Agni Bargello comes from a document in the Brunschwig Archive. A wool embroidery on linen from late 19th century France, its structure is known variously as flamestitch, Florentine canvas work,

Hungarian point or bargello. In this interpretation, the scale was enlarged, and complementary col-ors were replaced with monochrome, ombred hues for modern appeal. Agni Bargello has been in the

line since its introduction in Fall 2011.

BR.800058.m28

Document for Agni Bargello

AGNI BARGELLOBR.800058.M00 BR.800058.M18 BR.800058.M22 BR.800058.M28 BR.800058.M68

BARBADOSBR.71105.05

BARNSTABLEBR.89284.070 BR.89284.181 BR.89284.244 BR.89284.377 BR.89284.405 BR.89284.470 BR.89284.638

BELLARYBR.700016.121BR.700016.166BR.700016.221BR.700016.248BR.700016.278

CYTHERABR.79713.429

DAPHNE S MYSTERYBR.79745.222

DIGBY S TENTBR.79743.222 BR.79743.451 BR.79743.634

DZHAMBULBR.71099.344 BR.71099.435 BR.71099.836 BR.71099.889

EDITH S REVERIEBR.79742.077 BR.79742.203 BR.79742.222

FABRIANOBR.79355.000 BR.79355.309 BR.79355.464BR.79355.634

FESTIVAL OF LANTERNSBR.79704.016 BR.79704.190BR.79704.204

GRAND ARBRE8013106.15

GLENRINNES LODGEBR.71255.166

HARMONY STRIPE8012126.18012126.168012126.198012126.38012126.58012126.513

INDIAN SUMMERBR.79794.278

LE KAKATOESBR.79536-832

WALLPAPER BISCAY

BR.69285.634

BIRD AND THISTLEBR.69518.068BR.69518.166 BR.79431.068 BR.79431.166 BR.79431.222 BR.79431.435

LE KAKATOESBR.69366.222 BR.69366.406

FESTIVAL OF LANTERNSBR.69459.204 BR.69459.800

TABLE OF CONTENTS

Agni Bargello comes from a document in the Brunschwig Archive. A wool embroidery on linen from late 19th century France, its structure is known variously as flamestitch, Florentine canvas work,

Hungarian point or bargello. In this interpretation, the scale was enlarged, and complementary col-ors were replaced with monochrome, ombred hues for modern appeal. Agni Bargello has been in the

line since its introduction in Fall 2011.

BR.800058.m00

Document for Agni Bargello

Agni Bargello comes from a document in the Brunschwig Archive. A wool embroidery on linen from late 19th century France, its structure is known variously as flamestitch, Florentine canvas work,

Hungarian point or bargello. In this interpretation, the scale was enlarged, and complementary col-ors were replaced with monochrome, ombred hues for modern appeal. Agni Bargello has been in the

line since its introduction in Fall 2011.

BR.800058.m18

Document for Agni Bargello

Agni Bargello comes from a document in the Brunschwig Archive. A wool embroidery on linen from late 19th century France, its structure is known variously as flamestitch, Florentine canvas work,

Hungarian point or bargello. In this interpretation, the scale was enlarged, and complementary col-ors were replaced with monochrome, ombred hues for modern appeal. Agni Bargello has been in the

line since its introduction in Fall 2011.

BR.800058.m22

Document for Agni Bargello

Agni Bargello comes from a document in the Brunschwig Archive. A wool embroidery on linen from late 19th century France, its structure is known variously as flamestitch, Florentine canvas work,

Hungarian point or bargello. In this interpretation, the scale was enlarged, and complementary col-ors were replaced with monochrome, ombred hues for modern appeal. Agni Bargello has been in the

line since its introduction in Fall 2011.

BR.800058.m28

Document for Agni Bargello

Agni Bargello comes from a document in the Brunschwig Archive. A wool embroidery on linen from late 19th century France, its structure is known variously as flamestitch, Florentine canvas work,

Hungarian point or bargello. In this interpretation, the scale was enlarged, and complementary col-ors were replaced with monochrome, ombred hues for modern appeal. Agni Bargello has been in the

line since its introduction in Fall 2011.

BR.800058.m68

Document for Agni Bargello

Barbados Cotton Print was reproduced from a document in the Brunschwig Archive. This 19th century, French textile was wood-block-printed on glazed cotton, sporting a botanical pattern of

Indo-Chinese influence. Bamboo and narcissus are depicted, with intricate patterning on the boldly striped leaves. The scale and colorway were kept identical to the original. Barbados has been in the

line since its introduction in Fall 1980.

BR.71105.05

Document for Barbados Cotton Print

Barnstable Woven Damask comes from a document in the Brunschwig Archive. This late 19th century, French textile has a damask construction with green-gold motifs on a green, hammered-satin ground.

The large-scale, ogee floral design depicts symmetrically arranged lilies flanked by curling acanthus leaves. The scale for Barnstable was slightly enlarged, and the fiber changed to a rayon/linen blend; ‘Sorrento Green’ is closest to the documentary colorway. Barnstable has been in the line since its

introduction in Spring 1998.

BR.89284.070

Document for Barnstable Woven Damask

Barnstable Woven Damask comes from a document in the Brunschwig Archive. This late 19th century, French textile has a damask construction with green-gold motifs on a green, hammered-satin ground.

The large-scale, ogee floral design depicts symmetrically arranged lilies flanked by curling acanthus leaves. The scale for Barnstable was slightly enlarged, and the fiber changed to a rayon/linen blend; ‘Sorrento Green’ is closest to the documentary colorway. Barnstable has been in the line since its

introduction in Spring 1998.

BR.89284.181

Document for Barnstable Woven Damask

Barnstable Woven Damask comes from a document in the Brunschwig Archive. This late 19th century, French textile has a damask construction with green-gold motifs on a green, hammered-satin ground.

The large-scale, ogee floral design depicts symmetrically arranged lilies flanked by curling acanthus leaves. The scale for Barnstable was slightly enlarged, and the fiber changed to a rayon/linen blend; ‘Sorrento Green’ is closest to the documentary colorway. Barnstable has been in the line since its

introduction in Spring 1998.

BR.89284.244

Document for Barnstable Woven Damask

Barnstable Woven Damask comes from a document in the Brunschwig Archive. This late 19th century, French textile has a damask construction with green-gold motifs on a green, hammered-satin ground.

The large-scale, ogee floral design depicts symmetrically arranged lilies flanked by curling acanthus leaves. The scale for Barnstable was slightly enlarged, and the fiber changed to a rayon/linen blend; ‘Sorrento Green’ is closest to the documentary colorway. Barnstable has been in the line since its

introduction in Spring 1998.

BR.89284.377

Document for Barnstable Woven Damask

Barnstable Woven Damask comes from a document in the Brunschwig Archive. This late 19th century, French textile has a damask construction with green-gold motifs on a green, hammered-satin ground.

The large-scale, ogee floral design depicts symmetrically arranged lilies flanked by curling acanthus leaves. The scale for Barnstable was slightly enlarged, and the fiber changed to a rayon/linen blend; ‘Sorrento Green’ is closest to the documentary colorway. Barnstable has been in the line since its

introduction in Spring 1998.

BR.89284.405

Document for Barnstable Woven Damask

Barnstable Woven Damask comes from a document in the Brunschwig Archive. This late 19th century, French textile has a damask construction with green-gold motifs on a green, hammered-satin ground.

The large-scale, ogee floral design depicts symmetrically arranged lilies flanked by curling acanthus leaves. The scale for Barnstable was slightly enlarged, and the fiber changed to a rayon/linen blend; ‘Sorrento Green’ is closest to the documentary colorway. Barnstable has been in the line since its

introduction in Spring 1998.

BR.89284.470

Document for Barnstable Woven Damask

Barnstable Woven Damask comes from a document in the Brunschwig Archive. This late 19th century, French textile has a damask construction with green-gold motifs on a green, hammered-satin ground.

The large-scale, ogee floral design depicts symmetrically arranged lilies flanked by curling acanthus leaves. The scale for Barnstable was slightly enlarged, and the fiber changed to a rayon/linen blend; ‘Sorrento Green’ is closest to the documentary colorway. Barnstable has been in the line since its

introduction in Spring 1998.

BR.89284.638

Document for Barnstable Woven Damask

Bellary Cotton Print was reproduced from a document in the Brunschwig Archive. This late 19th century, French textile was wood-block-printed on a cream-colored linen ground. The design features stylized flowers and Jacobeanesque leaves framed by wide applied borders. These motifs

are based on the ‘Tree of Life’ from Indian palampores. The scale of the original was slightly enlarged to breathe new life into a timeless type of pattern. Bellary has been in the line since its introduction

in Spring 2011.

BR.700016.121

Document for Bellary Cotton Print

Bellary Cotton Print was reproduced from a document in the Brunschwig Archive. This late 19th century, French textile was wood-block-printed on a cream-colored linen ground. The design features stylized flowers and Jacobeanesque leaves framed by wide applied borders. These motifs

are based on the ‘Tree of Life’ from Indian palampores. The scale of the original was slightly enlarged to breathe new life into a timeless type of pattern. Bellary has been in the line since its introduction

in Spring 2011.

BR.700016.166

Document for Bellary Cotton Print

Bellary Cotton Print was reproduced from a document in the Brunschwig Archive. This late 19th century, French textile was wood-block-printed on a cream-colored linen ground. The design features stylized flowers and Jacobeanesque leaves framed by wide applied borders. These motifs

are based on the ‘Tree of Life’ from Indian palampores. The scale of the original was slightly enlarged to breathe new life into a timeless type of pattern. Bellary has been in the line since its introduction

in Spring 2011.

BR.700016.221

Document for Bellary Cotton Print

Bellary Cotton Print was reproduced from a document in the Brunschwig Archive. This late 19th century, French textile was wood-block-printed on a cream-colored linen ground. The design features stylized flowers and Jacobeanesque leaves framed by wide applied borders. These motifs

are based on the ‘Tree of Life’ from Indian palampores. The scale of the original was slightly enlarged to breathe new life into a timeless type of pattern. Bellary has been in the line since its introduction

in Spring 2011.

BR.700016.248

Document for Bellary Cotton Print

Bellary Cotton Print was reproduced from a document in the Brunschwig Archive. This late 19th century, French textile was wood-block-printed on a cream-colored linen ground. The design features stylized flowers and Jacobeanesque leaves framed by wide applied borders. These motifs

are based on the ‘Tree of Life’ from Indian palampores. The scale of the original was slightly enlarged to breathe new life into a timeless type of pattern. Bellary has been in the line since its introduction

in Spring 2011.

BR.700016.278

Document for Bellary Cotton Print

Cythera Cotton Print was adapted from a document in the Brunschwig Archive. This French textile, dated from the 1920s or 1930s, is a pochoir-printed curtain panel of pale apricot cotton percale.

This printing technique, briefly used before the advent of screen printing, employed thin, metal sten-cils to produce flat areas of color without the detail or layered look of block-printing. The fantasti-cal design features vignettes with figures in 18th century dress, a great gnarled trunk garlanded with flowers, and elements including an over-scale exotic bird, urn, and trellis. Our adaptation includes brightened colors placed on a cream ground, and the overall scale was reduced by the rearrange-

ment of many motifs. Cythera has been in the line since its introduction in Fall 2005.

BR.79713.429

Document for Cythera Cotton Print

Daphne’s Mystery Warp Print comes from a document in the Brunschwig Archive. This French textile, produced in the 1770s, features chiné à la branche elements on an apricot silk taffeta. The scale was slightly enlarged, the motifs subtly altered, and the fiber changed to a cotton and linen blend for our adaptation. Like the original document, Daphne’s Mystery is completely reversible and features the blurred edges typically found when warp threads are dyed or printed prior to weaving. Daphne’s

Mystery has been in the line since its introduction in Spring 2006.

BR.79745.222

Document for Daphne’s Mystery Warp Print

Digby’s Tent Linen and Cotton Print was reproduced from a document in the Brunschwig Archive. This 19th century, French border design is wood-block printed on a linen tabby and sports intricate indienne, archi-tectural, and geometric motifs. For Digby’s Tent, the border was turned on its side to create the striped re-peat, the scale was reduced, colors darkened, and the fiber was changed to a cotton and linen blend. Digby’s

Tent has been in the line since its introduction in Spring 2006.

BR.79743.222

Document for Digby’s Tent Linen and Cotton Print

Digby’s Tent Linen and Cotton Print was reproduced from a document in the Brunschwig Archive. This 19th century, French border design is wood-block printed on a linen tabby and sports intricate indienne, archi-tectural, and geometric motifs. For Digby’s Tent, the border was turned on its side to create the striped re-peat, the scale was reduced, colors darkened, and the fiber was changed to a cotton and linen blend. Digby’s

Tent has been in the line since its introduction in Spring 2006.

BR.79743.451

Document for Digby’s Tent Linen and Cotton Print

Digby’s Tent Linen and Cotton Print was reproduced from a document in the Brunschwig Archive. This 19th century, French border design is wood-block printed on a linen tabby and sports intricate indienne, archi-tectural, and geometric motifs. For Digby’s Tent, the border was turned on its side to create the striped re-peat, the scale was reduced, colors darkened, and the fiber was changed to a cotton and linen blend. Digby’s

Tent has been in the line since its introduction in Spring 2006.

BR.79743.634

Document for Digby’s Tent Linen and Cotton Print

Dzhambul Cotton and Linen Print was adapted from a document in the Brunschwig Archive. This 19th century hanging panel comes from Bukhara, Uzbekistan, an ancient oasis city along the fabled Silk

Road. The design is executed in tambour embroidery of multicolored silk thread on a cream cotton ground, featuring rosettes and figures exemplary of this region. The traditional floral patterns were often embroidered by a young girl for her future dowry. Our adaptation slightly varies the motifs

and scale. Dzhambul has been a Brunschwig favorite since its introduction in Fall 1980.

BR.71099.334

Document for Dzhambul Cotton and Linen Print

Dzhambul Cotton and Linen Print was adapted from a document in the Brunschwig Archive. This 19th century hanging panel comes from Bukhara, Uzbekistan, an ancient oasis city along the fabled Silk

Road. The design is executed in tambour embroidery of multicolored silk thread on a cream cotton ground, featuring rosettes and figures exemplary of this region. The traditional floral patterns were often embroidered by a young girl for her future dowry. Our adaptation slightly varies the motifs

and scale. Dzhambul has been a Brunschwig favorite since its introduction in Fall 1980.

BR.71099.435

Document for Dzhambul Cotton and Linen Print

Dzhambul Cotton and Linen Print was adapted from a document in the Brunschwig Archive. This 19th century hanging panel comes from Bukhara, Uzbekistan, an ancient oasis city along the fabled Silk

Road. The design is executed in tambour embroidery of multicolored silk thread on a cream cotton ground, featuring rosettes and figures exemplary of this region. The traditional floral patterns were often embroidered by a young girl for her future dowry. Our adaptation slightly varies the motifs

and scale. Dzhambul has been a Brunschwig favorite since its introduction in Fall 1980.

BR.71099.836

Document for Dzhambul Cotton and Linen Print

Dzhambul Cotton and Linen Print was adapted from a document in the Brunschwig Archive. This 19th century hanging panel comes from Bukhara, Uzbekistan, an ancient oasis city along the fabled Silk

Road. The design is executed in tambour embroidery of multicolored silk thread on a cream cotton ground, featuring rosettes and figures exemplary of this region. The traditional floral patterns were often embroidered by a young girl for her future dowry. Our adaptation slightly varies the motifs

and scale. Dzhambul has been a Brunschwig favorite since its introduction in Fall 1980.

BR.71099.889

Document for Dzhambul Cotton and Linen Print

Edith’s Reverie Cotton Print comes from a document in the Brunschwig Archive. This French textile, produced circa 1775, is wood-block printed on off-white cotton tabby. It features whimsical flowers in the style of Jean-Baptiste Pillemont’s renderings, arranged in a floral trail design. Edith’s Reverie in ‘Antique’ is closest to the documentary colorway, with the colors only slightly softened from the

original. This pattern has been in the line since its introduction in Spring 2006.

BR.79742.077

Document for Edith’s Reverie Cotton Print

Edith’s Reverie Cotton Print comes from a document in the Brunschwig Archive. This French textile, produced circa 1775, is wood-block printed on off-white cotton tabby. It features whimsical flowers in the style of Jean-Baptiste Pillemont’s renderings, arranged in a floral trail design. Edith’s Reverie in ‘Antique’ is closest to the documentary colorway, with the colors only slightly softened from the

original. This pattern has been in the line since its introduction in Spring 2006.

BR.79742.203

Document for Edith’s Reverie Cotton Print

Edith’s Reverie Cotton Print comes from a document in the Brunschwig Archive. This French textile, produced circa 1775, is wood-block printed on off-white cotton tabby. It features whimsical flowers in the style of Jean-Baptiste Pillemont’s renderings, arranged in a floral trail design. Edith’s Reverie in ‘Antique’ is closest to the documentary colorway, with the colors only slightly softened from the

original. This pattern has been in the line since its introduction in Spring 2006.

BR.79742.222

Document for Edith’s Reverie Cotton Print

Fabriano Cotton and Linen Print was reproduced from a document in the Brunschwig Archive. This late 19th century, Italian textile is a panel of brocaded apricot silk taffeta that incorporates metallic threads. Its lively pattern features oak leaves, acorns, and assorted foliage along a serpentine stem.

Fabriano was converted from its original woven construction into a print, with some botanical motifs replaced and the scale enlarged. Almond is closest to the documentary colorway. Fabriano Cotton

and Linen Print has been in the line since its introduction in Fall 1997.

BR.79355.000

Document for Fabriano Cotton and Linen Print

Fabriano Cotton and Linen Print was reproduced from a document in the Brunschwig Archive. This late 19th century, Italian textile is a panel of brocaded apricot silk taffeta that incorporates metallic threads. Its lively pattern features oak leaves, acorns, and assorted foliage along a serpentine stem.

Fabriano was converted from its original woven construction into a print, with some botanical motifs replaced and the scale enlarged. Almond is closest to the documentary colorway. Fabriano Cotton

and Linen Print has been in the line since its introduction in Fall 1997.

BR.79355.309

Document for Fabriano Cotton and Linen Print

Fabriano Cotton and Linen Print was reproduced from a document in the Brunschwig Archive. This late 19th century, Italian textile is a panel of brocaded apricot silk taffeta that incorporates metallic threads. Its lively pattern features oak leaves, acorns, and assorted foliage along a serpentine stem.

Fabriano was converted from its original woven construction into a print, with some botanical motifs replaced and the scale enlarged. Almond is closest to the documentary colorway. Fabriano Cotton

and Linen Print has been in the line since its introduction in Fall 1997.

BR.79355.464

Document for Fabriano Cotton and Linen Print

Fabriano Cotton and Linen Print was reproduced from a document in the Brunschwig Archive. This late 19th century, Italian textile is a panel of brocaded apricot silk taffeta that incorporates metallic threads. Its lively pattern features oak leaves, acorns, and assorted foliage along a serpentine stem.

Fabriano was converted from its original woven construction into a print, with some botanical motifs replaced and the scale enlarged. Almond is closest to the documentary colorway. Fabriano Cotton

and Linen Print has been in the line since its introduction in Fall 1997.

BR.79355.634

Document for Fabriano Cotton and Linen Print

Festival of Lanterns Linen Print comes from a document in the Brunschwig Archive. This French textile likely comes out of the revival of Chinoiserie patterns seen in the 1930s. The large-scale design,

featuring kite-flying figures situated among fantastical branches, parrots, other exotic flowers, was block-printed on a grey linen tabby. These motifs were reinterpreted by a modern artist in a com-bination of watercolor and dry-brush techniques. Lanterns were added in favor of kites, additional figures create a denser design, and the layout is a more noticeable arborescent trellis. Festival of

Lanterns has been in the line since its introduction in Spring 2005.

BR.79704.016

Document for Festival of Lanterns Linen Print

Festival of Lanterns Linen Print comes from a document in the Brunschwig Archive. This French textile likely comes out of the revival of Chinoiserie patterns seen in the 1930s. The large-scale design,

featuring kite-flying figures situated among fantastical branches, parrots, other exotic flowers, was block-printed on a grey linen tabby. These motifs were reinterpreted by a modern artist in a com-bination of watercolor and dry-brush techniques. Lanterns were added in favor of kites, additional figures create a denser design, and the layout is a more noticeable arborescent trellis. Festival of

Lanterns has been in the line since its introduction in Spring 2005.

BR.79704.190

Document for Festival of Lanterns Linen Print

Festival of Lanterns Linen Print comes from a document in the Brunschwig Archive. This French textile likely comes out of the revival of Chinoiserie patterns seen in the 1930s. The large-scale design,

featuring kite-flying figures situated among fantastical branches, parrots, other exotic flowers, was block-printed on a grey linen tabby. These motifs were reinterpreted by a modern artist in a com-bination of watercolor and dry-brush techniques. Lanterns were added in favor of kites, additional figures create a denser design, and the layout is a more noticeable arborescent trellis. Festival of

Lanterns has been in the line since its introduction in Spring 2005.

BR.79704.204

Document for Festival of Lanterns Linen Print

Grande Arbre Embroidery on Linen was reproduced from a document in the Brunschwig Archive. Our doc-ument is itself a reproduction; an early 20th century version of a late 18th century design, block-printed on a glazed cotton chintz. During this period the popular and expensive “Tree of Life” designs on Indian palampores were first being translated into repeating designs such as this. The large-scale arborescent

component also incorporates large exotic flowers against a deep aubergine ground. The motifs and scale remain identical to the original. This timeless design was first released as a chintz in Fall 1967, reimagined

in Spring 1995, and lives on as this embroidery introduced in the Fall 2013.

8013106.15

Document for Grand Arbre Embroidery on Linen

Glenrinnes Lodge Cotton Print was reproduced from a document in the Brunschwig Archive.

This late 19th century, French textile was block-printed on linen. Our documents are in the form of two handmade curtains, and date

to the original printing (likely from Alsace in the 1860s). It was reprinted in 1935, testifying to

the popularity of game birds. The design features vignettes of pheasants and various other birds amidst ferns and fronds on a cream-colored

ground. The scale and motifs remain identical to the original, though the hues are slightly altered.

Glenrinnes Lodge has been in the line since its introduction in Fall 1997.

BR.71255.166Document for Glenrinnes Lodge Cotton Print

Harmony Stripe was reproduced from a document in the Brunschwig Archive. This late 18th century, French silk exhibits the fascination with Chinoiserie designs during the reign of Louis XVI, blended with the stripes and pastel colorings typical of French taste of this period. A blend of tree peonies, architecture, birds, and flowers on a serpentine branch is set amidst colorful

accent stripes. Harmony Stripe has been in the line since its introduction in Fall 2012.

8012126.1

Document for Harmony Stripe

Harmony Stripe was reproduced from a document in the Brunschwig Archive. This late 18th century, French silk exhibits the fascination with Chinoiserie designs during the reign of Louis XVI, blended with the stripes and pastel colorings typical of French taste of this period. A blend of tree peonies, architecture, birds, and flowers on a serpentine branch is set amidst colorful

accent stripes. Harmony Stripe has been in the line since its introduction in Fall 2012.

8012126.16

Document for Harmony Stripe

Harmony Stripe was reproduced from a document in the Brunschwig Archive. This late 18th century, French silk exhibits the fascination with Chinoiserie designs during the reign of Louis XVI, blended with the stripes and pastel colorings typical of French taste of this period. A blend of tree peonies, architecture, birds, and flowers on a serpentine branch is set amidst colorful

accent stripes. Harmony Stripe has been in the line since its introduction in Fall 2012.

8012126.19

Document for Harmony Stripe

Harmony Stripe was reproduced from a document in the Brunschwig Archive. This late 18th century, French silk exhibits the fascination with Chinoiserie designs during the reign of Louis XVI, blended with the stripes and pastel colorings typical of French taste of this period. A blend of tree peonies, architecture, birds, and flowers on a serpentine branch is set amidst colorful

accent stripes. Harmony Stripe has been in the line since its introduction in Fall 2012.

8012126.3

Document for Harmony Stripe

Harmony Stripe was reproduced from a document in the Brunschwig Archive. This late 18th century, French silk exhibits the fascination with Chinoiserie designs during the reign of Louis XVI, blended with the stripes and pastel colorings typical of French taste of this period. A blend of tree peonies, architecture, birds, and flowers on a serpentine branch is set amidst colorful

accent stripes. Harmony Stripe has been in the line since its introduction in Fall 2012.

8012126.5

Document for Harmony Stripe

Harmony Stripe was reproduced from a document in the Brunschwig Archive. This late 18th century, French silk exhibits the fascination with Chinoiserie designs during the reign of Louis XVI, blended with the stripes and pastel colorings typical of French taste of this period. A blend of tree peonies, architecture, birds, and flowers on a serpentine branch is set amidst colorful

accent stripes. Harmony Stripe has been in the line since its introduction in Fall 2012.

8012126.513

Document for Harmony Stripe

Indian Summer Cotton Print was adapted from a document in the Brunschwig Archive. This late 19th- early 20th century, French textile was block-printed on a cream-colored, cotton tabby. The design combines deeply curving stems bearing Indian-influenced flowers with whimsical, Chinese-inspired insects, birds,

and butterflies. Though the motifs remain the same, the scale was enlarged to almost double that of the original. Indian Summer has been in the line since its introduction in Spring 2008.

BR.79794.278

Document for Indian Summer Cotton Print

Le Kakatoes Cotton Print was reproduced from a document in the Brunschwig Archive. This French textile, produced at a printworks in Nantes circa 1815, is roller-printed in violet ink on cotton. Patterns such as this, referred to as ‘toiles’, were used to cover large spaces or entire rooms, often with provincial scenes intended to evoke daydreaming of an idealized “simple life” by the aristocratic owners of these expensive fabrics. Interestingly, toiles in the early 19th century showed an interest in the depiction of middle-class life. In this document, vignettes feature scenes of a couple leisurely attending to daily duties, as well as a woman in Empire dress relaxing with her child and pet parrot, signifying a level of wealth. For our repro-duction, the scale and motifs remain true to the original (save for a cat on the roof, who was replaced by a squirrel!). Though the document was referenced for an earlier Brunschwig print from 1951, the reimag-

ined Le Kakatoes has given new life to this timeless design since its introduction in Fall 2001.

BR.79536.832

Document for Le Kakatoes Cotton Print

Biscay was adapted from a set of documents in the Brunschwig Archive. This 18th century, French textile was printed from an engraved copper plate circa 1780. Our documents re-main in the form of square cushion covers from the period, with a graceful diamond lattice of seashells and flowers. The scale remains identical to the original, with a few additional

motifs included to complete the repeat. It was converted from the original cotton tabby to a wallpaper. Biscay has been in the line since its introduction in Spring 1999.

BR.69285.634

Document for Biscay Wallpaper

Bird and Thistle comes from a document in the Brunschwig Archive. This 18th century, English textile

was printed on a cream cotton tabby from an en-graved copper plate at the Bromley Hall printworks in 1780-1785. It includes a serpentine stem with various perched birds and decorative foliage. The scale was

slightly elongated, and the medium was changed from textile to wallpaper. Red is the documentary colorway. Renditions of this pattern (on fabric) were introduced in the Spring 1976 and Spring 1999 collections, with Bird and Thistle Cotton Print and wallpaper making a

renewed statement in Spring 2007.

BR.69518.068Document for Bird and Thistle Wallpaper

Bird and Thistle comes from a document in the Brunschwig Archive. This 18th century, English textile

was printed on a cream cotton tabby from an en-graved copper plate at the Bromley Hall printworks in 1780-1785. It includes a serpentine stem with various perched birds and decorative foliage. The scale was

slightly elongated, and the medium was changed from textile to wallpaper. Red is the documentary colorway. Renditions of this pattern (on fabric) were introduced in the Spring 1976 and Spring 1999 collections, with Bird and Thistle Cotton Print and wallpaper making a

renewed statement in Spring 2007.

BR.69518.166Document for Bird and Thistle Wallpaper

Bird and Thistle Cotton Print was reproduced from a document in the Brunschwig Archive. This 18th cen-tury, English textile was printed on a cream cotton tab-by from an engraved copper plate at the Bromley Hall printworks in 1780-1785. It includes a serpentine stem with various perched birds and decorative foliage. The scale was slightly elongated, and Red is the documentary colorway. An earlier rendition of this pattern was in-troduced in Spring 1976, with Bird and Thistle Cotton Print

making a renewed statement in Spring 1999.

BR.79431.068Document for Bird and Thistle Wallpaper

Bird and Thistle Cotton Print was reproduced from a document in the Brunschwig Archive. This 18th cen-tury, English textile was printed on a cream cotton tab-by from an engraved copper plate at the Bromley Hall printworks in 1780-1785. It includes a serpentine stem with various perched birds and decorative foliage. The scale was slightly elongated, and Red is the documentary colorway. An earlier rendition of this pattern was in-troduced in Spring 1976, with Bird and Thistle Cotton Print

making a renewed statement in Spring 1999.

BR.79431.166Document for Bird and Thistle Wallpaper

Bird and Thistle Cotton Print was reproduced from a document in the Brunschwig Archive. This 18th cen-tury, English textile was printed on a cream cotton tab-by from an engraved copper plate at the Bromley Hall printworks in 1780-1785. It includes a serpentine stem with various perched birds and decorative foliage. The scale was slightly elongated, and Red is the documentary colorway. An earlier rendition of this pattern was in-troduced in Spring 1976, with Bird and Thistle Cotton Print

making a renewed statement in Spring 1999.

BR.79431.222Document for Bird and Thistle Wallpaper

Bird and Thistle Cotton Print was reproduced from a document in the Brunschwig Archive. This 18th cen-tury, English textile was printed on a cream cotton tab-by from an engraved copper plate at the Bromley Hall printworks in 1780-1785. It includes a serpentine stem with various perched birds and decorative foliage. The scale was slightly elongated, and Red is the documentary colorway. An earlier rendition of this pattern was in-troduced in Spring 1976, with Bird and Thistle Cotton Print

making a renewed statement in Spring 1999.

BR.79431.435Document for Bird and Thistle Wallpaper

Le Kakatoes was reproduced from a document in the Brunschwig Archive. This French textile, produced at a printworks in Nantes circa 1815, is roller-printed in violet ink on cotton. Patterns such as this, referred to as ‘toiles’, were used to cover large spaces or entire rooms, often with provincial scenes intended to

evoke daydreaming of an idealized “simple life” by the aristocratic owners of these expensive fabrics. Inter-estingly, toiles in the early 19th century showed an interest in the depiction of middle-class life. In this doc-ument, vignettes feature scenes of a couple leisurely attending to daily duties, as well as a woman in Empire dress relaxing with her child and pet parrot, signifying a level of wealth. For our reproduction, the scale and motifs remain true to the original (save for a cat on the roof, who was replaced by a squirrel!). The cotton ground was converted into a wallpaper. Though this document was referenced for an earlier Brunschwig

print from 1951, the reimagined Le Kakatoes gave new life to this timeless design in the Fall 2001 collection, with this wallpaper introduced in Spring 2002.

BR.69366.222

Document for Le Kakatoes Wallpaper

Le Kakatoes was reproduced from a document in the Brunschwig Archive. This French textile, produced at a printworks in Nantes circa 1815, is roller-printed in violet ink on cotton. Patterns such as this, referred to as ‘toiles’, were used to cover large spaces or entire rooms, often with provincial scenes intended to

evoke daydreaming of an idealized “simple life” by the aristocratic owners of these expensive fabrics. Inter-estingly, toiles in the early 19th century showed an interest in the depiction of middle-class life. In this doc-ument, vignettes feature scenes of a couple leisurely attending to daily duties, as well as a woman in Empire dress relaxing with her child and pet parrot, signifying a level of wealth. For our reproduction, the scale and motifs remain true to the original (save for a cat on the roof, who was replaced by a squirrel!). The cotton ground was converted into a wallpaper. Though this document was referenced for an earlier Brunschwig

print from 1951, the reimagined Le Kakatoes gave new life to this timeless design in the Fall 2001 collection, with this wallpaper introduced in Spring 2002.

BR.69366.406

Document for Le Kakatoes Wallpaper

Festival of Lanterns comes from a document in the Brunschwig Archive. This French textile likely comes out of the revival of Chinoiserie patterns seen in the 1930s. The large-scale, block-printed

design features kite-flying figures situated among fantastical branches, parrots, other exotic flowers. These motifs were reinterpreted by a modern artist in a combination of watercolor and dry-brush techniques. Lanterns were added in favor of kites, additional figures create a denser design, and the

layout is a more noticeable arborescent trellis. It was translated from the original grey linen tabby to a wallpaper. Festival of Lanterns has been in the line since its introduction in Spring 2005.

BR.69459.204

Document for Festival of Lanterns Wallpaper

Festival of Lanterns comes from a document in the Brunschwig Archive. This French textile likely comes out of the revival of Chinoiserie patterns seen in the 1930s. The large-scale, block-printed

design features kite-flying figures situated among fantastical branches, parrots, other exotic flowers. These motifs were reinterpreted by a modern artist in a combination of watercolor and dry-brush techniques. Lanterns were added in favor of kites, additional figures create a denser design, and the

layout is a more noticeable arborescent trellis. It was translated from the original grey linen tabby to a wallpaper. Festival of Lanterns has been in the line since its introduction in Spring 2005.

BR.69459.800

Document for Festival of Lanterns Wallpaper