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Le sa eins shennan seep supimetinty peieastoetastsnpat eet sodania: seit c - ae oS a at ate : ae bate ie (i) Hh — ain He a nda i uh * a L i i hued bors) dial ‘ : , : | ; ; Pt bat ite Kon he ee fa 4 Tey ile i erlguwietetrte ln bra tre reauasiel vii pre en pekaka nero et | a ‘ : ; S = nt ae 3 Pirro a . si fee totes ; i me Gsteber ep mS arated a Ialagt eta af i palsetil ay he ie ‘ty — BUC Meat a0 ct si H nahh ea fee a + rea 3 tone ne g sina Tiida ry mia haem enree Ph etre ‘ ies doretatetg gig 2 Re i : tty ue Rvs ™ pica ca ts a aver ates a Be ial wey cures a Ng 1a} by rit ce se ESI A Si rtonas eh me os ae a Bemis . nt : : ae i aia sha es ra ie Sia ae ie et aah ie case EUGES Sara reras ; Sasa ees =A 2s Se . : ; ee it re hats ae Faare ant an yt , : , shady 14 vleleteyar 1 om aT ‘ i { ere oe reais ears ines eet , ae: ae Late i Weipa is f Sale Hi betiy neta tigi co i Heir eats i Sentient sie i s Ae tet ‘ sy = Y 3 on ui he ts . si ain : ao an N oe ait) th pan bat i i Sint Nemes enlets . ahs ba ai soli wh a ehh aa a Q “ Sai : oe ia cia - 7 = a oe ae pide ae abe ee pee ah enna peste ae ps FEES is 2+ Fas) Sa nN sete et ent — a =. oe mer use i ae 3 "i it aes : tn a SoU ARES Coane oe as X 2 ay ade is PRO ce tality ite Bayh eaten pai oi tis tise ve Saar nets ah pasate * is abst Hk gy aise seus 28 4 a es Ett rie th it i ia m1 a ae us ‘ VK ( vee ik tt oe ita ast Hee seca sidietnsiaiens ajaeeles ri on cayaregdol ania SSP ARTY ey eee Lrg er) .eret pelea niynd toe ede & ae gerd Usk ras ae th Rae ie oe : UI ; scat aie . 05 hy Bete Melt Sceeeauann meriver nt te] ‘ inconeen sp sit = ak st ate 1 Ll sey ‘teed pon i ns ew St Saya MASEE te is ARERR ett cee Weis ipa hcie’ 7 ; 5 rs aes re tn ete an! pratt sets Trig brane’ bs oo Stet ik setts teers srechi tit Lat bet fae : hey | ner me Sy at scan ese eat nih lei ete id pach t + ft wt ett Sh hepa 3 ‘4! hc a ah ties Roath Mehei zs aay ase ‘ 4 vies nab a ; ei He ey ai eatinteeks ae sii ier ih pa eat etd 9) . vy oh ni a nga : Soy ‘ ris nt ae ‘a te ae hy oo “8 Dione es sphiat ante er ntiak cain ahaa chutes tyr seit Soa cath if pai ait Maeda et ey ae Sh ae a te = oe aa i ape Satay -! May 4 “a ace ‘ wh see i, rth = { er Ma Re ; beatin int ai : = te Weal ast nit shee " ee tM sy ci Es " apne pep ar bas 3534p) aha) } ty maid rar os nian te 1) eater eres ey att ih) 3 ay a meal ey kt we Beth er THE LIBRARIES COLUMBIA UNIVERSITY AVERY LIBRARY ANGRY Digitized by the Internet Archive in 2023 with funding from Columbia University Libraries https://archive.org/details/bookofillustratiOOmhbi BOOK OF ILLUSTRATIONS OF NEW PATTERNS OF PAPER HANGINGS FOR THE SEASON OF 1908 ~ MANUFACTURED BY M. H. BIRGE & SONS CO. OFFICE AND WORKS AT BUFFALO, N. Y., U.S. A. SALESROOMS AT 1170 BROADWAY, NEW YORK; 27 LAKE STREET, CHICAGO, ILL.; 120 TREMONT STREET, BOSTON, MASS.; 604 PINE STREET, ST. LOUIS, MO.; 46 BERNERS ST., OXFORD STREET, LONDON, W., ENGLAND Copyrighted, 1907, by M. H. Birge & Sons Co. Copyright for the United Kingdom 1907. (Entered at Stationers Hall.) nt wy i a Liat AON Dal om BR ES EIN Doel O Heir os COP Yea SaNoOn se 7 yt tee | | | LONDON OFFICE 46 Berners Street, Oxrorp Street, Lonpon, W., Encianp OrFice anD SaLesrooms, M. H. Birce & Sons Co. z = - cs eS ne 4 SANNA PO OHI ONDA ORONO AYN I ROS FELINE Ne AAO A eed EM Interior, No. 70 fo) O n g PB Ne) Ps) ise) Nw odor q + Ww se) Na oO 337i S é +A Zz on ek eet \ 5 Aas e ES ae SREw DS SS ss oe Gore Ho) sesl Se 1 _ * Qa ip) See ee -< re) a fF era ae Pitre cay eel AUP HAO Copyrighted, wat: ol ce i, Yi sSSsys=e SSS = Nk A PON SON ior, No. 71 Inter by M. H. Birge & Sons Co. hted, 1907, 1g Copyr acs Noe aot ' ae a & Cae a o Bonus Fe Amer & Ai IE Sarees Zz = = Se Z Zz SBE oOowo a“ am AUAY WS S 'TREILLAGE, “2 Copyrighted, 1907, by M. H. Birge & Sons Co. Sipe Watt, F-914 Basket Crown, F-14 Certine, F-g15 DecoraTION AND ORNAMENT, F-15 ee pe Kiiabesineh isnt l is mnecnpation einen Ape toon esclincnees me Spee sinha ciple cere ae Ngee sren i ts hapsen pec stp tly as tr cates sabia teenie iiclonniahnitns tie ale A ONE EO et OC LLL LILLARD LAIN inet ton pncn th poet ip q Interior, No. 72 i A PPUrL ee ey xy < a ae A) ne eee oe Ae os , 7 a ae Pe ae rts ad eet pe pase ee ay ‘ ora t ‘ | * | > se Se eee. aoe OF ONE DRIES III mc ss PSAP E A LTTE ERIE BE IIE TALE IE ENE = oh a Ro te Ri Jee re er ee ne eee ee : Pea BH ee. See ee Sais esi OS AAN REREAD PES EOE ee eee Bn SE RESIN CLARET OCI LOT IT oercntencnanrinaarnnne =n pe esne oN RE IE Re a ase ae 1 cata NOS a aoe Sandon ae vnentee curiae. Noor aD enbest datieat bape Se aie ee Re TR a te Interior, No. 73 irge & Sons Co. lel, 18} M D-764 by 1907, Sipe Watt > Copyrighted BSR ayo 77 * v Y “Sy. ae 4 pcm AN ORC IE DINERO ANON PLA Ut Gin en Copyrighted, 1907, by M. H. Birge & Sons Co. Interior, No. 74 Sine Watt, D-796 Extension Crown, D-97 Crown anv Base, D-g6 Fitter, D-797 _ 7 i - & Y eee “Ss Jk RAC ate ef tee ee Cia ect r=] : 3 : ! a mes og a Sos ~Dot = _—e i a’ Be =>) : — a) Ue a ete * .3 "| + a en ‘ ba a iy na ~~ > : z x a 5 iv <— - 6 P. i. c 1 wa : Jia - a ; ‘ f > é - 4 0 ’ Me f ¥ 7 ¢ ’ ‘ ; a i . ' : , > ‘ * i ‘ “ é . rs) x a5 Ja’ det qieks < . ce is cee. at, 7 ; at 2 heatas “cD es eT es | 39 PTS at) eae aes Copyrighted, 1907, by M. H. Birge & Sons Co. Interior, No. 75 Swe Watt, S-1720 Crown anD Base, S-720 sees eee pera z. BB agenaneneenenrmemnerantnth Chae RERRSEORTRE: SN nee et RELIEF SI Interior, No. 76 & Sons Co. irge B H . hted, 1907, by M Swe Watt, S-1726 Crown, S-726 18 Copyr Fitter, S-1727 STAT { 2 US-7.47 Sro.e Decoration, S-1746 CeritiInc CoMBINATION iD ae a 2 A vANVAthraaAlicn Svan eNaver AMMUAIAMAAW aH ah Interior, No. & Sons Co. irge Copyrighted, 1907, by M. H. B Sipe Watt, S-1742 Crown, S-742 Stitine, S-1743 Copyrighted, 1907, by M. H. Birge & Sons Co. Swe Watt, S-1712 Crown, S-712 Base, S-713 Moutpine Decoration, S-1713 Fitcer, S-1711 Interior, No. 78 aes B] . MANA yy ge ee 2 re ~~ eet : ts = f ee ee ny ea oe Memes palin. Hao ¥ Copyrighted, 1907, by M. H. Birge & Sons Co. Interior, No. 79 Swe Watt, S-1732 Finter, S-1732 Crown, S-732 Base, S-733 . pS ENE SNS LEED LAE IAI i rn ern 2 RR SR EE EOC CIOS IE ae I RTS NCTE REIL DLS EE en. Sse : Sy cece eee y Interior, No. 80 by M. H. Birge & Sons Co. Copyrighted, 1907, 1728 ce SiweE Watt, Crown Fin $-728 S > 728 I ’ LER 9 ey | OSL Interior, No. 81 Birge & Sons Co. by M. H Copyrighted, 1907, SipE Watt, S-1700 Crown, S Base, 700 S-701 nesta <> A a Pl SO I a eee coi 28 Rs we x ATT 4 : <7 a i Copyrighted, 1907, by M. H. Birge & Sons Co. Interior, No. 82 Sme Watt, S-1734 Crown, S-734 TREILLAGE COMBINATION, S-1772 XY) Wie ester K A Pee” RW LEAN Ay yt , Copyrighted, 1907, by M. H. Birge & Sons Co. Interior, No. 83 Sipe Watt, E-826 Ceiinc, F-925 TrettLace ComBinaTIon, S-1772 Gl. ¥ 7 ATL a ~ oo ah ile 7 i eo aee = Copyrighted, 1907, by M. H. Birge & Sons Co. Interior, No. 84 Base, S-1740 { S-776 US-777 "TREILLAGE ComBINnaTION, S-1772 Upper Frieze, No. 85 Interior, & Sons Co. irge 5 lial, 133 hted, 1907, by M opyrig C ‘oO ~0oO me ™ ' 1 ' NNN CO Ss Lan N ' w nN = Noh ts ee eure z Se a4 § 64 < ea) — ns w Oo 9° = QA A o AA S-1717 Borper, : bs : ESSE ee Copyrighted, 1907, by M. H. Birge & Sons Co. Four Parr Lanpscare Decoration, 7026 PaneL Borper, 7526 CL eae ‘pi Interior, No. 86 as ‘ ' _ ey ae o~ See eee RE A RR ACRE SEAR A , No. 87 1or Inter irge & Sons Co. Copyrighted, 1907, by M. H. B Decoration, 8554 Fitter, 8518 U is Ras he. ae / a Copyrighted, 1907, by M. H. Birge & Sons Co. Frieze, 8590 Davo, 8594 Hive, 8312 Ce a Interior, No. 88 Copyrighted, 1907, by M. H. Birge & Sons Co. MantTev PaneL, 8562 Ornaments, 8580 Watt Panel, 8574 Ceminc Borper, 8558 Frieze Borper, 8559 Hive, 8312 Interior, No. 89 SS & SOS SVS SS RSE = = a pia oo VA ——— == = —— I =—=-———_ - — FS ree —s9s-—ser -9e- 5 jee 9 Bees Se 8S aes OS SS SSS SS ITEC | — S ——— eee re eS a we OS J] = SS SS ers Se Pe SS = SS — es ee ee EES) Ss ——- phe a cae me 1h ee 1 Ree yr ee F-914 E Ground to Match, F-915 F Plain Stiling B_ Decoration, F-15 See Interior, No. 72. C Side, D Ceiling, F-915 A Crown, F-14 I AAA ASS , \ WOON? AAAI SAAS IAL FT TN DNS ODES S OOD INNIS TSININDN{STS(NINI ANPSINININ N aL w II A Cap and Base, S-720 B_ Side, S-1720 C Plain Tint See Interior, No. 75 &. * 4 U ~ x 3 KK | cs ei eos —— a eS = <7 WSLK ISO lS ' DOC ASSES Y KADOA NJ \JNTS INI XS KA HX oy ey! KARR | IST SZKSZ | CRON : 4 y g C525 2 reraraven AK YIN QO ELREALBE ! a Seed etl ; ee TTI Y dz zw RL CA C yy \ ad | WH W Q \4 C4000, NA SOARS ‘Ox Z CAP 4 PANG > NEXIS YAS AN WAU YAWN AA AN eNOS NAA SEY Yi NI} \ S AS OO a INF \PIT VIN Q COCUCCOCCECO KO OOX OC? EOC 650.4 xs i CKO ABACKCAGAAS: WE A SKE Reece CK KKK KAO EOC K Z LOO OIOON SU ANZA /ANWT AN LYNG CNC WY 4S, © mi rx Ned D E Treillage, S-1773 Nos. 71 and 74. B_ Side, D-776 C Crown, D-77 D Side, III A Cap and Base, D-76 See Interior, oof oP? a) ; - % Ps rh > iy ee § \ 1} =i loc—o0o ir JU! i wae IOC SS Nn PE SD tae age Oo a Bo ae = OOoOc a = psy Bi aoe | | MTs ms ge Pay S ‘atl Yu § SEES I SR = SSS at = SO TAS CI | (oO (ee snes | Fat | lV A Crown, S-712 B_ Side, S-1712 C Base, S-713 D Filler, S-1711 E Decoration, S-1713 See Interior, No. 78. PPMAMIM MMMM MM OM oT TINT f Tee : ae 2 ro Eun Ht é CaN cau ONS iin K 8: al Be LO MPN TT . el H < F4 < aes FE H we SN cs { er OT MO Cm a A A AA A A MT a es eS Qn ADA tT SF RE MMU Pima) | NE (ee somaesteN eo a IS Oe la \A A Crown, 8-734 B_ Side, S-1734 C Side wall, E-826 D Treillage, S-772 E Treillage, S-1772 See Interior, Nos. 82 and 83. PLATE Dae eyeet RATER APs BP oy Ma gy eng S2. PGAC Eran VA 4, = T : a2 SSS a . | lx Se omental ane: st we J a a i ee (ao 23 | PAH SLY A es | Pa a te ia p- — S S SS H Ls ST RB GS A eS v/ te ae ee] PLATE I PLATE Ill VII A Cap, D-64 A Cap, S-732 B_ Side, D-764 B Base, S-733 C Filler, D-765 C Side, S-1732 D_ Stiling D Plain Ground PANIED, IU PLATE IV A Cap, S-700 A Cap, S-742 B_ Base, S-701 B_ Side, S-1742 C Side, S-1700 C Plain Ground D_ Plain Ground D_ Stiling Plate 1. See Interior, No. 73. Plates 1, 2, 3 and 4, show <¢lay-outs”’ for four decorations, Plate 2. See Interior, No. 81. any one of which can be arranged on the wall as shown in Plate 3. See Interior, No. 79. either of the four plates. Plate 4. See Interior, No. 77. Lonpon House INTERIOR No. INTERIOR No. InTERIOR No. InTERIOR No. INTERIOR No. INTERIOR No, INTERIOR No, 7O 71 72 ie) G5 SINS De eX The London offices and showrooms of the M. H. Birge & Sons Company are situated at 46 Berners Street in the West End, occupying what was once a characteristic fashionable residence in the time of the brothers Adam, whose man- ner of decoration is to be seen in the illustration on page No. 1. Altho the premises had been put to various uses since the time of George III., little injury was done to the handsome interior, and by careful and consistent restoration and decorative treatment the whole has been returned by us to its original dignified form. The success of this work has been attested to by various flattering comments in several of the English trade publications. These offices and salesrooms will control the business for the United King- dom and the Continent. This interior illustrates the value of the wainscot patterns, of which we show a number; and all of which admit of being used on the stairway as well as on the straight walls. (See also “‘ Lay-out’? No. VI in back of book.) The motif in this design is the eye of the peacock treated in a severity suggesting the modern German school. The ceiling has been decorated with ornamental bands which terminate in a decorative pendant or stole. (See also “« Lay-out” No. VI.) The ordinary treatment of ceilings has left much to be desired, and as a pro- vision for this important part of the interior we are showing a number of original effects produced by the use of these stole decorations. Since the range of possi- bilities is limitless, the decorator will now be enabled to secure original combina- tions by the use of these various parts. All the papers illustrated in this interior are 22’’ Specials. In this decoration is shown one of the many possibilities of the chrysanthe- mum and nasturtium. Further suggestions will be found in “Lay-out” III. Here also is introduced the “ Treillage”” work which is playing such an impor- tant part in the leading examples of modern work both at home and abroad. The word “ Treillage” carries its own meaning, since it is merely the French word signifying trellis work. Used in this way, however, it differs from the ordinary trellis, which becomes merely a frame to be hidden by growths of various kinds. Here treillage is of itself a decoration and imparts to the inte- rior an atmosphere of outdoors; and with the elements of stripes of varying widths, curves, key blocks, and finials—which we are furnishing —an infinite variety of treatments may be accomplished. (See also Interiors Nos. 82, 83, and 84.) The designs illustrated in this interior are 20/’ Machine Decorations. This illustration shows one of the many possibilities of this pattern, the elements of which admit of the helpful practice of cutting out and rearranging the elements to suit requirements. Further instances are shown in “ Lay-out ” I. The ceiling will be found to be very useful, since it may be cut out to form large figures for large ceilings, and in other arrangements to produce small devices for small ones. The papers of this illustration are 20’’ Machine Goods. The elements comprised in this set may be made to yield a variety of panel treatments, plain or ornamental. (See also “¢ Lay-out” VII.) The patterns illustrated are 20’’ Machine Papers. This illustration shows an interior in the spirit of the modern English style, and with the elements available a great variety of effects are possible. (See also “¢ Lay-out ” IIT.) ‘The designs shown are produced in the 20’” Machine Grade. The interior here shown is in the spirit of the Georgian period, and because of the unusual divisions of the width of each strip into panels a very striking result is obtained. (See also “‘ Lay-out”’ II.) The papers illustrated are of the 22’” Special Machine Grade. This interior is an original arrangement, somewhat in the spirit of the modern movement,— both Scotch and German. Note the use of the stole deco- ration on ceiling. (See also “ Lay-out” VI.) All the papers illustrated in this interior are 22’ Machine Specials. InrERIOR No. 77 INTERIOR No, 78 INTERIOR No. 79 INTERIOR No. 80 InrTERIOR No. 81 InreRIoR No. 82 InrERIOR No. 83 INTERIOR No. 84 InreRtor No. 85 INTERIOR No. 86 INTERIOR No. 87 The several parts to this set admit of being arranged in a great variety of decorations in the spirit of the Adam’s style, (See also “ Lay-out”’ VII.) This design is produced in the 22” Machine Grade. This is one of the most complete decorations ever produced by us, being after the style of Louis XVI. In this case the moulding is used merely as an extension in the panels, but in ‘“‘Lay-out”? IV it is shown as forming a large panel about the group of lesser panels. With the parts to this set one may accomplish practically any form of recognized French paneling. The decoration is made in the Special 22/7 Machine Grade. This dainty and sentimental panel decoration recognizes no particular period, but will at once recommend itself for its possibilities. (See also “ Lay-out” VII.) The patterns illustrated are Special 22’’ Machine Goods. The cartouche panels in this decoration may be supplied with some of the excellent colored prints from the modern periodicals, or, we can furnish French lithographs after the Watteau style, as are illustrated here. ‘The combination is produced in the Special 22’/’ Machine Grade. A Louis XV with characteristic landscape and garlands. (See also “ Lay-out” VII.) This decoration is made in the Special 22’’ Machine Grade. In this illustration the idea of the outdoor suggestion of treillage is enhanced by the use of a grove of saplings which, with the suggestion of wild flowers and the distant river, give the atmosphere of the quiet country. (See also « Lay-out” V.) The papers of this decoration are all of the Special 22’’ Machine Grade. Here again the treillage is used to secure the out-door effect, and with the lilac used in this free manner the suggestion is at once that of the old-fashioned garden. The ceiling too shows one of the many effects possible in the use of treillage and a cloud effect. (See also “ Lay-out” V.) S-1772 is a Special 22/’ machine paper. The other designs of the illustration are 20’ designs. This severe treatment suggests the simplicity of the Japanese tea house—an effect which is enhanced by the distant boughs of peach blossoms. Note the effect of apparent distance secured by passing the bars of strong color across the compo- sition, and also of “forcing” the perspective, as in the case of the beams under the eaves. The papers illustrated are all of the Special 22/’ Machine Grade. This decorative frieze with its three parts is, in its rendering, like some of the work at “Eaton Hall,’ the seat of the Duke of Westminster. It has two separate groups of figures, horses and dogs, and an additional part without figures, which forms an extension, These with two ten-inch bands produce a most im- pressive and very decorative frieze. The high wainscot effect is in a simple bold heraldic style forming an agree- able contrast to the frieze. (See also “« Lay-out”’ VT.) All the papers of the decoration are of the Special 22’ Machine Grade. This illustration gives but an imperfect impression of the tapestry landscape effect to be secured by the use of these four parts and framing border. The original “Tree” tapestry was produced by us for the Pan-American Exposition and consisted of two widths of pattern each matching upon itself, or upon the second part. The continued popularity of these two panels has induced us to add two other panels, which are so different in detail that, with their use in connection with the original panels, an immense variety of arrangements may be arrived at and all suggestion of repetition entirely lost. Each separate panel repeats upon itself as well as upon each of the remaining three. The decorations of this illustration are 22/’ hand-made papers. This Louis XVI. interior suggests some of the work done for that unhappy monarch at Versailles, tho the illustration fails to reveal the great delicacy of detail which appears in the high modeling of this pattern. The panels may be formed of practically any color, tho only one is shown by us for each set. The white or contrasting stiling with the raised ornamental mouldings and the hand decorated festoon of roses and leaves produce an effect of singular delicacy, besides being very accurate in period representation. The papers of this illustration are hand-made. INTERIOR No. 88 Inrer1oR No. 89 This illustrates the possible use of several leathers of different character in pro- ducing a harmonious scheme. ‘The frieze is formed of a decorative panel and an expanse of plain hide. By this arrangement the decorator can place the panel at the corners of the room or over doors and fill out the remaining frieze space with plain leather. ‘The design is a direct copy from an old Spanish Baldachino and is most characteristic of this ancient ecclesiastical work. The wainscot is an example of the Biedermeier style which is receiving so much recognition at the hour in the decorative world. It seems that the desig- nation of BIEDERMEIER does not refer to an individual or originator but rather to a fanciful spirit who was supposed to preside over the affairs of the middle class Germans of the early 20’s. A merchant of strict honesty and amiable dealing was ‘‘ Biedermeier.” The decorative work produced in this spirit took on the frank simplicity and quaintness of all things Biedermeier, and whether it will find continued popularity or not, it is a refreshing note and we shall be none the worse for a little Bieder- meier. All the papers of this illustration are made only in hand leather finish. The main wall panels of this interior are filled with an accurate reproduction of a fine example of old Spanish leather. ‘The piece from which this leather paper was made belongs to the now famous collection in our possession and was made in Spain in 1730, and is in excellent preservation. This pattern is also made on real leather and colored in lacquer on metal leaf. The panels over the mantel are filled with a stamped leather pattern, which had its origin in two old Italian book covers. The frieze is a heavily marked leather with a decorative border framing the panels. This border was designed with a view to its being shortened when necessary to bring the square figures at desired locations. Where it is desired to supply the corners of a panel with the square figure, and at the same time distribute the remaining figures in the spaces between, the border may be cut at each square and the space between “taken up” by cutting. The small nail pattern here shown is a ten-band border and will be found of the greatest value in all leather work. All the papers of the illustration are made only in one hand leather finish. THE MATTHEWS-NORTHRUP. WORKS BUFFALO CLEVELAND-AND NEW YORK ‘ ‘ . ‘ : ’ ‘ . : . 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