NEW OR IMPROVED MATERIALS TO BE USED AS CURTAINS AND BLINDS, TOGETHER WITH THE MEANS OF ORNAMENTING THE SAME
Year: 1869

page_text: PROVISIONAL SPECIFICATION left by Alexander Melville Clark at
the Office of the Commissioners of Patents, with his Petition, on
the 23rd December 1869.-A communication from abroad by
Adolphe Teissonnière, of 13, Boulevart St. Martin, Paris, Merchant.
I, ALEXANDER MELVILLE CLARK, of 53, Chancery Lane, in the County
of Middlesex, Patent Agent, do hereby declare the nature of the said
Invention for "NEW OR IMPROVED MATERIALS TO BE USED AS CURTAINS AND
BLINDS, TOGETHER WITH THE MEANS OF ORNAMENTING THE SAME," to be as
follows:-
This Invention relates to the production of new materials applicable
more especially for window curtains and blinds, said materials being
produced with colored diaphanous designs in imitation of stained glass
work.
The improvements consist in uniting or superposing fabrics generally
in use for making window curtains and blinds, such as muslin, gauze,
and tulle, whether plain, figured, or embroidered, guipure and other
materials of a similar nature, on oiled materials, preferably gauze and
taffetas of transparent quality, which are then printed in colors to
resemble stained glass when viewed as a transparent medium.

page_text: In order that the improvements may be readily understood I will
first treat of the fabrics employed and the mode of coloring the same,
and afterwards of the products obtained, which consist, 1st, of plain
fabrics unprinted; 2ndly, of fabrics on which are applied either opaque,
transparent, or diaphanous colors, either by transferring processes or by
direct impression; 3rdly, of fabrics in which although unprinted the
colors are applied on the pattern or figuring of said fabrics.
1st. As regards the fabrics, these may be of different kinds according to
the effects desired to be obtained by superposing or uniting the same on
oiled gauze or taffetas of a diaphanous nature and multi-colored. For
some purposes I employ plain, figured, or embroidered muslin, tulle, or
gauze, and in other particular instances I prefer to use guipure and
other similar materials used as window curtains. I would here observe
that the fabrics applied on the oiled colored gauze serve to form
blinds or curtains of the desired forms and dimensions, the whole forming
a transparency in which the design of the superposed fabric enriches
the effect of the multi-colored diaphanous ground formed by the oiled
gauze. The gauze and fabric may be united by the aid of sewing so as
to be readily separated at any time for the purpose of cleansing, or an
adhesive agent may be employed for the purpose, more especially with
guipure. In order to produce colored diaphanous effects I employ a
transparent material such as those used in the manufacture of oiled
cloth and known as yellow and white "zephyr" gauze and taffetas.
These materials are produced by the aid of oils mixed with various
substances hardened by heat and then exposed to the air. Other similar
silk and cotton tissues of a transparent nature, such as cambric and
jaconet, may also be employed for the purpose.
I print the above diaphanous materials with patterns or designs, 1st,
either in black or other opaque colors so as to form a dark design when
viewed as a transparent medium, the outlines forming lines of demar-
cation resembling the lead framing of stained glass windows, that is to
say, isolating the colors on the blanks of the design which remain
unprinted; 2ndly, by printing patterns in black or opaque colors, or
it may be semi-transparent or translucid colors consisting of landscape
and other designs in one or more colors from engraved wood, wood,
metal, or stone surfaces, lithographic, photographic, or otherwise; 3rdly,
by the ordinary modes of transfer used in color printing.

page_text: The black or other opaque colors I employ are those used for printing
on oil cloth, leather cloth, or other similar fabrics. The transparent
colors I usc are, 1st, lacs ground in thick varnish more particularly
printers' mordant diluted with spirit of turpentine; 2ndly, aniline
colors and tinctorial products herein-after mentioned thickened so as
to permit of their application for block and other kinds of printing.
The mode of hardening the colors used in printing the designs is
the same as for leather and oilcloths. The blocks and engraved patterns
are the same as those ordinarily used for printing on fabrics, and the
process is also the same as that of printing on leather cloth.
I may also transfer chromo-lithographic impressions on the oiled
fabrics by the ordinary means of transferring employed by engravers and.
otliers:
I also reserve the right of applying chromo-lithographic and other
impressions on the diaphanous fabrics, the improvement consisting, first,
in the novel application of said opaque or diaphanous impressions on
transparent fabrics applicable for the purposes herein mentioned; 2ndly,
in the novel mode of fixing the said colors without the aid of copal or
other resinous varnish; 3rdly, in the mode of finishing said designs by
means of diaphanous colors herein-after described.
The improvements further relate to a novel transferring process applied
on the oiled fabrics..
Having chosen a pattern to be transferred I first apply thereon a
thin coat of boiled linseed oil, otherwise termed printers* mordant,
diluted with spirits of turpentine, said mordant being the same as that
with which the fabrics are coated in the process of manufacture, viz.,
boiled oil. This mordant, which serves to retain the impression, unites.
with the matter forming the fabric, so that the pattern cannot become.
detached nor damaged, as would be the case were any other varnish to..
be used.
2ndly. After having applied a coating of this mordant on the pattern
I apply it on the oiled fabric and cause it to adhere by pressing lightly.
thereon; I then damp the back of the proof and remove it after a few.
minutes, leaving the impression on the gauze; I then wash it lightly
with a sponge and allow it to dry. This being done I expose the fabric
to a heat of from 100 to 120 degrees Fahrenheit, and some hours after
when the mordant has become hardened I expose the fabric to the air.

page_text: In about three hours after I pass over the impression a thin coating
of the same mordant, and then again heat and dry the fabric a second
time, by which means the pattern will be retained by the substance
constituting the oiled diaphanous tissue.
3rdly. The pattern thus obtained is then heightened in effect by
deepening the diaphanous colors by means of the products under
mentioned. The colors suited to produce the desired effect should be
insoluble in water, but non-friable to the touch, that is to say, colors
which unite or incorporate themselves with the material forming the
oiled fabric. I employ for the purpose all transparent colors, lacs, or
tinctorial products capable of being dissolved or ground in any suitable
solvent, such as spirits of turpentine, and other alcohols, oils, resinous
and other varnishes, boiled oil, printers' mordants, or essential oils.
Those colored varnishes and lacquers used in commerce which have
a base of alcohol and of great intensity of tone I find very successful for
the purpose. After applying one or more of these spirit varnishes I
may then apply a coating of turpentine varnish (white copal), which
serves to unite it to the matter constituting the oiled gauze, the essenco
of turpentine acting in this case as a solvent of the hardened matter.
Lacs ground in essence of turpentine and varnish also give good
results, although the products I employ the most successfully (while
reserving the use of other before-mentioned products) are those derived
from coal tar, nitro-benzine, phenic acid, creosote, napthaline, and all
colors of the same nature known under the general name of "aniline"
colors. I employ the above colors more particularly on account of
their great affinity for the azoted matters of which the gauze or other
oiled fabric is composed, as also on account of their depth of tone,
transparency, and brilliancy.
As aniline colors and the tinctorial products derived from the same
are soluble in alcohol this also furnishes an additional reason for the
preference I have assigned them. The following is the mode of
preparing them:-1st, I dissolve the colored varnish more or less
according to the depth of color required. 2ndly, I add about 25 per
cent. of white spirit varnish composed of mastic,, sandarac, or other
resinous products (with the exception of gum lac), which in reacting on
certain products, such as. fuschine for example, converts the color to a
violet and subsequently to a blue tint. 3rdly, the mixing should be
complete, as also the solution of the coloring matter. The resulting

page_text: product is of great depth of tone, and notwithstanding its fluidity is
also mordant, transparent, and insoluble in water, and not friable to the
touch. The lacquers or varnish colors and tinctorial products may be
applied on the oiled fabrics either by the aid of a brush at the will of
the operator, or by impression in the ordinary manner of block printing,
and in this case the coloring matters applied with a brush in a liquid state
are to be mixed with inert matters, such as chalk, kaolin, and others.
I should not omit to mention an important point, which is, that
aniline colors, although very fugitive, as applied for tinting or printing
fabrics, are much less so when applied in body and incorporated in the
oiled fabrics which absorb said products by reason of their affinity for
azoted matters. However, in order to fix these colors, or more properly
speaking certain of them (as many of them are very permanent, for
example, fixed violets), it is preferable to superpose several coatings of
products of the same color; for example, I first apply a layer of aniline
color composed of lac in essence of turpentine and varnish and
afterwards a thin layer of spirit varnish.
In the above manner am enabled to perfectly fix colors which may
bc then constantly exposed to the sun's rays without injury.
Having thus described the nature of the matters comprising the
improved products of this Invention, I will now proceed to describe the
practical mode of producing said articles. I produce plain unprinted
blind and curtain fabrics of the oiled tissues before referred to, and more
particularly gauze and taffetas in diaphanous colors, serving as a
substitute by their style and transparency for the silk fabrics now used
for curtains. I employ the diaphanous colors (more especially those of
aniline) before referred to for coloring the fabrics either by dyeing or
applying them thereon. For example, I may apply multi-colored stripes
or other designs on the fabrics, or dye them of a plain color.
The dyeing process is as follows:-I take a more or less concentrated
solution of aniline dye in alcohol, acetic acid, or other suitable solvent,
and therewith dye the oiled fabric in the ordinary manner of dyeing a
wool or silk fabric, with or without the aid of a mordant, according to
the nature of the tinctorial product employed. In order to impart
transparency to the color and enhance its effect when the fabric is used
as a transparent medium, I pass a light coat of turpentine spirit varnish
over both sides, after which I dry the fabric either by heat or in the

page_text: I apply the colors on the oiled fabrics by the aid of brushes in one or
more coats on one or both faces, using aniline colors prepared with
varnish in the manner before explained. I print the colors on the oiled
fabrics by means of engraved blocks or rollers, or it may be by the aid
of lithographic or copper plates, or in other manner usual in printing
fabrics, artificial leather, oilcloths, paper hangings, and other kinds of
printing. Some subjects may also be produced by the "panicono-
graphic" or heliographic processes, and also by the aid of plates covered
with felt or stencil plates. The design may thus be greatly varied and
of any style, but is more particularly intended to imitate stained glass
work. With the latter kind of design I proceed in the following manner:
-After having obtained an impression on the oiled fabric with the design
in outline, I apply the aniline color or colors prepared as above described
on the blanks of the gauze by the aid of a brush. If the design be
complicated and requires too much time to color by the aid of a brush
I employ blocks, the reliefs of which are of felt, by the aid of which I
apply the color at the points desired and in the usual manner of such
applications, the color being previously thickened if desired. In order
to increase the depth of color of the tints applied I may pass another
coating over it, either on one or other side of the fabric. After drying
the color in the open air I subject the fabric to heat to soften the color
sufficiently to cause either bronze or white powders to adhere thereto.
The softened color on which powders are applied as above mentioned are
intended to imitate the leads of stained windows, and in order to facilitate
their application it is simply necessary to place the fabric on a frame of
wire gauze resting on four feet, under which a suitable stove is placed.
By proceeding in the above manner I obtain a transparent oiled fabric
with opaque printed designs of a dark or metallic appearance in which
the parts unprinted and surrounded by the impression are relieved with
diaphanous colors, the whole combining to form a transparent material
resembling stained glass.
Direct impressions on the oiled fabrics of either opaque or diaphanous
colors are obtained in the same way as those before described; the
designs, however, instead of forming outlines as in the preceding
instance are formed in chiaroscuro in the manner of lithography, or
by lines as in wood and other kinds of engraving, or on flat surfaces
as in printing paperhangings. By means of engraved blocks or in
other manner I print the oiled fabric in opaque colors, such as lacs
and tinctorial products, more particularly aniline colors thickened

page_text: with inert matters. I then retouch the printed designs if necessary
with the aniline colors. A material of this kind consists of a trans-
parent oiled fabric printed in opaque, semi-transparent, or diaphanous
colors, the design being formed of lines either in chiaroscuro tints or
half tints, relieved or retouched with diaphanous colors, and applied
either with a brush or by impression as herein-before described.
As before mentioned several kinds of transferring processes may be
used with advantage in the application of the designs, 1st, in black,
brown, or neutral tints; 2ndly, in various opaque colors; 3rdly, in
various diaphanous colors; 4thly, in all kinds of opaque and diaphanous
chromos. After employing one or other of the above means for applying
the designs on the oiled fabrics they are relieved or retouched with
diaphanous aniline colors for the purpose of increasing the effect and
transparency of the colored proofs termed chromos. In this manner a
transparent oiled fabric is obtained having impressions relieved with
transparent colors and intended to imitate paining on glass.
Although I have only mentioned one kind of transferring as applicable
to the oiled fabric in the manner described and forming part of this
Invention, I reserve the right of transferring lithographic or other
designs on said fabric by means of a prepared paper tracing in the usual
manner of lithographic printing, which is then transferred to a stone to
be then printed on paper or on the oiled fabric forming the subject of
the present improvements.
Effects differing from the foregoing may also be obtained by utilizing
the patterns of fabrics, such as guipure, figured or embroidered muslin
or gauze and tulle, that is to say, I take one or other of the above
materials, which are superposed or united to the oiled gauze either by
sewing or pasting, and then apply the various colors on the oiled fabric
in accordance with the pattern of the superposed fabric which is visible
through the diaphanous oiled fabric. For example, I take guipure and
first cause it to adhere to the oiled gauze by the aid of a coating of white
copal varnish in spirits of turpentine, after which I sew the fabrics
together so that the two surfaces cannot be separated. Secondly, I apply
the colors and tinctorial products before mentioned on the oiled fabric
in accordance with the design of the guipure seen through the trans-
parent oiled fabric. Thirdly, the guipure is colored according to circum-
stances in various tints, but more particularly in black, and in some
instances I may use unsized paper in lieu of the oiled fabric; in this

page_text: case I make the paper adhere to the fabric by first applying on said
paper a thin coating of gum lac varnish and then pressing them with a
hot iron. Lastly, I apply a thin coating of white spirit varnish, which
renders the paper transparent, and when dried I apply the colors as
before.
The material thus produced has a surface of guipure, the opaque
design of which, if black or of other color reprosents the lead framing
of stained glass work or boundary lines separating the different tints and
open parts covered with the transparent multi-colored pellicle representing
the stained glass enclosed by the framing. I also reserve the right of illu-
minating embroidered tulle on which muslin is applied by incorporating
therewith a suitable gummy solution, more particularly gelatine and fish
glue, and then applying thereon either the colored varnishes or tinctorial
products before mentioned, so as to form multi-colored diaphanous
surfaces surrounded by the embroidered designs serving to secure the
muslin to the tulle.