Beautiful Walpaper Biography
source(google.com)
By the first quarter of the nineteenth century the abundance of high quality French wallpaper threatened the existence of many American wallpaper firms. Though many American paper stainers claimed to offer domestic papers of the same quality as French papers, their main selling point was that they were "inexpensive." The difference in craftsmanship between the two countries in this period is obvious. The French excelled in creating three-dimensional modeled forms and demonstrated an adherence to realism not found in early American wallpaper de1973_101absigns.
Aiming for the high end of the marketplace, the French exported rainbow papers, floral patterns with realistically-depicted bouquets and sprays, imitation drapery and marble masonry designs, charming landscape figure papers, flocked borders with faithfully rendered flowers and expensive scenic landscape papers. The latter represent the highest achievement in French wallpaper printing and design. Composed of between twenty and forty individual panels, an entire set required thousands of blocks to produce the elaborate design. A room hung with a scenic paper became a substitute for travel as it offered a view of the great monuments of Europe or an escape to an exotic, far-away place.
James H. Foster, a Boston wallpaper dealer, advertised several "long-strip landscapes" that included three by the Paris wallpaper firm Joseph Dufour et Cie. One of the most popular sets of scenic paper exported by Dufour was Telemachus also known as Les Paysages de Telemaque dans l’ile de Calypso. Based upon a 1699 French adaptation of Homer’s Odyssey by novelist Francois Fenelon (1651-1715), Les Adventures de Telemaque was immensely popular. The set, created about 1818, was printed in eighty-five colors and required over two thousand wood blocks to print the design. The continuous scene of non-repeating panels is filled with visual delights and narrative drama, including this detail which presents the moment when Telemachus attempts to escape from the Island of Calypso. Historic New England’s set was removed from the parlor of the Salmond House, Hanover, Massachusetts, and is one of six 1972_98known to have been installed in New England.
French wallpaper manufacturers pushed the limits of block printing and developed relatively simple techniques for producing spectacular designs. Jean Zuber experimented with ways of applying multi-colored grounds to the papers. His cousin, Michel Spoerlin, perfected a method of blending multiple ground colors, called irise, on a single roll of paper. In America, these were called rainbow papers. The brilliant green, pink and yellow matte ground of this Zuber paper dating from 1825-1835 is over printed with a restrained foliate medallion pattern en grisaille. Found in the attic of the Lord Mansion in Kennebunkport, Maine, it is assumed to have been hung in the house though its exact room location is unknown.
A third type of wallpaper that originated in France and that was popular during the early nineteenth century was called a "landscape figure." These patterns were composed of rows of two or three repeating vignettes with pastoral or classical themes separated by vertical stripes on a dotted or diapered f1976_92ield. To keep pace with their French competitors, American wallpaper firms produced adaptations of this style. Made around 1810-1815, this American landscape figure paper was used in a house near Plymouth, Massachusetts; Apparently, the home owner didn’t mind that the design was misprinted.
During the first quarter of the nineteenth century, American wallpaper manufacturers competed to improve the quality of their printing and began to develop new uses for wallpaper. Fireboards placed in front of the fireplace in the summer typically were covered in the same wallpaper that was used in the room. However, with the popularity of "landscape figures" manufacturers began producing large vignettes to be used specifically to cover fireboards. Manufacturers also began to create wallpaper designs for other uses such as covering the exteriors of bandboxes. Several of the bandboxes in Historic New England's collection are covered in decorative papers that were never intended to be applied to the walls.
Bandboxes are round or oval containers covered with wallpaper that were used to store or carry hats or other lightweight items. Hannah Davis (1784-1863) of Jaffrey, New Hampshire, turned to making band boxes in 1818 after the death of her mother. Her father Peter Davis, a clock maker, had died when Hannah was a young woman and she needed some means of supporting herself. Early in her career, Hannah began bartering her bandboxes in exchange for the goods or services she required, and by 1825 she was selling her band boxes to local merchants. She discovered that it was far more lucrative to sell the band boxes directly to the young women who worked in the textile mills located in cities along the Merrimack River. The wooden boxes made of spruce or pine were lined with newspaper and covered in common floral patterned wallpaper, or remnants of landscape figure papers. On the inside of the lids, she applied a label with her name and place of manufacture.
One can sometimes date the bandboxes based on the design of the label, or if available, the date of the newspaper lining. This labeled 1841-1842 Hannah Davis bandb1930_1679ox is lined with pages from an 1841 New Hampshire Baptist Register and is covered with an exuberant block-printed floral pattern. Printed in white and varnish green against a blue ground the box is a stylish example of floral wallpaper designs available during the early to mid nineteenth century.
In addition to all-over floral designs, striped floral patterns remained popular and were commonly produced during the first half of the nineteenth century. These small-scale designs feature stylized flower stripes alternating with bands of Xs or dots and are printed in two or three colors. A pattern book of the Hartford, Connecticut, firm Janes & Bolles, in business between 1821 and 1828, shows five colorways of a striped pattern that relates to this variation used to line a pine trunk found in the Josiah Smith Tavern in Weston, Massachusetts.
source(google.com)
By the first quarter of the nineteenth century the abundance of high quality French wallpaper threatened the existence of many American wallpaper firms. Though many American paper stainers claimed to offer domestic papers of the same quality as French papers, their main selling point was that they were "inexpensive." The difference in craftsmanship between the two countries in this period is obvious. The French excelled in creating three-dimensional modeled forms and demonstrated an adherence to realism not found in early American wallpaper de1973_101absigns.
Aiming for the high end of the marketplace, the French exported rainbow papers, floral patterns with realistically-depicted bouquets and sprays, imitation drapery and marble masonry designs, charming landscape figure papers, flocked borders with faithfully rendered flowers and expensive scenic landscape papers. The latter represent the highest achievement in French wallpaper printing and design. Composed of between twenty and forty individual panels, an entire set required thousands of blocks to produce the elaborate design. A room hung with a scenic paper became a substitute for travel as it offered a view of the great monuments of Europe or an escape to an exotic, far-away place.
James H. Foster, a Boston wallpaper dealer, advertised several "long-strip landscapes" that included three by the Paris wallpaper firm Joseph Dufour et Cie. One of the most popular sets of scenic paper exported by Dufour was Telemachus also known as Les Paysages de Telemaque dans l’ile de Calypso. Based upon a 1699 French adaptation of Homer’s Odyssey by novelist Francois Fenelon (1651-1715), Les Adventures de Telemaque was immensely popular. The set, created about 1818, was printed in eighty-five colors and required over two thousand wood blocks to print the design. The continuous scene of non-repeating panels is filled with visual delights and narrative drama, including this detail which presents the moment when Telemachus attempts to escape from the Island of Calypso. Historic New England’s set was removed from the parlor of the Salmond House, Hanover, Massachusetts, and is one of six 1972_98known to have been installed in New England.
French wallpaper manufacturers pushed the limits of block printing and developed relatively simple techniques for producing spectacular designs. Jean Zuber experimented with ways of applying multi-colored grounds to the papers. His cousin, Michel Spoerlin, perfected a method of blending multiple ground colors, called irise, on a single roll of paper. In America, these were called rainbow papers. The brilliant green, pink and yellow matte ground of this Zuber paper dating from 1825-1835 is over printed with a restrained foliate medallion pattern en grisaille. Found in the attic of the Lord Mansion in Kennebunkport, Maine, it is assumed to have been hung in the house though its exact room location is unknown.
A third type of wallpaper that originated in France and that was popular during the early nineteenth century was called a "landscape figure." These patterns were composed of rows of two or three repeating vignettes with pastoral or classical themes separated by vertical stripes on a dotted or diapered f1976_92ield. To keep pace with their French competitors, American wallpaper firms produced adaptations of this style. Made around 1810-1815, this American landscape figure paper was used in a house near Plymouth, Massachusetts; Apparently, the home owner didn’t mind that the design was misprinted.
During the first quarter of the nineteenth century, American wallpaper manufacturers competed to improve the quality of their printing and began to develop new uses for wallpaper. Fireboards placed in front of the fireplace in the summer typically were covered in the same wallpaper that was used in the room. However, with the popularity of "landscape figures" manufacturers began producing large vignettes to be used specifically to cover fireboards. Manufacturers also began to create wallpaper designs for other uses such as covering the exteriors of bandboxes. Several of the bandboxes in Historic New England's collection are covered in decorative papers that were never intended to be applied to the walls.
Bandboxes are round or oval containers covered with wallpaper that were used to store or carry hats or other lightweight items. Hannah Davis (1784-1863) of Jaffrey, New Hampshire, turned to making band boxes in 1818 after the death of her mother. Her father Peter Davis, a clock maker, had died when Hannah was a young woman and she needed some means of supporting herself. Early in her career, Hannah began bartering her bandboxes in exchange for the goods or services she required, and by 1825 she was selling her band boxes to local merchants. She discovered that it was far more lucrative to sell the band boxes directly to the young women who worked in the textile mills located in cities along the Merrimack River. The wooden boxes made of spruce or pine were lined with newspaper and covered in common floral patterned wallpaper, or remnants of landscape figure papers. On the inside of the lids, she applied a label with her name and place of manufacture.
One can sometimes date the bandboxes based on the design of the label, or if available, the date of the newspaper lining. This labeled 1841-1842 Hannah Davis bandb1930_1679ox is lined with pages from an 1841 New Hampshire Baptist Register and is covered with an exuberant block-printed floral pattern. Printed in white and varnish green against a blue ground the box is a stylish example of floral wallpaper designs available during the early to mid nineteenth century.
In addition to all-over floral designs, striped floral patterns remained popular and were commonly produced during the first half of the nineteenth century. These small-scale designs feature stylized flower stripes alternating with bands of Xs or dots and are printed in two or three colors. A pattern book of the Hartford, Connecticut, firm Janes & Bolles, in business between 1821 and 1828, shows five colorways of a striped pattern that relates to this variation used to line a pine trunk found in the Josiah Smith Tavern in Weston, Massachusetts.
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
Beautiful Walpaper 2013 Pics Images Photos Pictures
