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CAS No.
134-20-3
Odour (decreasing):
Dry, floral-neroli, grapes, Orangeblossom. Tenacious
Solvent:
DPG 50%
Main Synonyms:
methyl 2-aminobenzoate; Methyl-anthranylate
This classic product is included in the following Perfume Making Kits: 100 Essential Aroma Chemicals Kit Two ; the Aroma Chemicals Discovery Kit ; the Incense Accord Kit and also in the Blending Kit.
One of the classic perfumery ingredients of wide application, limited mainly by its reactivity with other perfumery materials. Where you need a less reactive material of similar odour Florantone T is useful as a substitute.
The methyl anthranilate offered here is a grade specifically manufactured for flavour and fragrance work to a minimum of 98% purity, with the current batch having better than 99% purity.
This is solid at room temperature and is melted for use – so by default it is supplied at 50% in DPG – if you prefer pure we make a small additional charge to melt it for you but the price of the material itself is the same – please indicate your preference in the box at checkout. Note that you only need to pay the melting charge once however much Methyl Anthranilate you’re buying.
Arctander says of it: “This ester is widely used in perfume compositions as a sweet-floral Orangeblossom-type ingredient. Often applied in combination with Petitgrain oil, it supplies much of the background in Cashmere bouquet type fragrances and other Oriental, heavy floral or sweet-woody types.”
He goes on to point out that methyl anthranilate produces “condensation products with various aldehydes (Schiff’s bases) or with Acetophenone, Musk Ketone, Ionones, etc. are often utilized in perfume compositions. It should therefore be kept in mind that when Methyl anthranilate is used in compositions with one or more of the named (or other) aldehydes and ketones, there is a good chance of chemical processes taking place in the perfume oil.
The change may be visually perceptible (color increases, usually to yellow or browninsh tints) or olfactory (intensified sweetness, loss of aldehyde components etc.) and it may take place over a period of from 24 hours up to many months.
The most popular condensation products are those with the floral aldehydes: hydroxycitronellal (Aurantiol, etc,), Anisaldehyde (Acaciol), etc. Certain aldehydes produce very dark colored condensation products and to should be avoided in compositions where Methyl anthranilate must be used (Citral, Citronella, etc.).
When the two components enter at very low percentage, there is generally no discoloration problem (several Citrus oils contain Citral and Methyl anthranilate at the same time).”
Jean Claude Elena, in his book Diary of a Nose, suggests that in combination with Ethyl Maltol and Fructone, this material can create the illusion of the smell of wild strawberries. He says “As an apprentice perfumer, I learned that the smell of strawberries could be made with C-16 aldehyde, which is known as ‘strawberry’ – both terms are misnomers because chemically it is in fact acetone[*], and it smells mainly of apples. I would suggest another combination:
Aroma Chemicals, dry, floral, grape, Ingredients for Perfumery, Molecules, neroli, orange-blossom, Solids, sweet,
Safety Data Sheet (SDS): Download SDS (PDF)
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Each entry contains a short list of scent notes with occasionally other short commentary to assist those who may not have encountered the material previously to decide whether it is of interest: I recommend you make your own assessment of each and every perfumery material you use however.
After pricing, quantity options and other basic details scroll down for narative descriptions: these are intended to assit interested readers as well as potential purchasers to assess the uses and potential of the material in question.
Many of the descriptions contain quotations from the manufacturer of the product and in addition I have quoted fairly extensively from Arctander[1] and from Arcadi Boix Camps[2] – both independent writers and both highly experienced perfumers.
There are also some quotes from Bedoukian[3] where details of the chemistry of a material are significant and from Scent & Chemistry[4] the authors of which have taken an analytical approach to the art of perfumery that is unusual and very useful. Quotations have been included from the extremely useful teaching books by Calkin & Jellinek[5] and Curtis & Williams[6] and Surburg and Panten [7] as well.
Anything not identified as a quotation is my own opinion of the material in question and it’s uses, but I am grateful to many other sources and perfumers as well as the expert authors named here. Please note that these descriptions are copyright of the author and, other than properly achnowledged fair use quoations as defined in English Law, republication in any form is not permitted.
[1] Steffen Arctander: quotations are taken from Perfume and Flavor Chemicals published in 1969 and Perfume and Flavor Materials of Natural Origin published in 1961
[2] Arcadi Boix Camps: quotations are taken from Perfumery: Techniques in Evolution, 2nd Edition published in 2009, but containing material written in 1978, 1985, and 1999 as well – where relevant the date of writing is noted with the quotations.
[3] Bedoukian: quotations are taken from Perfume and Flavoring Synthetics, 3rd, Revised Edition by Paul Z. Bedoukian, Ch.E., Ph.D. Published in 1986.
[4] Scent & Chemistry by Ohloff, Pickenhagen and Kraft, published as a book of that name in 2012, from which I have quoted, but also referencing updates on their maintained Facebook page . In addition this tag is used in the descriptions for other works involving the same authors, including:
[5] Calkin & Jellinek: quotations are taken from Perfumery: practice and principles by Robert R. Calkin, J. Stephan Jellinek, published in 1994.
[6] Curtis & Williams: quotations are taken from An Introduction to Perfumery 2nd Edition, by Tony Curtis and David G Williams, published in 2001
[7] Surburg and Panten: quotations are taken from Common Fragrance and Flavor Materials. Preparation, Properties and Uses. 5th Edition by Horst Surburg and Johannes Panten (Copyright 2006 WILEY-VCH Verlag GmbH & Co. KGaA, Weinheim), published in 2006
A quick note about spellings: this website is primarily written in British English - it is after all written by an English Perfumer - however most of the authors mentioned here and many of the manufacturers were writing for American audiences and published using American English: where that is the case I have, as far as possible, preserved the spelling used in the source material. As a result there may be inconsistencies on any given page, but that seemed to me better than arbitrarily changing material in the process of quotation.
We’ve recently had a change of policy - and bought some new containers - so now all ingredients are sold by weight whether they are solids or liquids. Only the 10ml and 5ml sizes incorporated in kits, and a few inexpensive materials such as solvents, are still done by volume. Even the 5ml and 10ml sizes will now be filled to contain 5g or 10g regardless of whether the material is solid or liquid.
Liquids up to 10g in glass bottles (where the fill level may vary as illustrated above), 30g and 50g in HDPE Plastic.
Those materials available in 1Kg are normally supplied in aluminium flasks similar to those used for the 500g size, though we do supply a few materials in HDPE bottles as well.
Finally please note that, with some 500 different materials and so many size options we don’t hold ready-to-sell stocks: when you buy perfumery ingredients we will prepare them to order for you. This means that large orders can sometimes take a few days to prepare and also that we don’t offer refunds on ingredients, unless of course there is a fault of some kind.
