PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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Methods of wallpaper production and mounting knowledge of pigments and paints helps to date a wallpaper or even determine its origin. Before several inorganic synthetic pigments were developed at the end of the 18th century and during the 19th century, most of the colours used for printing wallpapers were earth pigments (e.g. yellow ochre, umber and terre verte) 208 in the 18th century. Fashionable papers were occasionally printed with blue and green verditer, and Prussian blue and carmine were used to colour textile fibres for flocked wallpapers. Dark outlines were printed with ivory black. In comparison to the dull-coloured European papers of the time, imported chinoiserie wallpapers were painted with malachite green, carmine red, lapis lazuli and azurite blue. 209 According to a book published by Theodor Seeman 210 in 1882, earth pigments and mineral pigments were used to print wallpapers. The most common earth pigments included Bolus and Cardinal purple (Caput Mortuum) for red, Ultramarine and Azurite for blue, Malachite and Green Earth for green, Yellow Earth and Ocker for yellow, Brown Ocker, Umbra and Raw Sienna for brown, and limestone, chalk and kaolin for white. A much larger number of mineral pigments were used to print wallpapers. The most common of them were Cinnabar, Red Lead, Chrome Red and Venetian Red for red, Chrome Yellow, Massicot, Napels Yellow and Cadmium Yellow for yellow, Zinc Green, Chrome Green and Cinnabar Green for green, Blue Verditer, Ultramarin, Blue Mountain and Prussian Blue for blue, Carbon Black and Bone Black for black and Zinc White for white. The discovery of synthetic substitutes of various pigments made it easier and cheaper to produce certain colours, which otherwise needed to be mined and prepared at great expense. New pigments made it possible to print more complicated and colourful designs more cheaply and with less effort. 208 Ibid., 61. 209 Ibidem. 210 Theodor Seemann, Die Tapete, ihre ästhetische Bedeutung und technische Darstellung sowie kurze Beschreibung der Bunt-Papier Fabrikation, U. Hartleben’s Verlag, Wien, Pest, Leipzig, 1882, 142–177. 125
Methods of wallpaper production and mounting Wallpapers were traditionally printed with distemper paint, which is a water-medium paint made using a mixture of whiting (chalk or calcium carbonate), pigment, sometimes china clay, water and a binder of rabbit skin (gelatine) or hide glue 211 in precise proportions that allowed the paint to be printed without flaking after drying. The word “distemper” derives from the French term detrempre, which means to soak, and refers to a process of letting chalk soak overnight before mixing it with a pigment. Distemper paint is suitable for printing wallpapers, since it creates subtle tints, a matte thick surface and cannot be washed away when dry. 211 “Some Notes on Distemper: Traditional Hide Glue Bound Distemper” in Heritage Stewardship, accessed December 9, 2012, http://philipmarshall.net/hs/techniques/ systems/finishes/media/distemper_wallpaper.htm. 126
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Kadri Kallaste PRESERVATION OF WALL
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Kadri Kallaste Preservation of Wall
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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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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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