■i; • •. 'A'. -' . '■ ' ' C . '■.' f '.. ,■"'■ 1 ^'’'. V ’^-, ,'ji I ' - /V /• . ■ ., . Al/r‘* ■ L*; ■ •• f ' j .s / -Ty H % ■■ N^H:' Jf'''rJ ', V ’■ fii^'^''"' ' # '“^ i H ■; i ■ /; y n ■ c* 0 ^ : v . ■•',,' 'i- - 7 -, ■■■ f'-,- \ « * z V/ ,r .-'' ■ '' ? ’■ •i* Classics ■ tc riLirS li^lnjiJirinJ rinJlrinJ ruillruiifimllFinJ ci 1 AT 1 1 IShOjm LIBRARIES ^\slS EU 1 I COLUMBIA UNIVERSITY 1 /f26 1 I ra I a 1 1 1 I Avery Library i I i § I IS i Bi rinJ 1 rinJ 1RHJ1 rmJ 1 ruiJ 1 HiiJ 1 rinJ 1 ruiJ 1 & •.V ■ r \ J\ .[i ' t' - r' 'X^y ■:^' ■■' C'j ;:SS^ r ’. o A (a3 ‘ jj'. CsL-^T^ kW^Bi 4jr.4. ' ■'] miff ■ ,■' .A - ■c - ■ * ^ _/‘'7 i’ ' .:,u 'goi ;4 rA %- ! - /* , C .-C/ "'P -cr:..:.-r ■ : ^,.-' ■'•-r . ..■•. f: . ;r; ■ .a#? . "i lA (■--■ ''Mxj ■■ ■■ "A A ’’( S ' • A '-’ T ’^’' ^ ” ^ '"" 1;^/ ■' .'■^' .i'J r;., "«'*■ I '/ : ,i 'f ..-if Jv .o; " •^' '‘‘■vi^“'V' ^ 'K ’ ; ' I, . ■ ' ■..' ..*.;> r ' Digitized by the Internet Archive in 2020 with funding from Columbia University Libraries https://archive.org/details/casabonitahouseoOOasso CASA-BONHA A HOUSE OF TILES BUILT AT THE SESQUI CENTENNIAL AS AN EDUCATIONAL EXHIBIT ASSOdATED TILE HANLIFACnjREBS ^ BEAVER FALLS, PENKA N Casa Bonita A House of Tiles /Associated Tile Manufacturers Beaver Falls, Pa. ^ ftVERY LIBRARY COLUMBIA UNi Ai,-li i ] Spanish Dining Koom Niche 2 CASA-BONITA A HOUSE OF TILES BUILT AT THE SESQUI CENTENNIAL AS AN EDUCATIONAL EXHIBIT ASSOCIATED TILE MANUFACTURERS BEAVER FALLS. PENNA ^ A. D. PICKETT, ARCHT (g) Copyright 1926 by Associated Tiie Manufacturers CASA BONITA ) )r/ All Tiles Furnished by y^ssociATED Tile Manufacturers Alhambra Tile Co. American Encaustic Tiling Co., Ltd. .' Beaver Falls Art Tile Co. Cambridge Tile Meg. Co. Grueby Faience & Tile Co. Matawan Tile Co. Mosaic Tile Co. National Tile Co. . Old Bridge Enameled Brick & Tile Co. Olean Tile Co. . Perth Amboy Tile Works .... The C. Pardee Works. United States Encaustic Tile Works . Wheeling Tile Co. Newport, Ky. Zanesville, Ohio Beaver Falls, Pa. Covington, Ky. Perth Amboy, N. J. Matawan, N. J. Zanesville, Ohio Anderson, Ind. Old Bridge, N. J. Olean, N. Y. Perth Amboy, N. J. Perth Amboy, N. J. Indianapolis, Ind. Wheeling, W. Va. Acknowledgments WOOD FURNITURE Palmer &. Embury Mfg. Co., New York City WROUGHT IRON FURNITURE Oscar B. Bach, New York City ELECTRIC REFRIGERATOR Delco-Light Co., Dayton, Ohio ELECTRIC STOVE Armstrong Mfg. Co., Huntington, W. Va. LIGHTING FIXTURES Todhunter, Inc., New York City Oscar B. Bach, New York City Skinner-Hill Co., Inc., New York City SHIP MODEL & BRONZE SPECIALTIES Skinner-Hill Co., Inc., New York City SHOWER EQUIPMENT Speakman Co., Wilmington, Del. NICKEL SILVER DOORS Crist Si. Schilken Co., Pittsburgh, Pa. RADIO Radio Corporation of America, New York City FIREPLACE EQUIPMENT Todhunter, Inc., New York City PLUMBING FIXTURES Standard Sanitary Mfg. Co., Pittsburgh, Pa. Kohler Co., Kohler, Wis. Crane Co., Chicago, III. 4 ASSOCIATED TILE MANUFACTURERS THAT fine old Quaker City of Philadelphia an exposition commem¬ orating one hundred hfty years of American Independence is nearing its close. But this exposition celebrates more than an unique historic event; it commemorates as well, the progress that America has made in that time. Just fifty years ago a similar exposition was held in Philadelphia, and, strange as it may seem, this exposition was held the same year that witnessed the birth of the Tile Industry in the United States. To commemorate httingly this fiftieth anniversary of the industry, the Associated Tile Manufacturers erected at the Sesqui-Centennial a charming little pavilion which they have been pleased to call '‘Casa Bonita de Azuhjos" (Pretty House of Tiles), and in this delightful little Casa^ which reflects the graceful lines of the colorful Moorish architec¬ ture of Old Spain and North Africa, has been installed one of the most interesting and instructive displays of tile-work ever brought together. Come with me, in spirit, for a ramble through the house. Entering the Casa under the pointed Moorish arches with their blue and gold decorations, one finds himself in a restful room of soft gray tiles, with interesting trimmings in salmon pink and dark blue, and containing a charming fireplace with wonderful decorative inserts. The lace-like, perforated, ceramic grilles in the wall suggest a means whereby our ultra-modern and none-too beautiful heating units may be hidden from view. Just beyond this room is a “dream” of a bath, in blue, red, black and gold; the wonderfully luminous blue dominating; the black recalling the lustrous sheen of Nubian marbles. A sparkling decorative scroll motif in blue and gold forms a wainscot, while narrow gold bands dehne the wall panels. Features of this room are the interesting lava¬ tory, constructed of small blue tiles, and the tub enclosure, also of tiles, which recalls, both by its position and its design, the delightful baths of proud old Roman Pompeii. Beyond this and to the right is a clean, sparkling, tile bath for those who love the glistening purity of white tiles, and, at the left, a bath¬ room in black and white with a cool, “grotto,” shower-compartment in white, lavender and gold. The Living Room in the centre of the House is a dream in buff and blue tiles set in a soft cream plaster. Here one senses the possibilities of CASA BONITA colorful, sanitary tiles as door and window trim and catches the won¬ derful decorative qualities of this noble material, even when used sparingly with rough-cast plaster. Behind the rich velour curtains either side of the vestibule at the rear of this room are to be seen other handsome solutions of the Ameri¬ can bath, while the vestibule with its wainscot and door trim of red, black and grey leads one to a glimpse of a delightful New Mexican ^atio at the rear of the House. Beyond the Living Room is a colorful Spanish Dining Room that re-echoes the delightful decorative motifs of historic Casa del Greco at Toledo. Features here are the wall recess, lined with tiles, and used as a china cabinet, and the interesting radiator-seat under the window, with its handsome faience grille. At the rear of the Dining Room is an interesting compartment in light blue, red, buff and black which shows the wonderful possibil¬ ities of the heavier colors in interior decoration, and beyond this is a “dream” kitchen which every American housewife may today enjoy for the asking. The clean white tile ground of thewalls are here relieved by two blues, a light and a dark. The ample sink of light blue and cream tiles with recessed soap-dishes in the splash-back is a new devel¬ opment in the application of sanitary and everlasting tiles to the equipment of the kitchen. While the general feeling is that of the “colonial-Georgian” Period, the simple rehnement of the kitchen of tiles makes it applicable to a home of most any style or lines. In leaving the display we pass out into a sand-paved Pueblo patio. Here are shown for the hrst time in history those age-old symbolical motifs of our own far West, executed in the older ceramic medium of the Orient. Such a patio might, in the old days have greeted a weary traveler to half-Spanish, half-Indian Santa Fe. One would love to linger in such a purple-shadowed courtyard to dream lazily of the romantic days of Coronado and his trek across the painted plains in quest of the Seven Golden Cities of Cihola! But why dream when we of today have more material comforts than all the gold of the seven fabulous cities could ever have bought? Rather should we muse at the wonderfully efficient way in which art on one hand—the art of the colorist and designer—and science on the other— the science of the chemist, ceramist, and engineer—have succeeded in recreating for us the priceless ceramic heritage of the past and in mak¬ ing it function in the life of today. Truly a splendid achievement for hfty years and one appropriately celebrated in colorful Casa Bonita! Rexford Newcomb, A. I. A. 6 ASSOCIATED TILE MANUFACTURERS 7 TS/iain Facade, of Spanish Influence in the Moorish Manner CASA BONITA 8 Fireplace in Tudor Reception Hall Front Entrance^ from the Tudor Reception Hall ASSOCIATED TILE MANUFACTURERS 9 A Wall Treatment in the Tudor Reception Hall CASA BONITA 10 Sunken Bath Tub of Pompeian Type Tiled Lavatory and Perfume Cabinets in a Modern Bathroom of Pompeian Trend ASSOCIATED TILE MANUFACTURERS 11 S-panish-American Living Room CASA BONITA A Five Foot Bathroom in the Franciscan hAanner 12 ASSOCIATED 'FILE IVI A N U F A C T U R E R S An attractive Bathroom in White, Green and Gold 13 CASA BONITA A Doorway in the Spanish-American Living Room 14 A S S O C I A T ED T I I. E M A X U F A C T U R E R S Hollov>i Ti\e 'flo At Co<^t- HlAD JAMb Concrete^ i CU Details of Shower Doorway A Toilet Room in White and Dark Gray T'le 6 oAp Dish <^r\d C^rip [)r.>in Cen+er Line of 6hower He^d s 1 Door or CurhMO Typical Plan of Shoiver Bath Compartment Shower Compartment of Toilet Room. Note Grille Tile Ventilator in Ceiling 15 CASA BOXITA Spanish-American Living Loom Fireplace with Open Grille for Radio Loud Speaker 16 ASSOCIATED TILE M A N U E A C T U R E R S 17 CASA BONITA Above: Window Seat in Spanish Dining Hoorn. Note Tile Grille to Serve Heating Element Underneath Seat Door Treatment in Spanish Dining Hoorn 18 D T I I. E M A N U F A C T U R E R S Modern Breakfast Room in a Cheerful Tile Ensemble 19 CASA BONITA 20 Spanish Dining Room in the M-oorish Nlanner M A N U F A C T U R E R S ASSOCIATED TILE f ri ^ T j • 21 Modern American Kitchen tvith Glazed Tile Sink and Cupboard CASA BONITA Ftteblo Indian Doonvay Garden Entrance to Indian Patio mm hooking into Indian Hall from Patio Piled Bench in Pueblo Indian Patio 22 ASSOCIATED TILE MANUFACTURER S ->iL 5 .y jammuoA ^i; Garden Elevation of Casa Bonita in the Pueblo Indian Manner CASA BONITA Rear Exterior—Perspective of Garden Elevation Pueblo Indian Eacade 24 ASSOCIATED TILE MANUFACTURERS The interest evidenced by architects, draftsmen, specihcation writers and other visitors to this exhibit, in the kinds, colors and textures of the tiles used, as well as in the motifs, has prompted us to show the details of each of the rooms illustrated in the foregoing photographs. These details are shown on the following pages. The entire exhibit, and each room, is full of suggestive material, and intended to furnish an idea of the limitless decorative and utilitarian possi¬ bilities of tilework. Nearly all of the tiles in this exhibit are produced by more than one of the Associated factories. For this reason it is not practical, nor is it deemed neces¬ sary to designate the names of the producer whose tiles were used in each case. Samples of the tiles produced by members of the Associated Tile Manufac¬ turers may be obtained through tiling contractors anywhere. 25 CASA BONITA 26 ASSOCIATED TILE M A N E A C T U R E R S 5 - t~ a s S. h : A (ti i o * q:- 27 CASA BONITA ■+ 28 ASSOCIATED TILE MANUFACTURERS 29 CASA BONITA 30 ASSOCIATED TILE MANUFACTURERS 31 CASA BONITA Half Llevatio^ of deHcH 4'4h44BUcU. Ungl. PaR-J tLLVATIOAJ Of DoDCWAf pATTE-R-N E. Pa-5Je,gn a _j"yiir<^L>oi5 bloe BlACK- Boff Turquois Diue PatTFR-N d FATIO IDILTAaLS ■SCAce. -9^" * r - O' Dado Strip Associate,!!) TIiee Manufactureks ArchitetturA\ Oep^ 32 Y^a^lord L_ 1 GAYLAMOUNT® I PAM PHLET BINDER Syracuse, N.Y. | Stockton, Calif. ■ i-r' :',• :'f' ■■ 'vV'’ Tv'.' ■ s« . ^ •V X. ..i^ m i ir-if 'W f» ‘T I . f < ' »jt.' ' J % - ■./,^!''»;7 W ■£? .-■ '■ ' , '>r£\: fci: ■ ■'f / ' ' 7 ^ ^ '■)■ -■ ^>:V V ■' ' ' ' 7^'r --ii ^ ^ . , S-P’ te''V.:4^A •, XA. ' r0'-: , ¥^W0- ¥' ..■ 7 ; '■■■' ^^ ^iiir V"”- • ' ■■ ■ 7 '''; 0 .■-V..<.;.-•! - ■ :^.. . ,. v- - ■ ', " V- '' '' ' .*.*'.,. '-i ^' ,' i fy ^?’oj iy <0 X 5 '^ ;' 1 >' 1 ^ ' 'j'r^ h h#*' Cl ■ ^j^‘, ly tiJV’ ■■ AT 74^0 ci vyijiM^iwawiwyuiaMWWsw iWij'itt^^ £■:" . <■•>.'• ' * •> T,’;, ^ . ■■ ' ' ' * '\/'*' ' y- i I ' - ' ' " ■' ;. .. />'•'■ ;■.•< 'f-'a,< i " ' } /■'■'■X'-lv?''-‘. y^ '~ ' ■ '■'■if ■:‘‘'-'1''' ,1 . (fi' '■ ■ '*#. •• •' •• >'.'. K * ’•'{ V' »T 'j\\ . Classics iWEMORY OF HENRY OGDEN AVERY ARCHITECT<^:XL/6)(Ovc>^ BORN THIRTY-FIRST JANUARY MDCCC LII DIED THIRTIETH APRIL AVDCCC LXXXX-e/®^ '-":<2/EVe>3-HIS PARENTS SAMUEL P AVERY AND A\ARY OGDEN AVERY HAVE FOUNDED THIS REFERENCE LIBRARY OF ARCHITECTURE AND DECORATIVE ART-^^ - 111 ' ■ , A ' • S' # ICO flS c c c : i-fe \:Si 3 ^S?a-a|^ v’simisiiliisS -■ . Cvf- ■/r-*v t ^ - '- - 'A,.- 7 ' '■ ’ ' i-'-' ■v'''''''T;'’ ■^•■■/•'i'‘V''■ 'a .■■ ■■'' ■,; ■'. .r.-A?: J .,- -':ry'’- ' -"‘'-VA..;; THE C. PARDEE WORKS INCORPORATED 1895 Manufacturers of WHITE BRIGHT GLAZED WALL TILE, WHITE AND COLORED CERAMICS, GRUEBY-FAIENCE, AND FLINT TILE, WHITE AND COLORED SATIN FINISH TILE Exclusive United States Agents for ROYAL-DELFT FAIENCE FACTORY PERTH AMBOY, NEW JERSEY OFFICES 9 EAST FORTY-FIFTH STREET, NEW YORK CITY 1600 WALNUT STREET, PHILADELPHIA, PENNA. OFFICES AND WAREHOUSES 1500 SOUTH WESTERN AVENUE, CHICAGO, ILL. 1510 SANTA FE AVENUE, LOS ANGELES, CAL. COPYRIGHT, 1928 , THE C. PARDEE WORKS, INC. THE C. PARDEE WORKS, PERTH AMBOY, N. J. THE COMMODORE NEW YORK CITY THE PENNSYLVANIA NEW YORK CITY TQ ijiB Til I jjia E] :i3 5 2II 21 I T3 U ] jjia F^nnr |:3J JUJ)‘ )]) ]). ^3 35 ) 3 J 35 5J} jj -.3 5 355 -JJ) ■JSJJlJlj THE BELDEN CHICAGO, ILL. CORAL GABLES MIAMI, FLA. THE AMBASSADOR NEW YORK CITY The careful selection of the finest clays obtainable, coupled with an experience of more than a quarter century of manufacturing, has produced a bright white glazed wall tile having among its other supe¬ rior qualities the outstanding virtue of being of a perfect whiteness which challenges the closest scrutiny in any en¬ deavor to distinguish one piece from another by its shade. F ULL sizetile,accuratesizing and constant vigilancetomain- tain the highest standards of grading have made it the un¬ qualified choice of the discrim¬ inating purchaser. The surrounding hotels, con¬ taining many thousands of baths, are but a few of those which by their selection and use testify to the quality of PARDEE TILE. THE PROVIDENCE BILTMORE PROVIDENCE, R. I. THE ROOSEVELT NEW YORK CITY FLORIDIAN HOTEL BAY FRONT MIAMI BEACH, FLA. THE BILTMORE NEW YORK CITY THE AMBASSADOR ATLANTIC CITY, N. J. WHITE WALL TILE WHITE BRIGHT GLAZED WALL TILE AND TRIM A clearly drawn order reduces to a minimum the possibility of error in shipment, and obviates the delay necessary to obtain an interpretation of any indefinite terms. If the terms of this catalogue are used in specifications and orders, this end will be served. PLAIN WALL TILE SIZES: 6x6 6x3 6x2 4>^x4X 4^x2^ PATTERN WALL TILE TRIM SIZE A-55. Base (Stretcher). Base Concave Angle, Right. Base Convex Angles, Right and Left. Base Stops, Right and Left. A-65. Inglaze (Stretcher). Inglaze Concave Angle (Reversible). Inglaze Concave Angle Square, Left. Inglaze Convex Angles, Right and Left .... Outglaze (Stretcher). Outglaze Concave Angle Square, Left. Outglaze Convex Angle (Reversible). B-6. Inglaze (Stretcher). Inglaze Concave Angle (Reversible). Inglaze Convex Angles, Right and Left .... Outglaze (Stretcher). Outglaze Concave Angles, Right and Left . . . . Outglaze Convex Angle (Reversible). Outglaze Butterfly (Reversible). B-16. Trim (Stretcher). Trim Concave Angle (Reversible). Trim Vertical Angle (Reversible). B-55. Base (Stretcher). Base Concave Angle, Right. Base Convex Angle, Left. Base Stops, Right and Left. C-5. Cap or Trim (Stretcher). Cap Concave Angle, Left, Round or Square . . Cap Convex Angle, Left. Trim Vertical Angle (Reversible). Cap Stops, Right and Left. F-5. Cap (Stretcher). Cap Concave Angle, Right. Cap Concave Angle Square, Left. Cap Convex Angles, Right and Left. Cap Vertical Angle (Reversible). Cap Concave Angle (Reversible), Large Radius Cap Convex Angle (Reversible), Large Radius . Base (Stretcher). Base Concave Angles, Right and Left .... Base Concave Angles, Square, Right and Left Base Convex Angles, Right and Left. Base Concave Angle (Reversible), Large Radius Base Convex Angle (Reversible), Large Radius 6 X 6 6 X 6 6 X 6 6 X 6 6 X 6 6 X 6 6 X 6 6 X 6 6 X 6 6 X 6 6 X 6 6 X 3^ 3^ X sH 3K X SX 6 X 3>< 3^ X 3H X SH 4X X 3)4 6 x4X 4X X a}4 6 X 4 6 X 4 6 X 4 6 X 4 6 X 3 6 X 3 6 X 3 3 X 3 6 X 3 6 X 2 6 X 2 6 X 2 6 X 2 X 2K 3 X 2 3 X 2 6 X 2 6 X 2 6 X 2 6 X 2 3 X 2 3 X 2 PAGE FOUR WHITE WALL TILE WHITE WALL TILE AND WHITE CERAMICS PATTERN WALL TILE TRIM (Continued) F-10. Base (Stretcher). Base Concave Angle, Left. Base Concave Angle Square, Left. Base Convex Angles, Right and Left. Base Reducer (Reversible). F-45. Cap (Stretcher). Cap Concave Angle, Left, Round or Square. Cap Convex Angles, Right and Left. Cap Stops, Right and Left. Cap Vertical Concave Angle (Reversible). Cap Vertical Convex Angle (Reversible) . G-60. Cap (Stretcher) . Cap Concave Angle, Left, Round or Square. Cap Convex Angles, Right and Left. Cap Stops, Right and Left. Cap Vertical Concave Angle (Reversible). Cap Vertical Convex Angle (Reversible). K-5. Inglaze (Stretcher). Inglaze Concave Angle (Reversible). Inglaze Convex Angle (Reversible). Inglaze Reducer (Reversible). Outglaze (Stretcher). Outglaze Concave Angle (Reversible). Outglaze Convex Angle (Reversible). Outglaze Reducer (Reversible). B-22. Inglaze (Stretcher). Inglaze Concave Angle (Reversible). Inglaze Convex Angles, Right and Left. Outglaze (Stretcher). Outglaze Concave Angles, Right and Left .. Outglaze Convex Angle (Reversible). Outglaze Butterfly (Reversible). 1-6. Inglaze (Stretcher). Outglaze (Stretcher). Outglaze Butterfly. C-26. Inglaze (Stretcher). Outglaze (Stretcher). HOSPITAL TRIM, 2-INCH RADIUS A-35. Inglaze (Stretcher). Inglaze Concave Angle (Reversible). Inglaze Convex Angle (Reversible). Outglaze (Stretcher). Outglaze Concave Angle (Reversible). Outglaze Convex Angle (Reversible). C-35. Inglaze (Stretcher) ) For Angles .. Outglaze (Stretcher) J See A-35 . C-45. Inglaze (Stretcher) ) For Angles . Outglaze (Stretcher) ) see A-35 . PLINTHS B-132. Plain. B-133. Beveled. B-134. Plain. C-5. Beveled. SIZE .6 X 2 .6 X 2 .6 X 2 .6 X 2 .6 X 2 .6 X 2 .6 X 2 .6 X 2 .6 X 2 .2 X 2 .2 X 2 . 6 X lyi . 6 X iy2 . 6 X \y2 . 6 X 1^2 . 2yi X lyi . 2}^ X lyi .6 X 1 .6 X 1 . V/i xl .6 X 1 .6 X 1 . iK X 1 .6 X 1 .6 X 1 . 4X X 3^ . 3K X 3^ . 3K X 3K . 4X X 3^ . X VA . 3^ X 3K . 4X X 3X . . 3 X 3A . . 3 X zA . . 3K X zA . . 6K X 3 . . X 3 . . 6 X 5 . . 3 X 5 . . 3 X 3 . . 6 X 5 . . 3 X 3 . . 3 X 5 . . 3 X 5 . . 3 X 5 . . 6 X 3 . . 6 X 3 . . X 5 . . 7 X zA . . 7 X . . 7 X 3>^ VITRIFIED WHITE CERAMICS 1 inch Hexagon 1x1 Squares—Broken Joint 1x1 Squares—Straight Joint lA inch Hexagon PAGE FIVE WHITE WALL TILE B-134 G-60 FULL SIZE SECTIONS OF WHITE WALL TRIM PAGE SIX WHITE WALL TILE FULL SIZE SECTIONS OF WHITE WALL TRIM PAGE SEVEN WHITE WALL TILE A-65 INGLAZE A-65 IN. CC. L. SQ. A-65 IN. CX. R. A-65 IN. CX. L. ONE-QUARTER FULL SIZE A-65 OUTGLAZE PAGE EIGHT WHITE WALL TILE A~65 OUT. CC. L. SQ. A-65 OUT.: CX. REV. a '' ■’- |:U, ■ ■ • - v;.- • r' •' ^ ^ r X’' " ,4'. ^ ^ ^ .. ■-, jr- / -■ ' w;. _ - ■ jg& M ,-■■1 B-5 IR CG, REV, B-6 IN. CX, R. Br6:'lN. CX. L. TP B-6 OUT. CC. R. B-6 OUT. CC. L. B-6 OUT. GX. REV. B-16 TRIM B-16 CC. B-16'REV. BUTTERFLY 1 B-55 CC. R- B-SS CX. L, B-55 R. S. ONE-QUARTER FULL SIZE ,B-6 OUTGLAZE tel . 1', r KxP- m- B-6 OUT. REV. ' 4.n!t- BUTTERFLY B-55 BASE B-55 L, S. PAGE NINE WHITE WALL TILE C-5 CAP OR TRIM C-5 CAP R. S. F-5 CAP CC. R. F-5 CAP CX. L. ) i ! [ ■_ J • , I 1 ■ C-5 CAP CC. L. C-5 CAP CX. L. C-5 CAP VERT, C-5 CAP L. S, ’■■h ■ - ■ ■■ ' 'I ■■ 'i-v F-5 CAP CC, L. SQ, F-5 CAP CX. R t; F-5 CAP VERT. REV. F-5 CAP CC. REV. ; LARGE RAD. . F-5 CAP CX. REV. - LARGE RAD. A 1 * ^ . j;:-. '••• . : . , . ... . V ... —— F-5 BASE CC. R. SQ. F-5 BASE CC. L. SQ. F-10 BASE CX. R. ONE-QUARTER FULL SIZE •A/r>- L-- PAGE TEN F-5 BASE CX. L, F-IO BASE CC, REV. F-45 CAP CC. L. RD. OR SQ F-45 CAP R. S. t. G>60 CAP WHITE WALL TILE F-5 BASE CC. REV. F-5 BASE CX. REV. P-10 BASE LARGE RAD. LARGE RAD. : ' ' ' '.J F-IO BASE CC. L. SQ. , F-IO RED. REV. F-45 CAP CX. R. > , 4 F-45 CAP F .45 CAP^L. S. F-45 CAP F-45 CAP VERT. CC. REV. VERT. CX. REV. Q-60 CAP CC. L. RD. OR SQ. G-60 CAP CX. R. G-60 CAP R, S, G-60 CAP L. S. ONE-QUARTER FULL SIZE PAGE ELEVEN WHITE WALL TILE G-60 CAP G-60 CAP VERT. CC. REV. VERT. CX. REV, gfS ■■ ■ ' ■ ■■ ■ v:': -Wt:. K-5 IN. CX. REV. K-5 IN. RED. REV. K-5 OUTGLAZE K.5 OUT. CC. REV. K-3 OUT. CX. REV, K-5 OUT. RED. REV. mv..-.' r ■i k: p 1 i f 1 s j ■ ■ ■ it 'll 1 1 -■ t-i r 1'^ •' y 1 B-22 INQLAZE B-22 IN. CC. REV. B-22 IN. CX. R. B-22 IN. CX. E. 1 ' /■ Q 1 I 1 .. » {• 1 • V B-22 OUTGLA2E B-22 OUT. CC. R. B-22 OUT. CC. L. B.22 OUT. CX. REV. i'T'.-.rv ■■M . .. 1-6 INGLAZE *BBU 1-6 OUTGLAZE B-22 OUT. REV. BUTTERFLY 1-6 OUT. REV. BUTTERFLY ONE-QUARTER FULL SIZE PAGE TWELVE WHITE WALL TILE i . > ■ ' j C.26 INGLAZE 0 - C-26 OUTGLAZE A-35 OUT. CX. REV. 1 3 C-35 OUTGLAZE ONE-QUARTER FULL SIZE PAGE THIRTEEN WHITE CERAMICS Thompson’s Restaurant in Providence. Here the Pardee white wall tile is divided into panels by strips of colored tile which blend with the color used in the pattern of the ceramic floor. PAGE FOURTEEN WHITE WALL TILE A bath in the Penn¬ sylvania Hotel, New York City, in six by three white wall tile andone-inch hexagon white ceramics. A conventional treat¬ ment, but one which, in Pardee tile, is immaculately white. The restaurant kitchen in the Missouri State Life Building in St. Louis. The walls and ceiling are finished through with Pardee White Wall, in six-inch units and all In and Out Corners with two- inch radius tile. Here again is cleanliness, combined with the utmost conservation of light. PAGE FIFTEEN FLINT TILE AND CERAMICS Pardee Flint Tile and Ceramics are manufactured in four colors: Sand Gray, Holland Brown, Red and Brindle Gray. Running in slight and evenly distributed shade variations they compose colorful floors of the softest and most pleasing tones and offer a rich and harmonious back¬ ground for fine rugs. Made of natural clays, their color and texture is uniform throughout, and their complete vitrification makes them not only proof against wear, but completely non¬ absorbent, and so stainproof. The Sand Gray in particular offers a slightly roughened surface which will not wear smooth, and so, if kept clean, is non-slipping even when wet, a condition under which so many surfaces are unsafe. Structurally they are of great strength, although, the small ceramic sizes in par¬ ticular, of little weight, averaging about three pounds to the foot, and so permitting great economies in the dead load in large buildings. Beyond all this, they are so moderately priced that where otherwise cheaper and less attractive materials would be considered, they make possible the beauty and unmeasured permanence of tile. TILE Color Plastic Size Brindle Gray.6x6, 6x3, 3x3 Red.6x6, 6x3, 6x2, 4x4, 4x2, 3x3, 2x2 Hand Made Brindle Gray.6x6, 4x4, 4x2, 3x3 Red.6x6, 4x4, 4x2, 3x3 Holland Brown.6x6, 4x4, 4x2, 3x3 Dust Pressed Holland Brown.4x4, 4x2, 2x2 Sand Gray.4x4, 4x2, 2x2 Sand Gray ] Ceramics Red /. 1-inch Hexagon, 1x1, 2x1 Holland Brown ) TRIM Pattern Color Size Plastic B-5 Base.Brindle Gray and Red.6x6 Dust Pressed B-6 Base.Sand Gray and Holland Brown F-4 Cap.Sand Gray and Holland Brown F-4 Base.Sand Gray and Holland Brown F-14 Bead.Sand Gray and Holland Brown F-14 Cove.Sand Gray and Holland Brown Ceramic Bead.Sand Gray and Holland Brown Ceramic Cove.Sand Gray and Holland Brown Concave and convex angles for each of above patterns. . 6x3 . 4x2 . 4x2 . 4x2 . 4x2 2xlK 2xlK PAGE SIXTEEN FLINT TILE AND CERAMICS CERAMIC BEAD BEAD CX. REV. BEAD CC. REV. F-14 BEAD F-14 BEAD CX. REV. F-14 BEAD CC. REV. CERAMIC COVE COVE CC. REV. COVE CX. REV. F-14 COVE F-14 COVE CC. REV. F-14 COVE CX REV. F-14 COVE CX. REV. SQ. CERAMIC COVE AND BEAD SECTIONS FULL SIZE—ELEVATIONS ONE-QUARTER FULL SIZE PAGE SEVENTEEN FLINT TILE AND CERAMICS FIELD PATTERNS ‘ - eii > : ■.= r • F 7'Ti [ ^ . [ 1 1 _ _ ‘ L ' p"'- ■v. {■* h,.- -- jSsifV-fi ;3'| fc'l. ... f’ r*"’^ iLiM . ‘ ’irfi if’ 0 W H S FI W' M g PI g s M M Si g s ■'. B ftl @ 8 M y M .c'- 1 * »• -'■ i g S iJ t b ; . ffl PI @ 3 *A iLJ 1 hT.< Iv/j S L‘.-!L g H ft jy li ftr? m .1 >; 'V, Li j p! ' ». 'fyi g [8 B H iiL ft ft ffl ft lLI "y IS ■*w s ft H Ljjjj m g B Si m g 1 8 H p '•i' m fi vv1 1 553 m B 8 m s S H fe “t IB H g > / M ft M » <3 lli H S Li T g TWW ' te' s B s R S 'Mi i fe ri’^1 K H § t M: g ft ft i ji Ej 5 ■■'RC Ipj 1 m • ?<\ i 0 i^fe § >i' m uiiJ § ■j^ 101 no mi T - T1 L i r w IT 1 Fim M F - rn ■ TFF. .T ;-; ■ i'*-' ‘ (I iJ iL. F„„ '-' %• 1“^ ! L . ’1 ■. ’( ■„ ■ . .■■ ; i: • i . :vf: .'. - .:T- FZ^ TIT L. } ’ • ' 1. ■ 1 ._L . -T T 'Y ' T •'; TI i • I ! • ^-. ■ TT:n , , -p . L : TI IF FUEiZ ' fes 111 113 114 115 The numbers indicate pattern, not color. Each pattern may be had in any of the colors illustrated, or any combination of them. PAGE EIGHTEEN FLINT TILE AND CERAMICS BORDER PATTERNS 100 107 The numbers indicate pattern, not color. Each pattern may be had in any of the colors illustrated, or in any combination of them. PAGE NINETEEN FLINT TILE AND CERAMICS An apartment house lobby in New York City. The pavement in Grueby sand gray is enlivened with black inserts which bring out the delicate shade vari¬ ations of the body, and effect a floor of simple yet most tasteful char¬ acter. The basement of the American Circle Build¬ ing, New York City, is one of the main exits from the Columbus Circle Station of the subway, and although installed in 1914, and subject to the heaviest traffic, the Grueby sand gray floor shows not the slightest sign of wear. i PAGE TWENTY FLINT TILE AND CERAMICS An automobile show room in Philadelphia in which the Grueby sand gray and Holland brown one-inch hexagons are used in alternating squares of eighteen inches. This treatment combines the lower cost of the small ceramic tile with the greater rest¬ fulness of a large unit for the checker board pattern. The non-slipping fea¬ ture of Grueby sand gray makes it particu¬ larly suitable for the runways about pools, minimizing, as it does, the chance of accident. It is so used in the pool room of the Heckscher Foundation for Children, New York City. PAGE TWENTY-ONE GRUEBY-FAIENCE BUFF DUST BODY COLOR 309 PATTERN SIZE Plain Tile.4x4 A-65. Inglaze or Outglaze.6x6 B-22. Inglaze or Outglaze.4x4 F-5. Inglaze or Outglaze ..6x2 F-45. Cap.6x2 K-5. Inglaze or Outglaze.6x1 CONCAVE AND CONVEX ANGLES FOR ALL PATTERNS RED PLASTIC BODY ALL COLORS PATTERN SIZE Plain Tile 6x6 6x3 6x2 4x4 4x2 3x3 3" Hex. 2x2 A-65. Inglaze or Outglaze.6x6 B-6. Base.6x3 B-22. Inglaze or Outglaze.4x4 F-S. Inglaze or Outglaze.6x2 CONCAVE AND CONVEX ANGLES FOR ALL PATTERNS FULL SIZE SECTIONS OF FAIENCE TRIM PAGE TWENTY-TWO GRUEBY-FAIENCE 224 217 207 212 309 51 INDIGO AUTUMN HYDRANGEA OLIVE GREEN AMBER HAUTEVILLE MIRROR BLACK 216 227 214 219 218 211 OLD IVORY SIENNA AZURE ECRU WATERMELON GREEN LAPIS LAZULI STANDARD COLORS AND SHADES OF GRUEBY-FAIENCE At the Paris Exposition in 1900, Grueby-Faience was awarded two gold medals, the highest honor possible for a first exhibition. In making their award, the judges said, “Grueby colors are noted, not only for their depth, but for their delicate texture, which gives a restful, lasting interest and pleasure. The greens are like the skin of a watermelon, the yellows like the skin of a pumpkin, and the more delicate colors not unlike the petals of a rose.” In choosing these similes the judges unconsciously emphasized the wax-like appear¬ ance of the Grueby glazes, a feature which distinguishes them from all other colored tile. Burned at high temperatures, they are of practically unlimited durability, and years of use only mellow their soft beauty. Many shades, each in slight variations, but each distinct in itself, give wide range for the harmonious blending of the various colors. With the exception of the Hauteville, which has a buff, dust-pressed, straight-edged body, all the Grueby colors are applied to a red plastic bisque, not completely vitrified, but carried only to the point where durability is reached, but viscosity retained sufficient for firmness of grip and ease of application. The slight irregularity of the plastic body gives the appearance of a hand-made tile and the pleasing effect of age. The first Faience to be manufactured in America, the Grueby-Faience owes its character to a life-time of research and experimentation. PAGE TWENTY-THREE GRUEBY-FAIENCE ST. JOHN Here are illustrated the four Apostle tile, which are manufac¬ tured in the ei ght - inch size only; and below is shown one of the Grueby-Faience panels in the Cathe¬ dral of St. John the Divine, New York City. Grueby-Faience has been found particularly appropriate for church pavements, where, in addition to its beauty and permanence, it may at¬ tach, also, a definite symbolic sig¬ nificance. Naves and transepts are preferably in reds and browns, the more earthly colors, giving way to the greens and blues and gold as the chancel and altar are approached. The wide range of color and de¬ sign provided in Grueby-Faience makes it possible to carry out con¬ ceptions of the finest and most taste¬ ful character. ST. MARK ST. LUKE PAGE TWENTY-FOUR GRUEBY-FAIENCE 653 657 655 656 668 654 664 665 Above are illustrated a number of the Grueby-Faience decorative inserts in both the geometric and natural designs. If only one color of glaze is desired, it is applied to the depressed part of the tile, the raised portions showing the unglazed body, either brindle grey or red plastic. The first digit of each pattern number indicates the size in inches. These are manufactured in any combinations of the Grueby colors, but only in the sizes illustrated. PAGE TWENTY-FIVE GRUEBY-FAIENCE Grueby-Faience Grill Tiles for venti¬ lation and for the enclosure of radiators are made in the two patterns here illustrated. The larger of these measures nine inches square, the smaller, six inches square. They are available in any of the colors in which the plain tiles are made. This Grueby-Faience floor in two shades of gray is set in a random pattern of various shapes and sizes, showing how it may be decorative in itself. But it is also a splendid background for rugs and furnishings, its rich colors having a quiet dignity that adds to, rather than detracts from, the effect of other decora¬ tions. The wide range of colors in the Grueby- Faience makes it possible to carry out period rooms in perfect character, and the hand-made appearance of the tiles them¬ selves enhance the effect by the illusion of age which they create. PAGE TWENTY-SIX GRUEBY-FAIENCE This kitchen, in the exhibition rooms of the Crane Company in Chicago, is in the Grueby-Hauteville, trimmed with the Chinese mirror black. The Grueby-Haute¬ ville, like the marble from which it takes its name, ischaracterized by the grained effect and by the delicate shade variations which give it a life and interest not found in any similar tile. Ranging from light browns to buff, its soft tones hold the warmth and cheerful¬ ness of sunshine. This Grueby- Faience niche in the entrance lobby of the Haverford Township School is a pleasing touch of color in the more neutral tones of the wainscot in Grueby-Hauteville. The Hauteville has been found particu¬ larly appropriate for schools, for its high glaze not only con¬ serves a maximum of light but will not receive a pencil or other mark, and so gives always the ap¬ pearance as well as the actuality of im¬ maculate cleanliness. PAGE TWENTY-SEVEN GRUEBY-FAIENCE This Grueby - Faience bath, in the exhibition rooms of the Crane Com¬ pany in Chicago, is a fine expression of the present day trend toward color. Retaining the perfect sanitation that has hith¬ erto been the chief con¬ sideration, there is added the warmth of a delicate shade of lemon yellow, with base and trim in Chinese mirror black. The additional expense of a Grueby-Faience in¬ stallation is so relatively small that the bath should receive the same con¬ sideration as the other rooms of a fine home and be made equally expres¬ sive of individuality. Lobby of the Alden Park Manor, Phila¬ delphia. The floor and stairs are in varie¬ gated shades of brown, set at random; the base in Chinese mirror black. PAGETWENTY-EIGHT SATIN FINISH TILE ! + j I WHITE ORCHID PINK GRAY CREAM GREEN BLUE BLACK SATIN FINISH TILE The C. Pardee Works, in resuming the production of colored wall tile on a white bisque, has chosen for its palette the six satin finish colors, the white satin finish, and the bright black enamel, which are illustrated above. This selection has been made in the belief that the range of these colors is sufficient for the most artistic treatments, and that being able to obtain them promptly from stock and to match one lot exactly with another outweighs any advantage of a great diversity of shades that cannot be had for prompt delivery or depended upon to match the sample from which the selection was made. The trim tiles in these colors are made in any of the patterns illustrated on pages eight to thirteen of this catalogue, the more customary ones being carried in stock and the others made up promptly to order. Plain and decorated strips also can be had in any of these colors. On the following page are shown the Satin Finish colors on a vitrified bisque for use in floors. The texture and shades of these glazes are the same as those of the wall tiles, so that the colors of one may be carried into the other. Bathroom fixtures of the same bisque as the tile and with the identical glazes are shown on page thirty-one. These patterns are carried in stock, but other patterns can be furnished where required. Pardee Satin Finish Tile combines the delicacy of the pastel shades with the warmth of the deeper Faience colors. PAGE TWENTY-NINE SATINVITS PATTERN A PATTERN C E:v,.T .1" - 1 m:V'& 'V-- ' * PATTERN D PATTERN E 1 .. ':'' r . r PATTERN F PATTERN G PATTERN H The colors of Pardee Satinvits go together so harmoniously that they are particularly attractive in designs such as the suggestions given above, or any other combination of colors. The units are made in inch squares to give a slightly larger joint in the floor than in the wall. The half and quarter tile measure 4}^ x 2 and 2x2, and so permit a uniform size of joint when used together in pattern. PAGE THIRTY SATIN FINISH FIXTURES RD-24 4>^ X ^]4 DOOR STOP RD-18 X 4K ROBE HOOK RD-14 X 4X TUMBLER HOLDER RD-27 4X X 4X SOAP HOLDER RD-19 4X X 4^: SHELF BRACKET RD-17 4X X 4X TOOTH BRUSH HOLDER SOAP HOLDER RD-29 4X X 4X POST FOR SQUARE BAR RD-16 4X X 4K POST FOR ROUND BAR RD-30 4>< X 4X LIGHT FIXTURE 1 RD-8 6x6 TUMBLER HOLDER UL □ 1 i □ C "1 n 1 II 1 Ll [ □ c D Q Q Q □ l 11 1 i ! FI mmaJ UammmmtJ Wiilpi 1 iii» RD-57 6 x6 RADIATOR GRILL RD-25 6 x6 SPONGE HOLDER A r ^ RD-21 6x6 SOAP AND GRAB RD-11 6x6 ROLL PAPER HOLDER RD-22 6 x6 SHEET PAPER HOLDER PAGE THIRTY-ONE ROYAL-DELFT FAIENCE HO—CAP O—CAP CC. R. P—CAP CC. L. JO—CAP CX. REV. K—CAP VERT. REV. REH REK PA ^ ^ A PH—BEAD CC. RD. PF—BEAD CC. SQ. PEO—BEAD CX. ^ . PEI—COVE CC. PJ—COVE CX. RED. TRIM FOR ROYAL-DELFT FAIENCE—ONE-FOURTH ACTUAL SIZE PAGE THIRTY-TWO ROYAL-DELFT FAIENCE 20594 EBONY 2821 CRYSTAL ORANGE 5746 MOUSE GRAY 2811 CRYSTAL GREEN 4179 CLOUD GRAY 3755 SEA GREEN 2699 LILAC 9738 BROWN AGATE 20239 LINCOLN GREEN ■■ * 4 ■■ " fc- ' *, r , "W •' 'jm -. 1,.- , ^ 20422 OLD OAK 3138 FAWN 10000 IRIDESCENT 5000 LUXOR RED s>- 2237 CRYSTAL WHITE 2653 CRYSTAL BLUE GOLD STANDARD COLORS OF ROYAL-DELFT FAIENCE PAGE THIRTY-THREE ROYAL-DELFT FAIENCE SORTING ’ The question of sorting the Royal-Delft Faience is one of pre-eminent importance on account of the variegation, both in shade and texture, which characterizes many of these tiles. Some variegation is present in the mottled or clouded glazes, but it is par¬ ticularly prominent in the Old Oak and the Crystallized glazes, and only by the utili¬ zation of this characteristic is the beauty of these tiles fully exploited. This may be done in three ways: First. The tiles may be set promiscuously, which without doubt gives the most vivid effect, and is most appropriate for spaces of large dimensions. Second. The tiles may be sorted and set so as to form a graduation of shades from dark at the bottom to light at the top. This form of application is to be recom¬ mended where the tiling is divided into small panels, and for pilasters. Third. The tiles may be sorted and set according to color in panels or individual spaces which, considered by themselves, are of one and the same shade from top to bottom. In some of the glazes there is a certain linear color effect, particularly in the Old Oak, and here it is best to give the texture a vertical position. SETTING Royal-Delft Faience, in the ease and rapidity with which it can be set, is compar¬ able only to the familiar domestic white glazed wall tile. Free from warpage and of a single exact size it is of as uniform a quality as any fired clay product can be. It is manufactured chiefly in the four by four size, as this lends itself best to the creation of patterns, but it also may be had in six by nine, four by two, four by one, and two by two units. The body of the tile is not vitrified but porous and so very easily cut to the odd shapes and sizes that may be necessary in fitting, being particularly workable when thoroughly soaked. Before setting, the tiles should be immersed in clean water until absorption is complete then removed from the water and let stand, overnight if convenient, so that they cease to drip and will hold best. The single caution of great importance applies particularly to the crystallized glazes. With these the surface must be washed clean as each thirty or forty feet are set, as if the mortar is allowed to harden it will adhere and leave visible traces which no washing or brushing will efface without impairing the glaze. These tiles are very attractive when set with joints of about an eighth of an inch but their nicety of size and line permits setting so compactly that the joints scarcely show, where this is preferred. It is best not to fill up the joints but to leave them as open as possible until ready to grout. The minimum of sand should be used in the grouting mixture, and before rubbing this into the joints the whole surface of the tiling should be wet and kept so by alternating the operation as every twenty or thirty square feet are completed. The grouting should now be let dry an hour or so and then the surface of the tiling should be rubbed clean with a towel, dry or moist, as the case may require, and the colors will come out bright and shining. PAGE THIRTY-FOUR ROYAL-DELFT FAIENCE aSw!" imim --f.Z-l .• 4 : j ■ ■ z-i. ■J ■' * A- 1 fy^'t » i A* "V f'fi.'-. - . r V n ' • r ^ rst-X ^ X > : m A ;f' & - s- ' •{ ... -.i • - • .1 JSC * '■ ' , • ‘X ,, I < ' ^ i 11 m m 1 The outstanding feature of the Royal-Delft Faience is that these tiles are totally unlike any others, that they are unique and original, having been discovered and developed only by the factory which now manufactures them. The gray-green iridescent is a particularly inter¬ esting one, and the crystallized glazes—the blue, orange, green and white—with a light and dark shade on each tile are unusually colorful. The surrounding illustrations of wainscots por¬ tray as accurately as possible, other than by view¬ ing the tiles themselves, the appearance of the various colors en masse. The attempt has been made to place together those that make the more pleasing combinations and to suggest designs for their use. P jii^i , smm - •>" r * • ■,, , „ .K , ^ .. 1 i. •, 1 .* ■ .* SWI 2 >i 'IP if kl f 1 i - ’■41 J ■» . -f. ‘ - vi;^ SkB^ .,;i ' .i.}- *■- ■ M , ? ■< i V, Wi K M t- ' 9 - »? r ll!:: lti4l f'g 5t «|a^ Ri %5^S; J -piQi v»>*cr ■J fv-1- ■■'■ fi V :rif ■■ . 8H iP M '. '■ '.,'j '.• yht- ■ •'i- rV’-'; ’v '■- ■ *: • 1 J f- ■:-. ' ; ’" •''' ■ ' P> PAGE THIRTY-FIVE ROYAL-DELFT FAIENCE >v C-l C-5 C-6 C-7 C-2 C-3 C-4 C-9 C-10 C-11 C-12 C-13 C-14 C-8 C-15 C-16 C-17 C-18 C-19 C-20 C-21 C-22 C-23 C-24 C-25 C-26 C-27 C-28 C-2 9 C-30 C-31 C-32 C-33 C-34 C-35 C-37 C-38 C-39 C-40 C-41 C-42 C-36 C-43 C-44 C-49 C-45 C-46 C-47 C-48 C-50 C-51 C-52 C-53 C-54 C-55 C-56 CLOISONNE DECORATIVE TILE APPROXIMATELY ONE-FIFTH ACTUAL SIZE PAGE THIRTY-SIX ROYAL-DELFT FAIENCE C-57 C-58 C-59 C-60 C-80 C-81 C-82 C-83 C-84 C-72 C-71 C-73 C-74 C 75 C-76 C-85 C-86 C-87 C-88 C-89 C-77 C-78 C-79 C-122 C-123 C-126 C-127 C-124 C-128 C-125 C-129 C-130 C-131 C-132 C-133 CLOISONNE DECORATIVE TILE APPROXIMATELY ONE-FIFTH ACTUAL SIZE PAGE THIRTY-SEVEN ROYAL-DELFT FAIENCE 28 30 CLOISONNE DECORATIVE PANELS APPROXIMATELY ONE-FIFTH ACTUAL SIZE PAGE THIRTY-EIGHT MOORISH TILE C-lOOl C-1003 C-1002 C-1001 Many of the Royal-Delft glazes lend themselves, particularly in shade and texture, to these attractive Moorish designs. It will be noted that each of the patterns illustrated, except C-1003, forms in its repeti¬ tion two quite distinct designs, although the color treatment of the individual tiles may be identical. Patterns C-1004, C-1005 and C-1006 measure 5 yi inches square, the other patterns measure 6 inches square. C-1002 C-1004 C-1005 C-1006 C-1004 C-1005 C-1006 PAGE THIRTY-NINE ROYAL-DELFT FAIENCE In the surrounding photographs are shown the four¬ teen Stations of the Cross. Of the beauty and consum¬ mate artistry with which these panels are executed only an imperfect idea can be given by the illustration in color on the page following, for they represent without doubt the very height of the ceramic art. Painted with great delicacy of tone and accuracy of detail, they possess all the qualities of an oil painting and yet retain permanently their fine, deep colors. These panels are executed only upon definite order and may be obtained only during the life of the artist, but an original may be seen in the New York Exhibition Rooms. Ecclesiastic in subject, they are particularly suited for religious memorials. JESUS IS TAKEN DOWN FROM THE CROSS THE STATIONS OF THE CROSS PAGE FORTY ROYAL-DELFT FAIENCE ONE-THIRD ACTUAL SIZE PAGE FORTY-ONE ROYAL-DELFT FAIENCE BEAR 4>^"X Ayi" TIGER X 4>^" Here are illustrated in full face and profile a number of masks which are perforated for use particularly as foun¬ tain heads. Made of highly fired plastic clay and glazed, they are equally as suitable for exterior as for interior installations. These may be had in any of the stand¬ ard colors of Royal-Delft Faience. DOLPHIN ^Vfy X 4>^" FAUN A 6K" X 6K" DOLPHIN 8X" X 8X" FISH 4H" X ^yi" FAUN B X 6 K" PAGE FORTY-TWO ROYAL-DELFT FAIENCE I. Bath in a private resi¬ dence in Los Angeles, Cali¬ fornia. The wainscot is in the Crystal Orange trimmed with the Crystal Green. II. Bath in the Kenilworth Apartments in Phila¬ delphia, Pa. The wainscot is in the Faun enlivened with strips of Sea Green. The floor is of unglazed ceramics in a basket pattern of green with buff dots. III. Corridor in an office building in Tampa, Florida. The wainscot is in the Faun, with cap and base of the Old Oak. PAGE FORTY-THREE ROYAL-DELFT FAIENCE II. Wash room in an office building in Los Angeles, California. The floor is of Grueby Sand Gray ceramics, the wainscot of Faun trimmed with Ebony. IV. Bath in a private residence in North Caldwell, New Jersey. The floor is of Grueby-Faience in Sea Green, the wainscot of the Royal-Delft Surf Green. I. Bath in a private residence in North Caldwell, New Jersey. The floor is of Grueby-Faience in Lapis Lazuli. The wainscot is in the Royal-Delft Faience, the Crystal Orange trimmed with Crystal Blue. III. Bath in a private residence in Santa Monica, California. Both floor and wainscot are in the Crystal White enlivened with strips of color and Cloisonne decorative tiles. PAGE FORTY-FOUR ROYAL-DELFT FAIENCE III. An interesting treatment for kitchens. The sink is lined with glazed ceramics. The wainscot is in the Royal-Delft Faun. I. Bath in private residence in Scarsdale, N. Y. The wainscot is in the Royal-Delft Crystal Orange. IV. A restaurant in Tampa, Fla. The wainscot is in Royal- Delft Faun trimmed with Ebony. II. Entrance lobby and stairway of private office in New York City. The wainscot is in Royal-Delft Crys¬ tal Green, the stairs in Grueby- Faience Watermelon Green and Chinese Mirror Black. PAGE FORTY-FIVE ROYAL-DELFT FAIENCE I. Hearth and Mantel in the Hague exhi¬ bition rooms, showing at the right a panel of the Moorish tiles. II. Front facade of the Ecole des Beaux Arts, Tourcoing, France; an exterior in the Heraldic colors on a background of gold. III. Stairway and balustrade of club building in Rotterdam executed in the Delft gray. IV. A banking room at the Hague, executed in soft greens. PAGE FORTY-SIX ROYAL-DELFT FAIENCE I. Porch of exhibition build¬ ing at Delft; an exterior in grays, greens, and browns. II. Drinking fountain in drug store at the Hague, showing special panels. HI. General view of exhibition room at the Hague— a striking treatment in reds and blacks. IV. A game shop in Rotterdam, in white and yellow, where the beauty and cleanliness of the tile are found to be distinct assets. 1 1 -tj* /f / PAGE FORTY-SEVEN PARDEE TILES KITCHEN TILE FOR EVERY ROOM I N THE HOUSE PAGE FORTY-EIGHT ! i I L.WAY EiiKiaveii and Pritiletl in U. S. A. by Tlie Beck Ens'avingCo., Phila.