PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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Methods of wallpaper production and mounting patented by Jean Zuber in 1826. The principle of taille-douce, as it was called, meant laying colour on paper with the aid of engraved brass cylinders. 191 The pattern was formed by small cavities engraved in the surface of a cylinder. The deeper the cavity, the darker the mark on the paper. Such a technique made it possible to archive various shades of a single colour with the aid of only one roller. Despite their fine and graphic appearance, papers produced by this method did not have the expected commercial success. In 1840 the manufacturers C. & J. G. Potter & Company 192 introduced wooden cylinders with raised surfaces, which employed the principles of block-printing. Each colour needed to be printed by a separate roller. In comparison to block-printed wallpapers, the size of the surface-printed repeat was relatively short, and the motifs were smaller in scale and less elaborate. (Fig. 72) To avoid paint mixing, and blurring the outcome, separate colours were usually printed as individual patches, rather than on top of each other. 193 Simpler patterns used up to four cylinders. With more elaborate patterns, the number could increase to 15–20. (Fig. 73) The printing surfaces were formed by fine brass elements tapped into the wooden core of the cylinder. Fine details, such as lines and dots, were printed with bare brass elements. The outlines of larger areas were formed by strips of brass, which were tightly stuffed with felt. (Fig. 74) After the cylinders had been attached to a machine, each was coated with a separate colourfed belt, which provided it with an appropriate colour. 194 Surface-printed wallpapers are easy to recognize. If one keeps in mind that the papers were printed with cylinders rolling in one certain direction, an edge (a “lip”) is formed on one verge of a defined shape. In addition, since the thin paint used for printing did not dry quickly, different colours could flow into each other, resulting in a picturesque effect. (Fig. 75) 191 Nouvel, Wallpapers in France, 23. 192 Banham, “The English Response:...”, 135. 193 Luthmer, Werkbuch des Dekorateurs, 75. 194 Frangiamore, Wallpapers in Historic Preservation, 12. 119
Methods of wallpaper production and mounting Figure 72. A selection of rollers in the workshop of Cole & Son in London. Figure 73. A six-colour printing machine. Photo was taken during the relocation of the wallpaper collection of the German Wallpaper Museum in Kassel. 120
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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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Methodological conclusions briefly
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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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