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/1Alger 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/2Alger 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/5Alger 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/7Alger 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/14Alger 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/15Alger 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.
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/1upArt 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/1upArt 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/1upArt 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/1upArt 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/1upA 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/1upArt 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/1upArt 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
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/1upFrom 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/1upMessrs. 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/1upThe 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/1upFront 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
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.
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/1upThe 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/1upA 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/1upA 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/1upDesigns 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/1upA 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/1upA 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/1upThe 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/1upA 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/1upOutlines 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
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/1upBird 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/1upThere 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/1upIN 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/1upCHROMALIN: 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/1upDURABLE 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/1upCHROMALIN: 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/1upPLAIN 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/1upCHROMASETS: 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/1upBird 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/1upArmored 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/1upThe 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.
Title page, Image 1 of The House of William Burges A.R.A, edited by R. P. Pullman, who also wrote the text it looks like. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/mode/1upView from Melbury Road.The Porch, which is of semi-classical character-resembling the early Gothic of the South of France-and the adjoining turret, make this front very picturesque. The large window on the Ground Floor is that of the Dining-room. In the windows of the Guest’s Chamber above may be seen the gilt lattices, which subdue the light of the interior and render the gilding and colouring more harmonious. Plate 6, Image 26 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n26/mode/1upThe Entrance Hall. Though of small dimensions, is one of the chief features of the House. It goes up the full height of the first two storeys. At the top of the photograph is seen the balustraded gallery which gives access to the Bedrooms, supported by a massive stone corbel painted with the device which Mr. Burges adopted as his own, viz., a heart between three darts. Under the pointed arches, which spring from a rich column of red marble, is the circular stone staircase which occupies the turret. There are five doorways in the Hall. That seen in the view leads to the Dining-room. The destination of this apartment is indicated by a flask of wine and a dish painted on the lintel. Opposite to it is the front door, with the symbol of a latch-key in a like position; on the same side is the garden door with a rose over it At the end of the Hall is the door of the Drawing-room, with musical instruments, and adjoining it, on the same side as that of the Dining-room, the door of the Library, with open books. The pavement consists of a fine mosaic of the combat between Theseus and the Minotaur in the middle of the Labyrinth of Crete. The Hall is lighted by a large window filled w.th stained glass, symbolising the divisions of the twenty-four hours, by figures of four maidens issuing from bells-representing Dawn, Noon, Twilight, and Night. They are on a large scale, and are treated in a bold manner. The decorative paintings on the walls and ceilings also have reference to Time, Light, and the Solar System The sun and the moon, the morning and evening stars, are represented by graceful figures, and on the ceiling are the emblems of the constellations in the positions in which they were when the house was first occupied. The ront door and that leading to the Garden are covered with bronze. They have panels filled with figures; the former has four compartments, with the Ages of Man, and an inscription recording the date of its construction. That leading to the Garden has a sitting figure of the Virgin and Child in a Gothic niche. Plate 7, Image 28 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n28/mode/1upThe Dining Room. Is almost a square in plan, and faces Melbury Road. The walls are lined with polished Devonshire marble to a height of six feet. In this dado it was intended that square panels of bronze with figures should be placed at intervals. The decorations of this room are meant to convey an idea of Chaucer’s House of Fame. Over the fireplace there is a sitting figure of Fame, with an ivory head and eyes of sapphire, modelled from Chaucer’s description “The figure of Fame was in the House of Fame, Had al so fele up stondyng eres And tonges, as on bestes heres, And on hir fete wexen I sauorh Partiches winges redely.” A deep frieze above the dado is occupied by a procession of the characters from familiar fairy tales and other legends. On one side we see Jack the Giant-Killer side by side with Jack and the Beanstalk, followed by the Yellow Dwarf, the Beast without Beauty, Reynard the Fox, Little Red Riding Hood riding on the Wolf, which draws a car containing the Sleeping Beauty, the dames from the story of Pearls and Toads, Blue Beard and Fatima, Peter Wilkins and his Winged Wife, Robinson Crusoe and Friday, and Robin Hood, accompanied by Maid Marian and Friar Tuck. Plate 8, Image 30 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n30/mode/1upAn Escritoire (The exterior). Externally, the pictures refer to the uses of writing. On one side, an urchin is learning to write, while the monk, his instructor, is punishing him for his slow progress by pulling his ear. In front, a young man who has written a letter to his lady-love is represented as kissing it before depositing it in the trunk of a tree ; a merchant is seen in his counting house writing up his ledger; and on the other side an old man is in the act of making his will. The figures in the panel below are illustrative of the estates of life — King, Priest, Warrior, Merchant and Labourer. At the sides, there are emblematical figures of History and Poetry, and the portraits of two dogs. Plate 11, image 34 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n34/mode/1upThe Drawing Room. When completed, this will be the richest room of all. Many of the decorations are of a temporary nature, but the whole scheme is complete. The room is lit by three large mullioned windows, which face the Garden. They are divided by massive piers of reddish marble, leaving recesses for divans or tables. The “motif” for the decoration is “the tender passion of Love.” A medieval Cupid, modestly habited in robes of various hues, figures in the three central compartments of the ceiling as a king, a conqueror, and a pilgrim. He also graces the elaborate chimney-piece. Round the room there is a series of pictures, having reference chiefly to the misfortunes of lovers. The stories of Hero and Leander, Ariadne and Theseus, Pyramis and Thisbe, Cupid and Psyche, Venus and Adonis, Francesca di Rimini, Circe and Ulysses, and Lancelot and Guinevere, are represented in glowing colours in the style in which they would have been illustrated in an illuminated MS. of the Thirteenth Century. The stained glass of the windows has, in addition to birds of splendid plumage, imaginary portraits of the celebrated women of former times-Eve, Aspasia, Galliana, Joan of Arc, Cleopatra, &c. On the sides of the room are lockers with painted doors. Here also stands the mediaeval settle seen in Photograph Number 17. There are sliding doors divided by a marble column of serpentine, between the Drawing-room and Library. These are opened in summer, and closed in winter. Plate 15, Image 44 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n44/mode/1upThe Chimney-Piece in the Drawing Room. This is a most poetical composition. It is executed in Caen stone, and richly gilt and painted. The scenes represented in the sculptures are derived from Chaucer’s version of the ” Roman de la Rose.” In that poem the hero, Gillaume de Lorris, dreams that he sees a beautiful garden, “With high walles embattailed, Portrayed without and well entayled With many rich portraytures.” These ” portraytures ” represented the enemies of Love. They are arranged in the following order on the frieze of the chimney-piece:— Poverty, with rents in his dress, and a spoon in his cap. Envy, “that never lough.” Sorrow was painted next Envy on that wall of masonry.” ” Full sad, pale, megre also, Was never wight so full of woe.” Papalardid that seemed like a hypocrite. Viellesse is ” dire and dwined all for elde.” Lastly comes Haine, ” grinning for despitous rage.” Gillaume enters the garden through a gate opened by Idleness (Oyseuse), and finds the friends of Love dancing beneath the trees. These are signified by handsome men and women in diapered robes, with their names written beneath in Provencale. Here are Largesse, Richesse, J olivet e”, Liesce, Deduit, Beaute”, Dons regars, and Franchise. On the opposite side of the chimney-piece to that in which Gillaume is seen as entering the garden, he is represented as plucking the rose, Jealousy meanwhile looking on. All the figures are elegantly modelled. To show how careful Mr. Burges was about details, I may mention that I have found amongst his memoranda studies for the diapers on their draperies copied from ancient examples. Plate 16, Image 45 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n45/mode/1upThe Ceiling is divided into longitudinal compartments by rounded beams, powdered with hearts and darts; and it is enlivened by small convex mirrors surrounded by gilt rays, which reflect the light in a marvellous manner. Plate 29 Image 71 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n71/mode/1upA Table with Articles of Domestic Use. This table, which is a model of all the tables in the house, has upon it a collection of plates and faience, the mountings of which were designed by Mr. Burges. Amongst these articles may be seen his decanters, cat-cup sugar-basm, pomegranate teapot, and other ornamental vessels. All these were frequently used by him, both at his chambers and in his house; for, as he was accustomed to say, “What is the object of having pretty things unless one makes use of them?” Plate 40 image 93 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive 71 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive
Also an outer front porch floor mosiac featuring a Cave Canem with the dog being a portrait of Mr. Burges’ favorite poodle Pinkie.
William Burges died a few years before this was privately published. If you are interested there are many more images, I just used a few. The descriptions are long but fascinating. At least recently I haven’t come across any with poems by Geoffrey Chaucer in the original Middle English.
Title page. Image 3 from the 1902 portfolio MEISTER DER INNEN-KUNST: Haus Eines Kunst-Freundes (Masters of Interior Design: The House of an Art Lover). Alex Koch, Darmstadt, publisher with designs by Baillie Scott. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008235489/page/n3/mode/1upMOTTO: DULCE DOMUM: Baillie Scott, Isle of Man: Haus eines Kunst-freundes Verlage-Anstalt; Alexander Koch, Darmstadt. Tafel V. Image 16 (17) from the 1902 portfolio MEISTER DER INNEN-KUNST: Haus Eines Kunst-Freundes (Masters of Interior Design: The House of an Art Lover). Alex Koch, Darmstadt, publisher with designs by Baillie Scott. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008235489/page/n16/mode/1upHALL: Baillie Scott, Isle of Man: Haus eines Kunst-freundes Verlage-Anstalt; Alexander Koch, Darmstadt. Image 18 from the 1902 portfolio MEISTER DER INNEN-KUNST: Haus Eines Kunst-Freundes (Masters of Interior Design: The House of an Art Lover). Alex Koch, Darmstadt, publisher with designs by Baillie Scott. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008235489/page/n18/mode/1upDINING ROOM: Baillie Scott, Isle of Man: Haus eines Kunst-freundes Verlage-Anstalt; Alexander Koch, Darmstadt. Image 20 from the 1902 portfolio MEISTER DER INNEN-KUNST: Haus Eines Kunst-Freundes (Masters of Interior Design: The House of an Art Lover). Alex Koch, Darmstadt, publisher with designs by Baillie Scott. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008235489/page/n20/mode/1upMUSIC ROOM: Baillie Scott, Isle of Man: Haus eines Kunst-freundes Verlage-Anstalt; Alexander Koch, Darmstadt. Image 22 from the 1902 portfolio MEISTER DER INNEN-KUNST: Haus Eines Kunst-Freundes (Masters of Interior Design: The House of an Art Lover). Alex Koch, Darmstadt, publisher with designs by Baillie Scott. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008235489/page/n22/mode/1upPLAY ROOM and STUDY: Baillie Scott, Isle of Man: Haus eines Kunst-freundes Verlage-Anstalt; Alexander Koch, Darmstadt. Image 24 from the 1902 portfolio MEISTER DER INNEN-KUNST: Haus Eines Kunst-Freundes (Masters of Interior Design: The House of an Art Lover). Alex Koch, Darmstadt, publisher with designs by Baillie Scott. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008235489/page/n24/mode/1upTop to bottom: BEDROOM IN PARENTS’ SUITE; BATH; AND LADIES ROOM. Baillie Scott, Isle of Man: Haus eines Kunst-freundes Verlage-Anstalt; Alexander Koch, Darmstadt. Image 26 from the 1902 portfolio MEISTER DER INNEN-KUNST: Haus Eines Kunst-Freundes (Masters of Interior Design: The House of an Art Lover). Alex Koch, Darmstadt, publisher with designs by Baillie Scott. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008235489/page/n26/mode/1up
Grand Duke Ernst of Hesse-Darmstadt appears to have been an Art Nouveau/Jugendstil art lover as he set up an artist’s colony in Hesse-Darmstadt and this portfolio must have been part of that. He was the brother of the last Russian tsarina the Empress Alexandra. His mother was a daughter of Queen Victoria which explains the London connection. I blogged a few of these images a number of years ago in a different post. I’m not sure of when I happened upon the Internet Archive but at the time of my earlier post there was no scanned version of the entire portfolio or at least not one I was aware of. This has all the designs.
