Wallpaper History

Renovations to the Oval Office, including a new carpet, wallpaper and furniture, are seen, Tuesday, Aug. 31, 2010, at the White House in Washington.

CAPTION

By J. Scott Applewhite, AP

The Oval Office has gotten an extreme makeover.Well, maybe not that extreme. But while the first family was away on vacation in Martha’s Vineyard, the president’s office was remodeled for the first time since President George W. Bush was the occupant.

• See more White House photos

Highlights, according to our Oval blog, include new and reupholstered furniture, new paint and wallpaper, along with a new rug, paid for by the non-profit White House Historical Association through a contribution from the Presidential Inaugural Committee.

The new wheat, cream and blue colored oval-shaped rug is made of 25 percent recycled wool. The rug has the Presidential seal in the center and historical quotes of meaning to President Obama around the border:

1. “The Only Thing We Have to Fear is Fear Itself,” President Franklin D. Roosevelt
2. “The Arc of the Moral Universe is Long, But it Bends Towards Justice,” Martin Luther King, Jr.
3. “Government of the People, By the People, For the People,” President Abraham Lincoln
4. “No Problem of Human Destiny is Beyond Human Beings,” President John F. Kennedy
5. “The Welfare of Each of Us is Dependent Fundamentally Upon the Welfare of All of Us,” President Theodore Roosevelt

Named for the area in which it originated, damask is a weaving technique thought to date back a far as the early middle ages near the Damascus region of Syria. There is a damask wallpaper that brings out the fine lines of the pattern. Then there is a damask “pattern”, Damask patterns can range from floral motifs to more ornate designs. We see modern day interpretations of the pattern on everything from wallpaper to wedding cakes.

In the early periods of the 12^th century, damask fabric was used primarily in formal settings such as a formal dining room. It was associated with “dignified luxury” thus typically found in the homes of royalty, the elite or the general “well to do” population.

We find damask patterns and prints used in many interior design styles because once again, it adds elegance and sophistication to any room or event. As with anything, the pattern has been modernized in many ways to fit the needs of the 21^st century lifestyle.

Most associate the damask pattern with the colors black and white, although the pattern and wallpapers have always been produced in a wide variety of colors throughout the centuries.  However, modern designers have brought more color combinations to the spectrum.

As we try to walk the fine line between traditional and contemporary, damask is finding it’s way back into home décor schemes and furnishings. We have modernized it by using it as an accent piece instead of a primary focal point. This is accomplished through wall tapestries, drapes, stencil design or wall paper, rugs, throws, pillows and other things of that nature. You also find the pattern used in many bedrooms. It is a popular theme for luxury bedding.

The damask pattern is popular with brides to be and wedding planners. It is a very elegant addition to any wedding theme. The print is used on wedding invitations, save the date announcements as well as cakes! For brides who truly love the pattern, they’ll even incorporate it into their wedding gown or bridesmaid dresses with sashes and floral treatments.

There’s a lot that can go “wrong” when trying to use the pattern, so continue to read as I will share all my design tips and suggestions on how to properly and elegantly incorporate the elegant damask into your home décor or wedding theme.

thermochromic….. . . . . …..wallpaper
	Thermochromics translate a temperature- change into a colour-change. I investigated the question how this effect can be used to make the changing temperature of radiators visible at the radiator itself and on the surrounding wallpaper. I am also thinking about the radiator as an everyday object. It is just functional and mostly not decorative. Why not integrating the radiator in the interior decoration? Through the colourchange of the patterns it is told that the radiator is turned on or off. It could be that if we can see heat appearring in a visual manner, that these makes us freeze less. Also the colour of the pattern could remind us of turning the radiator down when we leave the house.
	Copyright © 2003 - 2010 by Elisa Strozyk

Abstract art
Art that is not an accurate representation of a natural form or object. The art can be differed in many ways including the shape, color, and form. The artist takes the object and then either simplifies it or exaggerates it using these things. - Example

Acanthus
A leafy plant used in ancient Greek art, especially as ornaments in their sculptures. Example

Accent Wall
The wall in a room on which special or extra emphasis has been given to attract attention from the adjacent walls.

Accordion folding
See Booking.

Aeration of adhesives
A condition that exists when the adhesive is filled with miniature air bubbles, frequently caused by extreme or vigorous whipping during the mixing procedure. This must be avoided for the reason that it may cause small blisters to form underneath the wallcovering, especially when installing a non-breathable type.

All-over design
A design that covers the entire paper without any stand out emphasis usually comes in floral, foliage, geometric, or scenicss.  - 

American single roll
The wallpaper roll will contain between 34 to 36 square feet, regardless of length and width. Contains 25 percent more material than a Euro roll, so you have fewer seams, but its width makes it slightly more difficult to handle.

Anthemion (Anthemia)
A stylized classical motif based on the honeysuckle leaf and flower. Often found in neoclassical and neo-grec wallcoverings. Its similarity with the palmette has allowed for the two terms to be used interchangeably. Also known as Honeysuckle ornament.

Appliqué (Applique)
A design or ornament cut out from wallpaper or floor covering and then applied to a plain, textured or figured background.

Anaglypta
A Greek word meaning “raised ornament”. When speaking about wallpaper, it refers to a type that is embossed or textured, looking like ornate plasterwork. Anaglypta wallpaper is available only in white; it must be painted after hanging.

Antimocrobal
Compound commonly added to a coating to inhibit the growth of bacteria, fungi and algae on the surface of a finished product.

Architrave
The molding that surrounds a door, arch, or window. Also known as Casing.

Art Deco
An art movement, largely from the 1920’s and 1930’s, that is characterized by the use of angular, symmetrical geometric forms.

Example

 

B

• Index •
Baroque
The style is characterized by rich ornamentation and depth, sweeping curves, and dramatic scale. Baroque style used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur from sculpture, painting, literature, and music. Example

Baseboard
See Skirting.

Basket weave design
A pattern or arrangement that simulates the over-and-under weaving effect of basket weaving. Example

Blank stock (Backing paper)
See Liner paper.

Blister
A small bubble (air pocket) which forms under the wallpaper during the installation. Blisters are usually caused by: (a) inadequate soaking or relaxing time after the adhesive has been applied to the backing; (b) installation temperatures below 50 degrees Fahrenheit; (c) air trapped betweenthe wall and the paper; (d) wallpaper installed on an extremely porous wall that was not properly sealed; or (e) aeration of the adhesive.

Bolt
Two or three single rolls of wallcovering sold as a continuous length packaged as one unit.

Booking
When applying paste onto wallpaper, the procedure of temporarily folding, not creasing, pasted surfaces on to each other for easier handling and allowing time for the adhesive to soak into the paper, keeping it tacky until ready to hang. It allows the wallcovering to relax, which helps to prevent stretching and shrinking that can cause seams to show. Also known as Accordion folding.

Border
A narrow band of wallpaper usually used along ceiling lines, baseboards, doors, windows, and at chair rail height in place of or in addition to wood molding.

Breathable
Wallcoverings that allow water and air to pass through. String wallpaper, vinyl-coated paper, and paintable woven fiberglass wallcoverings are breathable.

Bridging liner
Porous under-wallcovering material designed to cover irregularities on walls or smooth surfaces, such as brick or paneling, to hang decorative wallpaper. This material may also be painted though many will want to hang liner paper over the bridging material for a smoother surface.

Butted seam (Butt joint)
Two strips of wallpaper are laid with the edges just touching without any overlapping or spacing between the strips.

 

C

• Index •
Casing
See Architrave.

Cellulose paste
A paste that is derived from wood plup, cotton, plants, etc. These are non-staining and ordorless adhesives that are frequently used in hanging natural materials such as Grasscloths, Linens, Silks, Stringcloths, etc. We recommend Gardner-Gibson’s Dynamite C-11 Ultra Clear for lighter grasscloths, like Silks and Strings and Roman’s Ultra Premium Clear Pro 880 for heavier grasscloths such as Burlaps and heavy Jutes.

Centering
Placing the dominant part of a wallpaper pattern on a focal point in a room, such as the middle of a fireplace.

Chair rail
A strip of decorative wood molding set 32 to 36 inches above the floor.

Chalk line
A length of string covered in chalk dust, pulled tight, and snapped against a surface to leave a straight guideline.

Chevron
A geometric form composed of a horizontal or vertical string of V’s used either singly or in a series to form a zig zag. Also called saw tooth for its tooth-like protrusions.

Example

Chinoiserie
A French term that describes the influence of Chinese design in wall coverings and fabrics. Usually represented by graceful, flowing floral designs with birds, and branches. Subdued tones or rich, multi-colors are used.

Example

Choke
The background area of the wallpaper. Also called the ground.

Colorways (Colourways)
The various color choices for a specific pattern.

Cork (Cork veneer)
They have natural textures with no definite pattern or design. Cork veneer is shaved from cork planks of blocks and laminated to a substrate that may be colored or plain. Cork naturally absorbs sound, insulates, provides contrast and can be used as a bulletin board.

Example

Cornice
A moulding that runs round the ceiling at the top of a wall.

Crown Molding
Ornamental strip of wood that lies along the ceiling line.

 

D

• Index •
Dado
The wall space between the chair rail and the baseboard.

Damask
Patterns imitating stylized textiles, usually monochromatic in color with floral, foliage or swag themes.

Example

Dead corner
An inconspicuous spot where you can place the mismatched last sheets of a wallcovering. Also, known as the kill point.

Documentary wallpapers
Replica historic wallpaper.

Example

Double cut seam
A wallpaper seam in which the edges of two adjoining sheets are overlapped and then cut through the overlap; then excess materials are removed from both layers and the seam is pressed into place. Also known as an overlapping butt joint.

DRC (drywall repair clears)
See Primer/Sealers.

Drop
A length of wallcovering cut to fit a specific space. A full drop runs from the ceiling to the baseboard and includes allowances for trimming. Also called a sheet or strip.

Drop match
A design in which the pattern is staggered rather than straight across. The pattern at the top is the same on every other strip of wallcovering. There is waste with the drop matching of large scale patterns, therefore, when dealing with a drop match, paper hangers use the technique of measuring and cutting adjacent strips from different rolls of wallcovering and alternating them. Also so known as a pattern drop.

Dry hanging
Method of hanging wallcoverings in which the adhesive is applied to the wall instead of the back of the wallcovering.

Dry strippable
Describes a wallpaper that can be pulled off the wall without first treating it with a wetting agent.

 

E

• Index •
Embossed
Wallpaper that has a raised textured effect, like Anaglypta or Flock.

Euro roll
A single roll of wallcovering sized in the metric system. Standard Euro rolls yield about 29 square feet of surface material. Its narrower width makes it easier than an American roll to handle, but you get more seams. Also known as a metric roll.

 

F

• Index •
Faux
A French word for “imitation”. In wallpapers, it usually applies to designs that imitate actual textures such as wood and stone.

Fill
The main wall area between the chair rail and frieze of a wall, also known as a sidewall.

Fleur de lis (Fleur de lys)
A stylized version of the iris flower used often in heraldry and French design.

Flock
Wallcovering made by a machine that shakes very fine cotton, silk, rayon or nylon fibers from a hopper over a pattern printed in varnish or slow drying paint, to create the appearance of cut velvet, damask, or create a three dimensional effect.

See More At FlockedWallpaper.com

Floral prints or patterns
Any wallpaper pattern or design with recognizable flowers printed as the decorative surface.

Flush
The term used to describe two level, adjacent surfaces.

Focal point
The first wall you see upon entering a room. If a room has multiple entries, the main focal wall is the one facing the room’s dominate flow of traffic.

Foils
Constructed by laminating a thin sheet of aluminum onto a substrate of paper or scrim. Foils sometimes have a polyester sheet between the paper backing and the foil to prevent water in the adhesive from actually contacting the foil. They must be hung on very smooth surfaces and require great care in handling. Example

Fret
A geometric band or border designs, consisting of interlacing or interlocking lines. Also known as a key pattern.

Frieze
A horizontal ornamental border along the top of a room or panel. Generally a pictorial border that ran above, the door height or, in a dining rooms, above the plate rail.

Frieze Pattern
A pattern that repeats in one direction, popular in the early 1900s.

Fungicide
A chemical that kills mold.

 

G

• Index •
Geometric patterns
Modernist design from the 1900-1970’s usually printed on non-woven surfaces. A pattern or design characterized by straight lines, triangles, circles, etc.

Glass textile wallcovering
Woven with glass yarns and designed for strength, health, safety, and designed versatility. They are paintable, decorative and a functional wallcovering for interior wall and ceiling surfaces.

Gothic
A style of architecture developed in northern France that spread throughout Europe between the 12th and 16th centuries; characterized by slender vertical piers and counterbalancing buttresses and by rib vaulting and pointed arches and a developing emphasis on verticality and the impression of height.

Ground
The background area of the wallpaper. Also called the choke.

 

H

• Index •
Handprints (Hand screening)
See Screen-printed.

Header Strip
A strip of wallcovering that is allocated to be hung above a door or window.

Herringbone
A pattern consisting of rows of short slanted parallel lines with the direction of the slant alternating row by row and used in masonry, parquetry, embroidery, and weaving.

Honeysuckle ornament
See Anthemion.

Houndstooth check
A textile design of small broken checks.

 

I

• Index •
In-register paper backed vinyl
Solid vinyl layer of material is laminated or bonded to a paper-backing sheet. These wallpapers have a raised or embossed effect to register the pattern design. They resist moisture, stains, and grease and are scrubbable and peelable but will not withstand extreme physical abuse. Cleaning may be more difficult due to the raised pattern.

Intensity
The strength of a color.

 

J

• Index •
Jute
A soft, resilient natural fiber extracted from the stalks of the giant cochorus plants grown in Kerala, a state of India. Example

 

K

• Index •
Key Pattern
See Fret.

Kill point
See Dead corner.

 

L

• Index •
Lamination
The process of building up thin layers of materials and bonding them together as one product under heat and pressure with an adhesive added.

Lap Seam
A method of hanging wallpaper in which strips overlap slightly. Primarily used on commercial goods.

Level
Perfectly horizontal.

Liner paper (Lining paper)
A special paper, also called blank stock, usually applied horizontal and used under wallcoverings. Benefits of use include, smoother surface for final wallcovering, serves as an excellent porous base for decorative wallpaper, and sets (bonds) the seams and controls the expansion/contraction process (moisture and vapor bubble reduction).

Loeil
See Trompe L’oeil.

Lotus
One of the oldest of all decorative motifs, utilizing the water lilies of the Nile River.

 

M

• Index •
Match
Wallcovering patterns are printed in repeats known as straight match, drop match, and random match. The “match” refers to the place where the design matches at the seams. When ordering wallcovering, be sure to take the pattern repeat and match into consideration. For instance, a large repeat with a straight match will require more wallcovering than a small repeat with a drop match. A random match has the least waste factor, because no allowances need to be made for matching the pattern.

Matte finish
A dull or flat finish.

Medallion
A decorative element confined within a round, oval, square or rectangular outline. Example

Metal wallpaper
Wallcoverings with real metal surfaces.

Metalized polyesters
Consist of a vacuum metalized polyester film laminated to a fabric backing. They have a highly reflective surface of foil without the accompanying stiffness and creasing. They are strong and durable. Mylar is the common brand name. Example

Metallic
Wallpaper that gives the appearance of a sheet metal or foil.

Shop for Wall Paper at WallsandFabrics.com

Metric roll
See Euro roll.

Moiré (Moire)
Wallpaper having a watery silk sheen or wood grain effect embossed on the decorative surface.

Molded wallcovering
See Anaglypta.

Molding (Moulding)
An ornamental strip of wood or plaster that protrudes from a ceiling or wall surface.

Monochromatic
Of one color, sometimes in different light to dark values.

Motif
The recurring design or subject matter of a wallpaper pattern.

Murals
Wall coverings with a pictorial design that continues over two or more strips of wallpaper and is intended to cover part or most of a wall without repeat. These scenes may be photographic, digital, custom, hand, or machine printed. Cleaning care and durability widely varies depending on the manufacturing technique and materials used. Also called scenics. Examples

Muted colors
Any colors with brightness that has been lessened or moderated, often by their complementary colors.

Mylar
Often mistaken for foil, it has similar application and appearance features. A brand of polyester film from Dupont that is applied to decorative prints of wallpaper. Example

 

N

• Index •
Natural fibers
Natural materials, such as vines, jute, wool, seagrass, coir, cork, hemp, reed, sisal, cotton, and grass are laminated to a paper backing. They are usually unpasted. They provide a natural and textured character to decoration and are available in an extensive variety of color combinations. Examples

Neoclassicism (Neo-classicism) (Neoclassical) (Neo-classical)
Reviving the unemotional ideals of ancient Greece and Rome. Its rigidity was a reaction to the over bred elegance and elaborate Rococo style and the emotional charged Baroque style.

Neutral colors
Beiges, whites, grays, and browns. Colors which coordinate well with most other colors.

Non-breathable (Nonporous)
Wallcovering with this characteristic does not allow water and air to freely pass through its surface. Solid vinyl and foils are not breathable.

 

O

• Index •
Ombre stripe
Striped wallpaper where one color is used in several values, giving it a blurred or bleeding out look. Example

Open time
The time period available between the activation and application of adhesives until they dry.

Osnaburg
Type of coarse, heavy cloth, usually cotton, used as a backing in Type II vinyl coated fabric wallpapers.

Outside corner
A corner formed when two walls, not facing each other, are joined and protrude into the room.

Overlapping butt joint
See Double cut seam.

Overlapping Seam
A method of hanging wallcovering in which strips overlap slightly. Primarily used on commercial goods.

 

P

• Index •
Pad grounds
Wallpaper that has been printed in one operation, with the design printed on a wet background.

Paisley
Printed with colorful curved abstract figures of Persian origin. Examples

Palmette
Fan-shaped ornamental motif resembling either a palm leaf or a loose cluster of honeysuckle flowers. A band of palmettes is called an anthemion. 

Panel decoration
Style of wallcovering which developed in the second half of the 18th century, designed to be framed in the wood paneled walls. Today they are used as spot decorations and framed with molding.

Paper backed vinyl
Solid vinyl layer of material is laminated or bonded to a paper-backing sheet. This type of wallcovering is very durable since the decorative surface is a solid sheet of vinyl, making it scrubbable and peelable. Paper backed vinyl can be used in most areas of the home since it resists moisture and is stain and grease resistant. However, this type of wallpaper will not withstand hard physical abuse. Also known as solid sheet vinyl.

Patina
Often associated with the green film that forms on copper and bronze. Example

Pattern drop
See Drop match.

Pattern match
The alignment of wallpapering strips at the edges so that the design makes a continuous horizontal, vertical, or diagonal flow of pattern around the room.

Pattern repeat
The distance between identical parts of a wallpaper’s pattern in a straight vertical line.

Peelable
Describes wallpaper in which the decorative surface and ground can be separated from the backing. The backing remains on the wall, but should be removed before hanging a new wallcovering or painting a wall. Note important differences between “peelable” and “strippable” wallcoverings. Example

Photo Murals
Wallpaper that simulates photography that is enlarged to be placed on a room-sized wall or door. Photo murals are usually divided into quarter panels for installation purposes, and portray scenes such as mountains, seashores, cities, or outer space. Photo Mural

Pimple
Blister under wallpaper caused by a wall defect, usually a small bit of drywall that protrudes above the normal wall surface.

Plaid
Designs consisting of crossed stripes, many of them originating in Scottish tartans. Examples

Pliability
Degree of softness and ease of flexing and bending of wallpaper.

Plumb
A true vertical line on a wall.

Plumb bob (Plumb line)
A weighted string used to establish and mark a true vertical on a wall, assuring that each strip is hung straight.

Prepasted paper
Describes a wallcovering that has an adhesive coating applied to its backing by the factory. Activated by dipping in water, activator, or thinned down wallpaper paste. The directions for each individual paper must be followed to determine proper soaking and booking time.

Pretrimmed
Describes a wallcovering whose selvages were removed at the factory.

Primer
Are applied to make the substrate more uniform for acceptance and improve the adhesion of the topcoat. Not all primers will allow the wallpaper to slide easily during installation. Primers will improve the removability of the wallcovering and decrease the chances of wall damage.

Primer/Sealers
Can provide the best insurance on a good installation, often used in place of sizing materials. It is a special penetrating primer that is designed to penetrate the wall surface and seal up any problem areas due to wall damage or any situation where wall surface anomalies are suspected. These products are available in several mixtures to address specific needs. A colored (pigmented) acrylic primer/sealer is the most common because it can be used on all surfaces. It’s water based, easy to clean and the coloring helps prevent any discolorations from showing through the paper. These products protect the underlying drywall, provide a good surface for adhesion, and increase the slip during wallpaper installation. Examples of primer/sealers are Zinsser’s Gardz, Roman’s Multi-Task™ PRO-900 Universal Primer, and Sherwin Williams’ PrepRite Drywall Conditioner.

Primer/Size (Prep coat)
Acrylic primer that normally, when dry, leaves a tacky surface. This surface allows wallpaper to easily adhere to the surface. Examples of prep coats are Roman’s R-35, Zinsser’s Z-54, California Paint’s Prep ‘n Size, Golden Harvest’s BITE, Muralo’s Adhesium, and Benjamin Moore’s Wall-Grip.

Primer/Stain Killer
Should be used for walls with problematic stains such as grease, recurring mold, etc. They prevent these types of stains from bleeding through the wallpaper. This product would be used to spot-treat these areas or as a total primer base. These primers are also excellent for covering brightly painted surfaces that may otherwise bleed through the final wallpaper. Most stain killer formulas contain antimicrobal agents to prevent future growth of any type of mold; however, existing mold must be removed using a 3:1 water to bleach solution prior to application of the primer.

 

R

• Index •
Railroading
The horizontal application of wallpaper. This is used to create an unusual or striking effect, an example is a stripe hung horizontal. It is also, sometimes done with liner paper or bridging material.

Random match
Describes a design in which the pattern doesn’t align at vertical edges in a regular fashion. Stripes, all-over textures, and grasscloths are good examples.

Reedcloth
A handcrafted wallcovering in which every individual reed is inserted into the cotton warp threads of a hand made loom. Example

Relief
Making a design prominent by raising it or by cutting away the surface or background of the design.

Repeat
The distance from the center of an identical element in a motif or pattern to the next.

Reverse Hanging
Technique of paperhanging where each strip is alternately hung “right side up” and “upside down” in papers with a random match. This is used to negate or lessen the effects of shading problems on the edges of those wallcoverings, if applicable.

Rigid Vinyl Acrylic
This product is used in areas where there is a potential for high-impact concerns such as hospital corridors, high traffic areas in commercial buildings and the hospitality environment where movable carts are used.

Rococo
It is characterized by opulence, grace, playfulness, and lightness in contrast to the heavier themes and darker colors of the earlier Baroque period. Rococo motifs focused on the carefree aristocratic life and on lighthearted romance rather then heroic battles or religious figures.

Running
Measured lengthwise.

 

S

• Index •
Saw tooth
See Chevron.

Scenics
See Murals - Examples

Screen-printed
Involves the use of stencils to transfer the design. Paint is applied to a frame of stretched silk, polyester, or nylon screen and penetrates areas of the screen not blocked by the stencil pattern. By using several stencils, many colors can be added to form successive layers in a single print. Also known as handprints, silk screening, hand screening, and serigraphy. Examples

Scrubbable
Describes a wallcovering that can be cleaned with a prescribed detergent, water, and a brush.

Sculptured Wallcovering
See Anaglypta.

Seam
Areas where two wall coverings are joined.

Seam roller
A small, narrow plastic, felt, or wooden roller used to secure the seams of wallpaper to make them adhere to the wall when dry. This is done by rolling or pressing the seams after the paper has been applied to the wall and the air bubbles, if any, are smoothed away. Stringcloth, grasscloth, flock, and heavily embossed wallpaper are examples of product that would be damaged by the use of a seam roller.

Tone on Tone
Wallcovering in which shades of one color are featured.

Selvage
The blank edge of a wallcovering. Used for markings that maintain registration during printing, plus protects the design during shipment.

Semi-automated wallcoverings
The selvages are partially severed and can be detached easily, or, the wallcoverings are fully trimmed on one edge only.

Serigraphy
See Screen-printed.

Shading
Effect that can sometimes appear along the seams of patterned or textured wall coverings due to heavier ink coverage at one edge than the other during printing. Reverse hanging can often solve this problem.

Sheet
See Drop.

Shiki
Means “four seasons” in Japanese and used to describe hand-made Asian silk glued to a backing.

Silk-screening
See Screen-printed.

Sidewall
See Fill.

Single Cut
What you do to seam a sheet that is wet with a sheet that has already dried. This technique mainly applies to sidewall paper and borders. You overlay the wet sheet on the dry sheet, use a smoother or putty knife to force the impression line of the underlying dry seam and then with the feel of your fingertips and a single edge blade, you cut a butted seam using the creased line as your guide.

Sisal
Wallpaper made from the fibers of the sisal plant. Example

Size (Sizing)
In the case of plaster walls, it will prevent too much paste from being absorbed into the wall. Its use on drywall applications is not so much to prepare the wall, but to provide added adhesion for the final installation of wallpaper. It usually comes in the form of a white powder that is mixed with water according to the manufacturer’s instructions. Another form of size is to coat the walls with a thinned down version of the adhesive that ultimately be used in the installation of the wall covering. Many wallpaper manufacturers specifically request its usage on any wall type though it is traditionally associated with plaster walls.

Skirting
Narrow board that runs round the base of walls. Also known as baseboard.

Sliding cut
A method of cutting wallpaper by sliding a sharp knife along the edge of a surface under it.

Smoothing brush (Smoother)
Used to smooth out wrinkles or air from behind wallpaper during installation. Most often used on delicate wallpaper.

Solid sheet vinyl

Square
Describes two walls whose sides join one another at true right angles.

Stain killer primer
See Primer/Stain Killer.

Stain-resistant
Describes a wallcovering coated with an acrylic, plastic, or vinyl that does not absorb stains.

Stencil
A method of applying a design by brushing ink or paint through a cut out surface.

Straight across match
Describes a design in which the pattern aligns horizontally at single-roll intervals. This means that the pattern design at the top of each strip is always the same.

Straight edge
A six foot or seven foot ruler used by a paperhanger to trim the selvage off of the wallpaper.

Stria (Strie)
A type of stripe, usually consisting of very fine, irregularly spaced parallel lines that are often monochromatic in color. Example

String effect
Wallpaper that have very fine vertical threads laminated to a paper type substrate. Threads may be of a man made material or natural fiber such as silk or linen. These wall coverings should not be subjected to abuse and require great care in their cleaning. Example

Strip
See Drop.

Strippable
Describes a wallpaper that can be pulled off the wall without first treating it with a wetting agent.

Substrate
The backing of a wallpaper. It is laminated to the bottom of the design layer.

Swag
Swinging or suspended decoration, representing garlands, drapery, ribbons or leaves. E

Swatch
A sample cutting of wallpaper or fabric. Resource

 

T

• Index •
Toile de Jouy (Toile)
A fabric style that originated in the village of Jouy-en-Josas, near Paris. These designs typically resemble finely engraved copper etchings; use one color on a solid ground, and originally had a narrative element - such as a pastoral scene or motifs from classical mythology. Today, this technique can be used for any number of designs including floral trails, birds, or even palm trees. Example

Trompe L’oeil (Loeil)
French term meaning to “fool the eye”. Wall coverings that utilize this technique include designs that use light and shadow to convince you that you are seeing a three-dimensional object. Some wallpaper designs that have been successful are those that simulate draped fabric, trees, bookshelves, moiré silks, and murals and accents that feature a window or door with a view.

 

U

• Index •
Untrimmed
Describes wallpaper with intact selvages, not factory-trimmed.

 

W

• Index •
Wainscot
The lower part, dado, of a wall when it has a different covering or finishes than the upper part.

Wallpaper trough
A specially shaped container designed to hold water for soaking prepasted papers before hanging.

Wall Primer
See Primer.

Warm colors
Red, yellow, or orange, or any color to which yellow has been added.

Wire Lap
See Lap seam.

Washable
Describes a wallpaper that can be cleaned with mild detergent and water applied with a sponge or soft cloth.

VINYL WALLCOVERING HANDBOOK
by Alan Benjamin

INTRODUCTION

The walls of any given room represent the largest single area of eye contact in that room. Hence, if a decorative atmosphere is desired for that room, the walls play a very major part. Professional decorators have known for years the asset that wallcovering can be in establishing a mood or feeling as one walks into a room for the first time. Evidence of this fact is reflected by the time, energy, and money invested in the real estate field when selling homes or condominiums from models.

As you will see, people of all ages and backgrounds, since the beginning of time, have made efforts at decorating the wall space that surrounds them. In the following pages, I will endeavor to bar out some of the highlights of this decorative product from the past to the present. This text is designed as an aid in comprehending the many facets of todayÌs product.

HISTORY OF WALLCOVERING

Details are not available; yet archeologists have told us that cave drawings date back several thousand years B.C. We will never be sure of exactly why our ancient ancestors chose to draw images in their living environment. The two major theories concerning the reason behind these graphics are explained as wish fulfillment and aesthetics or art. Although this does not resemble wallpaper as we know it today, it does signify manÌs earliest desire to decorate his surroundings.

Proof does exist that the Chinese hand painted landscapes and birds on rice paper as early as 200 B.C. It took, however, until the 16th Century before these oriental prints were imported to Europe. Some of the delay was caused by the predominance of hanging textiles over walls. During this period, the affluent homes were built of stone, so the practicality of textile hangings was used to keep down the cold and dampness of these castles. Wallpaper was soon to become the Ïpoor manÌs tapestry,’ an imitation of the expensive textiles used in royal households.

The demand for wallpaper grew rapidly and by 1599 a recognized guild, known as the ÏDominotiers’ was established in France. The Dominotiers were also responsible for introducing the process of using wood blocks with the design cut into the surface to be used for printing.

The development of a repeating pattern was introduced by a Frenchman, Jean Papillon, in 1675. He is said to be the real inventor of wallpaper as we know it today, by advancing our technique to match a repeat on all sides, while still utilizing the wooden blocks.

By the early part of the 18th Century, progress had expanded into strips, rather than small sheets corresponding to the size of the wood blocks. The designs and the quality intensified with the best artists going into this new field. (*NOTE) It was, however, the following century, the mid-1800Ìs, that man fabricated a machine capable of printing for him, rather than printing by hand. The quality was severely neglected and wallpaper consumption was being weighed as a major factor for the first time, rather than an art form.

The next development was to have a long lasting impact on the future of wallcovering. In 1921, the first step was taken by the Standard Coated Company (Sanitas) in producing a coated linseed oil product (oil cloth). This initial phase of breaking away from paper as the principal stock on which to print, was a step which would never be reversed, and it was only a matter of time before the vinyl of today took over. That is not to say, however, that paper is no longer used in our product. We have paper today in both the low and high-end markets, as simply a paper product. Paper is also used as one of several backings for vinyl sheeting, grass cloth, etc., and as the foundation of many vinyl coated products.

(*NOTE) If you are interested in visiting this countryÌs historical landmarks, there are breathtaking examples of hand painted strips in Williamsburg, Virginia. The restored area of Colonial Williamsburg, protected by our National Park Service, has several rooms in which original wallpaper of the 18th Century was tediously removed from locations in England and brought over to this country. It is hung in the GovernorÌs Mansion restoration for our viewing enjoyment.
This brings my outline up to date. Here again, I wish not to present these facts for any other purpose than to bear out manÌs consistent urge to decorate his walls. In closing, we should all be thankful for the improvements made from generation to generation, which allows us the know how to make superior quality product of today. We are involved in a terribly exciting field that is ever changing and always challenging.

THE MANUFACTURE OF VINYL

PVC is the common abbreviation for polyvinyl chloride, one member of a large class of polymers called vinyls. Vinyl constitutes one of the most versatile groups of plastics, which range in form from soft flexible sheeting to hard, rigid structures, either of which may be solid or cellular (foam). PVC and its derivatives are the second highest tonnage plastic in the world.

The earliest application of PVC, pre-World War II, was used to coat the interiors of beer cans. However, greater utilization soon followed at the time of the war, when PVC was used as a replacement for rubber sheeting and electrical insulation. This marked the onset of an avalanche of products in the years that followed.

I am not trying to influence anyone into becoming a chemist; rather, I will attempt to explain, in laymanÌs terms, what goes into the vinyl product.

IÌll start at the point of vinyl chloride gas, which is the building block. The process begins with this vinyl chloride gas being brought to us by rail tank cars. This gas is unloaded under pressure by way of a closed link underground storage system. The simplest purpose of this next step is to link together vinyl chloride monomers in succession to form a chain, called polymerization. Through the use of heat reactors, this gas is subjected to an increasing processing temperature, until the polymerization level is reached. This chain linking or branching, as it is called, can be controlled by the temperature at which the gas is maintained. Lower temperatures lead to faster rates of polymerization, less branching and higher molecular weight chains and vice versa with higher temperatures. This procedure provides us with our PVC resin, now a solid granular substance, similar in appearance to popcorn.

From this point of resin production, we then proceed to the compounding area. It is here that certain additives are introduced, once it is determined what the specific end product characteristics are to be. This compounding or blending is what you may hear the plant personnel refer to as Ïmixing a cake.’ By use of large tumbling barrel blenders, the resin is mixed with any number of additives, under constant agitation and heat resulting in a Ïdry blend.’

The following are additives and a brief summary of their purpose:

Plasticizers Á low molecular weight solids, mainly organic salts used to add flexibility and softness.

Heat Stabilizers Á to prevent discoloration during processing.

Pigments Á we grind our own for purity reasons. It resists bleeding and weathering better than dyes.

Fillers Á although they do reduce the cost of formulation, they are included for the advantages they represent. The improved properties they add are resistance to ultraviolet light, better dent resistance, increased hardness, gloss control, improved dry blending, reduced plate out and resistance to deformation under load at high temperatures.
Processing Aids Á promotes fusion, reduces surface gloss, improves roll release on calendars and enables processing at lower temperatures.

Impact Modifiers Á added to protect from brittle fracture.

Lubricants Á these fall into two categories:
External: reduce the external friction of melting with the surfaces of processing machinery. They are incompatible with the resins at processing temperatures and thereby readily form a lubricating surface layer.
Internal: operate by lowering the interparticle and intermolecular friction during processing, thereby reducing melt viscosity and frictional heat buildup.

Light Stabilizers Á work in conjunction with the pigment and heat stabilizers to absorb ultraviolet light and dissipate it harmlessly as heat.

Flame Retardants Á since PVC contains a considerable level of chlorine, it is self-extinguishing by itself. Even compounds containing a 25 percent concentration of flammable plasticizers remain fairly resistant to burning, as defined by present flammability tests. However, any compound with a higher percentage of flammable plasticizer would require the addition of flame-retardants.

Antistatic Agent Á improves the electrical conductivity.

Antioxidants Á protection in high temperature applications like electrical wire insulation.

Fungicides Á although vinyl resins themselves are not subject to attack by microorganisms, some of the additives of the compounding may be vulnerable.

This is only a brief look at what may be introduced in varying quantities during blending. From here, our Ïflour-like’ mixture is sent to the fluxing machine, which melts the compound into a liquid form. The heated material (approximately 350 degrees) can be fed directly to the processing machine (calender) or pelletized and cooled for later use, as in injection molding. The calender is a piece of machinery which, using pressure, forces the heated compound into film sheeting. The calender operation is capable of producing vinyl film ranging in thickness from 2 gauge to 30 gauge and in widths up to 84 inches.

From a substance that gained popularity due to its rubber-like properties, we have literally surrounded ourselves with vinyl. Deeply entrenched in such fields as flooring, wearing apparel, packaging, automotive and so on (not to mention wallcovering), the full potential of PVC has not yet been reached.

HOW VINYL RELATES TO THE WALLCOVERING INDUSTRY

There are two main factors that dictate the use of vinyl wallcovering instead of paint. They are the aesthetics and the economy a vinyl product offers.

The beauty of a vinyl wallcovering is the result of the proper combination of color, texture and embossing. To this we compliment our product by coordinating several sheers designed to work, tone on tone, with the original sheet. This, in itself, surpasses anything attainable with paint.

The second factor of economy is a little more detailed. Such things as: durability, life cycle vs. repainting, maintenance (washable, stain resistance) and safety must all be observed.

Durability Á vinyl, by its nature, resists scuff marks, staining and fading. These benefits must then be added to the protection against chipping, cracking and abrasion.

Service Life Á Routine area cleaning of dirt and grime must be performed periodically on a painted surface. Heavy traffic areas require more time to wash stains and repair chipped, cracked surfaces. Although conditions vary, the average life expectancy of a paint system is three years.

In comparison, the vinyl wallcovering only needs occasional spot cleaning. The superior ease with which it cleans is enhanced by its resistance to soiling and scuffing. Also to be considered is the down time required to refurbish. In so many instances the loss of revenue is substantial when rooms are being redecorated. Hanging vinyl can keep your down time to a minimum, as well as add years between refurbishing. The average life span of vinyl wallcovering is nine to ten years.

Maintenance: Most stains, scuffs, and dirty areas are easily cleaned with mild detergent and warm water. Any area of extreme wear and tear can have the wallcovering treated with an additional Tedlar (one half mil polyvinyl fluoride film laminate) coating, which will stand up against the strongest detergent or harshest solvent.

Safety : All of our wallcovering has been tested and found to be in accordance with the provisions of ASTM Designation E84-70 ÏStandard Method of Test for Surface Burning Characteristics of Building Materials.’ These tests have been performed and certified by the Southwest Research Institute.

PRINCIPLES OF PRINTING TECHNIQUES

Modern wallcoverings are produced by three methods of printing: roller or surface printing, rotogravure, and silk screening. These methods can be best understood by realizing the contact point at which the ink meets the material to be printed. Roller printing is when the inks are applied from a raised position on the roller. In rotogravure, the inks come in contact with the material from a sunken or Ïhollowed’ area, and in screen printing the inks merely lay flat across the surface.

Outside the wallcovering industry, printing methods do parallel our manufacturing techniques. For example, rotogravure or intaglio, as it is called, is the same method used to prints our stamps and currency. The cousin, so to speak, of roller printing is the letter press, or printing from a raised surface, which works essentially the same as an ordinary rubber stamp. Lastly, the differences with screen-printing are greater. The only common trait that screen-printing has with lithography is that they are both printed on smooth surfaces.

In screening, your image is going from a positive to a positive, and in litho your image is going from a positive to a negative to a positive.

ROTOGRAVURE PRINTING

In rotogravure printing, each color is represented by an engraved print cylinder, an ink pan (a fountain), a doctor blade and an impression roll. The roller, which is the key to gravure printing, has the design etched into it. The depth of the etching controls the amount of ink transferred to the web (material). The deeper the cut, the deeper the color. Very clear, beautiful graduations in color tone are the result. By etching different depths into the roller, one roller can produce many values of the same color. As the print roller is rotated, it passes through the ink pan. As it continues to turn, the doctor blade wipes the cylinder clean, except in the etched areas of design. The rotating cylinder is then pressed against the material by the impression roller and the inks are freed out of the design and onto the material.

ROTOGRAVURE STYLES OF PRESS EQUIPMENT

There are three types of roto presses; the u-shape, the stack, and the in-line. The u-shape press is called this because the print heads are placed in a u-shaped fashion, usually in a pit lower than the balance of the equipment. The number of desired colors are printed, and the material moves across the top in a central drying furnace. The inks are dry by the time they reach the other end. At this point, we laminate our substrate to the printed film and the material is sent through a series of heater and chiller rollers to set the bond. We also have the option to emboss or not, depending on the desired effect. We print and then laminate; yet there are many other manufacturers that do the opposite, or print pre-laminated goods.

With the stack machine the print cylinders are stacked one on top of each other. The material is printed, thread back into a vertical dryer and back out to the stack for the next print head. After all the colors are printed, the material moves across the top in a horizontal final dryer (approximately 140 degrees F) to rewind the sections. As with the other two styles, the tack has a control panel, which insures proper lateral and vertical registration and uniform color only. The stack requires the least amount of floor space of the three.

The third and final type of machine, the in-line, has the print stations placed one in front of the other or Ïin-line.’ This machine will require the greatest amount of area. The principle of gravure printing is the same in all cases, regardless of where the ink fountains are positioned. More importantly, the wallcovering is of the same quality, whether run on a stack, a u-shape, or in-line.

SCREEN PRINTING

Screen prints can be made by one of three methods; entirely by hand, partly by hand and partly by machine, or fully automatic. All three methods employ the same printing principles with each color being applied by a screen and a squeegee. When screen-printing was first introduced, the screens were all made of silk. However, todayÌs screens are made from polyester, rayon or nylon, even though they may be referred to as silkscreen. The material is woven in a pattern, very similar to a cheesecloth design with thousands of openings.

A screen is made for each color in the design and it is done by a photographic development process. The colors are separated in design and a clear plastic film is placed over each separate color. The siding is then reproduced on the clear plastic film. The designed film is then placed over a light source (usually consisting of several six foot fluorescent lights). The screen is coated with a light sensitive solution and placed on top of the design, so now there are three layers: the light source a the bottom, the clear film with the design in black, and the treated screen is on the top. When the light source is turned on, the light passes thorough the clear film, except where it is blocked by the design. The illumination hardens the light sensitive material where there is no design. The area on top of the design does not harden and it is then washed off to form a usable screen.

HAND PRINTING

On hand screen-printing, each color is represented by the screen and the squeegee, which looks very much like and oversized windshield wiper. The ink is applied to one side of the screen and spread evenly across the screen by the squeegee. By this action, the ink is forced through the pores of the screen and transferred to the surface of the wallcovering. The printing is done by moving the screen from one position on the table to the next, and skipping the alternate repeat to allow the inks to dry.

FLAT BED SCREENING

The flat bed screen-printing method is an extension of hand screening. Instead of an individual printing the material, the machine using the same principle handles the entire operation. Each color is represented by a silkscreen flood bar, and a squeegee. The screen is elevated above the material and the ink is trapped on the right side, between the flood bar and the squeegee blade. The flood bare and the squeegee then move from right to left, spreading the ink across the screen. When they reach the left side of the screen, the screen is lowered onto the material. The squeegee moves from left to right, applying pressure downward. The inks are forced through the tiny holes of the design area onto the material. After each screen is a horizontal heater that can be angled to increase or decrease your drying temperature. The material moves along under the screens on a large conveyor, called the blanket. Embossing is not a capability of this type of equipment, yet the roll-up reels can be trimmed by slitter blades, if desired.

The benefit of screen print over a rotary machine print is the heavy inlay of ink that you are capable of getting.

GLOSSARY

Companion Papers A set of two or more papers designed and colored to be used together in the same or adjoining areas.

Correlated Describes different types of merchandise systematically related in color and design, such as wallcovering with a harmonizing fabric.

Double Cutting A procedure of trimming done on the wall, rather than on a table.
Procedure: Overlap one strip on top of the adjoining strip by the amount to be trimmed. Firmly hold a straight edge over the seam at the point that permits the design to match from sheet to sheet. Cut through both overlapped seams at once, holding the edge of a new razor as parallel to the material as possible. Remove excess inner and outer trim and carefully push edges together.

Drop Match Think of it as a straight across match. However, instead of the match point being found directly horizontal across the sheet, it will be found on the other side, at the point half the distance from where the straight across match would be. (For cutting purposes, every other sheet will be identical.)

Embossing The raised effect created when metal rollers impress a design into the back of a wallcovering.

Flock Wallcovering imitating the cut velvet look. The pattern is printed in glue or varnish and the flock (finely chopped fibers of rayon or nylon) is shaken across the top.

Foil A very thin sheet of flexible metal, usually on a paper, but sometimes on a fabric substrate.

Grass Cloth Originally a hand made product imported from the Orient that is made by gluing woven native grasses on a paper backing.

Lamination The process of building up in thin layers. Using heat and pressure, the adhesive bonds together several layers into one product.

Lining Paper A plain paper applied before wallcovering to assure a smoother surface and better adhesion.

Match The art of hanging strips of wallcovering so that the design will be in correct relation to the preceding strip.

Random Match The simplest type, the pattern will match no matter where one strip is placed in relation to next. Usually all over textures, stripes, grass cloths, etc. are random match.

Register The guiding process that assures each color will fall in the proper place when applying multiple colors.

Repeat The distance from the center of one motif of a pattern to the center of the next.

Runs ManufacturerÌs term applied to the number of times an individual sheet is produced and repeated. Run numbers also indicate the production of material all under one color combination.

Selvage The edge of a roll of wallcovering, either trimmed off at the mill, or left on with trim marks for the paperhanger to remove at the time of installation (usually found in handprints).

Size A sealer used to prepare the wall surface before the wallcovering is applied.

Standard Roll Wallcovering is measured to contain approximately 36 square feet of material. However, the widths may vary, but the square footage remains the same.

A single roll, 20 1/2′ wide by approximately 7 yards in length.

A single roll, 24′ wide by approximately 6 yards in length.

A single roll, 28′ wide by approximately 5 yards in length.

A single roll, 36′ wide by approximately 4 yards in length.

Straight Match This is one in which any pattern has its match (or counterpoint) directly across the sheet. This type of pattern will show itself around the room exactly on the same horizontal line.

Tedlar This is one half mil polyvinyl fluoride film which is factory laminated to a vinyl wallcovering to provide exceptional protection against staining, scuffing, etc. (usually found in hospitals and schools).

Vinyl For the manufacturing of wallcovering, vinyl can be one of two types, either flexible film sheeting or liquid to be applied as a coating.

  Wallpaper History

Around 4000 B.C., the earliest known form of “paper” was introduced:  Egyptian papyrus.

Wallpaper actually began in ancient China, first because the Chinese invented paper, and secondly because they glued rice paper onto their walls as early as 200 B.C.

In 105 A.D., the Chinese court official Ts’ai Lun, invented papermaking from textile waste, i.e. from rags. This was the birth of paper as we know it today.

Some time in the 8th century, several Chinese prisoners with papermaking skills worked under Arabs, who in turn, spread the knowledge of papermaking throughout the Middle East.

By the 10th century, Arabians were substituting linen fibers for wood and bamboo, creating a finer sheet of paper.  Paper now reached a much higher quality level.

During 12th century, papermaking had spread throughout Europe.

The earliest European pictorial block prints were religious souvenirs known today as “helgen”.  The oldest known, a representation of the Virgin, is dated 1418.  It is now in the Royal Library at Brussels.  This type of printing method may have also been used by the Chinese as early as the 5th century.

Jean Bourdichon painted 50 rolls of paper with angels on a blue background for Louis XI of France in 1481.  King Louis ordered the portable wallpaper because he found it necessary to move frequently from castle to castle.  Other well-heeled Europeans commissioned artists to paint paper for their walls, but real wallpaper can hardly be said to have existed till the advent of the printing press.

The earliest know fragment of European wallpaper that still exists today was found on the beams of the Lodge of Christ’s College in Cambridge, England and dates from 1509.  It is an Italian inspired woodcut pomegranate design printed on the back of a proclamation issued by Henry VIII.  The paper is attributed to Hugo Goes, a printer in York.

A guild of paperhangers was first established in France in 1599.

Jean-Michel Papillon, a French engraver and considered the inventor of wallpaper, started making block designs in matching, continuous patterns in 1675, and wallpaper as we know it today was on its way.

The oldest existing example of flocked wallpaper comes from Worcester and was created in approximately 1680.

The manufacturing methods developed by the English are significant, and the products from 18th century London workshops became all the rage.  At first, fashion conscious Londoners ordered expensive hand painted papers that imitated architectural details or materials like marble and stucco, but eventually wallpapers won favor on their own merits.  Borders resembling a tasseled braid or a swag of fabric were often added, and flocked papers that looked like cut velvet were immensely popular.

Wallpaper came to America in 1739, when Plunket Fleeson began printing wallpaper in Philadelphia.

In early America, colonials copied European fashions.  After the Revolutionary War, Americans set up workshops of their own.  Paper was all the fashion, from neoclassical looks to rambling roses.  American firms made their share of patriotic “commemorative” papers, which we have come to know from trunk linings and bandboxes.

In 1778, Louis XVI issued a decree that required the length of a wallpaper roll be about 34 feet.

Frenchmen, Christophe-Philippe Oberkampf invented the first machine for printing wallpaper in 1785.  Frenchmen, Nicholas Louis Robert invented a way to make an endless roll of wallpaper around the same time.

In 1798, lithography was invented by Alois Senefelder in Solnhofen, Germany.

By the 1800s, French scenic papers printed with hand-carved blocks, some taking as many as 5,000 blocks to produce, were popular.

In 1839, the English invented a four color surface printing machine with designs hand-cut on cylinders that could print 400 rolls a day.  It was invented by the Charles Harold Potter of the calico printing firm Potters & Ross of Darwen in Lancashire, England.

By 1850, eight color printing was available and in 1874, the twenty color printing machine was invented.

In 1879, gravure printing, also known as Intaglio, was invented by Karl Keitsch in Austria.

In 1888, Ferdinand Sichel developed the first ready-to-use wallpaper paste.

In 1890, flexographic printing is invented in England.

Wallpaper pasting machines first appeared around the turn of the 20th century.

Silkscreen printing is said to have originated in Japan and China between 960-1280.  Although, it was first patented in England by Samuel Simon in 1907.  The first mechanical silkscreen machine was invented in 1920.

In the Victorian era, rooms paraded print upon print, mostly in garish colors, and the advent of machine-made wallpaper put the cabbage rose and arabesque patterns within the budget range of practically every home.  Artisans such as Louis Comfort Tiffany and William Morris and their lyrical interpretations of nature, hand-printed by the wood block method, came to symbolize Art Nouveau.  The Victorian Era, as one would expect, was a grand time for wallpaper featuring over embellished designs featuring somber colors, but it was in the roaring ’20s that wallpaper really took the spotlight for the first time.  Known as the Golden Age of Wallpaper, some 400 million rolls were sold during that period.

In 1936, cellulose derivative Carboxymethylcellulose (CMC) made its market debut as Henkel-Zellkleister Z 5, a paste powder that was soluble in cold water.

After World War II, the entire industry was revolutionized with the appearance of plastic resins which offered stain resistance, washability, durability and strength.

In 1974, the National Guild of Professional Paperhangers was established in the United States.

Modernism frowned on embellishments, so wallpaper fell into disfavor during much of this century. But as the 20th century ebbs and the bane of cookie-cutter homes and sterile work environments is upon us, some have rediscovered the romance and beauty of patterned walls.

Recent advances in digital, photo, and printing technologies have allowed modern printing facilities to replicate historic papers and other digital media on a variety of substrates.

Of course, one should no longer talk about wallpaper.   Now it’s wallcoverings, for technology has stepped in and created products that incorporate miracle compounds that make them washable, long lasting, pre-pasted, and yet so true to the best of history’s worldly arts.  So, companies can reproduce any style of any period.  And unlike the costly fresco paintings, tapestries and hand-painted papers of the past, today’s wallcoverings are very affordable.

Color Inspiration: Wallpaper From The 70’s

By evad in Inspiration, News, Vintage

Print this page

     

Straight out of the 70’s, the aptly named German based company, Wallpaper from the 70’s, is the source of today’s color inspiration.

The good old wallpaper is back and she dressed to impress. She put on her patterned clothes and brightest colours. This way she first became the star in bars and clubs and it didn’t take long until more and more new friends invited her home. And those who have ever shared the privacy of their home with her don’t want to let her go.

Surely, we are all wallpaper enthusiasts, actually even old pals who have known her since our childhood days. That’s why also her other mates visit our shop. And they all have one thing in common: They enjoy the style of the 70s and chuck out their white walls to get a thrill from the wallpaper.

(more…)

Historic Wallpaper

Resources

Isaiah Davernport House in Savannah

Links to suppliers of reproduction wallpaper -To professionals in the historic wallpaper industry and

To books about wallpaper, online articles and wallpaper museums

Companies offering wallpapers generated form original documents

Companies who will reproduce wallpaper

Historic Wallpaper Consultants

Wallpaper Conservators

Historic Interiors Consultants

Historic Restoration Resources

Historic Paint & Wallpaper Analysts

Historic Paint Color Consultants

Historic Wallpaper Collections on the Web

Historic Wallpaper Articles on the Web

Purchasing Historic Wallpaper Books online

Wallpaper History in Print

Wallpaper Research & Study Collections

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 Companies offering wallpapers generated from original documents

Adelphi Paperhangings       1770 to 1850 documented patterns; blockprinted using traditional methods and materials.
Aesthetic Interiors                     Wallpapers from the Aesthetic movement, lateVictorian & early arts and crafts.
A.L. Diament & Co.                19th and 20th century, rare and antique French Scenic Wallpapers
Bradbury & Bradbury               Victorian, Neo-Classical and Arts and Crafts wallpapers      
Brunschwig & Fils                     Early 19th Century to early 20th century screenprinted reproduction borders and sidewalls     
Carter & Co./Mt.Diablo             Screenprinted documented wallpapers from 1840 to 1920
Crown Corporation                   Suppliers of Anaglypta and Lincrusta
de Gournay                                  Chinese hand-painted murals as well as renditions of French Scenics
Carol Mead Designs                  Offering Arts and Crafts borders and wallpapers
Charles Rupert Designs              Manufacturer and Distributor of William Morris, Victorian and Arts & Crafts wallpapers CharlesRupertDesigns.com
Clarence House                        212-752-2890
Classic Revivals                        Distributors for screen and block printed wallpaper from Europe            
Cole & Son                                   Englands finest block printers, one of the few in the world who can still flock
Design for Delight                        Offering vintage stock from the 1960’s and 70’s
E W Moore                                  Vintage wallpapers from the UK
Gracie’s Oriental Wallpapers     Chinese hand-painted panels and murals
Griffen Mill handmade papers   English company who makes hand made paper suitable for reproductions
Hamilton Weston                       Offering English patterns from 1690 to 1901
HistoricStyle.com                       William Morris, Victorian, Arts & Crafts & early 20th c. wallpapers.
Hannah’s Treasures                   Antiques & Vintage wallpapers dating from 1920 to 1960
Indextory.Com                            Purveyers of proprietary finishes for lincrustra & anaglypta
Interior 1900                                 Vintage wallpapers from the 20th century
Paperhangings                           Identifies, dates and reproduces historic wallpaper documents in Australia.
Paul Montgomery Studios        Chinese hand-painted panels and murals
J.R. Burrows & Co                      Screenprinted Victorian documented patterns
Lutson Goundleder                    Offering hand crafted leather patterns dating from the 17th century
Mason & Wolf                           Reproduction and Victorian Revival patterns in period colors for walls and ceilings.
Sanderson & Sons                    William Morris Wallpapers
Scalamandre                             Screenprined reproductions spanning the 19th century to the early 20th century
Second Hand Rose                   Buys and sells antique wallpaper
Stark Wallcovering                    Variety of historic collections including Chinese murals and 18th century blockprints
Trustworth Studios                     Offering wallpapers from the English Arts & Crafts era especially CFA Voysey
Twigs                                         1 800  824  4204     Screenprinted reproductions:early 19th to early 20th century                
Victorian Collectibles                Borders, sidewalls and roomsets from for the Victorian
Watts & Co.                               English screen and block printed wallpapers from mid to late 19th century
Wolffhousewallpapers             Offering 1870 to 1920 hand screenprinted reproduction wallpapers
Zina Studios                               914-667-6004
Zoffany                                       English wallpapers
Zuber et Cie                                Scenics, borders and sidewalls printed from original early 19th century woodblocks        
Zuber et Cie                              This site has very good photo’s of all the availible scenics

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 Companies who will reproduce wallpapers

 By  Blockprinting
Adelphi Paperhangings             America: Adelphi Paper Hangings offers block printed wallpapers  circa 1720-1860,
Cole & Son -                                  London. In business since 1875
Laura McCoy Designs, Inc.      Specializing in reproducing historic document wallpapers from fragmentary and photographic evidence. Reproduction methods include  silkcreen, roller and block printing.              mcdesign@optonline.net                                  
 By   Screenprinting
Alexander Beauchamp
BurtWallPapers                         .
Hamilton Weston Wallpapers  
Laura Mc Coy Designs, Inc.        mcdesign@optonline.net
Scalamandre
Twigs                                                1 800 824 4204
Wolffehousewallpapers
 Zina Studios                                  914-667-6004

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 Historic Wallpaper Consultants

Richard Nylander                  Wallpaper historian:Consulted on the Blue room of the White House
Christopher Ohrstrom         Wallpaper historian specializing in late 18th and early 19th century wallpaper
Robert M. Kelly                     Specializes in the research, analysis and consultation of early wallpapers

Laura McCoy Designs, Inc.Specializes in researching & reproducing original wallpaper patterns        mcdesign@optonline.net
Gail Winkler                        Offering consultation for historic wallpapers from the late eingteenth through the early twentieth centuries.

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 Wallpaper Conservators

American Institute of Conversation             Washington, D.C 202 452 9545
Debrora D Mayer                                           Portsmouth, NH 603433 7020
Nash Paper Conservation:           Conservator who specializes in wallpaper conservation 304-876-3772
Elizabeth K.  Schulte                                     414-350-8346
T.K. McClintock Studio TKM Ltd.  Tel. 617 666 9010  Mr. McClintock is the author of numerous articles on the conservation of historic wallpapers, including a chapter on the subject in the National Park Service publication, Caring for Your Historic House. Specialties include conservation treatment of fine art and historic works on paper including wallpapers and murals.
Allyson McDermott - The Web site of an English conservator specializing in wallpaper. The site includes descriptions of wallpaper conservation treatments at country houses such as Uppark (after its devastating fire in 1989), Temple Newsam, and Woodall Park. Some of her conservation and restoration projects have included block-printing wallpaper to match lost sections of original wallpaper
Northeast Document Conservation Center - This conservation center in North Andover, Massachusetts, is one of the largest conservation centers in the country devoted to paper-based collections, including wallpaper. The Web site offers many resources relating to paper conservation in general

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 Historic Interiors Consultants

Jean Dunbar              540-4633291
Page Talbott             610-667 7496
 LCA Associates           Specializing in public buildings, museum houses, and commercial properties dating from the late eingteenth through the early twentieth centuries.      Thier particular expertise is the recreation of authentic interiors––including window drapery and curtaining, wallpapers, floor coverings, lighting––and historic interior and exterior painted finishes.  They can also provide historic structure reports, historic furnishing plans and implementation for the recreation of historic interiors.

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 Historic Restoration Resources

Preservation Directory                                            Resources and research tools for historic preservation and building restoration
PreservationWeb                                                   Materials and Craftsmen for restoration
Victoriana.com                                                         Links for Victorian materials and craftsmen
Restoration Trades                                                  Networking and marketing for restoration craftsmen
National Trust for Historic Preservation
Preservation Sourcebook                                      Materials and Craftsmen for restoration
John Leeke’s Historic Homeworks                       Consulting services for the restoration of historic building
Conrad Schmitt Studios, Inc.                                  Restoration & conservation of timeless historic interiors since 1889

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 Historic Paint & Wallpaper Analysts

(stereomicroscope and the polarized light microscope (PLM) are the principal tools for dating wallpaper)

Matt Mosca                            410-466-5325          
Frank Welsh                          The Investigation, Analysis and Authentication of Historic Wallpaper
Sara Chase                           781-861-6646

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  Historic Paint Color Consultants

 LCA Associates  Winkler & Moss lecture widely and assist corporations and not–for–profit institutions to develop historically authentic products and both private owners and municipalities to select historic colors.

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 Historic Wallpaper Collections on the Web

       Old Sturbridge Village, Owners of a Janes and Bolles sample  book, circa 1822, from Hardford CT. which can be viewed  online. Go to   

      collections and       type in “Wallpaper”.

Wallpaper in New England - A brand new resource, this Web site is devoted to the recently digitized images of the important historic wallpaper collection at the Society for the Preservation of New England Antiquities (SPNEA). The collection is one of the largest in the U.S., comprising over 5000 samples of wallpaper ranging from the 1737 (the earliest documented sample from an American house) to the Art Deco era. The site also include other resources for the study of historic wallpaper as well as brief wallpaper history overview.

The Williams Morris Gallery - The Web site for the only public museum devoted to England’s best known and most versatile designer. The Gallery is located in Morris’s family home from 1848 to 1856 at Walthamstow. The site includes information on Morris and his designs. There are free wallpaper downloads for your computer.

Victoria and Albert Museum  Located in London. Their website offer 196 patterns with ample information about manufacturer, method and history.

Whitworth Art Gallery - Manchester, England:. The museum has a collection of more than 6000 samples of wallpapers, ranging in date from the 17th century to the present, but the majority of items cover the period 1850-1980. Though the emphasis is on British products, the collection includes important French examples, as well as a small number from other European countries and America. Brief records of 6300 items are included in a searchable database but only a few hundred records have photographic illustrations

     Cooper-Hewitt National Museum New York: The Cooper-Hewitt Museum has over 10,000 original wallpaper documents.
     Musee du papier peint de Rixheim France: This museum has many of the French scenic’s on display and the best  collection of early 19th   

       century French wallpaper

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 Historic Wallpaper Articles on the Web

Conservation articles  
Wallpapers in Historic Preservation by Catherine Lynn Frangiamore : A small book first printed in 1977 which covers historic wallpaper printing techniques, historic wallpaper styles and tips on either conserving, reproducing or acquiring wallpaper for a restoration  project.
Wallpapers at Winterthur: Seeing Them in a “New Light” Cyntia Karnes, Julie Ream and Elizabeth Wendelin: A review of conservation techniques for original wallpapers that were collected and reinstalled within many of the 175 period rooms at Winterthur.
Conservation of French Scenic at Martin Van Buren Home Hamm, Patricia, and James Hamm.  Journal of the American Institute for Conservation 20 (1981): 116-125. A summary of the first survey of condition is presented with the reasons why a removal and reinstallation treatment was decided upon. The treatment steps are outlined and recommendations for a more stabilized environment in the future are made.
Northeast Document Conservation Center. Offers gernerous information for wallpaper conservation i.e. surface cleaning, stain reduction and mending.
Historic Wallpaper Conservation Best article for getting grasp on the conservation of historic wallpaper. Mapes, Phillipa. A conservator specializing in the conservation of wallpaper and    other large works of art on paper, based in Wiltshire, England, discusses the advantages of removal & rehanging vs in situ cleaning and repair.
“Wallpaper and Its Conservation: An Architectural Conservator’s Perspective.”Gilmore, Andrea M. Journal of the American Institute for Conservation 20 (1981): 74-81. A discussion of objectives and role of the architectural conservator in the task of wallpaper conservation. The interdependent relationship of historic wallpaper and the structure in which it hangs is described. Criteria for determining appropriate conservation treatments are listed.
A New Conservation Lining for Historic Wallpapers An article by Phillippa Mapes, Mark Sandiford and Philip Meredith discussing the merits of polyester textile versus traditional stretched canvas when rehanging conserved historic wallpapers over planks, plaster or bricks.
“The Investigation, Analysis and Authentication of Historic Wallpaper.“ Frank Welsh.  One of America’s leading specialists in the investigation and analysis of architectural finishes discusses methodology for analyzing wallpaper.
Wallpapers in the Historic Interior            This article by Allison McDermott  combines the history of wallpaper with design and ends with the a brief description of methods for the conservation of wallpaper.
Conservation of a Chinese Mural   Illustrates wallpaper conservation in England
Printing and installation articles
Historic Wallpaper Blockprinting materials, methods and types from 1700 to the 1860
The choice and use of reproduction wallpapers in the historic interior By Richard Nylander
All about Woodblock Printing Hubbard, Hesketh. This article was originally published in the Journal of the Royal Society of Arts, 1934, and covers traditional wood block printing.

Muslin:Canvassing the World By Robert Kelly: Case study Kathrineburg In St. Thomas
1880’s Colorado Minor’s Cabin..Muslin/Wallpaper 1999 project by Historic Wallpapering Specialties

Wallpaper history articles
“Wallpaper.” Krasner-Khait, Barbara. This article from History-magazine.com looks the development of wallcoverings up through 20th century.
“Rooms with a View: Landscape & Wallpaper”  Leight, Michele. An article from the City Review about the exhibit of scenic wallpaper by that title held at the Cooper-Hewitt, National Design Museum, Smithsonian Institution, April 24- October 14, 2001.
Theory and Practice: Late Victorian Wallpaper  By John Burrows   An indepth look at the use of wallpaper in the late 19th century
Short History on Hand Joined Wallpaper by Robert M. Kelly (presented at the “Early American Wallpaper” workshop, Eastfield Village, Nassau, N.Y., July 17-20, 1995)

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 Purchasing Historic Wallpaper BooksOnline

The Papered Wall                             Lesley Hopkins
Showroom Handbook for Wallpaper Installation Written especially for designers, showroom personnel, and paperhangers in the field of high-end residential paperhanging.Published by Bob Kelly of WRN Associates
Wallpaper in America                      Catherine Lynn
Wallpapers for Historic Building     Richard C. Nylander
Wallpaper in New England               Richard C. Nylander
Wallpapers                                         Charles Oman and Jean Hamilton

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 Wallpaper History in Print

     Articles                       

Albertson, Karla Klein. “Landscape Wallpaper: A Window on the World.” Early American Life 34 (April 2003): 8-13.

Banham, Joanna. “Outstanding Designs.” Traditional Homes (June 1987). Victorian wallpaper.

Clapp, A.F., “Examination of the Winterthur Wallpapers”, Journal of the American Institute for Conservation, no20, 1981, pp.63-71.           

Cohn, Marjorie, ed. “Conservation of Historic Wallpaper.Journal of the American Institute for Conservation 20, no.2 (1981)51-151.

Cuadrado, John A. “Art: 19th-Century French Wallpaper.” Architectural Digest 52 (Oct. 1995): 162-170.

Dunbar, Jean. “Exactly As It Was: Reproducing Historic Wallpaper.” Early American Life 27 (April 1996): 47-53.

“English Imprints.” Colonial Homes 17 (Aug. 1991): 52-58. English handmade wallpaper exhibit, “Paper and Paste,” at Manchester City Art Galleries.

Floud, P. C. “Dating William Morris Patterns.” Architectural Review 126 (1959): 14-20.

Ledes, Allison Eckardt. “French Neoclassical Wallpaper.” The Magazine Antiques 143 (Jan. 1993): 36-37.

______. “French Wallpapers.” The Magazine Antiques 156 (Nov. 1999): 744.

______. “A Panoply of Wallpaper.” The Magazine Antiques 158 (Dec. 2000): 912.

______. “Reproduction Wallpapers.” The Magazine Antiques 160 (Sept. 2001): 376.

______. “A Vast Wallpaper Archive (Cooper-Hewitt National Design Museum, New York).” The Magazine Antiques 159 (April 2001): 648.

______. “‘What Shall We Do with Our Walls?’” The Magazine Antiques 151 (June 1997): 896.            

Mansell, Sarah. “Postscript: The Rescue and Care of Wallpapers.” In The Papered Wall: History, Pattern, Technique, edited by           Lesley Hoskins,.238-243. New York: Harry N. Abrams, Inc., 1994.

McClintock, T.K. “Case Studies on the Effect of Conservation on the Appearance of Historic Wallpapers.” Restaurator 23 (2002): 165-186. This article covers significant conservation projects at Prestwould (VA), the Lee Mansion (MA), and elsewhere.

Nylander, Richard C. “Elegant Late Nineteenth-Century Wallpapers.” The Magazine Antiques 122 (Aug. 1982): 284-288.

______. “Prestwould Wallpapers.” The Magazine Antiques 147 (Jan. 1995): 168-171.

“Off the Walls; Historic Wallpapers in New England.” Early American Life 16 (Oct. 1985): 64-68.

Phillips, M.W., “Wallpaper on Walls: Problems of Climate and Substrate”, Journal of the American Institute for Conservation, no. 20, 1981, pp.83-90.

Pritchard, Margaret Beck, and Willie Graham. “Rethinking Two Houses at Colonial Williamsburg.” The Magazine Antiques 149 (Jan. 1996):166-176.

Solomons, O., “Conservation of Historic Wallpapers”, in T. Rosoman, London Wallpapers, their Manufacture and Use, London 1992, pp.52-53.

Reed, Rochelle. “Recovering the Victorian Interior.” House & Garden 160 (Jan. 1988): 18-21. Bradbury & Bradbury handprinted wallpapers.

Sherrill, Sarah B. “Wallpaper.” The Magazine Antiques 118 (Aug. 1980):192-193.

Suares, J.-C. “Ultimate Panoramas: Zuber’s Classic Wallpapers Will Make Your Home Feel Like a Palace.” Connoisseur 220 (July 1990): 60-68.

Treese, Lorett, and Caroline Von Kleeck-Beard. “French Creation, American Choice: The Scenic Wallpaper of France.” Early American Life 23 (April 1992): 49-57.

“Wallpaper Before 1830.” Early American Life 11 (Feb. 1980): 40-44.

Books General Works (*recommended titles)

Banham, Joanna. Wallpapers: 17th Century to Present Day. London, Studio Editions, 1990.

Cooper-Hewitt Museum. Kitsch to Corbusier: Wallpapers from the 1950s. New York: Cooper-Hewitt National Design Museum, Smithsonian Institution, 1995.

Dornsife, Samuel A. “Wallpaper.” The Encyclopedia of Victoriana, ed. by Harriet Bridgeman and Elizabeth Drury. New York: Macmillan, 1975.

Entwisle, Eric. A. The Book of Wallpaper: A History and an Appreciation. Rev. ed. Bath, England: Kingsmead Reprints, 1970.

______. A Literary History of Wallpaper. London: Batsford, 1960.

______. Wallpapers of the Victorian Era. Leigh-on-Sea: F. Lewis, 1964.

Greysmith, Brenda. Wallpaper. New York: Macmillan, 1976.

*Hamilton, Jean. An Introduction to Wallpaper. London: HMSO, 1983.

Hapgood, M. Oliver. Wallpaper and the Artist: From Dürer to Warhol. London: Abbeville Press, 1992.

*Hoskins, Lesley, ed. The Papered Wall: The History, Patterns and Techniques of Wallpaper. New York: Abrams, 1994. This is the best recent book on the subject, covering English, French, American, and Chinese wallpapers, lavishly illustrated and containing a thorough bibliography.

*Kosuda-Warner, Joanne. Landscape Wallcoverings. New York: Cooper-Hewitt National Design Museum, New York, 2001.

Lynn, Catherine. Rescuing Historic Wallpaper: Identification, Preservation, Restoration. Nashville, Tenn.: American Association for State and Local History, 1974. Also issued as American Association for State and Local History, Technical leaflet 76.

McClelland, Nancy. Historic Wall-Papers: From Their Inception to the Introduction of Machinery. Philadelphia: J.B. Lippincott, 1924.

*Oman, Charles C., and Jean Hamilton. Wallpapers: A History and Illustrated Catalogue of the Victoria and Albert Museum. New York: Abrams, in association with the Victoria and Albert Museum, 1982.

Saunders, Gill. Wallpaper in Interior Decoration. New York: Watson-Guptill Publications, 2002.

Taylor, Clare. Wallpaper. Princes Risborough, England: Shire Publications, 1991.

*Teynac, Françoise [and others]. Wallpaper: A History. New York: Rizzoli, 1982.

Whitworth Art Gallery. Historic Wallpapers in the Whitworth Art Gallery: From the Collection Presented to the Gallery in 1967 by the Wall Paper Manufacturers Limited. Manchester, England: The Gallery, 1972.

*______. A Decorative Art: 19th Century Wallpapers in the Whitworth Art Gallery. Manchester: Whitworth Art Gallery, 1985.

America

Ackerman, Phyllis. Wallpaper, Its History, Design and Use. New York: Tudor Publishing Co., 1938.

Frangiamore, Catherine Lynn. Wallpapers in Historic Preservation. Washington, D.C.: National Park Service, Office of Archeology and Historic Preservation, Technical Preservation Services Division, 1977.

*Lynn, Catherine. Wallpaper in America: From the Seventeenth Century to World War I. New York : W.W. Norton, 1980. This is the most comprehensive and scholarly work on wallpaper use in America.

*Nylander, Richard C. [and others]. Wallpaper in New England: Selections from the Society for the Preservation of New England Antiquities. Boston: The Society, 1986.

Nylander, Richard C. Wall Papers for Historic Buildings: A Guide to Selecting Reproduction Wallpapers. Washington, D.C.: Preservation Press, 1992.

Sanborn, Kate. Old Time Wall Papers: An Account of the Pictorial Papers on Our Forefathers’ Walls. Greenwich, Conn.: Literary Collector Press, 1905. This early work on historic wallpaper includes many turn-of-the-century photographs of old houses with early wallpapers that have since been lost.

England

Arthur Sanderson & Sons, Ltd. A Century of Sanderson, 1860-1960. London: Arthur Sanderson & Sons, 1960. Manufacturers of William Morris wallpaper patterns.

______. Morris & Co. Hand Printed Wall Papers. Uxbridge, Middlesex, England: The Firm, c. 1980.

Clark, Fiona. William Morris: Wallpapers and Chintzes. New York: St. Martin’s Press, 1973.

Fowler, John, and John Cornforth. English Decoration in the 18th Century. Princeton, N.J.: The Pyne Press, 1974.

Morris, William. Wallpapers and Designs. London: Academy Editions, 1971.

*Rosoman, Treve. London Wallpapers: Their Manufacture and Use, 1690-1840. London: English Heritage, 1992. Written to accompany an exhibition at the Royal Institute of British Architects.

Sugden, Alan Victor and John Ludlam Edmondson. A History of English Wallpaper, 1509-1914. New York: C. Scribner’s Sons, 1926.

Turner, M., M. Pinny, and Lesley Hoskins. A Popular Art: British Wallpapers, 1930-1960. London: Middlesex Polytechnic, 1990.

*Wells-Cole, Anthony. Historic Paper Hangings: From Temple Newsam and Other English Houses. Leeds, England: Leeds City Art Galleries, 1983.

France

*Bieri, Helen, and Bernard Jacqué. Papiers Peints Art Nouveau. Milan: Skira, 1997.

Clouzot, Henri, and Charles Follot. Histoire du Papier Peint en France. Paris: Charles Moreau, 1935.

Entwisle, Eric. A.. French Scenic Wallpapers, 1800-1860. Leigh-on-Sea, England: F. Lewis, 1972.

Guibert, Mireille. Papiers Peints, 1800-1875. Paris: Société des Amis de la Bibliothèque Forney, 1980. Discusses wallpapers in the collection of the Bibliothèque Forney, Paris.

*Jacqué, Bernard, and Odile Nouvel-Kammerer. Le Papier Peint: Décor d’Illusion. Barembach, France: Editions J.-P. Gyss, 1987.

Jacqué, Bernard, and Geert Wisse. Le Murmure des Murs: Quatre Sciècles d’Histoire du Papier Peint. Brussels: CGER, 1997.

Musée des Arts Décoratifs. Trois Siècles de Papiers Peints. Paris: Musée des Arts Décoratifs, 1967.

______. Bordures et Frises: Papiers Peints. Text by Véronique de Bruignac. Paris: Réunion des Musées Nationaux, 1991.

*Nouvel, Odile. Wallpapers of France, 1800-1850. With an introduction by Jean-Pierre Seguin; translated by Margaret Timmers. New York: Rizzoli, 1981.

*Nouvel-Kammerer, Odile. French Scenic Landscape Wallpaper, 1795-1865. New York: Rizzoli, 2000 (French ed. 1990).

Sotheby Parke Bernet Monaco S.A. Papiers Peints Anciens: du XVIIIe et du XIXe siècles; collection de la maison Follot. Monte-Carlo, Monaco: SPB Monaco, 1981. Catalog of sale of the Follot collection held Feb. 7-8, 1982.

Other Countries

Beyer, Jürgen. Historische Papiertapeten in Weimar. Bad Homburg, Germany: Verlag Ausbildung und Wissen, 1993.

Historic Houses Trust of New South Wales. The Decorated Wall: Eighty Years of Wallpaper in Australia, c.1850-1930. Comp. by P. Murphy. [Elizabeth Bay: s.n.], 1981.

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 Wallpaper Research & Study Collections

Collections of historic wallpaper are held by the following institutions. These collections vary in size and scope. The fragile nature of old wallpaper and institutions’ often limited facilities for displaying artifacts mean that wallpaper collections are frequently not on public view. Many of the collections, however, are available for personal consultation. If you are interested in seeing these archived collections, contact the institution in advance to check accessibility and make an appointment if necessary.

Use this link if translation assistance is needed - http://babel.altavista.com/
            America

Athenaeum of Philadelphia - Philadelphia, Pennsylvania.

Nicholas Murray Butler Library, Columbia University - New York, New York.

Colonial Williamsburg Foundation - Williamsburg, Virginia. The collection focuses on 18th and early 19th century wallpapers, mainly English in origin, as well as French and American examples.

Connecticut Historical Society - Hartford, Connecticut.

Cooper-Hewitt, National Design Museum, Smithsonian Institution - New York, New York. The wallcoverings department contains the largest and most varied collection of wallpaper in the United States, with more than 10,000 examples. Pieces date from the late 17th century to the present and represent many countries of origin.

Harriet Beecher Stowe Center and Library - Hartford, Connecticut. A collection of Victorian wallpapers dating from the mid-to-late 19th century.

Historic Dearfield

Houghton Library, Harvard University - Cambridge, Massachusetts.

Theodore R. McKeldin Library, University of Maryland - College Park, Maryland.

Metropolitan Museum of Art - New York, New York.

Museum of Art, Rhode Island School of Design (RISD) - Providence, Rhode Island. The decorative arts collection includes the Huard Collection of 18th- and early 19th-century French wallpaper.

National http://www.nbm.orgPreservation Institute Washington D.C.

Old Sturbridge Village - Sturbridge, Massachusetts.

Peabody Essex Museum - Salem, Massachusetts. The museum includes the collections of the former Essex Institute.

Harry Ransom Humanities Research Center at the University of Texas - Austin, Texas.

Historic New England- Boston, Massachusetts. One of the largest collections of wallpaper in the United States with more than 8000 samples ranging from the early 18th century to the 20th century, plus related sample books, trade cards, and more. For greater accessibility, digital images of the collection are soon to be available online: see

 World Wide Wallpaper.Searchable data base from Sociey of New England Antiquities

Strawbery Banke Museum

Valentine Museum - Richmond, Virginia.

England

Art and Crafts Museum - Cheltenham.

English Heritage Architectural Study Collection, Kenwood House - London.

Olga Hirsch Collection, British Library - London.

Arthur Sanderson & Sons, Ltd. - Uxbridge, Middlesex. Company archive with a collection of more than 25,000 designs for wallpaper and textiles dating back to the 19th century and including William Morris & Co. patterns.

Temple Newsam House - Leeds. One of England’s leading museums devoted to the study of decorative arts.

Victoria and Albert Museum - London. One of the largest collections of wallpaper in Britain, covering a wide range of dates and types. Examples from the collection are displayed in the new British Galleries. The study collection is kept in the Print and Study Rooms.

Whitworth Art Gallery - Manchester. A collection of more than 6000 samples, the wallpaper collection ranges from the 17th century to the present but the majority of both individual items and pattern books cover the period 1850-1980. The emphasis is on British products, but the collection includes important French examples as well as a small number from other European countries and America.

France

Bibliothèque Forney - Paris.

Bibliothèque Nationale - Paris.

Musée des Arts Décoratifs, Union Centrale des Arts Décoratifs (UCAD) - Paris. The French decorative arts museum is located in the north wing of the Louvre Palace (though completely separate from the Louvre Museum). A superb and extensive collection of French wallpaper samples. The museum’s galleries are closed for renovation until 2005, but study collections may be available by appointment.

Musée du Papier Peint - Rixheim, Alsace. The wallpaper museum houses an immense collection of about 100,000 samples of wallpaper and many wood blocks from the Zuber company archive. The Zuber manufactory is located in the same complex.

            Germany

Deutsches Tapetenmuseum - Kassel. A museum of wallpaper with collections ranging from the 18th century to the present, with Chinese as well as European examples.

Hübel Collection, Deutsches Museum - Munich.

Kunstbibliothek, Staatliche Museen zu Berlin - Berlin.

            Other Countries

Historic Houses Trust of New South Wales - Sydney, Australia.

Koninklijke Musea voor Kunst en Geschiedenes - Brussels, Belguim..

 

Create a glamorous interior with flocked fabrics and wallpapers in berry shades and smoky taupes, or opt for a palette of vibrant blues and copper

First appearing on wallpaper in the early 17th century, flock’s velvet-like pile was originally created using the powdered wool left over from the manufacture of cloth. The first flock designs were imitations of damask or velvet and were used in the formal rooms of great houses. The pattern was created with glue and then scattered with flock powder. Over the past three centuries, flock has been used to produce patterns in every passing style. The look today is as moody as ever but somewhat less formal in feel. After falling out of favour in the early 20th century, flock is enjoying. A comeback with a rich palette of colourways including shimmering metallics and often subtle tones.

 

FlockedWallpaper.com

DesignerWallcoverings.com