In the early 1950s, Elenhank, the Chicago-based design team led by husband and wife Henry and Eleanor Kluck (and so-called as a portmanteau of their first names), began creating what they termed “random prints,” block-printed lengths of linen that could be arranged in various pattern configurations. The couple took commissions from their Chicago home, with Eleanor cutting the linoleum.
After much success, including a commission for the ticket counters at O'Hare Airport, Elenhank turned to the more efficient process of screen-printing. This allowed them to take their vision of an organic designs for upholstery and drapery, stemming from their more seemingly arbitrary block prints, one step further with “mural prints,” horizontally-oriented landscapes and abstracted designs which could serve as drapery or wallcovering and gave the effect of a mural. This screened pattern September, produced in 1968, takes the silhouetted olive and copper sprigs of hemlocks from an early large-scale hand-blocked print and shrinks them to create a diminutive and more regular repeat that could run both vertically and horizontally, on walls or on windows.