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S saluvuai INSTITUTION NOILNLILSNI INSTITUTION NOILNLILSNI INSTITUTION Sa3iuvudi NVINOSHLINS SSIYVYAITLIBRARIES ma “ = o ; z Seite = < = EG PN. pa = as z fo) ANY a ; O ze oO - \ NT 2 E Za E ae 3 > z= pow ave LIBRARIES SMITHSONIAN INSTITUTION ae eS les an ul wl 5 bs a zy a o a a ~ a ee 5 = Ra oe a a 2 mo el ca = = Oo meat Oo = Oo - fa ay z ey a SMITHSONIAN INSTITUTION NOILNLILSNI NVINOSHLINS SS!IYVYEIT LIBRARIES SMITHSON z c Z e Z oO = a ° ow = ke = Se ialk (fs 3 = S| > > ey, ‘Mf 2 E z E 2 = Oy o < rm) . £2 wo z NVINOSHLIWS (Sa 1yvugd Mul BRARI ES SMITHSONIAN INSTITUTION, NOILNLILSNI_ NWINOSHL DESIGN BY THE YARD TEXTILE PRINTING FROM 800 TO 1956 THE COOPER UNION MUSEUM FOR THE ARTS OF DECORATION NEW YORK 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 Miss IRENE BLUNT Miss PAMELA M. BURDEN Miss VIRGINIA BURDICK THE CELANESE CORPORATION OF AMERICA Mrs. FRANCIS CLARKE Miss PEccy Cook Miss SuE EASTMAN ROBERT EVANS Miss DoroTHY JEAN FUHRER Mrs. Mary Davis GILLIES Miss RuTH HAMMER JERRY HANNOCH Douc.Las Harpy Mrs. MARGARET INGERSOLL RAYMOND W. JACOBY Joun A. JONnEs, JR. WILFRED KRAMER Just LuNNING STANFORD S. MARLOWE JEAN-LouIs DE MAIGRET JosE MarRTIN CLYDE Murray Mrs. RoBert M. PETTIT Warren M. ROBBINS WILLIAM C. SEGAL Mr. AND Mrs. SEYMOUR SLIVE Harvey SMITH JOSEPH STEIN Mrs. DoroTHY WADDINGTON CLARENCE A. WEILLER 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 textile of the 14th-L5th century, No. 69 in the catalogue. Copyright 1956 by the Cooper Union Museum for the Arts of Decoration INTRODUCTION alr 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 there. 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 textiles 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. ‘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 textile printing 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 “toiles de Jouy,” and similar cotton 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 velvet, 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 4 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 woven fabric 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. Ca.vin 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. LenctH — 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 1. *4, 10. 11. 12. 13. 14. Three Slendang illustrating steps in the tie-dye process, tied, partially untied, com- pletely untied, polychrome; silk, tie threads of vegetable fibre; Indonesia, Lom- bok; 20th century (8) . Fifteen Pieces illustrating steps in the batik process; polychrome design of but- terfly and leaves; cotton, with wax, oils and dyes; Java; about 1890 (46) . Tjanting, copper pipe used for applying wax on a hand-drawn batik; Indonesia; 20th century (57) Three Tjap stamps, copper blocks used to apply wax on a printed batik; Java; 19th century (44) . Six Woodblocks; used for printing tex- tiles, motifs and elements of a design; India; 19th century (46) . Block, used for printing textiles, conven- tionalized lily and lozenge repeat; hard- wood and brass; France; 1700-1725 (38) . Block, used for printing textiles, conven- tionalized floral repeat and irregular stripe; hardwood and brass; France; about 1750 (38) . Block, used for printing textiles, wavy lines and dots; hardwood and_ brass; France; 18th century (38) . Block, used for printing textiles, flowers and stripes; hardwood and brass; France; late 18th-early 19th century (38) Block, used for printing textiles, hunting scene; hardwood; United States; late 18th century (48) Block, used for printing textiles, spread eagle; hardwood and brass; United States; 19th century (48) Bedspread, blocks and tools used for its printing, and chest for tools; linen, block- printed, wood, brass and leather; United States, Massachusetts, Hanover; early 18th century (3) “Don Quixote,” cartoon, scenes from Cer- vantes’s novel, black on white; paper, pen and wash drawing; designer: Lagrenée (?); producer: Oberkampf; France, Jouy; about 1780 (14) “Don Quixote,” trial proof, scenes from 15: 16. 17. 18. Cervantes’s novel, sepia on white; paper, copper engraving; designer: Lagrenée (?); producer: Oberkampf; France, Jouy; 1780 (14) Eleven pieces illustrating as many impres- sions from roller printing, seamed, poly- ens cotton; England; 20th century (39) Model of a roller printing press; steel and copper; United States; 20th century (58) Design for roller printed textile, conven- tionalized flowers in the Japanese manner; watercolor drawings; designer: José Mar- tin; United States; contemporary (36) Roller used for printing silk, design of conventionalized flowers in the Japanese manner; copper and chrome steel; en- graved by Cheney Brothers after a design by José Martin; United States; contempo- rary (6) . Piece, conventionalized flowers in the Jap- anese manner, turquoise and white; silk; designer: José Martin; producer: Couture Fabrics, Ltd. (15) . Stencil, branches and small leaves; paper and hair; Japan; 19th century (14) . Stencil, hexagonal and circular motifs; paper; Japan; 19th century (14) . Stencil, branches of pine and wisteria; pa- per; Japan; 19th century (14) . Silk screen and equipment used for screen- ing; silk, wood, brass; United States, New York; contemporary (56) . Piece, illustrating various techniques, de- sign of squares with floral motifs, brown and warm dark hues; silk, tie-dye, stencil, block printing, and other techniques; Ja- pan; early 17th century (8) . “Oranges and Lemons,” length, poly- chrome; 36 inches wide; cotton, printed by the Dynascope process; United States, Rhode Island, Warwick; contemporary (4) - Length of “Perfo Print”; 36 inches wide; cotton, roller printed, dye cut, chemically sealed; The United Piece Dye Works; United States; contemporary (58) . Pieces, experimental process; Fiberglas; yarn-dyed and silk screen-printed; de- signer and producer: D. D. and Leslie Tillett; United States; contemporary (56) a 28. 29. 30. 31. 32. 33. 34. EoD 36. Bile 38. 39. 40. View of automatic silk screen-printing ma- chine at the Stonehenge Processing Cor- poration, Cedar Grove, New Jersey; Photo- stat from a photograph lent by Jungfrau, Inc.; United States; contemporary (14) Indiennes, sample book of Indian and French examples, polychrome; folio; cot- ton, block-printed and painted; India and France; 17th to 19th centuries (26) Folding Sample Book, various mounted pieces, Japanese mounting, polychrome; small octavo; cotton, block-printed and painted; Japan, India, Indonesia; 17th to 19th centuries (14) 135 Unmounted pieces, printed for a sam- ple book, polychrome; cotton, block- printed; “Manufactures d’Indienne 4 Hechler 4 Eauplet lés Rouen petit teint”; France, Rouen; late 18th century (46) Salesman’s sample book, polychrome in- diennes; octavo; cotton, block-printed; France; 1825 (38) Salesman’s folding portfolio, various weaves, polychrome, four pages showing printing; small octavo; cotton, block- printed; England; 1784 (14) Two letters from the Alexander Papers, a correspondence between James Alexander, merchant of New York, and David Bar- clay, factor, of London; paper with sam- ples of English printed cotton; America, New York; 1726 and 1749 (41) Designer’s or dyer’s sample book, notes presumably in the owner’s hand; small octavo; cotton, various techniques; Eng- land, Sussex, Bury and United States, Rhode Island, Providence; 1829 and ear- lier (14) Sample Book, polychrome; octavo; cot- ton, block-printed and copper-engraved; United States and England; 19th century (14) Six Engravings Illustrating Textile Dye- ing, Printing and Finishing, from Roland de la Platiere, ‘Arts et Metiérs: L’Art de Préparer et d’Imprimer les Etoffes en Laines”; copper-engraved; France, Paris; 1753 (38) “Vue des Chateaux, Village et Manufac- ture de Joui;” engraving; drawn by “le Chevalier de Lsse’’; engraved by Liénard; France; late 18th century (38) “Printing,” showing a textile being roller- printed; colored aquatint; England; first half, 19th century (38) “Merrimack Prints,’ view of textile mill with eight cotton samples of discharge printing; engraving and cotton; United States, Massachusetts (?); about 1844 (38) HISTORIC PRINTING THE ORIENT CHINA 41. 8 Fragment, head and front legs of a lion, and cloud forms, in black with red and 43. *44, 46. white on yellow; silk, painted or printed; 8th century (66) . Iwo Fragments, broken hexagon repeat in white with silver on natural ground; hemp (?); painted and stencilled; 8th cen- tury (39) Sutra Cover, lotus and chrysanthemum, black on brown; cotton, block-printed; Nanking; late 17th century (7) Sutra Cover, children playing, black on blue; cotton, block-printed; Nanking; late 17th century (7) . Portion of Bed Cover or Hanging, fish and scroll, blue on white; cotton, stitch-resist dyed; Szech’uan Province, Neichang; 19th- 20th century (50) Length, trellis with bamboo and plum branches, blue on white; 0.280 m. wide; cotton, rice paste resist-dyed (unwashed); 19th-20th century (14) JAPAN 47. 48. AQ! 50. 51. 52. 54. 55. 56. 57. 58. Circular Fragment, lion (?) in circle of flame, black and some red on blue; hemp, stencilled and painted; 13th-14th century (8) Piece, bamboo and pine, blues, grey, tan and brown on white; 0.335 m. wide; silk, rice paste resist-dyed; Tokugawa; 1688- 1703 (46) Piece, Eight Precious Things, brown, white and gold on blue; silk, rice paste resist-dyed; Tokugawa; 1764-1771 (46) Piece, polychrome flowers in the Indian manner, design on light brown ground; cotton, block-printed; 18th century (39) Length, lobsters and fans, blue on white; 0.330 m. wide; cotton, warp and weft re- sist-dyed (kasuri); 19th century (61) Piece, polychrome pattern of 73 squares with conventionalized designs; cotton, block- or die-printed, direct and discharge; Japan (?); 19th century (39) . Square, the Four Seasons — bamboo, chrys- anthemums, orchids and prunus each in white on brown, green, purple, and blue; silk, discharge printing; 20th century (66) Square, five large characters on ground of smaller characters, in one corner hexagons with conventionalized flowers, grey and green; silk, block-printed (?); 20th century (66) Square, pine tree by a wall; silk, block- printed (?); 20th century (66) Wash cloth (tenugui), Kappa, a humorous folk tale character, half frog, half tortoise, blues and greens on white; cotton, sten- cilled; Tokyo; 20th century (49) Entrance hanging (noren), for shop, flow- ers in white and green on black; cotton, silk screen-printed in discharge and dyed; Tokyo; 20th century (49) Kosode, birds and clouds in red, yellow, green and blue, on white; vegetable fibre, resist-dyed; Okinawa; 19th century (59) INDONESIA 59. 60. *61. 62. 63. 64. 65. Piece, monkeys and cats, red with blue on natural ground; cotton, wax resist-dyed (batik); Borneo; 17th century (?) (39) Sarong, conventionalized flowers and geo- metric pattern, brown, blue, beige and gold; 0.75 m. wide; cotton, wax resist- dyed (batik) and gold-stamped; Java; late 18th century (46) Sarong, trailing vine with flowers, foliage, birds and insects, brown and blue on white, red and white border; 1.40 m. wide; cotton, wax resist-dyed (batik); Java; late 18th- early 19th century (46) Square, symmetrical design of wings, cray- fish, birds in cinnamon brown and beige on dark blue ground; cotton, wax resist- dyed (batik); Java; 19th century (14) Sarong, conventionalized design, change- able red and yellow; silk, warp resist-dyed (‘kat); Bali; 19th century (14) Sarong, conventionalized human figures, brown, red, green and black; straw, warp resist-dyed (ikat); Southeast Borneo; late 19th century (54) Panung, conventionalized floral design, striped border, shades of blue, brown and yellow on red, gilded; 1.145 m. wide; cot- ton, wax resist (batik) and block-printed; Siam; 18th century (46) INDIA *66. 67. 68. 69. 70. 71. 2 73. Wh Fragment, ducks surround a sixteen-lobed rosette representing a lotus, deep pink and purplish brown on natural ground; cot- ton, resist-dyed; found at Fostat, Egypt; 1250-1370 (14) Fragment, border with geometrical de- signs, black and natural ground; cotton (?), block-printed resist; found at Fostat, Egypt; 1250-1517 (14) Fragment, rosettes in squares, blue, green and brown on natural ground; cotton, re- sist-dyed; found at Fostat, Egypt; pre-15th century (54) Piece, squares with conventionalized flow- ers, foliage and lotus, dull red and natural ground; cotton, block-printed; India, found at Fostat, Egypt; 14th-15th century (14 Peeaene section of medallion with tear- drop forms, blue and red on white; cotton, resist-dyed; found at Fostat, Egypt; 14th- 15th century (54) Fragment, interlaced arabesque forms in shades of blue on natural ground; cotton, resist-dyed; found at Fostat, Egypt; 14th- 15th century (14) Fragment, all-over small-scale repeat of joined trefoils, brown on natural ground; cotton, block-printed resist; found at Fo- stat, Egypt; 14th-15th century (14) Fragment, flowering boughs in violet, red and deep blue; cotton, painted (?); found at Fostat, Egypt; 14th-16th century (14) Fragment, rows of torchlike motifs above 75. 77. 78. o% 80. 81. *83. 84. 85. 86. 87. 88. 89. spotted curved lines above band of dots, shades of dull red on tan ground; cotton, block-printed resist; found at Fostat, Egypt; 15th-16th century (14) Fragment, conventionalized flowers and foliage, border with teardrop motif, black on white; cotton, block-printed; found at Fostat, Egypt; 16th-19th century (54) . Bag, symmetrical design, temple flanked by two ladies holding fans; above: the sun flanked by two peacocks and trees; below: a vase flanked by two cows, yellow, green, dark blue and red; cotton, block-printed; Rajput (?); 16th century (66) Fragment, fine red moss pattern on white ground, same pattern overprinted in gold; cotton, block-printed; 16th century (54) Sari, regular repeat of small floral spray, foliate border, green, red, purple and gold on cream; cotton, block-printed and painted; early 17th century (46) Fragment, all-over lozenge pattern and trellis of gold dots on natural ground; silk, block-printed and painted; Rajput (?); 17th-18th century (14) Fragment, diagonal repeat of flower sprig with paired leaves and gold dot; cotton block-printed and painted; Rajput (?); 17th-18th century (14) Fragment, conventionalized leaves, gem colors; cotton, metal foil on gesso, painted with enamel; Rajput (?); 17th-18th c. (14) - Bed-cover or hanging, Juno and the Pea- cock surrounded by flowers and strap work, red, blue and violet on white; 2.360 m. wide; cotton, dyed and painted; late 17th-early 18th century (38) Hanging, uprooted tree, peacocks, flowers, red, blue, violet, green; 2.360 m. wide; cot- ton, dyed and painted; Madras; 1750-1775 (14) Barber’s apron, flower sprays and border, red, green and violet; cotton, dyed and painted; 1775-1800 (60) Fragment, all-over flower design, red, yel- low, blue, green with black for stems; cot- ton, dyed and painted; 18th century (14) Sari, squares with conventionalized foliage and eight-lobed rosettes, yellow, black, white and gold on red; cotton and metal thread, block-printed, stamped and painted; Karuppur; 18th century (46) Sash, border at each end of five conven- tionalized cypresses, surrounded by foliate border, green, blue and black on white; cotton, block-printed, dyed and painted on both sides of textile in exact register; late 18th-early 19th century (54) Two pieces of bedcovers, conventionalized flowers and foliage, black on yellow; cot- ton, block-printed; Bombay, Baroda; 1850- 1900 (8) Piece From a Marriage Veil, blue gauze with bands of ornament in gold and sil- ver; cotton, block-printed, stamped and painted; Punjab, Lahore; 1850-1900 (8)° 9 90. 91. THE 92. O38 94. 95. 96. 98. 99. *100. 10 102. Patola, lozenge and geometric pattern, animals in borders, red, yellow, brown, and blue-green; cotton, warp and weft dyed (double ikat); 19th century (14) Valance, pineapple and foliage, red, blue and violet; cotton, dyed and painted; 19th century (38) NEAR EAST AND RUSSIA Fragment, with outline of decorated Kufic inscription, red, brown, gold on white; cotton, block-printed and painted; Meso- potamia or Persia; 9th-10th century (14) Square, stylized foliage, geometric figures, animals, borders, reds, purples, blue, green, yellow and white; cotton, block- printed and painted; Persia, Yazd; 17th- 18th century (66) Piece, from a curtain, Saint John the Evangelist under an arch, purple, blue, red; cotton, dyed and painted; Persia, Julfa; 18th century (66) Piece, The Entombment, black on gray; linen, block-printed; Armenia (?); 17th century (19) Hanging, conventionalized design of hands, horsemen, three stones of Tamerlane, blue on yellow; silk, block-printed and resist (?); Caucasus; 18th century (54) . Piece, leaf and flowering vine, black and faded pink; linen, block-printed; Russia; 17th century (14) Piece, all-over pattern of arches and ros- ettes, black on natural ground; linen, block-printed; Russia; 17th century (14) Piece, sprays of flowers and foliage, black on natural ground; linen, block-printed; Russia; late 17th-early 18th century (14) Piece, two horsemen and inscription, faded orange, green and black on natural ground; linen, block-printed; Russia; 18th century 14 1. ey continuous ogives enclose fantastic floral sprays, imitation of a design woven in silk or velvet, faded red and green and black on natural ground; linen, block- printed; Russia; 18th century (14) Piece, serpentine scroll and flower with border of fantastic birds, blue and orange on white; linen, block-printed, resist and direct, and painted; Russia; 18th-19th cen- tury (14) WESTERN EUROPE AND AMERICA GERMANY *103. Piece, teardrop repeat enclosing a gazelle, 104. 105. black on natural ground; linen, block- printed; Rhenish; 13th century (?) (14) Piece, rows of paired birds, silver on natu- ral ground; linen, block-printed; Rhenish; 13th-14th century (14) Panel, two deep borders each with three ogival forms enclosing a pair of birds, flanked by fantastic monsters, red on nat- ural ground; 0.570 m. wide; linen, block- printed; Cologne; 14th century (33) 106. Piece, conventionalized foliage and fan- 10 107. 108. 109. 110. *111. 112. 113. 114. THE 115. 116. 117. 118. tastic monsters, gold on natural ground; linen, block-printed; Rhenish; 14th-15th century (14) Piece, conventionalized serpentine foliate vine; linen, block-printed resist; Augs- burg; 16th century (52) Piece, trellis and foliate vine, black on tan; linen, block-printed; Rhenish; 16th- 17th century (14) Towel, flowers and medallion with dou- ble-headed eagle, double foliate border at top, single at bottom; linen, block-printed; 1600-1650 (52) Piece, arabesques, black on natural ground; cotton, block-printed; 17th century (39) Piece, all-over pattern of tulips and other flowers, black on natural ground; linen, block-printed; Rhenish; 17th century (52) Length, “Jerusalem, Jerusalem,” scenes of the Resurrection alternate with scenes of the city, blue on white; 0.740 m. wide; linen, block-printed resist; end of the 17th century (14) Piece, zig-zag stripe, blue on natural ground; linen, block-printed (?); Rhenish; (?) 15th to 18th century (14) Piece, miniature human and bird figures perching in scrolling grapevines; cotton, block-printed; Augsburg, probably 18th century (52) LOW COUNTRIES Piece, two scenes: two monks and a priest beneath trees above a small house, and urn with flowers and two birds, red, green and yellow on natural ground; linen, block-printed; Holland; 17th century (46) Hanging, conventionalized foliage, imitat- ing a design woven in velvet, red-brown (originally black) on white; jute (?), sten- cilled (?) and flocked with wool; Flanders (2) (39) Piece, two scenes: man and woman be- neath a tree, and flowers in an urn; jute, block-printed; Holland; early 18th cen- tury (39) Wall covering, landscapes in octagonal frames alternate with rosettes; linen, block- printed; The Netherlands; late 18th-early 19th century (52) FRANCE 119. 120. 121. Seat Cover for Chair, unmounted, flowers in the Chinese manner, polychrome; cot- ton, block-printed; 1750-1775 (39) Piece, roses on continuous vertical vine, polychrome and white on pink; cotton, block-printed; “Manufacture de I. R. Wetter. ft sa Compagnie A Orange Bon Teint 1766,” end of bolt; Orange; 1766- 1775 (39) : Don Quixote, length, scenes from Cer- vantes’s novel, violet on white; 0.930 m. wide; cotton, copperplate-printed; design- er: Lagrenée (?); producer: Oberkampf; Jouy; 1780 (14) 122. Shift, regular scattered flower repeat, red, 123. 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. *136. 137. 138. 139. purple and blue on white; linen, block- printed; about 1780 (60) “Les Travaux de la Manufacture,’ 14 scenes showing as many steps in the proc- ess of making a toile de Jowy, red on natu- ral ground; cotton, copper engraving; de- signer: J. B. Huet (1745-1811); producer: Oberkampf; Jouy; 1783 (38) “La Toilette de Venus et la Marchande d’Amour,” Venus with attendants, nymphs with cupids in a tree, cupids in a basket, other scenes, polychrome on white; 0.810 m. wide; cotton, copper engraving, color block-printed; F. A. Petitpierre Frere et Cie; Nantes; probably 1785-1790 (8) Length, conventionalized leaf pattern, blue on white; 0.390 m. wide; linen, re- sist-dyed; 1790 (14) Length, flowers and foliage in the Indian manner, polychrome on white; 0.685 m. wide; cotton, block-printed; 18th century (39) Piece, all-over design of flower sprays in the Indian manner, polychrome; cotton, block-printed; probably Jouy; 18th cen- tury (14) Piece from a skirt, flowers and serpentine garlands of foliage, polychrome on cream; cotton, block-printed; 18th century (14) Piece from a skirt, sprays of flowers, poly- chrome on cream; cotton, block-printed; 18th century (14) Piece, vertical repeat of flowers alternates with double interlaced band, violet and light blue on off-white; cotton, block- printed; 18th century (14) Piece, dense flower repeat, in the Indian manner, polychrome on white; cotton, block-printed (?); 18th century (14) Length, chinoiserie landscape with figures, blue on white; 1.0 m. wide; cotton, resist- dyed; Alsace (?); 18th century (14) Sash, arabesques and neo-classical scene, greens and rose on white; silk, copper en- graving; late 18th century (14) Three Pieces, seamed together, repeats of flowers, figures, ruins and stripe, poly- chrome on white; cotton, block-printed; late 18th century (14) Apron, floral repeat, blue, red and brown on white; linen, block-printed; late 18th century (60) Piece, dolphins, roses and double serpen- tine stripe, reds, green, blues and brown; linen, block-printed; Nantes (?); late 18th- early 19th century (14) Piece, rosette flanked by conventionalized foliage, red, brown and black; silk velvet, warp-printed (“Velours Gregoire”); early 19th century (14) Piece, red rosettes scattered on mustard yellow ground; cotton, block-printed; early 19th century (14) Piece, chinoiserie of monkeys, garden houses and flowering garlands, orange, 140. 141. 142. 143. 144. 148. 149. 150. brown and black on yellow; silk, velvet, warp-printed (chiné a la branche); France or England; early 19th century (14) Piece, scenes with figures, children and animals, red, purple, blue, buff and black on natural ground; cotton, copper engrav- ing; about 1825 (14) Piece, lilies and orchids, foliage, pastel shades on white; cotton, copper engravy- ing; about 1830 (14) Piece, stripes broken by bands of gothic arches, blue-green, buff and dark brown; cotton, copper engraving; France or Eng- land; 1830-1850 (14) Piece, solid pattern of large-scale roses, lilacs and foliage, reds, blues, brown; cot- ton, copper engraving; about 1850 (14) Length, foliate vines and dot, reds, violet, blue and green; 0.790 m. wide; cotton, copper engraving; probably France; 1850- 1875 (8) . Piece, triangles in chromatic shades of vio- let; silk, warp-printed; 1850-1900 (48) . Piece, peacocks and foliage, black and sal- mon pink; cotton, copper engraving and “home dyed”; 19th century (14) . Piece, conventionalized flowers, purple, dark gray, black and white on light gray; silk, block-printed (?); producer: La Maison Martine; Paris; about 1920 (39) Piece, conventionalized design, poly- chrome; silk voided velvet, roller-printed; 20th century (48) “The Thresher,” length, scene, red on white; cotton, block-printed; Raoul Dufy (1877-1953); about 1930 (14) Length, conventionalized foliage, blue and yellow on natural ground; cotton, block- printed; Raoul Dufy (1877-1953); about 1930 (14) ENGLAND 151. mRiece; “The Aviary or Bird Fanciers Recreation,” snuff handkerchief, landscape with figures and 14 birds each with descriptive notes, blue on white; linen, copper engraving; about 1750 (60) . Piece, fantastic scene, figures, architecture, flowers, scrolls, in the Chinese manner, blue on white; cotton, copper engraving; possibly by Jean Baptiste Pillement (1728- 1808); Bromley Hall; about 1765 (14) . Piece, landscape with figures, farmhouse, windmill, sheep, red on white; cotton, copper engraving; about 1765 (39) 4. Banyan, or dressing gown, foliate vines, polychrome on white; cotton, block- printed; 1750-1800 (60) scattered flowers alternate with wreathed panels of medallions and cher- ubs, black and red on mustard ground; cotton, block-printed; 1775-1800 (48) . Man’s Lounging Cap, flowering branches, polychrome on white; cotton, block- printed; England or France; 18th century (60) 11 157. 158. 159. 160. 161. 162. 163. 164. 165. 166. 167. 168. 169. 170. 171. 12 Piece, large scale flower and leaf design; silk, copper engraving (?); England (?); 18th century (52) Piece, flower sprays and acanthus leaves, polychrome on beige; cotton, copper en- graving; about 1820 (14) Apron, scattered flowers, animals and buildings in the Chinese manner, poly- chrome on white; cotton, block-printed; England (?); 1800-1830 (14) Length, memorial to Lord Nelson, obe- lisks, urns, pyramids and figure of Nelson in niche with appropriate inscriptions, in- tertwined with brilliant polychrome flow- ers in the Indian manner; 0.953 m. wide; cotton, copper engraving (?) and block- printed; 1800-1830 (39) Piece, “gothick” niche repeat, red, blue, brown and white; cotton, copper engrav- ing; about 1840 (39) Piece, scenes of hunting and fishing framed by vines, polychrome; cotton, copper en- graving; about 1850 (14) Piece, flowers and foliage, polychrome on tan ground; cotton, copper engraving and block-printed; about 1850 (39) Piece, interlaced conventionalized foliage in circular repeat, blue on white; cotton, block-printed; designed and produced by William Morris (1834-1896); about 1890 (14) Piece, flowers and foliage, yellow-orange on white; cotton, block-printed; designed and produced by William Morris (1834- 1896); about 1890 (14) Piece, frieze of crocuses alternates with one of daffodils, tan, yellow, olive and red; cotton, block-printed on both sides; de- signer: Arthur Wilcock; about 1890 (14) Piece, frieze of crocuses alternates with one of daffodils, shades of rose; cotton vel- vet, block-printed; designer: Arthur Wil- cock; about 1890 (14) Piece, simulating patchwork, scenes after the illustrations for “The Pickwick Pa- pers” by Hablot Knight Browne (1815- 1882) alternate with various small prints, polychrome; cotton, copper engraving; 19th century (39) “The Strawberry Thief,” birds in a straw- berry patch, polychrome; cotton, block- printed; designer: William Morris (1834- 1890); producer: Morris & Co., Decorators, Ltd.; 1900-1920 (14) “Rose” conventionalized repeat of flowers, foliage, and paired birds, polychrome on white; cotton, block-printed; designer: William Morris (1834-1890); prdoucer: Cowtan & Tout, Inc.; about 1934 (14) “Honeysuckle,” rose-colored blossoms on blue foliage; cotton, block-printed; de- signer: William Morris (1834-1896); pro- ducer: Cowtan & Tout, Inc.; about 1934 (14) OTHER EUROPEAN COUNTRIES 172. 173. 174. 175. *176. 177. 178. 179. 180. 181. 182. 183. 184. 185. 186. Length, double-handled vases alternate with irregular octagons connected by diag- onal interlace, blue on white; 0.365 m. wide; linen, resist-dyed; Italy, Bologna; 15th century (19) Piece, conventionalized foliage imitating a woven design, red and green on natural; cotton, block-printed, stencilled (?) and flocked with wool; Italy; 17th century (19) Mezzaro, flowers, foliage, and animals in the Indian manner, polychrome; 2.680 m. wide; cotton, block-printed; F(abbri)ca Di Luigi, manufacturer; Italy, Genoa, Sam- pierdarena; 1846 (14) Length, conventionalized foliage imitating a woven design, silver on deep rose; 1.900 m. wide; silk velvet, Fortuny process; Mariano Fortuny, Italy, Venice; 1900-1930 (14) Fragment, double ogive repeat framing pomegranate and crowns, black on natu- ral; linen and cotton block-printed; Spain; late 16th century (14) Piece, flowers and foliage in the Indian manner, brown on white; 1.060 m. wide; linen, copper engraving; Spain or Portu- gal; 1775-1785 (39) Length, birds and flowers in the Indian manner, polychrome on white; 0.863 m. wide; cotton, block-printed; Spain; 18th- 19th century (39) Piece, “‘Vista del Monasterio de Montser- rat” and ‘Vista del Puerte de Diablo in Martorell,” two landscapes repeated and surrounded by flowers and foliage, blue; cotton, copper engraving; Spain; Mid- 19th century (14) Length, scattered bird and flower repeat in black against red and white stripes; 0.791 m. wide; cotton, copper engraving; Spain; 19th century (39) Piece, symmetrical design of flowers, foli- age and fruit, yellow, green, white, blue and red; linen, stencilled and painted (?); Switzerland; end of the 17th century (19) Piece, buildings alternate with flower sprays, black, red, yellow, purple and white; cotton, copper engraving; Switzer- land (?); about 1795 (46) Piece, Psyche (?) and two cherubs swinging on a garland framed by large-scale flowers and foliage, violet on white; cotton, cop- per engraving; Alsace, Mulhouse; 1825- 1830 (39) Piece, scattered flower repeat, mauve on yellow; silk, block-printed; Austria, Vi- enna; Wiener Werkstatte; about 1920 (39) Piece, scattered flower repeat, yellow, pink and white on gray; silk, block-printed; Austria, Vienna; Wiener Werkstatte; about 1920 (39) Piece, feathers and arrows against shaded stripes, blues on gray; silk, block-printed; Austria, Vienna; Wiener Werkstiitte; about 1920 (39) maar pe osaa ta . 2 v4 Ra a] Lal Py re) ra: ra) ay 27 fay 7 a fa 2. fs I ca 4 ee IAIVIOIIVITIIIII¥ ESEEEEEFEEEE) Fic. 1. Derain or Square, cotton, painted and dyed Persia, Yazd, 17th-18th century Yale University Art Gallery Fic. 3. DETAIL OF SARONG, cotton, wax j || | /vesist-dyed (batik) and painted Java, late 18th-early 19th century The Philadelphia Museum of Art Fic. 2. Surra Cover, cotton, block-printed China, Nanking, late 17th century Miss G. F. Bieber Fic. 4. DESIGNER’s OR DyeEr’s SAMPLE Book, printed cottons with notes presumably in the owner’s hand England, Sussex, Bury and United States, Rhode Island, Providence 1829 and earlier The Cooper Union Museum Fic. 5. DETAIL OF STENCIL, paper Japan, 19th century The Cooper Union Museum Fic. 6. FRAGMENT, cotton, resist-dyed India, found at Fostat, Egypt, 1250-1370 ‘The Cooper Union Museum Fic. 7. Two Tjap Stamps, copper, used to apply wax on a printed batik Java, 19th century Mrs. James Imam Pamoedjo 2) block-printed Tic. 8. Piece, linen, Rhenish, 13th century ( printed m4 oO ° § 2 a a = D Se ete aoe a q S86 c “ eae BS» aT eK ees Zao G=8 Ss . geo Sac sO) Bah Fic. 9. Fic. 10. Piece, linen, block-printed Rhenish, 17th century Landesgewerbeamt Stuttgart SIT PANT ew a [vate :

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