And thus England again became the world's wallpaper industry leader. Let's stay in England for a while. In the 17th century printing was a common thing here, separately block-printed sheets being abandoned as obsolete. Thanks to the English the world saw the birth of the first, manufacture made, roll of wallpaper in The production costs were considerably reduced and wallpapers spread everywhere — even in the child's rooms. But the first wallpaper-making machine was in France. French king Louis XVI issued a decree in that required the length of a wallpaper roll to be about 34 feet, which is approximately 10m today the European standard is 0,53 x 10,05m.
Perhaps they were not rolled yet, though. In the 19th century wallpaper is mass-produced and technology ceases to be a topic of interest. The number of materials used is steadily growing with the advance of technology. Wallpaper becomes widely accessible for everyone.
In the Czech Republic the wallpaper boom started in the 70's and 80's. Wallpaper was made from a thin paper and pasted directly onto the concrete walls. Whoever tried to remove them won't ever forget the endless and hopeless scratching. Today you can choose among the vlies-, vinyl-, fabric- or the good old paper- based wallpaper. They differ in properties and way of pasting. The main choosing criteria is their design and thanks to the digital print the possibilities are limitless.
The textiles served as an inspiration for the floral symmetrical motifs. At that time, mainly the north of Italy was the place where the trends came from. Other designs were inspired by ornaments as seen on Moresque paintings and mosaics. In England the popular motifs were the ancestry portraits and coat-of-arms.
The wooden texture imitation wallpaper was soon replaced by a more popular nature inspired patterns, which were both lavish and sumptuous, in rich colours.
As an inspiration served the silk brocade and tapestries depicting the hunting scenes. English patterns imitated textiles: embroidery and lace work. The stucco and marble imitations were also very common. The typical baroque lush was somehow softened, replaced by lightness and grace.
Very popular were the colorful flower patterns and also the Chinese ornaments were widely imitated. Bold colors turned into pastel shades. Many different art styles are reflected in the wallpaper visuals: Art Noveau, Art Deco, Bauhaus, functionalism, pop art and op art. Of course, the wallpaper trends were not influenced only by the fine arts and there are countless of patterns, materials and colors.
It was launched in Versailles and it was a pretty big event. From the 17th century the Chinese drew on the white mulberry paper the typical flowers, birds, trees, rocks and pagodas. Although the printing was well known, the hand work and originality was still preferred. It was first recommended in as a way of breaking up the monotony of a single pattern on the wall, and by it was a standard feature in many fashionable interiors. The dado paper covered the lower part of the wall, between the skirting board and chair rail; above this hung the filling, and above this the frieze.
And as if three different wallpapers were not enough decoration for any room, the scheme was often combined with ceiling papers to complete the densely-patterned effects. Ideally, the frieze should be light and lively, the filling, a retiring, all-over pattern, and the dado should be darker to withstand dirt and wear and tear. Co-ordinating papers, printed in muted 'art' greens, reds, yellows and golds, could be extremely attractive but the frieze-filling-dado-ceiling combination often led to visual overload.
The treatment was best suited to hallways and stairs. But by ceiling papers had disappeared and, in artistic interiors, wide friezes, like the Peacock pattern produced by Shand Kydd, were hung above plain or simple panelled walls.
As the market for wallpaper expanded, increasingly specialised products were designed for ever-more specific functions and rooms. Victorian children were thought to be uniquely sensitive to their surroundings and by the last quarter of the 19th century many manufacturers were producing nursery papers aimed at improving impressionable young minds. The artist and illustrator Walter Crane , who was a prolific designer of wallpapers, was a master of this genre and his Sleeping Beauty paper exemplified the qualities of beauty and moral instruction that were required.
The delicately drawn, slumbering figures entangled in a rose were clearly artistic, while the subject was well suited to encouraging children to sleep. Also, the wallpaper was especially practical. The oil-based pigments meant that it could be washed — or at least sponged — without damaging the colours.
And even more importantly, it was arsenic-free. Arsenic had been widely used in the production of paints, fabrics and wallpapers since the s and by the s it was thought that the vapour given off by damp wallpapers could cause illness and even death. Children and the sick were particularly vulnerable. Growing public anxiety about the dangers of these wallpapers led manufacturers to develop products that were free of poisonous substances.
The s and s were boom years for the wallpaper industry in Britain and production rose from 50 million rolls in to nearly million rolls in , with most of the activity concentrated at the cheaper end of the market. While traditional stylised leaf and flower patterns continued to be widespread, patterns influenced by modern art and popular culture also appeared. Brightly-coloured, zig-zag, jazz designs vied with Cubist-style motifs in more design-conscious homes while Oriental subjects proved popular with customers seeking novelty.
Arabian themes were inspired by the success of films like The Sheik ; Chinese patterns were indebted to books like Sax Rohmer's Fu Manchu series; and the discovery of Tutankhamen's tomb in led to a brief craze for Egyptian motifs. Cut-out borders and decorative panels, featuring geometric or floral patterns were combined with lightly embossed, plain or semi-plain backgrounds. The 'Good Design' movement of the s favoured less fussy effects.
It encouraged the use of flat, linear patterns and abstract geometric motifs, only to see them replaced by an explosion of bright colour and hallucinogenic Op and Pop designs in the s. New products and new processes coincided with the growth of do-it-yourself DIY and in the first pre-trimmed and ready-pasted papers appeared, quickly followed by laminated papers, metallic finishes, and then tough, scrubbable vinyl wallpapers. The s and s represented a high point for many wallpaper manufacturers when sales were strong and designs were bold and modern.
But the oil crisis of led to a significant reduction in the size of the industry world-wide, with many firms going out of business or being taken over by large international corporations. Increasing competition from the paint industry and the popularity of finishes like stippling creating shapes and images by making many small dots and rag-rolling using a roughly folded cloth to create a marbled effect in the s also led to reductions in sales and the only areas of growth were in the cheaper, mass-produced goods sold in DIY superstores.
More recently, however, wallpaper has undergone a revival in its fortunes. The fashion for feature walls has encouraged a taste for larger, more assertive patterns while the development of digital printing and the revival of screen-printing has enabled artists and freelance designers to get involved. Deborah Bowness and Tracy Kendall make bespoke and limited edition papers that are more like installations than wallpapers.
Firms like the Glasgow-based Timorous Beasties transform traditional pastoral scenes into dark, edgy images of contemporary life, and the involvement of big names from the world of fashion, such as Vivienne Westwood and Ralph Lauren, has helped to make wallpaper the essential background for a bold 21st-century lifestyle. What is this? Explore the range of exclusive gifts, jewellery, prints and more.
Skip to main content. Wed—Sun: Alternatively search more than 1. In A. 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 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 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 The paper is attributed to Hugo Goes, a printer in York. A guild of paperhangers was first established in France in Jean-Michel Papillon, a French engraver and considered the inventor of wallpaper, started making block designs in matching, continuous patterns in , 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
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