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DESIGN BY THE YARD

TEXTILE PRINTING FROM 800 TO 1956

THE COOPER UNION MUSEUM FOR THE ARTS OF DECORATION ACKNOWLEDGMENT

In assembling material for the exhibition, the Museum has received most helpful suggestions and information from the following, to whom are given most grateful thanks:

Norman Berkowitz John A. Jones, Jr.

Miss Irene Blunt Wilfred Kramer

Miss Pamela M. Burden Just Lunning

Miss Virginia Burdick Stanford S. Marlowe

The Celanese Corporation of Jean-Louis de Maigret America Jose Martin Mrs. Francis Clarke Clyde Murray Miss Peggy Cook Mrs. Robert M. Pettit Miss Sue Eastman Warren M. Robbins Robert Evans William C. Segal Miss Dorothy Jean Fuhrer Mr. and Mrs. Seymour Slive Mrs. Mary Davis Gillies Harvey Smith Miss Ruth Hammer

Jerry Hannoch Joseph Stein Douglas Hardy Mrs. Dorothy Waddington

Mrs. Margaret Ingersoll Clarence A. Weiller

Raymond W. Jacoby Don Wight

The installation of this exhibition has been designed for the Museum by Tom Lee, Ltd.

The design on the cover is after a block-printed Indian of the 14th-15th century. No. 69 in the catalogue.

Copyright 1956 by the Cooper Union Museum for the Arts of Decoration INTRODUCTION

X HE NAME that the Museum has given to its present exhibition is intended to reflect alike the miracle produced by intelligent collaboration between artists and technicians, and the undiscerning, sometimes even undiscriminat- ing, response to the miracle. In this, as in so many other fields, one is reminded of the country-woman who was vaguely annoyed at all the new bustle and stir brought by wartime needs to her remote and isolated region: "Why does the Government have to build a factory to make TNT? Why don't they just go somewhere and buy it?" We all just go and buy our printed yard-goods; and many of us let the matter rest tliere. Aside from a perfectly human feeling that we need not trouble ourselves over ways and means as long as we succeed in satisfying our immediate requirements, there are of course many deterrents to a more detailed examination of the subject. The chemistry of dyestuffs, the varied nature of fibres and woven fabrics, the complexities of machinery, and other technical considerations, may lie outside the limits of our knowledge; and the labyrinthine realms of designing, styling, merchandising and promotion present further mystifications. But the miracle confronts us steadily. Although it dazzles us with its brilliance, it is no mirage; an admired part of our daily life, it is also the mirror of our dreams. The material brought together for this exhibition provides a selection of the almost endless quantity of currently pro- duced by a variety of means; it permits a survey of contemporary and past

methods of production; and it shows something of the varied approaches that have been made to the problems of design and manufacture, in earlier centuries no less than in our own day.

In such a vast segment of what is after all one of the largest of the world's enterprises — the production of textile fabrics — the approaches are indeed many and varied. The aim is simple enough: to relieve the monotony of surfaces unadorned. But in how many ways can this be accomplished! From the considered abstraction of essential forms to the most literal rendering of historic events; the poetic, the naturalistic, the imaginative, the didactic; even, in the Chinese student's "cribbing" handkerchief printed with Con- fucian texts, the mnemonic — anything, it appears, can be printed on textiles, and everything has been.

3 The variety in types of design is equalled by the variety in methods of production; from the simple application of colors directly to the fabric, through all the combinations and variations of resist printing, mordant printing, and discharge printing, the printer has a further range of choices given to him by the differing properties of fibres, natural and man-made.

A third, and still richer, series of variable factors is presented by the diversity of purposes served by printed fabrics. We may recognize the two main cate- gories, of apparel fabrics and decorative fabrics, only to become immediately aware of an infinity of specialized branches, each calling for suitable qualities of design and appropriate methods of execution. In the long history of there have been periods of harmony between theme and execution, and an equal number of moments of dis- harmony. In earlier centuries no less than in our own time are to be found supremely successful fabrics, gratifying to the beholder equally in the char- acter and scale of their ornamentation, the quality of their coloring, and the suitability of these elements to the means chosen for their execution. As an example may be cited the fourteenth-century Indian fragment in the Mu- seum's collection that has furnished a decorative motif for the cover of this Catalogue; the broad treatment of pattern suitable to printing from a block has been no bar to grace and delicacy, and the design itself gives pleasure in its timeless simplicity. At the other end of the scale may be placed the " de Jouy," and similar fabrics printed in the later eighteenth century, in which the rigidities of reproductive copperplate-engraving all but stifle the design which initially had been drawn so delightfully by the artist.

The same gamut is run in the prints of the present moment; and as the repertory of techniques today is richly varied, so is the range of choices infinitely richer than it has ever been. We produce our failures each season, as is attested by the number of "factory outlet" shops on the side streets; and we produce our brilliant successes. But always — this year, last century, or a thousand years ago — success is dependent upon an understanding of the elements involved and a respect for the procedures by which ideas are materialized. The incomprehension of a Renaissance craftsman, who saw in textile printing nothing more than a process for cheaply copying a cut , is matched in our own day by a converter who extracts familiar ele- ments from contemporary easel-paintings and stamps them on endless lengths of cloth; in both cases, an opportunity has been lost, down in the depths where copying is substituted for original creation.

It is precisely this harmony, this compatibility between ends and means, that the present assemblage of material is desired to illustrate. Special exhibi- tions always represent a form of wish-fulfillment on the part of the organizing museum, enabling it to marshall a quantity of selected material in a manner not ordinarily possible; and the present display is no exception. Based on the not inconsiderable holdings of the Cooper Union Museum, which for the occasion have been supplemented by the generous loans of many friendly individuals and museums, this exhibit endeavors to trace the history of textile printing through more than a millennium; and in so doing, to permit the viewer to form his own conclusions about the nature of the art here displayed. One sees similar techniques used in periods widely separated in time, and one sees them temporarily abandoned in favor of other, and in some cases inferior, methods of production. Again, one sees great variation in the subject-matter of textile ornamentation, and in the approach to problems of design. Sometimes the printer is satisfied in the arbitrary, unsympathetic and almost brutal imposition of decoration unsuited alike in scale, colora- tion, and quality of pigment to the that he would adorn. More often, however, agreeable and harmonious prints are produced; and although only a minute fraction of the textiles of earlier centuries has survived to our day, it may safely be said that the best work of our contemporaries is superior to that of our ancestors. As has been noted above, a far wider range of techniques and materials is available for today's production; but this (as the earlier nineteenth century discovered in its own case!) is not the determining factor in the superiority of today's design. The "miracle," as it has been designated, has been wrought by more subtle means; we now rejoice not only in mastery of material resources but in a growing power of design analysis that permits us to adjust to the statement we would make the manner in which we make it. The sensitive eye is now quick to detect affinities between qualities of color and qualities of weave; with equal awareness we recognize the inherent suit- ability of linear ornament, or of color areas, to one or another kind of fabric destined to serve this purpose or that. There is, in short, an essential prop- erty or characteristic of textile printing quite distinct from any other method of textile ornamentation; and today at last this distinction is more generally observed by the designers and producers of printed textiles. It would be interesting to speculate upon the reasons for this improvement. They are assuredly numerous, and many would be difficult to establish beyond controversy. It seems clear, however, that in all this development a great part has been played by the extension of horizons that has characterized our century. We have pushed our way, in numbers, into corners of the globe seen by but a few of our ancestors; we have been interested in learning what makes the wheels turn; we have brought home with us heads full of new ideas and trunks full of mementoes to serve our further study. We have also come to realize that some of the more solid pleasures of a round-the-

5 world cruise are to be had right at home, in the museums that are per- manently engaged in the business of widening horizons and of providing material to explain what man does and has done well. Along with many others, the Cooper Union Museum for nearly sixty years has played its part, in maintaining and steadily developing its design resources and its means of making them available to all who find them useful. It has seemed to the Museum particularly appropriate that this, the largest exhibi- tion it has organized, should be devoted to an art so well represented in its collections and so well developed in our own day. The exhibition is offered to its visitors as evidence of the Museum's unfailing desire to serve designers and producers, and it is offered in deep gratitude to all those whose generous collaboration and support have made the exhibition possible. Calvin S. Hathaway CATALOGUE DEFINITION OF TERMS

Fragment — The surviving portion of a textile fabric of less than full width, in many cases impaired, and likely to bear an incomplete part of the original design. Piece — Larger than a fragment, in good condition, and bearing at least one design repeat. Length — A full woven width, with more than one design repeat; dimensions are noted in the catalogue only when the fabric has survived in its original width.

(The numbers set in parentheses after the descriptions of the objects refer to the owners of the objects, as shown in the list of Contributors to the Exhibition on page 24. An asterisk (*) indicates that the object is illustrated.)

TECHNICAL MATERIAL Cervantes's novel, sepia on white; paper, copper engraving; designer: Lagrenee (?); 1. Three Slendang illustrating steps in the producer: Oberkampf; France, Jouy; 1780 tie-dye process, tied, partially untied, com- (14) pletely untied, polychrome; , tie 15. Eleven pieces illustrating as many impres- Indonesia, threads of vegetable fibre; Lom- sions from roller printing, seamed, poly- bok; 20th century (8) chrome; cotton; England; 20th century Fifteen Pieces illustrating steps in the 2. (39) process; polychrome design of but- 16. Model of a roller printing press; steel and terfly and leaves; cotton, with wax, oils copper; ; 20th century (58) and dyes; Java; about 1890 (46) 17. Design for roller printed textile, conven- 3. Tjanting, copper pipe used for applying tionalized flowers in the Japanese manner; wax on a hand-drawn batik; Indonesia; watercolor drawings; designer: Jose Mar- 20th century (57) tin; United States; contemporary (36) *4. Three Tjap stamps, copper blocks used 18. Roller used for printing silk, design of to apply wax on a printed batik; Java; conventionalized flowers in the Japanese 19th century (44) manner; copper and chrome steel; en- 5. Six Woodblocks; used for printing tex- graved by Cheney Brothers after a design tiles, motifs and elements of a design; by Jos^ Martin; United States; contempo- India; 19th century (46) rary (6) 6. Block, used for printing textiles, conven- 19. Piece, conventionalized flowers in the Jap- tionalized lily and lozenge repeat; hard- anese manner, turquoise and white; silk; wood and brass; France; 1700-1725 (38) designer: Jos6 Martin; producer: Couture 7. Block, used for printing textiles, conven- Fabrics, Ltd. (15) tionalized floral repeat and irregular 20. Stencil, branches and small leaves; paper stripe; hardwood and brass; France; about and hair; Japan; 19th century (14) 1750 (38) 21. Stencil, hexagonal and circular motifs; 8. Block, used for printing textiles, wavy paper; Japan; I9th century (14) lines and dots; hardwood and brass; *22. Stencil, branches of pine and wisteria; pa- France; 18th century (38) per; Japan; 19th century (14) 9. Block, used for printing textiles, flowers 23. Silk screen and equipment used for screen- and stripes; hardwood and brass; France; ing; silk, wood, brass; United States, New late 18th-early 19th century (38) York; contemporary (56) 10. Block, used for printing textiles, hunting 24. Piece, illustrating various techniques, de- scene; hardwood; United States; late I8th sign of squares with floral motifs, brown century (48) and warm dark hues; silk, tie-dye, stencil, 11. Block, used for printing textiles, spread block printing, and other techniques; Ja- eagle; hardwood and brass; United States; pan; early 17th century (8) I9th century (48) 25. "Oranges and Lemons," length, poly- 12. Bedspread, blocks and tools used for its chrome; 36 inches wide; cotton, printed printing, and chest for tools; , block- by the Dynascope process; United States, printed, wood, brass and leather; United Rhode Island, Warwick; contemporary (4) States, Massachusetts, Hanover; early 18th 26. Length of "Perfo Print": 36 inches wide; century (3) cotton, roller printed, dye cut, chemically 13. "Don Quixote," cartoon, scenes from Cer- sealed; The United Piece Dye Works; vantes's novel, black on white; paper, pen United States; contemporary (58) and wash drawing; designer: Lagren(5e 27. Pieces, experimental process; Fiberglas;

(?); producer: Oberkampf; France, Jouy; -dyed and silk screen-printed; de- about 1780 (14) signer and producer: D. D. and Leslie 14. "Don Quixote," trial proof, scenes from Tillett; United States; contemporary (56) 28. View of automatic silk screen-printing ma- white on yellow; silk, painted or printed; chine at the Stonehenge Processing Cor- 8th century (66) poration, Cedar Grove, New ; Photo- 42. Two Fragments, broken hexagon repeat stat from a photograph lent by Jungfrau, in white with silver on natural ground;

Inc.; United States; contemporary (14) (?); painted and stencilled; 8th cen- 29. , sample book of Indian and tury (39) French examples, polychrome; folio; cot- 43. Sutra Cover, lotus and chrysanthemum, ton, block-printed and painted; India and black on brown; cotton, block-printed; France; 17th to 19th centuries (26) Nanking; late 17th century (7) 30. Folding Sample Book, various mounted *44. Sutra Cover, children playing, black on pieces, Japanese mounting, polychrome; blue; cotton, block-printed; Nanking; late block-printed small octavo; cotton, and 1 7th century (7) painted; Japan, India, Indonesia; I7th to 45. Portion of Bed Cover or Hanging, fish and 19th centuries (14) scroll, blue on white; cotton, stitch-resist 31. 135 Unmounted pieces, printed for a sam- dyed; Szech'uan Province, Neichang; 19th- ple book, polychrome; cotton, block- 20th century (50) printed; "Manufactures d' k 46. Length, trellis with bamboo and plum Hechler k Eauplet Ifes Rouen petit teint"; branches, blue on white; 0.280 m. wide; France, Rouen; late 18th century (46) cotton, rice paste resist-dyed (unwashed); book, in- 32. Salesman's sample polychrome 19th-20th century (14) diennes; octavo; cotton, block-printed; France; 1825 (38) JAPAN 33. Salesman's folding portfolio, various 47. Circular Fragment, lion (?) in circle of four weaves, polychrome, pages showing flame, black and some red on blue; hemp, printing; small octavo; cotton, block- stencilled and painted; 13th-14th century printed; England; 1784 (14) (8) 34. Two letters from the Alexander Papers, a 48. Piece, bamboo and pine, blues, grey, tan correspondence between James Alexander, and brown on white; 0.335 m. wide; silk, merchant of New York, and David Bar- rice paste resist-dyed; Tokugawa; 1688- clay, factor, of ; paper with sam- 1703 (46) ples of English printed cotton; America, 49. Piece, Eight Precious Things, brown, New York; 1726 and 1749 (41) white and gold on blue; silk, rice paste *35. Designer's or dyer's sample book, notes resist-dyed; Tokugawa; 1764-1771 (46) presumably in the owner's hand; small 50. Piece, polychrome flowers in the Indian octavo; cotton, various techniques; Eng- manner, design on light brown ground; land, Sussex, Bury and United States, cotton, block-printed; 18th century (39) Rhode Island, Providence; 1829 and ear- 51. Length, lobsters and fans, blue on white; lier (14) 0.330 m. wide; cotton, re- 36. Sample Book, polychrome; octavo; cot- sist-dyed (kasuri); 19th century (61) ton, block-printed and copper-engraved; 52. Piece, polychrome pattern of "73 squares United States and England; 19th centurv with conventionalized designs; cotton, (14) block- or die-printed, direct and discharge; 37. Six Engravings Illustrating Textile Dye- 19th century ing, Printing and , from Roland Japan (?); (39) 53. Square, the Four Seasons — bamboo, chrys- de la Platiere, "Arts et Metiers: L'Art de anthemums, orchids and prunus each in Preparer et d'Imprimer les Etoffes en white brown, green, purple, and blue; Laines"; copper-engraved; France, Paris; on silk, discharge printing; 20th century (66) 1753 (38) 54. five large characters on ground of 38. "Vue des Chateaux, Village et Manufac- Square, smaller characters, in corner hexagons ture de Joui;" engraving; drawn by "le one Chevalier de Lsse"; engraved by Li^nard; with conventionalized flowers, grey and green; silk, block-printed 20th century France; late 18th century (38) (?); 39. "Printing," showing a textile being roller- (66) silk, block- printed; colored aquatint; England; first 55. Square, pine tree by a wall; printed 20th century half, 19th century (38) (?); (66) 40. "Merrimack Prints," view of textile mill 56. Wash cloth (tenugui), Kappa, a humorous with eight cotton samples of discharge folk tale character, half frog, half tortoise, printing; engraving and cotton; United blues and greens on white; cotton, sten- cilled; Tokyo; 20th century States, Massachusetts (?); about 1844 (38) (49) 57. Entrance hanging (noren), for shop, flow- HISTORIC PRINTING ers in white and green on black; cotton, silk screen-printed in discharge and dyed; THE ORIENT Tokyo; 20th century (49) 58. Kosode, birds and clouds in red, yellow, 41. Fragment, head and front legs of a lion, green and blue, on white; vegetable fibre, and cloud forms, in black with red and resist-dyed; Okinawa; 19th century (59) INDONESIA spotted curved lines above band of dots, 59. Piece, monkeys and cats, red with blue on shades of dull red on tan ground; cotton, natural ground; cotton, wax resist-dyed block-printed resist; found at Fostat, Egypt; 15th-16th (batik); Borneo; 17th century (?) (39) century (14) 60. Sarong, conventionalized flowers and geo- 75. Fragment, conventionalized flowers and metric pattern, brown, blue, beige and foliage, border with teardrop motif, black gold; 0.75 m. wide; cotton, wax resist- on white; cotton, block-printed; found at dyed (batik) and gold-stamped; Java; late Fostat, Egypt; 16th-19th century (54) 18th century (46) 76. Bag, symmetrical design, temple flanked *61. Sarong, trailing vine with flowers, foliage, by two ladies holding fans; above: the sun birds and insects, brown and blue on flanked by two peacocks and trees; below: white, red and white border; 1.40 m. wide; a vase flanked by two cows, yellow, green, cotton, wax resist-dyed (batik); Java; late dark blue and red; cotton, block-printed; 18th- early 19th century (46) Rajput (?); 16th century (66) 62. Square, symmetrical design o£ wings, cray- 77. Fragment, fine red moss pattern on white fish, birds in cinnamon brown and beige ground, same pattern overprinted in gold; on dark blue ground; cotton, wax resist- cotton, block-printed: 16th century (54) dyed (batik); Java; 19th century (14) 78. Sari, regular repeat of small floral spray, 63. Sarong, conventionalized design, change- foliate border, green, red, purple and able red and yellow; silk, warp resist-dyed gold on cream; cotton, block-printed and (ikat); Bali; 19th century (14) painted; early 17th century (46) 64. Sarong, conventionalized human figures, 79. Fragment, all-over lozenge pattern and brown, red, green and black; straw, warp trellis of gold dots on natural ground; silk,

resist-dyed (ikat); Southeast Borneo; late block-printed and painted; Rajput (?); 19th century (54) 17th-18th century (14) 65. Panung, conventionalized floral design, 80. Fragment, diagonal repeat of flower sprig striped border, shades of blue, brown and with paired leaves and gold dot; cotton

yellow on red, gilded; 1.145 m. wide; cot- block-printed and painted; Rajput (?); ton, wax resist (batik) and block-printed; 17th-18th century (14) Siam; 18th century (46) 81. Fragment, conventionalized leaves, gem colors; cotton, metal foil on gesso, painted with enamel; Rajput (?); 17th-18th c. (14) *66. Fragment, ducks surround a sixteen-lobed 82. Bed-cover or hanging, Juno and the Pea- rosette representing a lotus, deep pink and cock surrounded by flowers and strap purplish brown on natural ground; cot- work, red, blue and violet on white; 2.360 ton, resist-dyed; found at Fostat, Egypt; m. wide; cotton, dyed and painted; late 1250-1370 (14) 17th-early 18th century (38) 67. Fragment, border with geometrical de- *83. Hanging, uprooted tree, peacocks, flowers, signs, black and natural ground; cotton red, blue, violet, green; 2.360 m. wide; cot-

(?), block-printed resist; found at Fostat, ton, dyed and painted; ; 1750-1775 Egypt; 1250-1517 (14) (14) 68. Fragment, rosettes in squares, blue, green 84. Barber's apron, flower sprays and border, and brown on natural ground; cotton, re- red, green and violet; cotton, dyed and sist-dyed; found at Fostat, Egypt; pre-15th painted; 1775-1800 (60) century (54) 85. Fragment, all-over flower design, red, yel- 69. Piece, squares with conventionalized flow- low, blue, green with black for stems; cot- ers, foliage and lotus, dull red and natural ton, dyed and painted; 18th century (14) ground; cotton, block-printed; India, 86. Sari, squares with conventionalized foliage found at Fostat, Egypt; 14th-15th century and eight-lobed rosettes, yellow, black, (14) white and gold on red; cotton and 70. Fragment, section of medallion with tear- metal thread, block-printed, stamped and drop forms, blue and red on white; cotton, painted; Karuppur; 18th century (46) resist-dyed; found at Fostat, Egypt; 14th- 87. Sash, border at each end of five conven- 15th century (54) tionalized cypresses, surrounded by foliate 71. Fragment, interlaced arabesque forms in border, green, blue and black on white; shades of blue on natural ground; cotton, cotton, block-printed, dyed and painted resist-dyed; found at Fostat, Egypt; 14th- on both sides of textile in exact register; 15th century (14) late 18th-early 19th century (54) 72. Fragment, all-over small-scale repeat of 88. Two pieces of bedcovers, conventionalized joined trefoils, brown on natural ground; flowers and foliage, black on yellow; cot- cotton, block-printed resist; found at Fo- ton, block-printed; Bombay, Baroda; 1850- stat, Egypt; 14th-15th century (14) 1900 (8) 73. Fragment, flowering boughs in violet, red 89. Piece From a Marriage Veil, blue and deep blue; cotton, painted (?); found with bands of ornament in gold and sil- at Fostat, Egypt; 14th-16th century (14) ver; cotton, block-printed, stamped and 74. Fragment, rows of torchlike motifs above painted; Punjab, Lahore; 1850-1900 (8) 90. Patola, lozenge and geometric pattern, tastic monsters, gold on natural ground; animals in borders, red, yellow, brown, linen, block-printed; Rhenish; 14th-15th and blue-green; cotton, warp and we£t century (14) dyed (double ikat); 19th century (14) 107. Piece, conventionalized serpentine foliate 91. Valance, pineapple and foliage, red, blue vine; linen, block -printed resist; Augs- and violet; cotton, dyed and painted; 19th burg; 16th century (52) century (38) 108. Piece, trellis and foliate vine, black on THE NEAR EAST AND RUSSIA tan; linen, block-printed; Rhenish; 16th- 92. Fragment, with outline of decorated Kufic 17th century (14) inscription, red, brown, gold on white; 109. , flowers and medallion with dou- cotton, block-printed and painted; Meso- ble-headed eagle, double foliate border at potamia or Persia; 9th-10th century (14) top, single at bottom; linen, block -printed; *93. Square, stylized foliage, geometric figures, 1600-1650 (52) animals, borders, reds, purples, blue, 110. Piece, arabesques, black on natural ground; green, yellow and white; cotton, block- cotton, block-printed; 17th century (39) printed and painted; Persia, Yazd; 17th- *111. Piece, all-over pattern of tulips and other 18th century (66) flowers, black on natural ground; linen, 94. Piece, from a curtain. Saint John the block-printed; Rhenish; I7th century (52) Evangelist under an arch, purple, blue, 112. Length, "Jerusalem, Jerusalem," scenes of red; cotton, dyed and painted; Persia, the Resurrection alternate with scenes of Julfa; 18th century (66) the city, blue on white; 0.740 m. wide; 95. Piece, The Entombment, black on gray; linen, block-printed resist; end of the 17th linen, block-printed; Armenia (?); 17th century (14) century (19) 113. Piece, zig-zag stripe, blue on natural 96. Hanging, conventionalized design of hands, ground; linen, block-printed (?); Rhenish; horsemen, three stones of Tamerlane, blue (?) 15th to 18th century (14) on yellow; silk, block-printed and resist 114. Piece, miniature human and bird figures (?); Caucasus; 18th century (54) perching in scrolling grapevines; cotton, 97. Piece, leaf and flowering vine, black and block-printed; Augsburg, probably 18th faded pink; linen, block-printed; Russia; century (52) 17th century (14) 98. Piece, all-over pattern of arches and ros- THE LOW COUNTRIES ettes, black on natural ground; linen, 115. Piece, two scenes: two monks and a priest block-printed; Russia; 17th century (14) beneath trees above a small house, and 99. Piece, sprays of flowers and foliage, black urn with flowers and two birds, red, green on natural ground; linen, block-printed; and yellow on natural ground; linen, Russia; late 17th-early 18th century (14) block-printed; Holland; 17th century (46) *100. Piece, two horsemen and inscription, faded 116. Hanging, conventionalized foliage, imitat- orange, green and black on natural ground; ing a design woven in velvet, red-brown

linen, block-printed; Russia; 18th century (originally black) on white; (?), sten-

(14) cilled (?) and flocked with ; Flanders

101. Piece, continuous ogives enclose fantastic (?) (39) floral sprays, imitation of a design woven 117. Piece, two scenes: man and woman be- in silk or velvet, faded red and green and neath a tree, and flowers in an urn; jute, black on natural ground; linen, block- block-printed; Holland; early 18th cen- printed; Russia; 18th century (14) tury (39) 102. Piece, serpentine scroll and flo%ver with 118. Wall covering, landscapes in octagonal border of fantastic birds, blue and orange frames alternate with rosettes; linen, block- on white; linen, block-printed, resist and printed; The Netherlands; late ISth-early direct, and painted; Russia; 18th-19th cen- 19th century (52) tury (14) FRANCE WESTERN EUROPE AND AMERICA 119. Seat Cover tor Chair, unmounted, flowers GERMANY in the Chinese manner, polychrome; cot- *103. Piece, teardrop repeat enclosing a gazelle, ton, block-printed; 1750-1775 (39) black on natural ground; linen, block- 120. Piece, roses on continuous vertical vine,

printed; Rhenish; 13th century (?) (14) polychrome and white on pink; cotton, 104. Piece, rows of paired birds, silver on natu- block-printed; "Manufacture de I. R. ral ground; linen, block-printed; Rhenish; Wetter, ft sa Compagnie A Orange Bon 13th-14th century (14) Teint 1766,", end of bolt; Orange; 1766- 105. Panel, two deep borders each with three 1775 (39) ogival forms enclosing a pair of birds, 121. Don Quixote, length, scenes from Cer- flanked by fantastic monsters, red on nat- vantes's novel, violet on white; 0.930 m. ural ground; 0.570 m. wide; linen, block- wide; cotton, copperplate-printed; design- printed; Cologne; 14th century (33) er: Lagrenee (?); producer: Oberkampf; 106. Piece, conventionalized foliage and fan- Jouy; 1780 (14) 10 122. Shift, regular scattered flower repeat, red, brown and black on yellow; silk, velvet,

purple and blue on white; linen, block- warp-printed {chine a. la branche); France printed; about 1780 (60) or England; early 19th century (14) 123. "Les Travaux de la Manufacture," 14 140. Piece, scenes with figures, children and scenes showing as many steps in the proc- animals, red, purple, blue, bufE and black ess of making a de Jouy, red on natu- on natural ground; cotton, copper engrav- ral ground; cotton, copper engraving; de- ing; about 1825 (14) signer: 141. J. B. Huet (1745-1811); producer: Piece, lilies and orchids, foliage, pastel Oberkampf; Jouy; 1783 (38) shades on white; cotton, copper engrav- 124. "La Toilette de Venus et la Marchande ing; about 1830 (14) d'Amour," Venus with attendants, nymphs 142. Piece, stripes broken by bands of gothic with cupids in a tree, cupids in a basket, arches, blue-green, buff and dark brown; other scenes, polychrome on white; 0.810 cotton, copper engraving; France or Eng- m. wide; cotton, copper engraving, color land; 1830-1850 (14) block-printed; F. A. Petitpierre Frere et 143. Piece, solid pattern of large-scale roses, Cie; Nantes; probably 1785-1790 (8) lilacs and foliage, reds, blues, brown; cot- 125. Length, conventionalized leaf pattern, ton, copper engraving; about 1850 (14) blue on white; 0.390 m. wide; linen, re- 144. Length, foliate vines and dot, reds, violet, sist-dyed; 1790 (14) blue and green; 0.790 m. wide; cotton, 126. Length, flowers and foliage in the Indian copper engraving; probably France; 1850- manner, polychrome on white; 0.685 m. 1875 (8) wide; cotton, block-printed; 18th century 145. Piece, triangles in chromatic shades of vio- (39) let; silk, warp-printed; 1850-1900 (48) 127. Piece, all-over design of flower sprays in 146. Piece, peacocks and foliage, black and sal- the Indian manner, polychrome; cotton, mon pink; cotton, copper engraving and block-printed; probably Jouy; 18th cen- "home dyed"; 19th century (14) tury (14) 147. Piece, conventionalized flowers, purple, 128. Piece from a skirt, flowers and serpentine dark gray, black and white on light gray; garlands of foliage, polychrome on cream; silk, block-printed (?); producer: La cotton, block-printed; i8th century (14) Maison Martine; Paris; about 1920 (39) 129. Piece from a skirt, sprays of flowers, poly- 148. Piece, conventionalized design, poly- chrome on cream; cotton, block-printed; chrome; silk voided velvet, roller-printed; 18th century (14) 20th century (48) 130. Piece, vertical repeat of flowers alternates 149. "The Thresher," length, scene, red on with double interlaced band, violet and white; cotton, block-printed; Raoul Dufy light blue on off-white; cotton, block- (1877-1953); about 1930 (14) printed; 18th century (14) 150. Length, conventionalized foliage, blue and 131. Piece, dense flower repeat, in the Indian yellow on natural ground; cotton, block- manner, polychrome on white; cotton, printed; Raoul Dufy (1877-1953); about block-printed (?); 18th century (14) 1930 (14) 132. Length, chinoiserie landscape with figures, blue on white; 1.0 m. wide; cotton, resist- ENGLAND

dyed; Alsace (?); 18th century (14) 151. "The Aviary or Bird Fanciers Recreation," 133. Sash, arabesques and neo-classical scene, snuff handkerchief, landscape with figures greens and rose on white; silk, copper en- and 14 birds each with descriptive notes, graving; late 18th century (14) blue on white; linen, copper engraving; 134. Three Pieces, seamed together, repeats of about 1750 (60) flowers, figures, ruins and stripe, poly- *152. Piece, fantastic scene, figures, architecture, chrome on white; cotton, block-printed; flowers, scrolls, in the Chinese manner, late 18th century (14) blue on white; cotton, copper engraving; 135. Apron, floral repeat, blue, red and brown possibly by Jean Baptiste Pillement (1728- on white; linen, block-printed; late 18th 1808); Bromley Hall; about 1765 (14) century (60) 153. Piece, landscape with figures, farmhouse, "136. Piece, dolphins, roses and double serpen- windmill, sheep, red on white; cotton, tine stripe, reds, green, blues and brown; copper engraving; about 1765 (39) linen, block-printed; Nantes (?); late 18th- 154. Banyan, or dressing gown, foliate vines, early 19th century (14) polychrome on white; cotton, block- 137. Piece, rosette flanked by conventionalized printed; 1750-1800 (60) foliage, red, brown and black; silk velvet, 155. Piece, scattered flowers alternate with warp-printed (^' Gregoire"); early wreathed panels of medallions and cher- 19th century (14) ubs, black and red on mustard ground; 138. Piece, red rosettes scattered on mustard cotton, block-printed; 1775-1800 (48) yellow ground; cotton, block-printed; early 156. Man's Loiuiging Cap, flowering branches, 19th century (14) polychrome on white; cotton, block- 139. Piece, chinoiserie of monkeys, garden printed; England or France; 18th century houses and flowering garlands, orange. (60)

11 157. Piece, large scale flower and leaf design; OTHER EUROPEAN COUNTRIES silk, copper engraving (?); England (?); 172. Length, double-handled vases alternate 18th century (52) with irregular octagons connected by diag- 158. Piece, flower sprays and acanthus leaves, onal interlace, blue on white; 0.365 m. polychrome on beige; cotton, copper en- wide; linen, resist-dyed; Italy, Bologna; graving; about 1820 (14) 15th century (19) 159. Apron, scattered flowers, animals and 173. Piece, conventionalized foliage imitating buildings in the Chinese manner, poly- a woven design, red and green on natural;

chrome on white; cotton, block-printed; cotton, block-printed, stencilled (?) and England (?); 1800-1830 (14) flocked with wool; Italy; 17th century (19) 160. Length, memorial to Lord Nelson, obe- 174. Mezzaro, flowers, foliage, and animals in lisks, urns, pyramids and figure of Nelson the Indian manner, polychrome; 2.680 m. in niche with appropriate inscriptions, in- wide; cotton, block-printed; F(abbri)ca Di tertwined with brilliant polychrome flow- Luigi, manufacturer; Italy, Genoa, Sara- ers in the Indian manner; 0.953 m. wide; pierdarena; 1846 (14)

cotton, copper engraving (?) and block- 175. Length, conventionalized foliage imitating printed; 1800-1830 (39) a woven design, silver on deep rose; 1.900 161. Piece, "gothick" niche repeat, red, blue, m. wide; silk velvet, Fortuny process; brown and white; cotton, copper engrav- Mariano Fortuny, Italy, Venice; 1900-1930 ing; about 1840 (39) (14) *176. Fragment, double ogive 162. Piece, scenes of hunting and fishing framed repeat framing pomegranate by vines, polychrome; cotton, copper en- and crowns, black on natu- ral; linen and cotton block-printed; Spain; graving; about 1850 (14) late 16th century (14) 163. Piece, flowers and foliage, polychrome on 177. Piece, flowers and foliage in the Indian tan ground; cotton, copper engraving and manner, brown on white; 1.060 m. wide; block-printed; about 1850 (39) linen, copper engraving; Spain or Portu- 164. Piece, interlaced conventionalized foliage gal; 1775-1785 (39) in circular repeat, blue on white; cotton, 178. Length, birds and flowers in the Indian block-printed; designed and produced by manner, polychrome on white; 0.863 m. (1834-1896); about 1890 wide; cotton, block-printed; Spain; 18th- (14) 19th century (39) 165. Piece, flowers and foliage, yellow-orange 179. Piece, "Vista del Monasterio de Montser- on white; cotton, block-printed; designed rat" and "Vista del Puerte de Diablo in and produced by William Morris (1834- Martorell," two landscapes repeated and 1896); about 1890 (14) surrounded by flowers and foliage, blue; 166. Piece, of crocuses alternates with cotton, copper engraving; Spain; Mid- one of daffodils, tan, yellow, olive and red; 19th century (14) cotton, block-printed on both sides; de- 180. Length, scattered bird and flower repeat signer: Arthur Wilcock; about 1890 (14) in black against red and white stripes; 167. Piece, frieze of crocuses alternates with 0.791 m. wide; cotton, copper engraving; one of dafliodils, shades of rose; cotton vel- Spain; 19th century (39) vet, block-printed; designer: Arthur Wil- 181. Piece, symmetrical design of flowers, foli- cock; about 1890 (14) age and fruit, yellow, green, white, blue

168. Piece, simulating patchwork, scenes after and red; linen, stencilled and painted (?); the illustrations for "The Pickwick Pa- Switzerland; end of the 17th century (19) pers" by Hablot Knight Browne (1815- 182. Piece, buildings alternate with flower 1882) alternate with various small prints, sprays, black, red, yellow, purple and polychrome; cotton, copper engraving; white; cotton, copper engraving; Switzer- 19th century (39) land (?); about 1795 (46) 169. "The Strawberry Thief," birds in a straw- 183. Piece, Psyche (?) and two cherubs swinging berry patch, polychrome; cotton, block- on a garland framed by large-scale flowers printed; designer: William Morris (1834- and foliage, violet on white; cotton, cop- 1890); producer: Morris & Co., Decorators, per engraving; Alsace, Mulhouse; 1825- 1830 (39) Ltd.; 1900-1920 (14) 184. Piece, scattered flower repeat, mauve on 170. "Rose" conventionalized repeat of flowers, yellow; silk, block-printed; Austria, Vi- foliage, and paired birds, polychrome on enna; Wiener Werkstatte; about 1920 white; cotton, block-printed; designer: (39) 185. Piece, scattered flower repeat, yellow, pink William Morris (1834-1890); prdoucer: and white on gray; silk, block-printed; Cowtan & Tout, Inc.; about 1934 (14) Austria, Vienna; Wiener Werkstatte; 171. "Honeysuckle," rose-colored blossoms on about 1920 (39) blue foliage; cotton, block-printed; de- 186. Piece, feathers and arrows against shaded signer: William Morris (1834-1896); pro- stripes, blues on gray; silk, block-printed; ducer: Cowtan & Tout, Inc.; about 1934 Austria, Vienna; Wiener Werkstatte; about (14) 1920 (39) 12 ^jttftk lW^w' Ni*

Fig. 1. Detail of S(hi\r]:, lotlon, painltil ami ihcil Persia, Yazd, 17th-18th century Yale University Art Gallery rV, Fic. 3. Detail of Sarong, cotton, wax '^7 lliesist-dved (tn/;/i) and /'Z^'^ JJ^ ^-~iy^'*J\, ^ r-! I'l painted - ' ir -'^ ^ Java, late 18th-eailv 19th century {_>/\ Y/^ ^/"'-r X' ji ''"— [ y ^/ W^y ^^ yU^ f f^ 'rv' The Philadelphia Sluseum of Art J J^n

7(^-z/^ Fig. 2. Sutra Cover, cotton, block -printed M China, Nanking, late 17th century ^iJP^^ffn' Miss G. F. Bieber « Cv^

r-'-^> ^r*i%4

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Fig. 4. Designer's or Dyer's SA^rpLE Book^ printed anions wiili notes piesumabl)' in the owner's hand England, Sussex, Biuy and United Slates. Rhode Island. Providence 1829 and earlier The Cooper Union Museum

Fig. 5. Detail of Stencil, papei Japan. 19th century The Cooper Union Museum Fir.. 6. Fragment, cotton, resist-dyed India, totmd at Fostat, Egypt, 1250-1370 The Cooper Union Musenm

Fig. 7. Two Tjap Stamps, copper, used to apply wax on a printed batik Java, 19th century Mrs. James Imam Pamoedjo Fig. 8. Piece, linen. hlotk-iJiiniii Rhenish, Killi (cnuirv (?)

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Tie 1 Frvgment linen and cotton block punted Spain late 16th century The Cooper Union Museum Fig. 10. Piece, linen, block-printed Rhenish, 17th centniy Landesoewei'beamt .Stuttgart

Fig. 11. Piece, linen, block-printed Russia, 18th century The Cooper Union Museum 12 111 1 \ii orHwfiNr toUoii ]) uiucd and dyed India Madias 1750 1775 The Coopei Union Musenm

^'^ Tic 14 Pilci linen lilock punted Fiance posMiilv Nantes late 18th-earlv Ullli cciUuin The Coopei Lnion Museum

Fig 15 Piece, cotton, resist-dved

America (?), 18th centuvv Albany Institute of History and Art Fi(,, lb 15ii)srRr,AD, couon. block-piiiilcd John Hewson (1744-1821) United States, Philadelphia, late 18th cenlin The Philadelphia Museum ol Art Fig. 17. Length cotton block punted Holland foi the Congo nniket con tern poiarv Co., Inc. J. Get bet and

Tig. 18 "Rex'v," length, linen, screen-printed Viola Grasten, Nordiska Konipaniet, Sweden. Stockholm. contcmporar\ Wolfin Associates Fig. 19. "Rain," length, silk sheer, screen-printed , United States, contemporary Herman Miller

Fig. 20. "Coi'iic Horse, ' length, cotton, block-prinlcd Dorothy Mac Nab, Jamaica, B.W.I., contcmporarv Thaibok Fabrics, Ltd. ' Tic 21 ' LiL\ lengLli. \^ool '.cieen \Mth o\eipiinted stupe Doiib and Leslie Tillett United States, New Yoik, 1954 D D. and Leslie Tillett

Tic 22 1 k vmh il 11 MsBolr linen, bciecn punted Lzio Maitmelli United States, contempoiai\ Morton Sundour Company, Inc. UNITED STATES brown, blue, and greenish blue; cotton, *187. Piece, floral design, blue on white, with block-printed (?) and painted; North tax stamp: crowned cipher G. R. and "-alli- Coast; 13th-15th century (14) 201. Portion of a Hanging, Chimu warriors coe J"; cotton, resist-dyed; America (?); divided by vertical bands, brown, yellow 18th century (1) 188. Child's waistcoat, scattered flower repeat, and red; cotton, tie-dyed; 1300-1438 (54) red and blue on white; cotton, block- printed; Connecticut; early-mid 18th cen- CONTEMPORARY PRINTING tury (3) 1946-1956 *189. Bedspread, vase o£ flowers surrounded by All textiles in this section have been produced scattered flowers, birds and insects, three in the United States unless otherwise noted. borders, polychrome; cotton, block - DECORATING printed; John Hewson (1744-1821); Phila- TEXTILES FOR delphia; late 18th century (46) 202. "Gothic," wall hanging, yellow, white on 190. Curtain, vertical flowering vines alternate brown; silk, wax resist-dyed (batik); de- with columns of , brown, green and signer and producer: Howard Jones (2) red on natural; cotton, block-printed; 203. "Mushrooms," wall hanging, polychrome Walters & Bedwell; Philadelphia; late and black on white; silk, wax resist-dyed 18th century (3) (batik); designer and producer: Helen 191. Piece, serpentine foliage with birds, blue Frick Jones (2) on white; cotton, resist-dyed; 18th century 204. "Eagles," orange on natural ground; cot- (14) ton, silk screen-printed; producer: Brun- 192. Death of General Washington, memorial schwig & Fils (9) handkerchief; in center, circular scene of 205. "Tanlay, "floral columns, copy of 18th cen- Washington on his death-bed attended by tury French blue resist, white and blue; four persons, around this six medallions cotton, silk screen-printed; producer: bearing appropriate sentiments, red on Brunschwig & Fils (9) white; linen, copper engraved; Pember 206. "Big Apple," conventionalized segmented and Luzarder; United States; Philadel- apple in repeat, grey, brown, yel- phia; about 1800 (65) low, rust, green; cotton, silk screen- 193. Fragment, flowered vine, blue and yellow printed; designed by Cheney Studios; pro- on orange; cotton, block-printed; early ducer: Cheney, Greeff & Co., Inc. (11) 19th century; (3) 207. "Little Apple," conventionalized seg- 194. Tablecloth, floral and bird motifs, red, mented apple in diaper repeat, grey, green, yellow and blue on natural cotton, brown, yellow, rust, green; cotton, silk stencilled; Pennsylvania; first half of the screen-printed; designed by Cheney Stu- 19th century (3) dios; producer: Cheney, Greeff & Co., Inc. 195. "Capital and Labor," piece, scattered re- (11) peat of scenes inscribed; "Honor to the 208. "Blackburn," alternating stripes of leaves iron worker," "Labor is honorable," "After and berries, yellow and red; cotton, silk work the happy home," each scene framed screen-printed; designer: Robert Black- in roses, light brown and red on dark burn; producer: Cheney, Greeff & Co., Inc.

brown; cotton, copper engraving (?); about (11) 1870 (39) 209. "Flowering Quince," black, red on white; 196. Length, sprays of flowers and scrolling Fiberglas, silk screen-printed; designer: vines in lavender and red against vertical Don Wight; producer; Cheney, Greefl^ & yellow and white stripe; 0.623 m. wide; Co., Inc. (11) cotton, copper engraving; Massachusetts, 210. "Composition," conventionalized shelves Fall River; 19th century (39) and vases, black, yellow on grey; cotton, silk screen-printed; designed by Jean and PERU Helen Gazagnaire; producer: Cheney, 197. Fragment, repeat of seated cat in a square, Greeff & Co., Inc. (11) white, tan and brown; cotton, block- 211. "Survey," aerial ground view, yellow block,

printed (?) and painted; coastal region; grey on white; Fiberglas, silk screen- 8th-9th century (46) printed; designer: Don Eckelberry; pro- 198. Fragment, diagonal repeat of birds and ducer: Cheney, Greeff & Co., Inc. (11) fish, highly conventionalized, brown and 212. "Etude," ancient instruments, metallic white; cotton, resist-dyed and painted; gold on white; fortisan and sheer, Central Coast llth-15th century (14) silk screen-printed; designer: Ann Shep- 199. Fragment, repeat of seated cat in square ardson; producer: Cheney, Greeff & Co., alternates with square of zig-zags, brown, Inc. (11) yellow, white and tan; cotton, block- 213. "Mountain Garden," scattered flowers,

printed (?); coastal region; llth-14th cen- black, red on metallic gold blotched tury (46) ground; cotton, silk screen-printed; de- 200. Fragment, horizontal zig-zag stripes with signer; Marion Dorn; producer: Cheney, borders, enclosing conventionalized birds. Greeff & Co., Inc. (11) 13 "Downstream," underwater foliage and screen-printed; designer: Allen Smith; fish, blue, green on white; cotton and tor- producer: Creative Looms, Inc. (16) tisan, silk screen-printed; designer: Ya 231. "Semi-Circles," broken circles, red, yellow Chun Wang; producer: Cheney, Greeff & on white; linen, silk screen-printed; de- Co., Inc. (11) signer: Pierre Kleykamp; producer: Crea- 215. "Jingle-Jangle," wind chime motif on tive Looms, Inc. (16) woven stripe, pink, red, yellow, black on 232. "Harlequins," diamonds, green, brown on black and white; fortisan and rayon, silk beige; fortisan, silk screen-printed; de- screen-printed; designer: Francis Dearden; signer: Joseph Pravata; producer: Creative producer: Cheney, Greeff & Co., Inc. (11) Looms, Inc. (16) "Jackstraws," geometric, gold and grey; 233. "Stretch-A-Point," stripe of undulating goat's hair, silk screen-printed; designed line, green, violet, black on white; linen, by Baldwin and Machado; producer: silk screen-printed; designer: Ruth Adler; Arundell Clarke (12) producer: Adler-Schnee Designs (16) 217. "Stroom Draden," black on natural 234. "Door to Door," orange line on grey and ground; cotton, silk screen-printed; de- pink stripes; cotton sheer, silk screen- signer: Pierre Kleykamp; producer: Arun- printed; designer: Ruth Adler; producer: dell Clarke (12) Adler-Schnee Designs (16) "Escalier," impressionistic spiral staircase, 238. Kitchen Towel, utensils, black, blue on red, black, and green on grey; goat's hair green; linen, silk screen-printed; designer: and cotton; silk, silk screen-printed; de- Don Wight; producer: Hedaya Brothers signer: Joe Martin; producer: Arundell (25) Kitchen utensils, Clarke ( ) 239. Towel, black, yellow on "Decided," panel, square on square, grey grey; linen, silk screen-printed; designer: and black on natural ground; linen, silk Don Wight; producer: Hedaya Brothers screen -printed; designer: Josef Albers; (25) producer: Arundell Clarke (12) 240. Kitchen Towel, utensils, brown, yellow on 220. "Structure in Two Colors," black, violet, straw ground; linen, silk screen-printed; brown; cotton, silk screen-printed; de- designer: Don Wight; producer: Hedaya signer: C. Coggeshall; producer: Arundell Brothers (25) Clarke (12) 241. "Color Blocks," textural brick pattern, "Miss Prism," blue, rust and dark grey; brown, grey, rust on white; fortisan, silk cotton, silk screen-printed; designer: Al- screen-printed; designer: Hugo Dreyfuss; bert Herbert; producer: Arundell Clarke producer: Kagan-Dreyfuss, Inc. (27) (12) 242. "Stars," formal repeat of sunburst motif, 222. "Back Yard," green, red and brown; - brown, white on white; cotton sheer, silk glas, silk screen-printed; designer: A. screen-printed in pigment; designer: Hugo Goodspeed; producer: Arundell Clarke Dreyfuss; producer: Kagan-Dreyfuss, Inc. (12) (27) "Structural Distance," panel, rust, yellow 243. "Rooster," silhouetted bird, black on and blue; silk, silk screen-printed; de- white; linen, silk screen-printed; designer: signed by Jean and Helen Gazagnaire; Emanuel Romano; producer: Kagan-Drey- producer: Arundell Clarke (12) fuss, Inc. (27) 224. "Discus," yellow and orange; linen, silk 244. "Texture #2," formal repeat of free spots, screen-printed; designer: Frederic Karoly; black on natural ground; silk, silk screen- producer: Arundell Clarke CI 2) printed; designer: Hugo Dreyfuss; pro- 225. "Thumbnail," pink, grey and red; cot- ducer: Kagan-Dreyfuss, Inc. (27) ton, silk screen-printed; designed by The 245. "Circles, Texture 3C," textural, black, Blockhouse of ; producer: Arundell white on natural ground; cotton, silk Clarke (12) screen-printed in pigments; designer: "Van Dyke Squares," blue on white; cot- Hugo Dreyfuss; producer: Kagan-Drey- ton, silk screen discharge-printed; design- fuss, Inc. (27) er: Philip Johnson; producer: Arundell 246. "Texture #6," lines diagonally crossed Clarke (12) through squares, yellow on white; cotton, 227. "Squares," green; silk, silk screen-printed; silk screen-printed; designer: Hugo Drey- producer: Arundell Clarke (12) fuss; producer: Kagan-Dreyfuss, Inc. (27) 228. "Perpetual Vine," Tudor rose on ara- 247. "Texture #10," free-forra trailing motifs, besque ground, black, yellow on natural tan, green on white; cotton sheer, silk ground; linen, silk screen-printed; pro- screen-printed; designer: Hugo Dreyfuss; ducer: Creative Looms, Inc. (16) producer: Kagan-Dreyfuss, Inc. (27) "Shadowy Squares," shaded blocks, black, 248. "Fibra," lines with loops, white on natural blue on natural ground; linen, silk screen- ground; linen, silk screen-printed in pig- printed; designer: Jane Sandelin; pro- ment; designer: Eszter Haraszty; producer: ducer: Creative Looms, Inc. (16) Associates, Inc. (28) "Crystallite," star motif, blue, metallic 249. "Ringles," interlocked circles, blue on gold on natural ground; linen sheer, silk blue; linen, silk screen-printed; designer: 14 Carol Summers; producer: Knoll Associ- Kroll; producer: Boris Kroll Fabrics, Inc. ates, Inc. (28) (30) 250. "Triad," vertical stripes, blocks, black on 266. "Marakesh," geometric architectural de- grey; cotton, "milium"-backed, silk screen- sign, greys, black on natural ground; cot- printed; designer: Eszter Haraszty; pro- ton and goat's hair, silk screen-printed; ducer: Knoll Associates, Inc. (28) producer: S. Kravet & Son, Inc. (14) 251. "Cooper Square," design inspired by 267. "Bouquet Garni," botanical specimens in Cooper Union building, blues on natural line on washes of color, black, green on textural weave; cotton, silk screen-printed; white; fortisan, silk screen-printed; de- designer: Irma Schneider; producer: Kon- signer: Don Wight; producer: Jack Lenor wiser. Inc. (29) Larsen, Inc. (31) 252. "Largo," interlocking geometric motifs, 268. "Spice Garden," impressionistic rendering violet, green, blue; linen, silk screen- of flowers, greens, blues; linen, silk screen- printed; designer: Sara Provan; producer: printed; designer: June Groff; producer: Konwiser, Inc. (29) , Inc. (31) 253. "Yang & Yin," interlocking free-form mo- 269. "Circles," textural design made from the tifs, yellow and white; cotton and rayon, imprint of egg crates, metallic gold and silk screen-printed; designer: Gloria Pri- silver on white; fortisan, silk screen- val; producer: Konwiser, Inc. (29) printed; designer: Sari Dienes; producer: 254. "Graphis," textural stripe, violet on light Jack Lenor Larsen, Inc. (31) blue; linen, silk screen-printed; designer; 270. "Tree Saw," design made of the imprint Irving Seidenberg; producer: Konwiser, of a broad logging saw in horizontal Inc. (29) stripes, metallic silver on natural ground; 255. "Attica," horizontal stripes of geometric linen sheer, silk screen-printed; designer: vase forms, black on blue; linen, silk Sari Dienes; producer: Jack Lenor Larsen, screen-printed; designer: Joe Bascom; pro- Inc. (31) ducer: Konwiser, Inc. (29) 271. "Tree Saw," design made of the imprint 256. "Spearhead," triangular motifs, yellow, of a broad logging saw in horizontal violet on white; fortisan, silk screen- stripes, chartreuse on white; Fiberglas, printed; designer: Jason Harvey; pro- silk screen-printed; designer: Sari Dienes; ducer: Konwiser, Inc. (29) producer: Jack Lenor Larsen, Inc. (31) 257. "Crushed Rock," small geometric, brown, 272. "Eclipse," length and quilted piece, bi- grey on textured weave; cotton, silk screen- sected circles, browns, violet; linen, silk printed; designed and produced by Kon- screen-printed; designer: Warren Platner; wiser, Inc. (29) producer: Jack Lenor Larsen, Inc. (31) 258. "Capriccio," textural pattern, browns, 273. "Eclipse," bisected circles, yellows; cotton greys on grey; linen, silk screen-printed; velvet, silk screen-printed; designer: War- designer: Sara Provan; producer: Kon- ren Platner; producer: Jack Lenor Larsen, wiser, Inc. (29) Inc. (31) 259. "Lustrum," broad broken stripe, black, 274. "Conifer," panel of single design of bare brown on white; cotton and rayon, silk trees, grey, white on natural ground; linen screen-printed; designer: Sara Provan; sheer, silk screen-printed in dye and pig- producer: Konwiser, Inc. (29) ment: designer: Shirley St. John; pro- 260. "Archway," black, brown on white; forti- ducer: Jack Lenor Larsen, Inc. (31) san, silk screen-printed in pigment; de- 275. "Scultura," horizontal amoeboid motif, signer: Jason Harvey; producer: Konwiser, green on white; cotton and fortisan, silk Inc. (29) screen-printed; designer and producer: 201. "Pathway," ladder maze, white on white; Elenhank Designers (31) cotton, sheer, silk screen-printed in pig- 276. "Open House," line drawing of cocktail ment; designer: Sara Provan; producer: guests in all-over repeat over horizontal Konwiser, Inc. (29) washes, brown on white; linen, silk screen- 262. "Vista," textural horizontal stripe suggest- printed; designer and producer: Elenhank ing landscape, violet on white; cotton Designers (31) sheer, silk screen-printed; designer: Sara 277. "Printing Presses," various presses and Provan; producer: Konwiser, Inc. (29) type faces, black on white; linen, silk 263. "Kiagara," shell motif, reds on yellow; screen-printed; designer and producer: cotton sheer, silk screen-printed; designer: Elenhank Designers (31) Boris Kroll; producer: Boris Kroll Fabrics, 278. "Heroica," pair of panels printed with Inc. (30) one architectural engraving by Giovanni 264. "Calligraphy," hieroglyphic characters, Battista Piranesi (n20-1776), black on blue, violet, green on white; cotton sheer, white; fortisan, silk screen-printed; de- silk screen-printed; designer: Boris Kroll; signer and producer: Laverne Inc. (32) producer: Boris Kroll Fabrics, Inc. (30) 279. "Holiday," segmented rectangles, black 265. "Calligraphy," hieroglyphic characters, and natural ground; linen, silk screen- blue, violet, green on natural groimd; printed; designer: R. Littell; producer: linen, silk screen-printed; designer: Boris Laverne Incorporated (32)

15 "Tiger Heads," whimsical heads o£ the 296. "Eyes Right," mosaic, polychrome on animal, yellow-green, black on brown; cot- white; cotton sheer, silk screen-printed; ton, silk screen-printed; designed by Juliet designer: George Farkas; producer: L. An- and Gyorgy Kepes; producer: Laverne In- ton Maix, Inc. (35) corporated (32) 297. "Eyes Right," mosaic with over-printed 281. "Pin Points," single coin dot, black on circles, polychrome, black on natural white; silk sheet, silk screen-printed; pro- ground; linen, silk screen-printed; design- ducer: Laverne Incorporated (32) er: George Farkas; producer: L. Anton 282. "Venetian Stripe," broken stripe, yellow, Maix, Inc. (35) grey, pink on white; Fiberglas, silk screen- 298. "Asterisk," red, yellow, blue, black on printed; producer: Laverne Incorporated white; linen, silk screen-printed; designer: (32) H. Nitsche; producer: L. Anton Maix, Inc. 283. "Florentine Stripe," broken stripe, green, (35) metallic gold, grey on grey; Fiberglas, silk 299. "Vintage," grape clusters, violet, green on screen-printed in pigment; producer: La- white; cotton, wood-block-printed in pig- verne Incorporated (32) ments, each motif from one impression; 284. "Splotchy," abstract, brown, orange, green designer and producer: Gilbert Rose (37) on white; cotton and rayon, silk screen- 300. "Harvest," wheat sheaves, yellow on white; printed; designer: Alexander Calder; pro- linen, wood-block-printed; designer and ducer: Laverne Incorporated (32) producer: Gilbert Rose (37) "Wheels," circular line motif, cross- 301. "Ivy," trailing pattern, shades of blue, banded at intervals, black, metallic gold metallic gold on white; silk sheer, wood- on white; cotton sheer, silk screen-printed; block-printed in pigments, each motif designed by Jason Kirby and Anton Maix; from two impressions; designer and pro- producer: L. Anton Maix, Inc. (35) ducer: Gilbert Rose (37) 286. "Tesserae," mosaic o£ polychrome and 302. "Sunflower," red on white; cotton, wood- black on white; cotton sheer, silk screen- block-printed in pigment; designer and printed; designer: Jason Kirby; producer: producer: Gilbert Rose (37) L. Anton Maix, Inc. (35) *303. "Rain," overprinted geometric design, 287. "Infinity," hexagonal fields o£ texture and blue, red, orange on white; silk sheer, silk solid color, yellow, rust, black on white; screen-printed; designer: Alexander Gir- linen, silk screen-printed; designer: Pierre ard; producer: Herman Miller (40) Kleykamp; producer: L. Anton Maix, Inc. 304. "Cut Out," geometric paper-cutting motif, (35) violet, blue, green on red; cotton, silk natural "Thatch," textural, browns on screen-printed in pigments; designer: ground; linen, silk screen-printed; de- Alexander Girard; producer: Herman signer: Paul McCobb; producer: L. Anton Miller (40) Maix, Inc. (35) 305. "Mikado," chrysanthemum motif on al- "Elements," geometric lines and diamonds, ternating squares of color, rust, orange on yellow, black on natural ground; linen, white; silk sheer, silk screen-printed; de- silk screen-printed; designer; Olga Baugh- signer: Alexander Girard; producer: Her- man; producer: L. Anton Maix, Inc. (35) man Miller (40) "Abacus," black, grey, beige on natural 306. "Triangles," alternating triangles of color, ground; linen, silk screen-printed; design- brown, grey, violet; silk sheer, silk screen- er: Paul Rand; producer: L. Anton Maix, printed; designer: Alexander Girard; pro- Inc. (35) ducer: Herman Miller (40) 291 "Variations," circles and triangles, black, 307. "Quatrefoil," formal repeat in alternat- grey on white; cotton sheer, silk screen- ing colors, black, pink, violet, mauve, blue printed; designer: Albert Herbert; pro- on brown; cotton, silk screen-printed in ducer: L. Anton Maix, Inc. (35) pigment; designer: Alexander Girard; pro- "Ditto," ombr^ dot, black on white; cot- ducer: Herman Miller ton sheer, silk screen-printed; designer: (40) presentation of Eric Nitsche; producer: L. Anton Maix, 313. "The Hunt," amorphous primitive hunting scene, black on natural Inc. ( ) linen, silk screen-printed; design- "Amour," circles of script, red, yellow, ground; Peter Heineraann; producer: Patter- grey on white; linen, silk screen-printed; er: designer: Felix Augenfeld; producer: L. son Fabrics, Inc. (45) Bouquet," interpretation of a de- Anton Maix, Inc. (35) 314. "Pastel "Rhombus," geometric, solid color and sign of Pierre Ranson (1736-1786), greens, cotton, silk line, yellow, black on white; linen, silk greys, beige, orange on white; screen-printed; designer: Paul McCobb; screen-printed; designer: Pieter Mijer; producer: Patterson Fabrics, Inc. (45) producer: L. Anton Maix, Inc. (35) design from a design of . "Hi, Larry," geometric, orange, black on 315. "Loire," columnar white; linen, silk screen-printed; designer: Alexis Loir (1640-1713), black, polychrome Elsie Krummeck; producer: L. Anton pastels on white; linen, silk screen-printed; Maix, Inc. (35) producer: Patterson Fabrics, Inc. (45) 16 316. "Spanish Acanthus," scroll in formal re- pigments; designer and producer: D. D. peat, black on natural ground; linen, silk and Leslie Tillett, Inc.; 1954 (56) screen-printed; styled by John Wisner 332. "Shasta Daisy," flower head, yellow, green, from a 16th-century document; producer: white on white; Fiberglas, silk screen- Patterson Fabrics, Inc. (45) printed in pigments; designer and produc- 317. "Grape Trellis," cross-banded grape motif, er: D. D. and Leslie Tillett, Inc.; 1954 (56) after a design by Giocondo Albertolli 333. "Big Shell," shell motif, natural, black (1742-1825), black on natural ground; ground; linen, silk screen-printed in re- linen, silk screen-printed; producer: Pat- sist; designer and producer: D. D. and terson Fabrics, Inc. (45) Leslie Tillett, Inc.; 1956 (56) 318. "Military Medals," medals in formal re- 334. Border Motif, Greek key, yellow flocking peat on striped ground, red, white, blue, on white; silk and cotton, silk flocking, black, yellow; cotton, silk screen-printed; silk screen-printed; producer: The Win- designer: Joe Martin; producer: Patterson dow Shop (62) Fabrics, Inc. (45) 335. Border Motif, feather edge, taken from an 319. "Trompe I'Oeil," polychrome on tan 18th-century embroidery, blue flocking on wood-grain ground; cotton, silk screen- white; silk and cotton, silk flocking, silk printed; designer: Don Wight; producer: screen-printed; producer: The Window Patterson Fabrics, Inc. (45) Shop (62) 320. "Some Flowers," paper-wrapped bouquets 336. Piece, leaves, rust, greens, yellow on natu- of stock on dotted ground, violet, brown, ral ground; linen, silk screen-printed; de- green on grey; cotton, silk screen-printed; signer: Ann Ophelia Todd; producer: designer: Portia Lebrun; producer: Pat- Morley-Fletcher; England (18) terson Fabrics, Inc. (45) 337. Piece, leaves and berries, yellow, browns 321. "Rocaille," design from document of on natural ground; linen, silk screen- Juste-Aur^Ie Meissonier (1675-1750), me- printed; designer: Ann Ophelia Todd; white; cotton, silk screen- tallic gold on producer: Morley-Fletcher; England (18) printed in pigment; styled by Claude 338. Piece, silhouetted grasses and seed pods, Herndon; producer: Patterson Fabrics, greys, browns, greens on natural ground; Inc. (45) linen, silk screen-printed; designer: Ann 322. "On the Square," checkerboard, yellow on Ophelia Todd; producer: Morley-Fletcher; natural ground; linen gauze, silk screen- England (18) printed; producer: Patterson Fabrics, Inc. 339. "Spinners," line drawing, black, white on (45) red; cotton, silk screen-printed; designer: ," metallic silver yel- 323. "Antique on Mary Warren; producer: Cheney, Greeff low; cotton, silk screen-printed in pig- & Co., Inc.; England (11) ment; producer: Patterson Fabrics, Inc. 340. "Printania," floral, polychrome on grey- (45) green; cotton, silk screen-printed; pro- 324. "Antique Damask," silver on yellow; wall- ducer: Brunschwig & Fils; France (9) paper, silk screen-printed; producer: Pi- 341. "Bengali," birds and foliage, black on azza_Prints (47) white; cotton, silk screen-printed; pro- 325. "Music Collage," music sheets, black on ducer: Brunschwig & Fils; France (9) green and beige wash; cotton, silk screen- 342. "Gladioli," flowers, yellow, red, green on printed; designer: Ezio Martinelli; pro- white; cotton, silk screen-printed; pro- ducer: Morton Sundour Co., Inc. (53) ducer: Brunschwig & Fils; France *326. "Tranquil Harbour," sketch of fishing (9) 343. "Tulips," stylized flowers, polychrome on boats, black on green; linen, silk screen- natural ground; linen, silk screen-printed; printed; designer: Ezio Martinelli; pro- Germany (17) ducer: Morton Sundour Co., Inc. (53) 327. "Bandage Baby," criss-cross lines on 344. "DuBarry Mosaic," polychrome in metal- lic pigments; stripes, green on red and brown; linen, silk cotton and Novafil, silk screen-printed; designer and producer: screen-printed; Italy (17) Tillett, Inc,; *345. "Coptic Horse," motif in the style of an- D. D. and Leslie 1946 ( ) 328. "Conch Shell," piece, shell motif, red on cient tapestry, black on white; cotton, red; linen, silk screen-printed; designer wood-block-printed in pigment; designer: and producer: D. D. and Leslie Tillett, Dorothy MacNab; Jamaica, Montego Bay Inc.; 1948 (56) (55) 329. "Eggplant," piece, vegetables on stripe, 346. "Cocoa Leaves," design from the imprint black on violet; linen, silk screen-printed; of the leaf, metallic gold, black on green; designer and producer: D. D. and Leslie cotton, wood-block-printed in pigment; Tillett, Inc; 1952 (56) designer: Dorothy MacNab; Jamaica, 330. "Stripe," violet, brown, pink; Fiberglas, Montego Bay (55) silk screen-printed; designer and produc- 347. "Hart and Bird," metallic gold, brown on er: D. D. and Leslie Tillett, Inc.; 1954 (56) white; cotton, wood-block-printed in pig- 331. "Honesty," dried pods, white, beige on ment; designer: Dorothy MacNab; Ja- white; Fiberglas, silk screen-printed in maica, Montego Bay (55) 17 348. "Pythagoras," triangles compounded, printed; designer and producer: Brooke shades of red, black on white; linen, silk Cadwallader, Inc. (10) screen-printed; designer: Sven Markelius; 363. Unmounted Skirt, circles and lines, black, producer: Knoll Associates, Inc.; Sweden brown on white; Lilion (unwoven cotton (28) and ), silk screen-printed; producer: 349. "Tri-Drama," triangles of color, orange, Cohn-Hall-Marx (13) reds, green; linen, silk screen-printed; de- 364. Length, flowers on striated ground, brown signer: Viola Grasten; producer: Nord- and pink on orange; cotton and Celanese iska-Kompaniet; Sweden, Stockholm (63) acetate, roller-printed; producer: Cohn- 350. "Timglas," hourglass silhouetted stripe, Hall-Marx (13) blue on white; linen, silk screen-printed; 363. Length, well-covered pattern of flowers, designer: Arthur Siegel; producer: Nord- polychrome pastels on white; cotton and iska Kompaniet; Sweden, Stockholm (63) Celanese acetate, roller-printed; producer: 351. "Festivo," polychrome squares on black; Cohn-Hall-Marx (13) cotton velvet, silk screen-printed; design- 366. Length, chalk stripe imitating suiting er: Viola Grasten; producer: Nordiska , black and white; silk, engraved Kompaniet; Sweden, Stockholm (63) steel roller-printed; designer: Jos6 Martin; 352. "Bob and Jack," interrupted stripe of producer: Couture Fabrics, Ltd. (15) squares, metallic silver, black, blue on 367. Length, polychrome stripe; silk, printed blue; linen, silk screen-printed in pig- with the George Tillett striper; designer: ments; designer: ; producer: Jos^ Martin; producer: Couture Fabrics, Nordiska Kompaniet; Sweden, Stockholm Ltd. (15) (63) 368. Length, flowers, black, white and grey; 353. "Coraedia," fanciful masquerade figures, Celanese acetate, warp printed by roller; reds and black; linen, silk screen-printed; woven by Louis Messer & Co.; producer: designer: Stig Lindberg; producer: Nord- Empire and Finishing Co. (20) iska Kompaniet; Sweden, Stockholm (63) 369. Length, bold block in dry-brush tech- 354. "Atomics," reds, orange on black; linen, nique, orange on white; silk sheer, roller- silk screen-printed; designer: Theodor printed; designer: Jos6 Martin; producer: Svedberg; producer: Nordiska Kompaniet; The Fabricmart Corp. (21) Sweden, Stockholm (63) 370. Length, geometric forms, blue on blue; 355. "Vagorna," vertical stylized fishing motifs, cotton, roller mordant-printed; producer: blues, greys on white; linen, silk screen- Forge Mills, Inc. (22) printed; designer: Stig Lindberg; produc- 371. Length, loosely brushed floral motif, er: Nordiska Kompaniet; Sweden, Stock- black, green on light blue; nylon and ace- holm (63) tate jersey, roller-printed; producer: Forge *356. "Revy," jagged blocks of mosaic, reds, Mills, Inc. (22) black on white; cotton, silk screen-printed; 372. Length, Indian motif on ground, designer: Viola Grasten; producer: Nord- violet, black on green; cotton, roller- iska Kompaniet; Sweden, Stockholm (63) printed; producer: Forge Mills, Inc. (22) 357. "Tulipuu," abstract floral motif, blue, 373. Length, Indian motif, black on brown; green on white; linen, silk screen-printed; nylon and acetate jersey, roller-printed; designer: Viola Grasten; producer: Nord- producer: Forge Mills, Inc. (22) iska Kompaniet; Sweden, Stockholm (63) 374. Length, flowers and leaves, black, brown, 358. "Raff," blocks of polychrome, black lines violet on beige; nylon and acetate jersey, on white; linen and cotton, silk screen- roller-printed; producer: Forge Mills, Inc. printed; designer: Viola Grasten; produc- (22) er: Nordiska Kompaniet; Sweden, Stock- 375. Length, rosebud, pink flocking, green on holm (63) beige; nylon , roller-printed; producer: 359. "Symphony," oval forms, greens, broWn, Forge Mills, Inc. (22) red on natural ground; linen, silk screen- 376. Length, maize, red and black; cotton, rol- printed; designer: Gusta Lindfors; pro- ler-printed; producer: Forge Mills, Inc. ducers: Nordiska Kompaniet; Sweden, (22) Stockholm (63) 377. Length, penwork, violet on blue; cotton, roller-printed; producer: Forge Mills, Inc. TEXTILES FOR APPAREL (22) orange, 360. "Dime Novels," woman's scarf, pictorial, 378. Length, Middle Eastern motifs, yellow, terra-cotta red border; silk, silk green and black on grey; cotton, roller- screen-printed; designer and producer: printed; producer: Forge Mills, Inc. (22) Brooke Cadwallader, Inc. (10) 379. Length, twigs and leaves on square re- produc- 361. "Still Life," fruit motif, violet, blue; silk, peat, reds; cotton, roller-printed; silk screen-printed; designer and produc- er: Forge Mills, Inc. (22) er: Brooke Cadwallader, Inc. (10) 380. Length, vermiform pattern, white and 362. "Harlequin," diamonds, red, grey, black, black on pink; cotton, roller-printed and metallic gold; cotton , silk screen- flocked; producer: Forge Mills, Inc. (22)

18 381. Length, daisy motif, blue, black, red, grey 402. Length, flower repeat, shades violet, green; and white on black and white woven pat- silk, roller-printed; producer: Onondaga terned ground; cotton, direct and dis- Silk Co. (42) charge printed from roller; producer: 403. Length, flowers, green, white, red; silk Forge Mills, Inc. (22) sheer, roller-printed; producer: Onondaga 382. Length, ribbon motif, pink, brown on Silk Co. (42) white; acetate, roller-printed; producer: 404. Length, flower and stripe repeat, beige, Inc. Goodman and Theise, (24) green; silk sheer, roller-printed; producer: 383. Length, coin dot, yellow on magenta; silk, Onondaga Silk Co. (42) roller-printed; producer: Goodman and 405. Length, Indian motif, greys; silk sheer, Theise, Inc. (24) roller-printed; producer: Onondaga Silk 384. Length, amoeboid shapes, blue, black on Co. (42) white; acetate, roller-printed; producer: 406. Length, stars within dots within squares, Goodman and Theise, Inc. (24) violet on light blue; Celanese acetate and 385. Length, alternate blocks of circles and cotton, roller-printed; producer: Pacific squares in formal repeat, black on yellow; Mills (43) silk, roller-printed; producer: Goodman 407. Length, ombr^ dots forming Indian mo- and Theise, Inc. (24) tifs, black on striped ground of blue, 386. Length, flowers and leaves, blue, violet on green, brown; cotton, silk black; cotton, roller-printed; producer: screen-printed; designer and producer: Harvey Seltzer & Goodman and Theise, Inc. (24) Co. 387. Length, criss-cross lines, blues on black; (51) cotton, roller-printed; producer: Good- 408. Length, ombre dots forming Indian mo- tifs, black on mottled ground of red man and Theise, Inc. (24) and green; 388. Length, batik type, blue, brown on white; cotton, silk screen-printed; designer cotton, roller-printed; producer: Good- and producer: Harvey Seltzer & Co. (51) 409. Length, Indian man and Theise, Inc. (24) motifs on polychrome 389. Length, mottled, reds on white; cotton, stripes; cotton, silk screen-printed; de- roller-printed; producer: Goodman and signer and producer: Harvey Seltzer & Co. Theise, Inc. (24) (51) 390. Length, diamond, green and yellow on 410. Length, interlaced mottled free forms, white; silk, roller-printed; producer: pink, orange, brown; cotton, silk screen- Goodman and Theise, Inc. (24) printed; designer and producer: Harvey 391. Length, diamond, green and yellow on Seltzer & Co. (51) white; silk sheer, roller-printed; producer: 411. Length, scroll on mottled ground, black, Goodman and Theise, Inc. (24) reds, blues, greens; cotton, silk screen- 392. Length, dot, red, pink on white; silk, printed; dseigner and producer: Harvey roller-printed; producer: Goodman and Seltzer & Co. (51) Theise, Inc. (24) 412. Length, tile motifs on striped ground, 393. Length, dot, red, pink on white; silk blue, yellow, red, brown; cotton, silk sheer, roller-printed; producer: Goodman screen-printed; designer and producer: and Theise, Inc. (24) Harvey Seltzer & Co. (51) 394. Length, lace black on white; silk, roller- 413. Length, Indian motif on stripe, reds, printed; producer: Goodman and Theise, browns, yellows, blues; cotton, silk screen- Inc. (24) printed; designer and producer: Harvey 395. Length, lace, black white; silk on sheer, Seltzer & Co. (51) roller-printed; producer: Goodman and 414. Length, textured stripes, reds, browns, Theise, Inc. (24) blues; cotton and rayon, silk screen- 396. Length, flowers, violet, pink, blue, red; printed; designer and producer: Harvey silk, roller-printed; producer: Goodman Seltzer & Co. (51) and Theise, Inc. (24) 415. Length, monochrome plaid, greys; cotton, 397. Length, flowers, blue, violet, pink, red; silk screen-printed; designer and produc- silk sheer, roller-printed; producer: Good- er: Harvey Seltzer & Co. (51) man and Theise, Inc. (24) 416. Length, marbled, greys, pink; 398. Length, blurred dot, grey on black; Cela- cotton, silk screen-printed; designer nese acetate, roller-printed; producer: and producer: Harvey Seltzer & Co. (51) Loomskill, Inc. (34) 399. Length, diamond repeat, orange, rust and 417. Length, polychrome plaid; cotton, silk black; Celanese acetate, roller-printed; screen-printed; designer and producer: Harvey Seltzer & Co. producer: Loomskill, Inc. (34) (51) 400. Length, striated texture, brown on white; 418. Length, mottled polychrome; cotton, silk Celanese acetate, roller-printed; producer: screen-printed; designer and producer: Loomskill, Inc. (34) Harvey Seltzer & Co. (51) 401. Length, irregular stripe with abstract mo- 419. Length, shells, orange on orange; cotton, tit, white, pink, beige; silk sheer, roller- silk screen-printed; designer and produc- printed; producer: Onondaga Silk Co. (42) er: Harvey Seltzer & Co. (51) 19 420. "Fierce Red," plaid, shades of red; cotton, er: D. D. and Leslie Tillett, Inc., 1956 (56) silk screen-printed; designer and produc- 436. "Obscure Fish," fish motif, on undulating er: D. D. and Leslie Tillett, Inc., 1948 (56) stripes, blues, violets, white; cotton, silk 421. "Starfish," on stripes, pinks, oranges; silk, screen-printed; designer and producer: silk screen-printed; designer and produc- D. D. and Leslie Tillett, Inc., 1956 (56) er: D. D. and Leslie Tillett, Inc., 1951 (56) 437. Length, daisy, black and grey on white; 422. "Walnuts," over-night bag, brown on Celanese Arnel jersey, roller-printed; pro- black, man's shirt, cravat, bow-tie and ducer: WuUschleger & Co., Inc. (64) peignoir; cotton, silk screen-printed; de- 438. Length, bands of mossy foliage, black on signer and producer: D. D. and Leslie Til- white; Celanese Arnel jersey, roller- lett, Inc., 1952 (56) printed; producer: WuUschleger & Co., 423. "Red Stripe," piece, reds, black, brown; Inc. (64) hand-woven cotton, silk screen-printed; *439. Length, map of the Belgian Congo sur- designer and producer: D. D. and Leslie rounded by radiating fields of small repeat Tillett, Inc., 1953 (56) patterns, each enclosing a different natu- 424. "Song of Lite," pictorial bands after an ral product of the Congo, yellow, green, Italian mural, greys, browns, black and orange, indigo; cotton, resist-printed from white; wool, silk screen-printed; designer copper roller, dyed, block-printed; pro- and producer: D. D. and Leslie Tillett, duced in Holland for the Congo market Inc., 1954 (56) (23) *425. "Lily," conventionalized columns of scrolls 440. Piece, medallion taken from a batik in the and fleur-de-lis on polychrome stripes; Cooper Union Museum collection, brown, wool, silk screen-printed; designer and yellow, indigo on white ground; cotton, producer: D. D. and Leslie Tillett, Inc., roller-printed; designed in the United 1954 (56) States; produced in Japan for the Congo 426. "Town Lights," spattered stripe, grey, market (23) brown, black, white; cotton, silk screen- 441. Length, circles and trailing lines, red, yel- printed in dye and pigment; designer and low on indigo ground; cotton, stitch re- producer: D. D. and Leslie Tillett, Inc., sist and tie-dyed; designed in the United 1954 (56) States; produced in Japan for the Congo 427. "Renaissance Plaid," piece, irregular market (23) flaked plaid, greys, browns, violet, blue, 442. Thirteen Sample Pieces, various motifs; black; wool, silk screen-printed; designer cotton, roller-printed, some in natural and producer: D. D. and Leslie Tillett, dyes and indigo; designed in the United Inc., 1954 (56) States; produced in Japan, Osaka, for the 428. "Stuffed Fish," skeletal fish, red on striped Congo market (23) green ground; cotton, silk screen-printed; 443. Five Pieces, various designs; cotton, stitch- designer and producer: D. D. and Leslie resist and tie-dyed in natural dyes and in- Tillett, Inc., 1954 (56) digo; designed in the United States; pro- 429. "Victorian Tassels," piece, diaper repeat duced in Japan for the Congo market (23) of tassels on striped groimd, blue, green; 444. Piece, stripes, diagonal lines and crosses, wool, silk screen-printed; designer and indigo and white; cotton, stitch resist; producer: D. D. and Leslie Tillet, Inc., Nigeria, Abeokuta, Yoruba Tribe (5) 1954 (56) 445. Piece, star and line pattern, indigo and 430. "Strawberries," berry motif, red on red; white; cotton, stitch resist and tie-dyed; cotton, silk screen-printed in resist; de- Nigeria, Abeokuta, Yoruba Tribe (5) signer and producer: D. D. and Leslie Til- 446. Length, polychrome fruit motifs outlined lett, Inc., 1954 (56) with broad brush strokes of black; cotton, 431. "Strawberries," beach hat and bag, red on silk screen-printed; producer: Cohn-Hall- red; cotton, silk screen-printed; designer Marx; Japan (13) and producer: D. D. and Leslie Tillett, 447. Length, cocks and trees, blues, red, black Inc., 1954 (56) on white; silk, silk screen-printed; pro- 432. "Melody," piece, textural stripe, greens, ducer: Cohn-Hall-Marx; Japan (13) blues; cotton, silk screen-printed; designer 448. Length, flowers and leaves, blue, violet, and producer: D. D. and Leslie Tillett, black, metallic gold on white; silk, silk Inc., 1955 (56) screen-printed; producer: Cohn-Hall- 433. "Bee Hive," tablecloth and napkin, black, Marx; Japan (13) grey on naturol ground; linen, silk screen- 449. "Family Group," square scarf, figures in printed in resist; designer and producer: red, yellow, blue and white on black; D. D. and Leslie Tillett, Inc.. 1955 (56) rayon, silk screen direct- and discharge- 434. Pool Towel, striped, reds, violets; cotton printed; designer: Henry Moore (1898-

, silk screen-printed; designer ); England, 1945-1946 (48) and producer: D. D. and Leslie Tillett, 450. Length, flower sprays and bow-knots, Inc., 1955 (56) pink, red and metallic gold on violet; silk 435. "Mad Plaid," polychrome and black; wool, sheer, silk screen-printed; producer: Myri- silk screen-printed; designer and produc- cae; Italy, (14) 20 SELECTED REFERENCES FROM THE COOPER UNION MUSEUM LIBRARY

GENERAL WORKS Persoz, Jean Francois. Traite th^orique et pra- tique de I'impression des tissus. Paris, Masson, Bezon, Jean. Dictionnaire g^n^ral des tissus an- 1846. 4 vols. ciens et modernes. Lyon, L^pagnez, 1857-67. 9 vols. Pettit, Florence H. Block printing on fabrics. Biihler-Oppenheim, Kristin, and Biihler-Oppen- New York, Hastings House, 1952. heim, Alfred. Die Textiliensammlung Fritz A practical treatise on dyeing and print- Ikl^-Huber im Museum fiir Volkerkunde und ing, including the latest inventions and im- Schweizerischen Museum fiir Volkskunde, Ba- provements. New York, Harper, 1846. sel (Griuidlagen zur Systeraatik der gesamcen Sansone, Antonio. The printing of cotton fab- textilen Techniken). Ziirich, Fretz, 1948. rics, comprising calico bleaching, printing and {Denkschriften der Schweizerischen Natur- dyeing. 2nd ed., rev. Manchester, Heywood, forschenden Gesellschaft, vol. 78, part 2) 1901. Capey, Reco. The printing of textiles. New Victoria and Albert Museum, South Kensington. York, Wiley, 1930. Brief guide to the oriental painted, dyed and Ciba Company, Inc. Textile printing with dyes printed textiles. London, 1924. of the Society of Chemical Industry in Basle Victoria and Albert Museum, South Kensington. . . . and with those of the Dow Chemical Com- Brief guide to the western painted, dyed and pany, Midland, Mich. New York, Howes, 1928. printed textiles. London, 1924. 3 vols. Victoria and Albert Clouzot, Henri. Painted and printed fabrics, the Museum, South Kensington. European printed history of the manufactory at Jouy and other textiles. London, H. M. Stationery Office, 1949. ateliers in France, 1760-1815. Notes on the printing, especially in Eng- Walton, Perry. The story of textiles. New York, land and America, by Frances Morris. New Tudor Pub. Co., 1937. York, Metropolitan Museum of Art, 1927. Wright, Robert H. Modern and Cooper, Thomas. A practical treatise on dyeing production. London, National Trade Press, and callicoe printing. Philadelphia, Dobson, 1949. 1815. Crookes, Sir William. Dyeing and tissue-print- SPECIAL COUNTRIES AND SUBJECTS ing. London, Bell, 1882. Allemagne, Henry Ren6 d'. La toile imprim^e Day, Lewis F. Pattern design. London, Bats- et les indiennes de traite. Paris, Griind, 1942. ford, 1923. 2 vols.

Dollfus-Ausset, Daniel. Mat^riaux pour la color- Arseven, CelSl Esad. Les Arts d^coratifs turcs. ation des 6toffes. Paris, Savy, 1865. 2 vols. Istambul, Milli Egitim Basimevi [194-?] Le Forrer, Robert. Die Kunst des Zeugdrucks vom Yazma, pp. 264-9. Mittelalter bis zur Empirezeit. Strassburg, Baines, Sir Edward. History of the cotton manu- Schlesier & Schweikhardt, 1898. facture in Great Britain. London, Fisher & Forrer, Robert. Die Zeugdrucke der byzantin- Jackson, 1835. ischen, romanischen, gothischen und spateren Baker, George P. Calico painting and printing Kunstepochen. Strassburg, 1894. in the East Indies in the XVIIth and XVllIth Glazier, Richard. Historic textile fabrics. New centuries. London, Arnold, 1921. 2 vols. York, Scribner's, 1923. . Ciba Review no. 58, July 1947. Henschen Ingvar, Ingegerd. Tygtryck i Sverige, Bendure, Zelma, and PfeifFer, Gladys. America's vol. 1: Fore 1700. Stockholm, Nordiska Mu- fabrics; origin and history, manufacture, char- seet, 1942. acteristics and uses. New York, Macmillan, Kasper, Karl. Bunter Traum auf gewebtem 1947. Grund, aus der Wunderwelt des StofEdrucks. Berthoud, Dorette. Les indiennes neuchSteloises. Berlin, Eisner, 1938. Boudry, Switzerland, Baconniire, 1951. Linton, George E. The modern textile diction- Breck, Joseph. Four seventeenth-century pin- ary. New York, Duell, Sloan & Pearce, 1954. tadoes. Metropolitan Museum Studies, vol. 1, Parnell, Edward A. A practical treatise on dye- pp. 3-15, October 1928. ing and calico-printing including the latest Brett, K. B. The Harry Wearne collection of inventions and improvements. New York, painted and printed textiles, parts 1, 2 & 3. Wiley, 1860. Bulletin of the Royal Ontario Museum of Percival, Maclver. The book. London, Archaeology, nos. 17, 18 & 22; 1951, 1952 & Heinemann, 1923. 1954.

21 A brief state of the question between the printed Lewis, Frank. English chintz, from earliest times and painted calhcoes and the woollen and until the present day. Benfleet, England, 1935.

silk manufacture . . . 2nd ed. London, Bore- Little, Frances. Early American textiles. New ham, 1719. York, Century Co., 1931. Henri. Histoire de la manufacture de Clouzot, Longfield, Ada K. History of the and en France. Paris, Jouy et de la toile imprim^e cotton printing industry in the 18th century. Oest, 1928. 2 vols. Van Journal of the Royal Society of Antiquaries Clouzot, Henri. La manufacture de Jouy et la of Ireland, vol. 76, pp. 26-56, 1937. XVIII= siMe. Paris, Van toile imprim^e au Longfield, Ada K. Notes on the linen and cot- Oest, 1926. ton printing industries in northern Ireland Clouzot, Henri. La toile peinte en France; la in the eighteenth century. (Reprinted from manufacture de Jouy. Versailles, Bourdier, Proceedings of the Belfast Natural History 1912-14. and Philosophical Society, 2nd ser., no. 4, pp. Culin, Stewart. The story of the painted cur- 53-68, sessions 1950/51 & 1954/55). tains. Good Furniture, vol. 11, pp. 133-147, Mailey, Jean. Indian textiles in the Museum's September 1918. collection. Chronicle of the Museum for the Depitre, Edgard. La toile peinte en France au Arts of Decoration of the Cooper Union, vol. XVIIo et au XVIIIe siteles; Industrie, com- 2., no. 5, June 1953. merce, prohibitions. Paris, Riviere, 1912. Medieval cloth printing in Europe. Ciba Review no. Driessen, Louis A. Calico printing and cotton 26, October 1937. industry in Holland. Ciba Review, no. 48, Mijer, Pieter. Batiks, and how to make them. pp. 1748-51, May 1944. New York, Dodd, Mead, 1919. Erivan. Gosudarstvennaia kartinnaia gallereia Moussinac, Leon, fitoffes imprimte et papiers Armenii. Armianskaia naboika [Armenian peints. Paris, L^vy, 1924. 1953. printed textiles]. Moskva, Pfister, R. Les toiles imprimte de Fostat et Hadaway, William S. Cotton painting and I'Hindoustan. Paris, Editions d'Art et d'His- printing in the Madras Presidency. Madras, toire, 1938. Government Press, 1917. Plangi — tie and dye work. Ciba Review no. Hassler, Friedrich. Die Augsburger Textil-, 104, June 1954. Metall- und Papierindustrie. (In: Augusta Real, Daniel. Les batiks de Java. Paris, Calavas, 955-1955, Forschungen und Studien zur Kul- n.d. tur- und Wirtschaftsgeschichte Augsburgs. Real, Daniel. Tissus des Indes n^erlandaises. Munich, H. Rinn, 1955, 403-426) pp. Paris, Calavas, 1927. Hunton, W. Gordon. English decorative textiles. Roy, Bernard. Une capitale de I'indiennage: London, Tiranti, 1930. Nantes. Nantes, Musee des Salorges, 1948. Ikats. Ciba Review no. 44, August 1942. Schuster, Carl. Stitch-resist dyed fabrics of west- F. Ikat technique and Dutch East Ikl^, Charles ern China. Bulletin of the Needle and Bobbin York, 1934. (Reprint from Indian ikats. New Club, vol. 32, pp. 11-31, 1948. Bulletin of the Needle and Bobbin Club, vol. Schwartz, Paul R. Les debuts de I'indiennage 15, nos. 1 and 2, 1931) mulhousien. Bulletin trimestriel de la Soci- Indigo. Ciba Review no. 85, April 1951. ete Industrielle de Mulhouse, no. 3, 1950, pp. [Japanese chintz designs, Sarasa]. 1883. 21-44; no. 1, 1951, pp. 33-54; no. 1, 1952, pp. Jaques, Renate. Deutsche Textilkunst in ihrer 5-18.

Entwicklung bis zur Gegenwart. Berlin, Rem- Sobolev, Nicolai N. NaboTka v Rosii; istoria i brandt-Verlag, 1942. sposob raboty [Textile printing in Russia; his- Jaques, Renate. Mittelalterlicher Textildruck tory and technique]. Moskva, Sytin, 1912. am Rhein. Kevelaer, Butzon & Bercker, 1950. Society Industrielle de Mulhouse. Histoire docu- (Textilkunst am Rhein, vol. I) mentaire de I'industrie de Mulhouse et de ses Jayakar, Pupul. Indian printed textiles. Bom- environs au XIX™e si^cle. Mulhouse, Bader, bay, All India Handicrafts Board, 1954. 1902. Journal of Design and Manufactures, vols. 1-6. Tanaka, Toshio, and Tanaka, Reiko. A study London, Chapman & Hall, March 1849-Febru- of Okinawan textile fabrics. Tokyo, Meiji- ary 1852. 6 vols. shobo, 1952. 2 vols.

Journal of Indian Textile History no. I. Ahmed- Tennent, Sir James E. A treatise on the copy-

abad, India, Calico Museum of Textiles, 1955. right of designs for printed fabrics . . . Lon- don, Smith, Elder, 1841. Lamm, Carl J. Cotton in mediaeval textiles of the Near East. Paris, Geuthner, 1937. Textile printing in 18th century France. Ciba Lewis, Albert B. Block prints from India for Review no. 31, March 1940. textiles. Chicago, Field Museum of Natural Textile printing in Switzerland. Ciba Review History, 1924. no. 105, August 1954.

22 Turnbull, Geoffrey. A history of the calico print- hibition of printed fabrics, with original car- ing inciustry of Great Britain. Altrincham, toons and designs [by Frances Morris]. Chron- Eng., Sherratt, 1951. icle of the Museum for the Arts of Decoration the Cooper Union, vol. 1, no. 3-11, Union Centrale des Arts D^coratifs. Oeuvres de of 1, pp. April 1935. Huet et son &ole pour la manufacture de Jouy. Paris, Gu^rinet, n.d. (Nouvelles collec- 1941. New-York Historical Society. Catalogue, tions de rUnion Centrale des Arts Decoratits) American scenes and events on textiles; an ex- hibition printed , and Victoria and Albert Museum, South Kensington. of from 1777 to 1941. New York, 1941. English chintz. London, H. M. Stationery Of- fice, 1955. (Small picture book, no. 22) 1950. Basel. Gewerbemuseum, and Zurich. Kunstgewerbemuseum. Ausstellung: Der Tex- Vieilles toiles de Jouy, XVIIIe siMe, premier tildruck. Basel, 1950. empire . . . Paris, Gu^rinet, n.d. 1952. Mulhouse. Musee de I'lmpression. Expo- Vydra, Josef. Indigo blue print in Slovak folk sition de I'ete 1952 [par Jacques-Henry Gros]. art. Prague, Artia, 1954. (Extrait du Bulletin nos. 3 & 4 de la Soci^ti Industrielle de Mulhouse, SOME EXHIBITIONS OF PRINTED FABRICS 1952) 1953. Enschede. Rijksmuseum "Twenthe." Ten- 1907-8. Paris. Musee Galliera. La tradition de toonstelling: Bont en blauw, tien eeuwen Paris, la toile imprim^e en France. 1907. bedrukte stof. Enschede, 1953. 1927. New York. Metropolitan Museum of Art. 1954. Mulhouse. Mus^e de I'lmpression. Pre- of Catalogue of a retrospective exhibition sentation de la collection Louis Becker: Mou- painted and printed fabrics. New York, 1927. choirs et tissus imprimes des XVIII^ et XIX« 1928. Paris. Mus^e Galliera. Toile imprim^e sifecles. Mulhouse, 1954. et papier peint. Paris, 1928. 1955. Manchester. Cotton Board Colour De- 1929. Berlin. Herrmann Gerson. Ausstellung sign and Style Centre. English chintz; two von antiken, bedruckten Stoffen; Originale centuries of changing taste; an exhibition aus den Manufakturen von Jouy, Nantes, [compiled by the Victoria and Albert Mu- Melun und anderen. Berlin, 1929. seum]. London, H. M. Stationery Office, 1955. 1934. New York. Cooper Union Museum. Ex- Gerd Muehsam

23 CONTRIBUTORS

To the Exhibition

Albany Institute of History L. Anton Maix, Inc. (35)

AND Art (1) Jose Martin (36)

American Craftsmen's Council (2) Gene McDonald, Inc. (37)

Anonymous (3) Elinor Merrell (38)

The Apponaug Company (4) The Metropolitan Museum

William Bascom (5) of Art (39)

&: Herman J. Bass Company (6) Miller (40)

Miss G. F. Bieber (7) The New-York Historical

Museum of Fine Arts, Boston (8) Society (41)

Brunschwig & FiLs (9) Onondaga Silk Company, Inc. (42) Brooke Cadwallader, Inc. (10) Pacific Mills (43)

Cheney, Greeff and Co., Inc. (11) Mrs. James Iman Pamoedjo (44)

Arundell Clarke (12) Patterson Fabrics (45)

Cohn-Mall-Marx Co. (13) Philadelphia Museum of Art (46)

The Cooper Union Museum (14) Piazza Prints (47)

Couture Fabrics, Ltd. (15) Museum of Art, Rhode Island

Creative Looms, Inc. (16) School of Design (48)

DoMus Fabrics, Inc. (17) Manabu Saito (49)

Mrs. Raymond B. Dowden (18) Carl Schuster (50) Kunstsammlungen der Stadt Harvey Seltzer &: Co. (51)

DiJSSELDORF (19) Landesgewerbemuseum, Empire Dyeing and Finishing Stuttgart (52)

Co. (20) Morton Sundour Co., Inc. (53)

The Fabricmart Corp. (21) Textile Museum,

Forge Mills (22) Washington, D. C. (54) Thaibok Fabrics, Ltd. J. Gerber and Co., Inc. (23) (55) Goodman and Theise, Inc. (24) D. D. and Leslie Tillett, Inc. (56)

Hedaya Brothers (25) Miss Gertrude Townsend (57)

Josephine Howell, Inc. (26) The United Piece Dye Works (58)

Kagan-Dreyfuss, Inc. (27) Mrs. Langdon Warner (59)

Knoll Associates, Inc. (28) Colonial Williamsburg (60)

Konwiser, Inc. (29) Mrs. Elizabeth Bayley Willis (61)

Boris Kroll Fabrics, Inc. (30) The Window Shop (62)

Jack Lenor Larsen, Inc. (31) Wolfin Associates, Inc. (63)

Laverne Incorporated (32) Wullschleger Co., Inc. (64)

Adolph Loewi (33) Matthew Wysocki (65)

Loomskill, Inc. (34) Yale University Art Gallery (66)

24

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