Flower Walpaper Biography
source(google.com)
The popularity of striped floral papers coincided with the introduction of steam-driven roller printing. Invented in England, the first cylinder printing machine was imported to America in 1844 by John Howell of Philadelphia. By the mid 1850s, many American wallpaper manufacturers were producing roller-printed designs on inexpensive machine-made wood pulp papers. Manufacturers could now produce vast quantities of paper and introd1971_167uce new designs in response to rapidly changing decorating styles.
In the early-to mid-nineteenth century, the Gothic Revival style in architecture offered an acceptable alternative to neoclassicism. English critics, most notably, John Ruskin (1819-1900) and A. Welby Pugin (1812-1852), praised Gothic design for its ordered spaciousness and "honest" ornamentation. Pugin and Sir Charles Barry (1795-1860) championed the Gothic Revival style for religious and public buildings, and in 1836 began work on The Houses of Parliament, London - a vast complex of government offices and a symbol of national pride.
Although A.W. Pugin favored the Gothic Revival style for architecture, he decried its use for the decorative arts and specifically wallpaper. He deplored the use of artificial, uniform shading to indicate three-dimensional modeling of niches, pointed arches, quatrefoils and tracery. Although the Gothic Revival style of wallpaper was much criticized, it proved to be quite popular with consumers who often selected it to paper their walls. A cylinder printed design from the Carter Homestead in Lancaster, Massachusetts, is a schematic interpretation of Gothic ornamentation. Vertically repeating pointed arches frame views of a wooded landscape and alternate with rows composed of a pastiche of Gothic motifs. The shell-like center motif suggests a flattened ribbed vault or elaborate pendant in the flamboyant continental style.
Designers and architects in the mid-nineteenth century turned to earlier periods for stylistic alternatives to neoclassicism. Neobaroque designs feature over-the-top ornamentation and a profusion of motifs vying for space while the lighter and more open styles of the Rococo Revival wallpapers imported from France feature naturalistic flowers, C-scrolls, fanciful bouquets and delicate garlands. American wallpaper manufacturers copied the French designs, but many could not produce the su1969_580_2btle shading and soft colors that characterize the French Rococo Revival papers of this period.
The use of cylinder printing by American wallpaper manufacturers in the middle decades of the nineteenth century increased the production of moderately priced striped designs known as common papers. Many of the striped designs were also frequently printed in the Renaissance Revival style. In this paper from the Edward Mansfield House, Wakefield, Massachusetts, the three-dimensional qualities of more elaborate and expensive Renaissance Revival papers have been replaced with a flattened linear effect. The lacy cartouches and flanking diapered stripes that suggest strapwork are mere silhouettes against the white ground. Though cylinder printing could not match the three-dimensional qualities and subtleties of block printing, it did allow for the continuous printing of an entire roll of paper and could print finer detail than block printing permitted.
To create these designs, patterns were transferred to a wooden cylinder and the negative areas around the design were carved away. The remaining positive areas were outlined with metal pins and bars which strengthened the wooden cylinder and allowed for a greater number of impressions than traditional wooden blocks. Printed in a few colors on a low-quality paper, either lightly grounded or left ungrounded, common papers were an inexpensive way to update the appearance of a room. Many common striped papers in Historic New England's collection are preserved as fragments in a sequence of papers.
1971_177_2This common paper dates from 1840-1860 and was hung as the second wallpaper in a chamber of the Blanchard-Wellington House, Medford, Massachusetts. The design is printed in a simple palette of blue, red and gray and combines rows of stylized roses alternating with stripes of imitation silk moire. The overall effect is light, airy and feminine.
source(google.com)
The popularity of striped floral papers coincided with the introduction of steam-driven roller printing. Invented in England, the first cylinder printing machine was imported to America in 1844 by John Howell of Philadelphia. By the mid 1850s, many American wallpaper manufacturers were producing roller-printed designs on inexpensive machine-made wood pulp papers. Manufacturers could now produce vast quantities of paper and introd1971_167uce new designs in response to rapidly changing decorating styles.
In the early-to mid-nineteenth century, the Gothic Revival style in architecture offered an acceptable alternative to neoclassicism. English critics, most notably, John Ruskin (1819-1900) and A. Welby Pugin (1812-1852), praised Gothic design for its ordered spaciousness and "honest" ornamentation. Pugin and Sir Charles Barry (1795-1860) championed the Gothic Revival style for religious and public buildings, and in 1836 began work on The Houses of Parliament, London - a vast complex of government offices and a symbol of national pride.
Although A.W. Pugin favored the Gothic Revival style for architecture, he decried its use for the decorative arts and specifically wallpaper. He deplored the use of artificial, uniform shading to indicate three-dimensional modeling of niches, pointed arches, quatrefoils and tracery. Although the Gothic Revival style of wallpaper was much criticized, it proved to be quite popular with consumers who often selected it to paper their walls. A cylinder printed design from the Carter Homestead in Lancaster, Massachusetts, is a schematic interpretation of Gothic ornamentation. Vertically repeating pointed arches frame views of a wooded landscape and alternate with rows composed of a pastiche of Gothic motifs. The shell-like center motif suggests a flattened ribbed vault or elaborate pendant in the flamboyant continental style.
Designers and architects in the mid-nineteenth century turned to earlier periods for stylistic alternatives to neoclassicism. Neobaroque designs feature over-the-top ornamentation and a profusion of motifs vying for space while the lighter and more open styles of the Rococo Revival wallpapers imported from France feature naturalistic flowers, C-scrolls, fanciful bouquets and delicate garlands. American wallpaper manufacturers copied the French designs, but many could not produce the su1969_580_2btle shading and soft colors that characterize the French Rococo Revival papers of this period.
The use of cylinder printing by American wallpaper manufacturers in the middle decades of the nineteenth century increased the production of moderately priced striped designs known as common papers. Many of the striped designs were also frequently printed in the Renaissance Revival style. In this paper from the Edward Mansfield House, Wakefield, Massachusetts, the three-dimensional qualities of more elaborate and expensive Renaissance Revival papers have been replaced with a flattened linear effect. The lacy cartouches and flanking diapered stripes that suggest strapwork are mere silhouettes against the white ground. Though cylinder printing could not match the three-dimensional qualities and subtleties of block printing, it did allow for the continuous printing of an entire roll of paper and could print finer detail than block printing permitted.
To create these designs, patterns were transferred to a wooden cylinder and the negative areas around the design were carved away. The remaining positive areas were outlined with metal pins and bars which strengthened the wooden cylinder and allowed for a greater number of impressions than traditional wooden blocks. Printed in a few colors on a low-quality paper, either lightly grounded or left ungrounded, common papers were an inexpensive way to update the appearance of a room. Many common striped papers in Historic New England's collection are preserved as fragments in a sequence of papers.
1971_177_2This common paper dates from 1840-1860 and was hung as the second wallpaper in a chamber of the Blanchard-Wellington House, Medford, Massachusetts. The design is printed in a simple palette of blue, red and gray and combines rows of stylized roses alternating with stripes of imitation silk moire. The overall effect is light, airy and feminine.
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
Flower Walpaper 2013 Pics Images Photos Pictures
