Category: Aspirational decor from folios and magazines.

Mural designs for every room in your home. You can pretend you are a Renaissance princess going up and down the stairs or Hera Queen of the Skies instructing the maid on table settings for the next banquet for the goddess. Chromolithographs from the 1890 folio “Plafonds et peintures murales” which was put together by decorative painter Ernest David and his friend and fellow painter F. Lamy. Published in Paris. Where else?

ANTICHAMBRE. Ernest David, pinx. Imprimerie A. Janniot and Cie, Paris, lithographers. E E. Thézard fils, publishers, Editeur à Dourdan (Seine-et-Oise). Bibliothèque du Peintre en Bâtiment, Plafonds et Peintures Murales par E. David. Image 8. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. via https://archive.org/details/David10636/page/n8/mode/1up
PLAFOND RENAISSANCE. Ernest David, pinx. Imprimerie A. Janniot and Cie, Paris, lithographers. E E. Thézard fils, publishers, Editeur à Dourdan (Seine-et-Oise). Bibliothèque du Peintre en Bâtiment, Plafonds et Peintures Murales par E. DAVID. Image 10. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. via https://archive.org/details/David10636/page/n10/mode/1up
ESCALIER. Ernest David, pinx. Imprimerie A. Janniot and Cie, Paris, lithographers. E E. Thézard fils, publishers, Editeur à Dourdan (Seine-et-Oise). Bibliothèque du Peintre en Bâtiment, Nouveaux modèles de Plafonds et Peintures murales par E. DAVID. Image 12. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. https://archive.org/details/David10636/page/n12/mode/1up
SALLE DE BAIN. Ernest David, pinx. Imprimerie A. Janniot and Cie, Paris, lithographers. E E. Thézard fils, publishers, Editeur à Dourdan (Seine-et-Oise). Bibliothèque du Peintre en Bâtiment, Plafonds et Peintures Murales par E. DAVID. Image 16. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. via https://archive.org/details/David10636/page/n16/mode/1up
TENTURE RENAISSANCE. Ernest David, pinx. Imprimerie A. Janniot and Cie, Paris, lithographers. E E. Thézard fils, publishers, Editeur à Dourdan (Seine-et-Oise). Bibliothèque du Peintre en Bâtiment, Plafonds et Peintures Murales par E. DAVID. Image 20. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. via https://archive.org/details/David10636/page/n20/mode/1up
PORTE ORIENTALE. Ernest David, pinx. Imprimerie F. Hermet, Paris – Orléans. lithographers. E E. Thézard fils, publishers, Editeur à Dourdan (Seine-et-Oise). Bibliothèque du Peintre en Bâtiment, Plafonds et Peintures Murales par E. DAVID. Image 32. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. via https://archive.org/details/David10636/page/n32/mode/1up
PLAFOND LOUIS XIV. Ernest David, pinx. Imprimerie F. Hermet, Paris – Orléans. lithographers. E E. Thézard fils, publishers, Editeur à Dourdan (Seine-et-Oise). Bibliothèque du Peintre en Bâtiment, Plafonds et Peintures Murales par E. DAVID. Image 34. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. via https://archive.org/details/David10636/page/n34/mode/1up

CROISEE MAURESQUE. Ernest David, pinx. Imprimerie F. Hermet, Paris – Orléans. lithographers. E E. Thézard fils, publishers, Editeur à Dourdan (Seine-et-Oise). Bibliothèque du Peintre en Bâtiment, Plafonds et Peintures Murales par E. DAVID. Image 40. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. via https://archive.org/details/David10636/page/n40/mode/1up
MUR VESTIBULE. Ernest David, pinx. Imprimerie F. Hermet, Paris – Orléans. lithographers. E E. Thézard fils, publishers, Editeur à Dourdan (Seine-et-Oise). Bibliothèque du Peintre en Bâtiment, Plafonds et Peintures Murales par E. DAVID. Image 52. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. via https://archive.org/details/David10636/page/n52/mode/1up
PEINTURE MURALE ET PLAFOND. F Lamy, pinx. Imprimerie Bourgerie Paris, lithographers. E E. Thézard fils, publishers, Editeur à Dourdan (Seine-et-Oise). Bibliothèque du Peintre en Bâtiment, Nouveaux modèles de Plafonds et Peintures murales par F. LAMY. Image 52. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. via https://archive.org/details/David10636/page/n64/mode/1up
PEINTURE MURALE ET PLAFOND DE SALLE À MANGER. F Lamy, pinx. Imprimerie Bourgerie Paris, lithographers. E E. Thézard fils, publishers, Editeur à Dourdan (Seine-et-Oise). Bibliothèque du Peintre en Bâtiment, Nouveaux modèles de Plafonds et Peintures murales par F. LAMY. Image 74. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. via https://archive.org/details/David10636/page/n74/mode/1up
CHEMINÉE DE CABINET (the captioning on this page is very faded out). Bibliothèque du Peintre en Bâtiment, Plafonds et Peintures Murales par E. DAVID. Image 80. Collections of the Caroline Simpson Library, Museums of History New South Wales. CcO License 1.0. via https://archive.org/details/David10636/page/n80/mode/1up

Engravings of furniture design ideas, like the ones Marie Antoinette must have looked through when she was picking out furniture for her Trianon hideaway. A volume of plates inscribed 1780 on Page Two with ornamentation designs by Richard Le Londe. Richard Le Londe was a French designer noted for his work on fine furniture and interior designs. Various engravers.

Cahier de Frises, Composées et Gravées par Salembier: A Paris chez Chereau rue des Mathurins. Avec Privilège du Roi. Image 8 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Henri Salembier, engraver of designs by Richard Le Londe. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n6/mode/1up
The figures at the top of the upper left being a charming sphinx/putti fusion. The Latin reads: Salembier fixit. Chereau Exc. A.P.D.R. Image 18 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Henri Salembier, engraver of designs by Richard Le Londe. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n18/mode/1up
Quatrième Cahier de Meubles et d’Ebénisteries, Dessinés par le Londe : Petit-Pied ou Console a Bouquets (left) ; Table Ronde avec Tablette au-dessous.  La Londe designer. Saint Morien, engraver. A Paris chez Chereau rue des Mathurins au coin de celle de Sorbonne. Avec Privilege du Roy. Image 28 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n28/mode/1up
Girandole à Plateau (left) – Table de Nuit – Papitre à Tiroirs. La Londe designer. Saint Morien, engraver. Chereau Exc. C.P.R. Paris chez Chereau rue des Mathurins au coin de celle de Sorbonne. Avec Privilege du Roy. Image 38 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n38/mode/1up
1er Cahier du Livre d’Ameublemens Dessines par La Londe. Lit à la Duchesse, orné de Sculptures et totalement fini. La Londe, designer. Delagardette (Pierre-Claude), engraver. A Paris chez Chereau rue des Mathurins. Avec Privilège du Roi. Image 52 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n52/mode/1up
IIIe Cahier du Livre d’Ameublements Dessinés par La Londe. Lit de repos à la turque, orné de sculptures et totalement fini. Ceintre du Chevet – Traverse d’en bas. La Londe, designer. Delagardette (Pierre-Claude), engraver. A Paris chez Chereau rue des Mathurins. Avec Privilège du Roi. Image 64 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n64/mode/1up
Paravent de quatre Feuilles Centrées, orne de Sculpture. La Londe, designer. Delagardette (Pierre-Claude), engraver. Chereau, exe. Image 86 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n86/mode/1up
Porte Tapisserie. La Londe, designer. Chereau, exe. A.P.D.R. Fein, engraver. Image 130 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n130/mode/1up
Designs for door knobs? dresser knobs? Very pretty. Probably done up in brass. La Londe, designer. Chereau, exe. A.P.D.R. Hubert (probably Francois Hubert), engraver. Image 166 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n166/mode/1up

Realtor lined up and its off for a fun afternoon of time-traveling house shopping. More interesting than the 2026 kind because you can check out the 1955 fashions in decor from back before someone at Wayfair made the rules. Collections of the University of Washington Libraries, Seattle, Washington State USA.

Alger house, exterior view of carport. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/2047/rec/1
Alger house, exterior view of deck. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/2044/rec/2
Alger house, exterior view of patio bar. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/2048/rec/5
Alger house, interior view of living room. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/2050/rec/7
Alger residence, interior view of the kitchen. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection. Property of MSCUA, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/979/rec/14
Alger residence, interior showing light fixture in living room. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection. Property of MSCUA, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/867/rec/15
Alger residence. Another view of the patio bar as seen from the side with a bookcase on the right so presumably a library or den. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection. Property of MSCUA, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/977/rec/22

The house is still there. It turns up on Redfin which states that it was built in 1955 so photographed right after it was built though whether for the architects or the owners I don’t know. These images (and more with them, 22 in all) are archived as part of a collection of Dearborn-Massar photographs. They were professional architectural photographers in the Pacific Northwest during the period 1943-1963.

With some of these the bedrooms and bathrooms weren’t photographed because they were private spaces as opposed to patio bars, carports and living rooms. I expect that is why there are no photographs of them.

Art grilles in wood that must have been stylish considering a buyer at Boston’s Jordan Marsh put together a trade catalogue of them. From 1895. I grew up in a Queen Anne house in suburban Boston that had one and remember other houses with them. I had thought that they came from the woodworking shops of Boston’s South End but no they appear to have come from the store where 70 years later my mother refused to let my sister and myself buy go go boots. Who knew!

MODERN ART GRILLES. Front cover of a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/mode/1up
Art grille in wood with a statuette sitting on the shelf. Number 1000. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 3 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n3/mode/1up
Art grille in wood with a vase of flowers sitting on the shelf. Number 1006. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 5 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n5/mode/1up
Art grille in wood screening off the staircase that ascends from the front hall with drapery attached to the arched part of the grille over on the left. Number 1021. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 9 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n9/mode/1up
Art grille in wood with a floor to ceiling velvet? drapery attached to the screen by beadwork ? and a tassel on the left and a carved wooden griffin or dragon on the right. Number 1026. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 11 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n11/mode/1up
Art grille in wood, personalized with the name “Everitt.” Number 1025. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 10 (bottom image) of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n10/mode/1up
A very elaborate wood art grille with floor to ceiling draperies with fringe on the left with a glimpse of the newel post leading to the staircase ascending to the second floor with a built in bench on the right in front of the stairs. Number 1025. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 12 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n12/mode/1up
Art grilles in wood, Numbers 1028 and 1029. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 12 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n13/mode/1up
Art grilles in wood, Numbers 1030 and 1031. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 14 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n14/mode/1up

Looking for a few up to the minute decor ideas before the Empress Eugenie comes to stay. Imagery from “The illustrated catalogue of the Universal Exhibition” which was held in Paris in 1867. The catalogue appeared in print as a supplement to the publication “The Art-journal” in 1868.

Clock – Greek in character, contributed to the 1867 Paris Universal Exposition by Paris Bronze Manufacturer M. Henri Houdebine. Page 47 of The illustrated catalogue of the Universal Exhibition of 1867 published with Art Journal which was published in London and New York in 1868 by Virtue and Company. Cc0 License 3.0. https://archive.org/details/hartley52087804/page/n47/mode/1up

From the many and varied contributions of Mr. J. W. Benson – Goldsmith and Jeweller, of London – we select, for engraving, the CASKET in which was presented to Prince Alfred (Duke of Edinburgh) the freedom of the City of London. It is carved in oak by Mr. W. G. Rogers. Minute tracery of carved work and fine gold in high relief. Page 28 of The illustrated catalogue of the Universal Exhibition of 1867 published with Art Journal which was published in London and New York in 1868 by Virtue and Company. Cc0 License 3.0. https://archive.org/details/hartley52087804/page/n28/mode/1up

Messrs. Winfield and Company, of Birmingham, who have long-established repute for the production of works in Brass and Or-molu, more especially Bedsteads and Chandeliers, contribute several works of a high order, with reference to design as well as execution. of the CHANDELIERS we give two admirable examples; they are of considerable merit, and confer honour on the great capital of the metal district. We add one of the suspending pillars. Those who call to mind the collection exhibited by this eminent firm in 1862, will readily believe that these contributions manifest exceeding and invaluable perfection of finish. Page 81 of The illustrated catalogue of the Universal Exhibition of 1867 published with Art Journal which was published in London and New York in 1868 by Virtue and Company. Cc0 License 3.0. https://archive.org/details/hartley52087804/page/n81/mode/1up

The Paper-hangings (PAPIERS-PEINTS) of Paris maintain their high position; they have an excellence which the artists and artisans of other countries vainly strive to reach. We engrave on this page the decoration of the side of a room, and part of another, the manufacture of M. HOOUK, the successor of the long-renowned firm of DELICOURT, to which firm France was largely indebted for its supremacy in this art. The designs are applied by an eminent artist, M. VICTOR DUMONT. We can give no idea of the brilliancy and harmony of the colours employed. Page 266 of The illustrated catalogue of the Universal Exhibition of 1867 published with Art Journal which was published in London and New York in 1868 by Virtue and Company. Cc0 License 3.0. https://archive.org/details/hartley52087804/page/n266/mode/1up
Front cover. Collections of the Hartley Institution Southampton Reference Library. Image 1 of The illustrated catalogue of the Universal Exhibition of 1867 published with Art Journal which was published in London and New York in 1868 by Virtue and Company. Cc0 License 3.0. https://archive.org/details/hartley52087804/mode/1up

Designs beautiful enough to grace any room in Malmaison. Wouldn’t be surprised if the Empress Joséphine had some just like these. In various archives but the University of Heidelberg has the best scans.

PREMIER CAHIER D’ARABESQUES ET DE DÉCORATIONS PROPRES AUX ARTISTS DE CER GENRE, définies par M. J. M. Moreau et à Rome par M. Lavalle Poufin. Dediee a Monsier Charles, Cesar, de Rigor, Chevalier de Montjoux Capitaine au Régiment de Flandre & &. Par son très humble et très obéissant serviteur Guyot. A.P.D.R. A Paris chez Guyot Graveur Rue Saint-Jacques. J. M. Moreau after Guyot. Plate 2 of Nouvelle collection d’arabesques, propres à la décoration des appartemens. By M. Alexandre Lenoir and published in Paris and Strasbourg in 1810. Collections of and image © Heidelberg University Library. Artwork itself in the public domain due to age. https://digi.ub.uni-heidelberg.de/diglit/lenoir1810/0014/image,info,thumbs
Lavalle Poussin del. Guyot sculptor. Plate 5 of Nouvelle collection d’arabesques, propres à la décoration des appartemens. By M. Alexandre Lenoir and published in Paris and Strasbourg in 1810. Collections of and image © Heidelberg University Library. Artwork itself in the public domain due to age. https://digi.ub.uni-heidelberg.de/diglit/lenoir1810/0017/image,info,thumbs
Peint par Watteau. Gravé par Guyot. Plate 9 of Nouvelle collection d’arabesques, propres à la décoration des appartemens. By M. Alexandre Lenoir and published in Paris and Strasbourg in 1810. Collections of and image © Heidelberg University Library. Artwork itself in the public domain due to age. https://digi.ub.uni-heidelberg.de/diglit/lenoir1810/0021/image,info,thumbs
Plate 15 of Nouvelle collection d’arabesques, propres à la décoration des appartemens. By M. Alexandre Lenoir and published in Paris and Strasbourg in 1810. Collections of and image © Heidelberg University Library. Artwork itself in the public domain due to age. https://digi.ub.uni-heidelberg.de/diglit/lenoir1810/0027/image,info,thumbs
Lavalle Poussin del. Guyot sculp. Plate 17 of Nouvelle collection d’arabesques, propres à la décoration des appartemens. By M. Alexandre Lenoir and published in Paris and Strasbourg in 1810. Collections of and image © Heidelberg University Library. Artwork itself in the public domain due to age. https://digi.ub.uni-heidelberg.de/diglit/lenoir1810/0029/image,info,thumbs
A.P.D.R. Voisin Del, Guyot Sculp. Plate 21 of Nouvelle collection d’arabesques, propres à la décoration des appartemens. By M. Alexandre Lenoir and published in Paris and Strasbourg in 1810. Collections of and image © Heidelberg University Library. Artwork itself in the public domain due to age. https://digi.ub.uni-heidelberg.de/diglit/lenoir1810/0033/image,info,thumbs ;
IX. CAHIER D’ARABESQUES, ET DE DÉCORATIONS, propres aux Artistes de ce genres.À Paris chez Guyot, Graveur, et Md. D’Estampes rue Saint-Jacques, au Grand Gessnere, avec privilège de Roy. Barthelot del. Guyot, Sculp. Plate 26 of Nouvelle collection d’arabesques, propres à la décoration des appartemens. By M. Alexandre Lenoir and published in Paris and Strasbourg in 1810. Collections of and image © Heidelberg University Library. Artwork itself in the public domain due to age. https://digi.ub.uni-heidelberg.de/diglit/lenoir1810/0038/image,info,thumbs
A.P.D.R. Leclerc, del. Guyot Sculp. Plate 31 of Nouvelle collection d’arabesques, propres à la décoration des appartemens. By M. Alexandre Lenoir and published in Paris and Strasbourg in 1810. Collections of and image © Heidelberg University Library. Artwork itself in the public domain due to age. https://digi.ub.uni-heidelberg.de/diglit/lenoir1810/0043/image,info,thumbs
CAHIER D’ARABESQUES, ET DE DÉCORATIONS, propres aux Artistes de ce genres.À Paris, chez Guyot, graveur, et Md. d’Estampes, rue Saint-Jacques au Grand Gessnere. Berthelot, del. Guyot direxit. Plate 34 of Nouvelle collection d’arabesques, propres à la décoration des appartemens. By M. Alexandre Lenoir and published in Paris and Strasbourg in 1810. Collections of and image © Heidelberg University Library. Artwork itself in the public domain due to age. https://digi.ub.uni-heidelberg.de/diglit/lenoir1810/0046/image,info,thumbs
CAHIER D’ARABESQUES, ET DE DÉCORATIONS, propres aux Artistes de ce genres.Dessiné à Rome par M. Lavalle Poussin. A Paris chez Guyot Graveur Rue Jacques. A.P.D.R. Plate 37 of Nouvelle collection d’arabesques, propres à la décoration des appartemens. By M. Alexandre Lenoir and published in Paris and Strasbourg in 1810. Collections of and image © Heidelberg University Library. Artwork itself in the public domain due to age. https://digi.ub.uni-heidelberg.de/diglit/lenoir1810/0049/image,info,thumbs

Traveling back to real Art Deco time. Store fronts with some very Art Deco looking customers hanging around out front. Imagery from a commercial catalogue published in Paris France in 1932 by Chapelon et Gervais. This is Part II. Part I was a post last month with the light fixtures and other home goods and furniture from the same catalogue.

7025. Devanture, métal poli, 1 porte ouvrante, 2 vitrines. Image 65 of a 1932 catalogue titled Ateliers le fer ouvré, published by the firm of Chapelon et Gervais, 14 avenue des Sycomores, Paris 16e, France. Jean Acker et Cie, Paris, printers. Collections of the Bibliothèque Forney, Paris. Artwork itself in the public domain due to age. via https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002007673/v0065.simple.highlight=ferronnerie.selectedTab=thumbnail
Salon de Coiffure Dames – Messieurs. Devanture, fer forgé noirci ou peint, 1 porte ouvrante. Image 66 of a 1932 catalogue titled Ateliers le fer ouvré, published by the firm of Chapelon et Gervais, 14 avenue des Sycomores, Paris 16e, France. Jean Acker et Cie, Paris, printers. Collections of the Bibliothèque Forney, Paris. Artwork itself in the public domain due to age. via https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002007673/v0066.simple.highlight=ferronnerie.selectedTab=thumbnail
Paris – Automobiles. Devanture, métal inoxydable, 1 porte ouvrante à 2 vantaux et imposte fixe. Image 67 of a 1932 catalogue titled Ateliers le fer ouvré, published by the firm of Chapelon et Gervais, 14 avenue des Sycomores, Paris 16e, France. Jean Acker et Cie, Paris, printers. Collections of the Bibliothèque Forney, Paris. Artwork itself in the public domain due to age. via https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002007673/v0066.simple.highlight=ferronnerie.selectedTab=thumbnail
au Palais du Meuble. Devanture fer forgé, noirci ou peint, 2 portes ouvrantes. Image 68 of a 1932 catalogue titled Ateliers le fer ouvré, published by the firm of Chapelon et Gervais, 14 avenue des Sycomores, Paris 16e, France. Jean Acker et Cie, Paris, printers. Collections of the Bibliothèque Forney, Paris. Artwork itself in the public domain due to age. via https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002007673/v0066.simple.highlight=ferronnerie.selectedTab=thumbnail

I would assume they were selling the store fronts (shop fronts) which could then be installed at your place of business. This is their only catalogue that is turning up online. They were listed as a firm working with masonry with the French government back in the mid 1960s but that’s all that turns up at least as of today.

Trying to live the way the Duke of Windsor might have as a youngish fellow. Very chic for the mid 1930s, including the staircases with no walls on either side so nothing to grab onto if you slip. Imagery from “Encyclopédie de l’architecture: constructions modernes. Tome VII.” 1935. Albert Marcel Morancé, editor. From a scanned copy at the Internet Archive.

Villa, Glyfada, Greece. Stama Papadaki, architect: Petites Maisons, Villas, Bungalows. Page 18 of Encyclopédie de l’architecture: constructions modernes. Tome VII. Albert Marcel Morancé, editor. Published in 1935 by Éditions Albert Morancé. Cc0 License 1.0. In the public domain. via https://archive.org/details/frapn02-encyclopedie-de-l-architecture-constructions-modernes-tome-7-1935/page/n2/mode/1up
Jardin a Paris: Jardins. J. Charles Moreux, Architecte a Paris. Page 37 of Encyclopédie de l’architecture: constructions modernes. Tome VII. Albert Marcel Morancé, editor. Published in 1935 by Éditions Albert Morancé. Cc0 License 1.0. In the public domain. via https://archive.org/details/frapn02-encyclopedie-de-l-architecture-constructions-modernes-tome-7-1935/page/n36/mode/1up
Restaurant, Hambourg Aéroport. Germany (ground floor plan detail): Aéroports. Dyrssen et Averhoff, Architectes, Hambourg. Page 50 of Encyclopédie de l’architecture: constructions modernes. Tome VII. Albert Marcel Morancé, editor. Published in 1935 by Éditions Albert Morancé. Cc0 License 1.0. In the public domain. via https://archive.org/details/frapn02-encyclopedie-de-l-architecture-constructions-modernes-tome-7-1935/page/n49/mode/1up
Interior staircase. Hambourg Aéroport. Germany: Aéroports. Dyrssen et Averhoff, Architectes, Hambourg. Page 54 of Encyclopédie de l’architecture: constructions modernes. Tome VII. Albert Marcel Morancé, editor. Published in 1935 by Éditions Albert Morancé. Cc0 License 1.0. In the public domain. via https://archive.org/details/frapn02-encyclopedie-de-l-architecture-constructions-modernes-tome-7-1935/page/n54/mode/1up
An Interior of the House of Teshigahara, Tokyo, Japan. Satow-Takeo, Architect: Petites Maisons; Villas, Bungalows. Page 69 (lower image) of Encyclopédie de l’architecture: constructions modernes. Tome VII. Albert Marcel Morancé, editor. Published in 1935 by Éditions Albert Morancé. Cc0 License 1.0. In the public domain. via https://archive.org/details/frapn02-encyclopedie-de-l-architecture-constructions-modernes-tome-7-1935/page/n68/mode/1up
An Interior of the House of Teshigahara, Tokyo, Japan. Satow-Takeo, Architect: Petites Maisons; Villas, Bungalows. Page 71 (upper image) of Encyclopédie de l’architecture: constructions modernes. Tome VII. Albert Marcel Morancé, editor. Published in 1935 by Éditions Albert Morancé. Cc0 License 1.0. In the public domain. via https://archive.org/details/frapn02-encyclopedie-de-l-architecture-constructions-modernes-tome-7-1935/page/n70/mode/1up
Hallway looking towards the dining room. Immeuble de Rapport. Hamayon, Architecte: Immeuble de Rapport. Page 115 (upper right image) of Encyclopédie de l’architecture: constructions modernes. Tome VII. Albert Marcel Morancé, editor. Published in 1935 by Éditions Albert Morancé. Cc0 License 1.0. In the public domain. via https://archive.org/details/frapn02-encyclopedie-de-l-architecture-constructions-modernes-tome-7-1935/page/n114/mode/1up
Bungalow pour le Week End. Pres de Vienne. Erich Boltenstern, architecte: Petites Maisons, Villas, Bungalows. Page 103 of Encyclopédie de l’architecture: constructions modernes. Tome VII. Albert Marcel Morancé, editor. Published in 1935 by Éditions Albert Morancé. Cc0 License 1.0. In the public domain. via https://archive.org/details/frapn02-encyclopedie-de-l-architecture-constructions-modernes-tome-7-1935/page/n103/mode/1up
Immeuble de Rapport a Paris. Le Corbusier et P. Jeanneret, architectes: Immeuble de Rapport. Page 124 of Encyclopédie de l’architecture: constructions modernes. Tome VII. Albert Marcel Morancé, editor. Published in 1935 by Éditions Albert Morancé. Cc0 License 1.0. In the public domain. via https://archive.org/details/frapn02-encyclopedie-de-l-architecture-constructions-modernes-tome-7-1935/page/n124/mode/1up
Furnished apartment, London, England. Sir John Burnet, Tait et Lorne. mmeuble de Rapport. Page 155 of Encyclopédie de l’architecture: constructions modernes. Tome VII. Albert Marcel Morancé, editor. Published in 1935 by Éditions Albert Morancé. Cc0 License 1.0. In the public domain. via https://archive.org/details/frapn02-encyclopedie-de-l-architecture-constructions-modernes-tome-7-1935/page/n154/mode/1up

Up your dining decor potential with silver that looks like it could get up and dance. Imagery from Charles Heathcote Tatham’s 1806 work “Designs for ornamental plate, many of which have been executed in silver from original drawings.”

Title page. Image 11 of Designs for ornamental plate, many of which have been executed in silver from original drawings. Charles Heathcote Tatham Architect; member of the Academy of Saint Luke at Rome, and of the Institute at Bologna, publisher. Printed in London in 1806 for Thomas Gardner, Cavendish Square by John Barfield, Printer to his Royal Highness the Prince of Wales. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125012243503/page/n10/mode/1up
The Cup: A Piece of Plate designed and executed for the Earl of Carlisle, in the year 1801 – weight 500 ounces. Charles Heathcote Tatham, invenit. G. Cooper, engraver (I think). Image 23 of Designs for ornamental plate, many of which have been executed in silver from original drawings. Charles Heathcote Tatham Architect; member of the Academy of Saint Luke at Rome, and of the Institute at Bologna, publisher. Printed in London in 1806 for Thomas Gardner, Cavendish Square by John Barfield, Printer to his Royal Highness the Prince of Wales. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125012243503/page/n20/mode/1up
A Waiter designed and executed in Silver and Gilt, for the Right Honourable Earl Camden, in the Year 1803: Section of the Waiter, 28 Inches Diameter. Charles Heathcote Tatham, invenit. G. Cooper, engraver (I think). Image 18 of Designs for ornamental plate, many of which have been executed in silver from original drawings. Charles Heathcote Tatham Architect; member of the Academy of Saint Luke at Rome, and of the Institute at Bologna, publisher. Printed in London in 1806 for Thomas Gardner, Cavendish Square by John Barfield, Printer to his Royal Highness the Prince of Wales. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125012243503/page/n18/mode/1up
A Lamp and Column designed and executed in the Year 1800, the base being two feet wide. Charles Heathcote Tatham, invenit. G. Cooper, engraver (I think). Image 28 of Designs for ornamental plate, many of which have been executed in silver from original drawings. Charles Heathcote Tatham Architect; member of the Academy of Saint Luke at Rome, and of the Institute at Bologna, publisher. Printed in London in 1806 for Thomas Gardner, Cavendish Square by John Barfield, Printer to his Royal Highness the Prince of Wales. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125012243503/page/n28/mode/1up
Designs for Lights to burn oil, after the manner of Italian Lamps. A is the Representation of the Lamp which was used by the Author, at Rome. Charles Heathcote Tatham, invenit. G. Cooper, engraver (I think). Image 32 of Designs for ornamental plate, many of which have been executed in silver from original drawings. Charles Heathcote Tatham Architect; member of the Academy of Saint Luke at Rome, and of the Institute at Bologna, publisher. Printed in London in 1806 for Thomas Gardner, Cavendish Square by John Barfield, Printer to his Royal Highness the Prince of Wales. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125012243503/page/n32/mode/1up
A Design for a Branch Light to be Executed in Silver: The End of the Base. Charles Heathcote Tatham, invenit. G. Cooper, engraver (I think). Image 56 of Designs for ornamental plate, many of which have been executed in silver from original drawings. Charles Heathcote Tatham Architect; member of the Academy of Saint Luke at Rome, and of the Institute at Bologna, publisher. Printed in London in 1806 for Thomas Gardner, Cavendish Square by John Barfield, Printer to his Royal Highness the Prince of Wales. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125012243503/page/n56/mode/1up
A Design for the Centre of a Table, Ornament for the proposed to be executed in Silver. Charles Heathcote Tatham, invenit. G. Cooper, engraver (I think). Image 71 of Designs for ornamental plate, many of which have been executed in silver from original drawings. Charles Heathcote Tatham Architect; member of the Academy of Saint Luke at Rome, and of the Institute at Bologna, publisher. Printed in London in 1806 for Thomas Gardner, Cavendish Square by John Barfield, Printer to his Royal Highness the Prince of Wales. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125012243503/page/14/mode/1up
The Component parts to a larger Scale of the preceding Plate. Charles Heathcote Tatham, invenit. G. Cooper, engraver (I think). Image 81 of Designs for ornamental plate, many of which have been executed in silver from original drawings. Charles Heathcote Tatham Architect; member of the Academy of Saint Luke at Rome, and of the Institute at Bologna, publisher. Printed in London in 1806 for Thomas Gardner, Cavendish Square by John Barfield, Printer to his Royal Highness the Prince of Wales. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125012243503/page/24/mode/1up
A Design for a Tureen proposed to be executed in Silver. Charles Heathcote Tatham, invenit. G. Cooper, engraver (I think). Image 85 of Designs for ornamental plate, many of which have been executed in silver from original drawings. Charles Heathcote Tatham Architect; member of the Academy of Saint Luke at Rome, and of the Institute at Bologna, publisher. Printed in London in 1806 for Thomas Gardner, Cavendish Square by John Barfield, Printer to his Royal Highness the Prince of Wales. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125012243503/page/28/mode/1up
Outlines of Etruscan Vases now in England. Charles Heathcote Tatham, invenit. G. Cooper, engraver (I think). Image 95 of Designs for ornamental plate, many of which have been executed in silver from original drawings. Charles Heathcote Tatham Architect; member of the Academy of Saint Luke at Rome, and of the Institute at Bologna, publisher. Printed in London in 1806 for Thomas Gardner, Cavendish Square by John Barfield, Printer to his Royal Highness the Prince of Wales. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125012243503/page/n94/mode/1up

Floor coverings and rugs in glowing colors from back when Bakelite was big and kitchen floors came in Chromalin. Imagery from a 1938 commercial catalogue put out by Bird And Son of East Walpole, Massachusetts.

Front cover of BIRD Rugs and Floor Coverings: Patterns for 1938, a commercial catalogue from Bird Floor Covering Sales Corporation. American. Collections of Columbia University. In the public domain. https://archive.org/details/birdrugsfloorcov00bird/mode/1up
Bird rugs and floor coverings armored with Bakelite, Chromalin rugs and floor coverings, economy rugs and floor coverings, rug border, lining felt, rubberlike matting: Bird Floor Covering Sales Corporation, New York – East Walpole – Chicago, Illinois. Title page. Image 1 of a commercial catalogue from Bird Floor Covering Sales Corporation that was published in 1938. American. Collections of Columbia University. In the public domain. https://archive.org/details/birdrugsfloorcov00bird/page/1/mode/1up
There is a Chromalin pattern or design that is adaptable to any room in the house – to fit any scheme of decoration. Here is a custom built Chromolin living room, with specially designed inset in front of the fireplace. Page 3 of a commercial catalogue that was published in 1938 by Bird Floor Covering Sales Corporation and titled Bird rugs and floor coverings armored with Bakelite, Chromalin rugs and floor coverings, economy rugs and floor coverings, rug border, lining felt, rubberlike matting: Bird Floor Covering Sales Corporation, New York – East Walpole – Chicago, Illinois. Collections of Columbia University. In the public domain. https://archive.org/details/birdrugsfloorcov00bird/page/3/mode/1up
IN HARMONY WITH THE MODERN: Chromalin Rug patterns are ideally suited to more formal rooms. The design used in this dining room is in perfect harmony with modern furnishings. Chromalin in any pattern is the modern floor covering. Page 4 of a commercial catalogue that was published in 1938 by Bird Floor Covering Sales Corporation and titled Bird rugs and floor coverings armored with Bakelite, Chromalin rugs and floor coverings, economy rugs and floor coverings, rug border, lining felt, rubberlike matting: Bird Floor Covering Sales Corporation, New York – East Walpole – Chicago, Illinois. Collections of Columbia University. In the public domain. https://archive.org/details/birdrugsfloorcov00bird/page/4/mode/1up
CHROMALIN: Number 9383, sizes 9 x 12, 9 x 10 1/2, 7 1/2 x 9, 6 x 9. Also 8/4 and 12/4. Repeat 18.” Page 14 of a commercial catalogue that was published in 1938 by Bird Floor Covering Sales Corporation and titled Bird rugs and floor coverings armored with Bakelite, Chromalin rugs and floor coverings, economy rugs and floor coverings, rug border, lining felt, rubberlike matting: Bird Floor Covering Sales Corporation, New York – East Walpole – Chicago, Illinois. Collections of Columbia University. In the public domain. https://archive.org/details/birdrugsfloorcov00bird/page/14/mode/1up
DURABLE BEAUTY and ECONOMY: The kitchen is the finest proving ground for the wearing qualities of Chromalin. This lovely floor covering combines perfect pattern, durable beauty and ultimate economy even in the spots where the hard wear comes. Page 17 of a commercial catalogue that was published in 1938 by Bird Floor Covering Sales Corporation and titled Bird rugs and floor coverings armored with Bakelite, Chromalin rugs and floor coverings, economy rugs and floor coverings, rug border, lining felt, rubberlike matting: Bird Floor Covering Sales Corporation, New York – East Walpole – Chicago, Illinois. Collections of Columbia University. In the public domain. https://archive.org/details/birdrugsfloorcov00bird/page/17/mode/1up
CHROMALIN: Number 430 and number 435, two yards wide, 8/4 only. Repeat 18.” Page 32 of a commercial catalogue that was published in 1938 by Bird Floor Covering Sales Corporation and titled Bird rugs and floor coverings armored with Bakelite, Chromalin rugs and floor coverings, economy rugs and floor coverings, rug border, lining felt, rubberlike matting: Bird Floor Covering Sales Corporation, New York – East Walpole – Chicago, Illinois. Collections of Columbia University. In the public domain. https://archive.org/details/birdrugsfloorcov00bird/page/32/mode/1up

PLAIN and JASPE: Plain and Jaspe Floor Covering permits you to give full rein to your own decorative fancies. Interesting and attractive effects may be obtained with or without Chromasets, of which Bird offers a wide selection. Chromasets in both 18″ and 9″ sizes; Floor Plan Units, Assembled Borders, and suggestions for Custom Built Insets are made in many different color combinations. Examples of these are illustrated on the following pages. Page 33 of a commercial catalogue that was published in 1938 by Bird Floor Covering Sales Corporation and titled Bird rugs and floor coverings armored with Bakelite, Chromalin rugs and floor coverings, economy rugs and floor coverings, rug border, lining felt, rubberlike matting: Bird Floor Covering Sales Corporation, New York – East Walpole – Chicago, Illinois. Collections of Columbia University. In the public domain. https://archive.org/details/birdrugsfloorcov00bird/page/33/mode/1up
CHROMASETS: An even wider selection than ever before provides small designs and individual patterns to suit any taste. With Chromasets anyone can design custom floors. One, two and three-color combinations, in squares, circles, and assembled borders, distinctive floor plan units and custom designs made to order are among this colorful selection shown on the following pages. Compass, Tea Set and Ship’s Wheel. Page 39 of a commercial catalogue that was published in 1938 by Bird Floor Covering Sales Corporation and titled Bird rugs and floor coverings armored with Bakelite, Chromalin rugs and floor coverings, economy rugs and floor coverings, rug border, lining felt, rubberlike matting: Bird Floor Covering Sales Corporation, New York – East Walpole – Chicago, Illinois. Collections of Columbia University. In the public domain. https://archive.org/details/birdrugsfloorcov00bird/page/39/mode/1up
Bird Armored with BAKELITE Rugs and Floor Coverings clean easier, stay brighter and last longer because each particle of color in Bird Rugs and Floor Coverings Armored with Bakelite is protected by the tough, lustrous Bakelite armor that resists destructive wearing action. This armor is not a surface coating – it is hard and durable on the felt side as it is on the wearing surface. On these pages you will find a colorful array of patterns in both Rugs and Floor Coverings – Suitable for any room in the house, any color scheme, or style of decoration. All are Armored with BAKELITE. Page 43 of a commercial catalogue that was published in 1938 by Bird Floor Covering Sales Corporation and titled Bird rugs and floor coverings armored with Bakelite, Chromalin rugs and floor coverings, economy rugs and floor coverings, rug border, lining felt, rubberlike matting: Bird Floor Covering Sales Corporation, New York – East Walpole – Chicago, Illinois. Collections of Columbia University. In the public domain. https://archive.org/details/birdrugsfloorcov00bird/page/43/mode/1up
Armored with BAKELITE: Number 6746, sizes 9 x 15, 9 x 12, 9 x 10 1/2, 9 x 9, 7 1/2 x 9, 6 x 8, also 8/4 and 12/4. Repeat 18.” Page 44 of a commercial catalogue that was published in 1938 by Bird Floor Covering Sales Corporation and titled Bird rugs and floor coverings armored with Bakelite, Chromalin rugs and floor coverings, economy rugs and floor coverings, rug border, lining felt, rubberlike matting: Bird Floor Covering Sales Corporation, New York – East Walpole – Chicago, Illinois. Collections of Columbia University. In the public domain. http://archive.org/details/birdrugsfloorcov00bird/page/44/mode/1up
The playroom is one room that demands an attractive, long-wearing floor covering at moderate cost. Economy Rugs and Floor Coverings are the ideal solution. Page 70 of a commercial catalogue that was published in 1938 by Bird Floor Covering Sales Corporation and titled Bird rugs and floor coverings armored with Bakelite, Chromalin rugs and floor coverings, economy rugs and floor coverings, rug border, lining felt, rubberlike matting: Bird Floor Covering Sales Corporation, New York – East Walpole – Chicago, Illinois. Collections of Columbia University. In the public domain. https://archive.org/details/birdrugsfloorcov00bird/page/70/mode/2up

Chromalin must have been a kind of linoleum or similar to linoleum.