PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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Task of conservation. Case studies Figure 108. Well-preserved chinoiserie wallpaper exhibited within a segment of Neo-Rococo panelling. Figure 109. Older layer of wallpaper in the dining-room of the Puurmani manor. Figure 110. A segment of the three part decorative scheme found in the dining-room. 223
Task of conservation. Case studies The wallpaper imitated an embroidered or woven textile, which depicted green lush foliage with exotic birds, insects, and various fruits and flowers. (Fig. 111) From the pattern type and available analogues, it was dated between the 1890s and 1910s. Historicist patterns, and especially imitations of various materials, were still widely used in fashionable Estonian interiors until the beginning of the 20th century. 406 The surviving wallpaper and additional applications revealed a three-part decoration scheme, which had been popular between the 1870s and the beginning of the 20th century, when it was recommended for use in rooms open to guests, 407 such as parlours and dining rooms. 408 According to literature from the end of the 19th century, it was recommended that walls be separated from ceilings and floors visually. For an artistic result, decorators started to frame wallpapers with borders on all four sides. 409 In the dining room in the Puurmani manor, the wide border was sided by an additional strip of plain paper, which made the result even more refined. The corners of the framing border were embellished with special applications. Due to the combination of coffered wooden ceiling, oiled floor and wallpaper, the general image of the whole room was rather dark, which was very common for historicist room decoration. Although the decorative scheme of the Puurmani manor is the only one of its kind discovered and conserved in Estonia, several of its analogues can be seen in historical photographs. One of the most expressive examples is the salon-study of the Uuemõisa manor (Fig. 112), where the filling is surrounded by a wide border and a strip of plain paper. Each segment was treated as a separate segment. A similar, but simplified version of the three-part decorative scheme can be seen in the hall of the Voose manor (Fig. 113), and the boudoir and white hall of the Vääna manor. 406 Thümmler and Turner, “Unsteady Progress: From the Turn of the Century to the Second World War” in The Papered Wall. The History, Patterns and Techniques of Wallpaper, ed. Lesley Hoskins (London: Thames and Hudson Ltd., 2005), 186. 407 Woods, Kosuda Warner and Jacqué, “Proliferation:...”, 152. 408 Von Savigny, “Tapeten und Dekorationstoffe”, 199. 409 Von Falke, Die Kunst im Hause, 230. 224
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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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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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Documentation of the work on the Pu
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Kokkuvõte tapeetide säilitamine n
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Kokkuvõte Eestis ei ole aga muuseu
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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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PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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