PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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Methods of wallpaper production and mounting Figure 66. A number of blocks to print different colours of one design. Reproduction from Wallpapers in Historic Preservation, Catherine Lynn Frangiamore, Technical Preservation Services Division, Office of Archaeology and Historic Preservation, National Park Service, U.S. Department of the Interior, Washington D.C., 1977, p. 8. 113
Methods of wallpaper production and mounting 2.2.2. Block-printing The technique of printing with engraved wooden blocks was known for decorating textiles before it was used to print on paper. The method of block-printing reached its peak during the mid-18th century in France and is still in use today despite the development of many alternative methods for mass producing wallpaper. 182 The blocks were made of three or four layers of wood and measured approximately 45.72 × 50.8 cm, 183 and they were glued together against the grain. (Fig. 66) The relief for printing a pattern was engraved of durable fine-grained wood, most commonly of pear, apple or sycamore wood. After the design had been traced on the block, it was gouged out of the wood. A separate block needed to be engraved for each colour. This means that if a pattern had five colours, five blocks needed to be prepared. Generally, every block bore an engraving that had the same height as the design. Very fine lines, dots and parts of a complicated design were printed with brass elements embedded in the block. (Fig. 67) At the beginning of the 19th century, the relief for printing was formed, instead of with wood, by brass sections filled with felt, flock or old hat material. Such printing blocks were called chapeaudées. The term derives from the French word chapeau, meaning “hat”. 184 The printing was done in an exact order, with larger and darker areas being printed first, while smaller surfaces, details and light colours were added later. Producing a roll of wallpaper with a colourful design could take days, since every layer of paint needed to dry before the next one could be applied. Distemper paint was most commonly used for printing with wooden blocks. Traditional distemper is a water medium paint using a mixture of whiting (chalk or calcium carbonate), pigment, sometimes china clay, water and a binder of rabbit skin or hide glue. 185 182 Ibidem. 183 A Decorative Art. 19th Century Wallpapers in the Whitworth Art Gallery (Manchester: Whitworth Art Gallery, 1985), 6. 184 Nouvel, Wallpapers in France, 21. 185 Distemper on Wallpaper – Case Study, Adelphi Papaer Hangings, Heritage Stewardship, accessed June 5, 2013, http://philipmarshall.net/hs/techniques/systems/finishes/media/ distemper_wallpaper.htm. 114
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Kadri Kallaste PRESERVATION OF WALL
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Kadri Kallaste Preservation of Wall
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3. Discussing principles of conserv
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I am thankful to all the people and
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Introduction removed from its origi
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Introduction Kristel Kevvai (2008)
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Introduction CHOICE OF TOPIC The ch
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Introduction OBJECTS OF RESEARCH Ei
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Introduction STRUCTURE OF THE THESI
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Introduction HISTORIOGRAPHY AND SOU
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Introduction The material dealing w
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Historic types of wallpaper and dec
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Preservation of wallpaper as a part
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Task of conservation. Case studies
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Methodological conclusions preferre
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Methodological conclusions thetical
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consolidated and, secondly, if the
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Methodological conclusions the larg
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Methodological conclusions The auth
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Documentation of the work on the Es
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Kokkuvõte tapeetide säilitamine n
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Kokkuvõte Eestis ei ole aga muuseu
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Kokkuvõte lise väärtuse tõttu r
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Kokkuvõte rimislahenduse väljatö
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Kokkuvõte JÄRELDUSED Tapeetide re
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Kokkuvõte Tapeedi eemaldamine sell
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INTERVIEW Interview with Simona Pre
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Paccin - Preparation, Art Handling
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Collier, A., Wallpaper - In and Out
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Krista Kodres, Mart Kalm and Elo Lu
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Directory, 1997. Accessed September
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Stavenow-Hidemark, E., Textile desi
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PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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