PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

More documents

Recommendations

Info

Historic types of wallpaper and decorative schemes of interiors Figure 28. Wallpapers imitating textiles in the study of the countess in the Hoch-Berg Suite, Schwetzinger Palace. Reproduction from Papiertapeten. Bestände, Erhaltung und Restaurierung, Staatliche Schlösser, Burgen und Gärten Sachsen in Zusammenarbeit mit dem Landesamt für Denkmalpflege Sachsen, Tagungsband, Michel Sandstein Verlag GmbH, Dresden, 2005, p. 141. Figure 29. A neo-Gothic pattern, Nowton Court. With the kind permission by Cole & Son (Wallpapers) Ltd. 67
Historic types of wallpaper and decorative schemes of interiors textiles. Oriental rugs were imported, copied and interpreted. Walls were covered with patterns inspired by Kelim carpets and camels bags, or their European imitations, which were used as cushions or upholstery. The amount of daylight was controlled with the aid of curtains or carpets, creating the dim atmosphere of desert tents. In Germany, on the other hand, three style groups that existed simultaneously can be distinguished: Neo-Rococo, Neo- Gothic and Neo-Renaissance. Besides architecture, the design of wallpapers and different kinds of mobilia was most influenced by the historicist styles. If one needed to decorate several rooms, particularly in manors or city residences, each room could be furnished in a different style. The choice of style depended on the function of a room. Thus, similarly to in England, a smoking room was decorated with Oriental or Moorish furnishings, textiles and wallpapers, a parlour in Empire or Neo-Classicist style, a study in Neo-Renaissance or Gothic, a lady’s boudoir, drawing room and ballroom in Rococo, and a dining room and library in Renaissance style. In the second half of the 19th century multiple styles existed simultaneously. Faster production, together with the transportation of goods by train, made many products affordable for a bigger group of consumers. It was the beginning of the era of mass consumption. Designers felt they had something to offer and could enhance earlier styles. 114 Technically, they felt that modern methods were better because machines led to greater precision for fine designs. In the middle of the century the tripartite division of the wall became standard. In all of the trend-setting countries, England, France and Germany, walls were segmented differently. The tripartite wall division was a means of dividing and ordering the space of the wall, as well as breaking up its stiffness. 115 In this case, a dado served as the horizontal carrier of architectural decoration that stretched upwards towards the frieze 114 Blakemore, History of Interior Design and Furniture, 345. 115 Heinrich Olligs, ed., Tapeten : Ihre Geschichte bis zur Gegenwart. Fortsetzung Tapeten-Geschichte, Band II (Braunschweig : Klinkhardt u. Biermann, 1970), 12–13. 68
Page 1 and 2:
Kadri Kallaste PRESERVATION OF WALL
Page 3 and 4:
2
Page 5 and 6:
Kadri Kallaste Preservation of Wall
Page 7 and 8:
3. Discussing principles of conserv
Page 9 and 10:
I am thankful to all the people and
Page 11 and 12:
10
Page 13 and 14:
12
Page 15 and 16:
14
Page 17 and 18: Introduction removed from its origi
Page 19 and 20: Introduction Kristel Kevvai (2008)
Page 21 and 22: Introduction CHOICE OF TOPIC The ch
Page 23 and 24: Introduction OBJECTS OF RESEARCH Ei
Page 25 and 26: Introduction STRUCTURE OF THE THESI
Page 27 and 28: Introduction HISTORIOGRAPHY AND SOU
Page 29 and 30: Introduction The material dealing w
Page 31 and 32: 30
Page 33 and 34: 32
Page 35 and 36: Historic types of wallpaper and dec
Page 67: Historic types of wallpaper and dec
Page 107 and 108: 106
Page 109 and 110: 108
Page 111 and 112: Methods of wallpaper production and
Page 119 and 120:
Methods of wallpaper production and
Page 121 and 122:
Page 123 and 124:
Page 125 and 126:
Page 127 and 128:
Page 129 and 130:
Page 131 and 132:
Page 133 and 134:
Page 135 and 136:
Page 137 and 138:
Page 139 and 140:
138
Page 141 and 142:
Discussing principles of conservati
Page 143 and 144:
Page 145 and 146:
Page 147 and 148:
Page 149 and 150:
Page 151 and 152:
Page 153 and 154:
Page 155 and 156:
Page 157 and 158:
Page 159 and 160:
Page 161 and 162:
Page 163 and 164:
162
Page 165 and 166:
Preservation of wallpaper as a part
Page 167 and 168:
Page 169 and 170:
Page 171 and 172:
Page 173 and 174:
Page 175 and 176:
Page 177 and 178:
Page 179 and 180:
Page 181 and 182:
Page 183 and 184:
Page 185 and 186:
Page 187 and 188:
Page 189 and 190:
Page 191 and 192:
Page 193 and 194:
Page 195 and 196:
Page 197 and 198:
Page 199 and 200:
Page 201 and 202:
Page 203 and 204:
Page 205 and 206:
Page 207 and 208:
Page 209 and 210:
Page 211 and 212:
Page 213 and 214:
Page 215 and 216:
Page 217 and 218:
Page 219 and 220:
218
Page 221 and 222:
Task of conservation. Case studies
Page 223 and 224:
Page 225 and 226:
Page 227 and 228:
Page 229 and 230:
Page 231 and 232:
Page 233 and 234:
Page 235 and 236:
Page 237 and 238:
Page 239 and 240:
Page 241 and 242:
Page 243 and 244:
Page 245 and 246:
Page 247 and 248:
Page 249 and 250:
Page 251 and 252:
Page 253 and 254:
Page 255 and 256:
Page 257 and 258:
Page 259 and 260:
Page 261 and 262:
Page 263 and 264:
Page 265 and 266:
Page 267 and 268:
Page 269 and 270:
Page 271 and 272:
Page 273 and 274:
Page 275 and 276:
Page 277 and 278:
Page 279 and 280:
Page 281 and 282:
Page 283 and 284:
Page 285 and 286:
284
Page 287 and 288:
Methodological conclusions preferre
Page 289 and 290:
Methodological conclusions thetical
Page 291 and 292:
consolidated and, secondly, if the
Page 293 and 294:
Methodological conclusions the larg
Page 295 and 296:
Methodological conclusions The auth
Page 297 and 298:
Methodological conclusions briefly
Page 299 and 300:
298
Page 301 and 302:
300
Page 303 and 304:
302
Page 305 and 306:
Documentation of the work on the Pu
Page 307 and 308:
Page 309 and 310:
Page 311 and 312:
Page 313 and 314:
Page 315 and 316:
Page 317 and 318:
Page 319 and 320:
Page 321 and 322:
Page 323 and 324:
Page 325 and 326:
Page 327 and 328:
Page 329 and 330:
Page 331 and 332:
Page 333 and 334:
Page 335 and 336:
334
Page 337 and 338:
Documentation of the work on the Es
Page 339 and 340:
Page 341 and 342:
Page 343 and 344:
Page 345 and 346:
Page 347 and 348:
Page 349 and 350:
Page 351 and 352:
Page 353 and 354:
Page 355 and 356:
354
Page 357 and 358:
Kokkuvõte tapeetide säilitamine n
Page 359 and 360:
Kokkuvõte Eestis ei ole aga muuseu
Page 361 and 362:
Kokkuvõte lise väärtuse tõttu r
Page 363 and 364:
Kokkuvõte rimislahenduse väljatö
Page 365 and 366:
Kokkuvõte JÄRELDUSED Tapeetide re
Page 367 and 368:
Kokkuvõte Tapeedi eemaldamine sell
Page 369 and 370:
368
Page 371 and 372:
370
Page 373 and 374:
INTERVIEW Interview with Simona Pre
Page 375 and 376:
Paccin - Preparation, Art Handling
Page 377 and 378:
Collier, A., Wallpaper - In and Out
Page 379 and 380:
Krista Kodres, Mart Kalm and Elo Lu
Page 381 and 382:
Directory, 1997. Accessed September
Page 383 and 384:
Stavenow-Hidemark, E., Textile desi
Page 385 and 386:
384
show all

PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?