed journey through the world’s finest growing regions: Indian carnation’s spicy floral nuance, Egyptian jasmine’s rich, honeyed sweetness, Turkish damask rose’s deep, velvety richness, Moroccan orange blossom’s radiant and fresh floral glow, and Manila ylang ylang’s creamy, narcotic allure. 

Complementing these is heliotropin, a synthetic note that imparts a soft, powdery vanilla-almond aroma, enhancing the natural mimosa absolute from Grasse with its warm, honeyed sweetness. The violet leaf from Tuscany lends a fresh, green, slightly metallic edge, while Florentine orris butter offers a powdery, earthy elegance. Ionone contributes a subtle violet-like, woody nuance, deepening the floral character with a faintly fruity undertone. The rich resins of Omani frankincense, Sudanese myrrh, Yemeni opoponax, Somali olibanum, and Cyprus labdanum evoke ancient incense rituals, lending a mystical, warm, and balsamic depth that lingers and enchants.

The base of Queen of the Nile is a sumptuous foundation of luxurious woods, resins, and musks, blending the earthy sweetness of Peru and South American tolu balsams with the smoky, leathery warmth of Sumatran styrax and Maltese cistus oil. Guaiac wood, with its smoky, sweet, and slightly tarry aroma, adds complexity and richness. The animalic base notes—Tibetan musk, Canadian castoreum, Abyssinian civet, ambergris, and ambreine—provide an intoxicating sensuality, enhancing the perfume’s longevity and depth with their warm, leathery, and marine nuances. 

Mysore sandalwood and Malaysian patchouli infuse creamy, woody, and earthy layers, while Tyrolean oakmoss contributes a green, mossy earthiness that balances the composition. Java vetiver adds a smoky, dry, and slightly bitter grassiness, grounding the perfume in nature’s rustic beauty. Finally, the gourmand touches of Mexican vanilla and vanillin, combined with Siam benzoin’s sweet balsamic richness, Venezuelan tonka bean’s warm, powdery sweetness, and coumarin’s hay-like, aromatic warmth, complete the fragrance with a velvety, addictive finish, making Queen of the Nile a sophisticated and evocative oriental masterpiece.

Together, these ingredients create a fragrance that not only captures the exotic splendor and ancient mystique of its namesake but also showcases the artistry of blending natural essences with synthetics to achieve a harmonious, multidimensional scent. The interplay of bright citrus aldehydes with deep spices, rich florals, mystical resins, and warm animalics delivers an immersive experience—an aromatic journey to a world of opulence, romance, and timeless allure.

 

 

Bottles:

The Prince Matchabelli pyramid flacons are among the most elusive and collectible bottles in American perfume history. First appearing in 1929, these striking bottles were designed to embody both exotic allure and regal symbolism. Shaped as a perfect triangle with a rectangular base, they evoke ancient architectural forms—most notably the pyramids of Egypt—an intentional choice that reflected the perfume names they held: Queen of Babylon, Queen of the Nile, and Queen of Egypt, among others. The pyramid structure, rendered in deep amber glass, communicated a sense of luxury, permanence, and mystique.

Each flacon stands approximately 3.5 inches tall and is topped with a matching amber ground-glass stopper that completes the pyramid’s peak. The front panel is finely molded with the Prince Matchabelli family crest—an elegant detail that reinforces the aristocratic branding of the house. The base is acid-stamped “Made in France” and “Prince Matchabelli,” which suggests the bottles may have been produced in France, although the exact glassmaker remains uncertain. This French origin is notable, as it reinforces the brand’s aspiration toward European luxury standards, despite being based in New York.

Inside each flacon was ½ oz of parfum—a highly concentrated and long-lasting formulation. These bottles were filled with a range of Matchabelli’s prestige scents including Queen of Babylon, Queen of the Nile, Queen of Egypt, Ave Maria, Empress of India, Princess Marie, and single-note floral compositions such as Gardenia, Honeysuckle, Jasmin, Carnation, Mimosa, Muguet, and Lilas. At their launch, these perfumes sold for $5.00 per half ounce—a considerable sum in the late 1920s, reflecting the luxury positioning of the line.

However, by 1932, these bottles were being reduced to half price—a likely sign of changing consumer spending habits during the Great Depression. By 1935, the pyramid bottles had largely disappeared from the market, phased out entirely as Matchabelli modernized its packaging and focused on more streamlined, cost-efficient flacons. Today, surviving examples of these pyramid bottles are extraordinarily rare and highly sought after by collectors, especially when they retain their original labels and stoppers. Their sculptural shape, symbolic resonance, and the rich history of the perfumes they once held make them a captivating artifact of early American perfumery.

Fate of the Fragrance:

Queen of Egypt was originally launched in 1925, embodying the exotic allure and timeless mystique of one of history’s most iconic civilizations. This fragrance captured the imagination of women drawn to the romanticism of ancient Egypt, with its rich cultural heritage and legendary queens. In 1928, the perfume was relaunched under the name Queen of the Nile, likely to refresh its identity and perhaps avoid conflicts with other trademarks. The new name continued to evoke the grandeur and mystery of the Nile River—the lifeblood of Egypt—further enhancing its exotic appeal.

Despite the change in name, the fragrance maintained its reputation for a spicy oriental character, celebrated for blending sweet, ambery woods with ancient incense notes. The scent resonated with the fashions and trends of the late 1920s and early 1930s, a period marked by fascination with the East, archaeological discoveries such as King Tutankhamun’s tomb, and a growing interest in exotic and opulent perfumery. Queen of the Nile remained in the market well into the mid-1930s, still available in 1936, although its eventual discontinuation date remains unknown. This longevity speaks to its popularity and the lasting impression it made among women who sought a fragrance both bold and mysterious—one that embodied the spirit of ancient queens and their timeless legacy.