PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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Historic types of wallpaper and decorative schemes of interiors Figure 17. Wallpaintings depicting arabesque panels in the entrance of the Neue Pavilion in Berlin. Figure 18. Castletown Print Room, 1773. Reproduction from The Wallpaper History Review, 2008, p.14. Figure 19. The Print Room, Woodhall Park, Hertfordshire. Reproduction from The Book of Wallpaper. A History and an Appreciation, E. A. Entwisle, Arthur Barker, London, 1954, Plate 32. 53
Historic types of wallpaper and decorative schemes of interiors landscapes and ornamental cartouches. 94 (Fig. 16) As the panels were produced separately, this allowed a decorator to create a setting according to the size of a room or personal taste. Arabesque wallpapers were commonly fixed on a monochromatic wallpaper above a dado. If the wallpapers were presented as separate panels, they might have been sided by pilasters and framed by cornices, borders or mouldings. Besides symmetrical arabesque designs, full- or half-drop patterns, integrating symmetrically arranged motifs, were used to embellish walls as separate panels. (Fig. 17) Besides decorating walls, arabesque panels were frequently used to cover folding screens, which were very popular during the 18th century. A type of decoration that was considered characteristic to English Neo-Classical interiors was the print room, which combined graphic prints and trompe-l’oeil frames, festoons and other decorative details into a finely arranged setting. The fashion started in the middle of the 18th century and employed various graphic prints, which were pasted over monochromatic painted or papered walls. By the 1770s this fashion had reached the continent. 95 Although the print rooms that have survived are found in aristocratic houses, it is not certain that such decorations were not also used in interiors of lower social class homes. 96 Simpler print rooms featured black-and-white prints pasted in rows next to each other. In more extravagant cases, the prints were integrated into a harmonic decoration with trompe l’oeil paper cut-outs depicting frames, garlands, swags, bows and chains. (Fig. 18, Fig. 19) Print rooms usually featured a selection of prints: engravings, etchings, mezzotints, aquatints and, later, lithographs pasted onto coloured paper backgrounds in symmetrical arrangements. 97 94 Véronique de Bruignac – La Hogue, “Arabesques and Allegories: French Decorative Panels” in The Papered Wall. The History, Patterns and Techniques of Wallpaper, ed. by Lesley Hoskins (London: Thames and Hudson Ltd., 2005), 78. 95 Alfred P. Hagemann, Wilhelmine von Lichtenau (1753–1820). Von der Mätresse zur Mäzenin (Weimar: Böhlau Verlag, 2007), 282. 96 Julie Fitzgerald, “The Georgian Print Room Explored” in The Wallpaper History Review, 2008, 16. 97 Ibid., 14. 54
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Kadri Kallaste PRESERVATION OF WALL
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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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