Wallpaper sample approx. 50 cm of the wallpaper Nästgårds, brown.

Typical wallpaper from the second half of the 19th century with an elegant medallion pattern in a single-color print. The wallpaper was in a strong ultramarine blue color against a beige background in the lower hall of the Nästgårdshuset in Gysinge, probably put up in 1887. Here is the same pattern in brown, which is another typical variant of a single-color print from the time. The wallpaper is printed in the old glue dye technique on unprimed paper and the wallpaper therefore has a unique luster and thinness that is not available in other wallpaper prints. In return, an unprimed wallpaper is slightly, but only slightly, more fragile in the wallpapering process.

The Lars-Daniels farm in Järvsö, is a typical Hälsingland farm from the first half of the 19th century; two-storey, timber, red colored, many windows with green hand-blown glass panes, decorated bridge sprig … The main building has remained largely untouched since it was built. Since it was mostly used as a mobilization camp for the military during the 20th century, there has been no reason to renovate it. The “Great Chamber” is one of the most well-preserved rooms in the house and this stenciled wallpaper comes from there. The date is around 1840. The wallpaper is a mixture of styles; First, one of the 18th century’s favorite patterns – sparsely scattered floral bouquets against a plain background, but here combined with a delicate, lace-like medallion pattern of the type that came with the neo-rococo only a hundred years later. This is what is so interesting about the interior design of the common people, often unconventional style combinations, often “extra everything” but as a final product still neither vulgar nor tasteless. The commoners were masters of this balancing act. Another safe stylistic move is that the stenciled wallpaper is often combined with a calm, single-colored breast panel up to window height, so that the room, despite the large-patterned wallpaper, still became calm and well-proportioned.The original wallpaper is painted with glue paint on rag paper and has been over-papered several times, which is why many of the finest details in the lace pattern have been lost over time. When reprinting the wallpaper, we have been careful to preserve this patina and have chosen not to reconstruct the pattern to perfection. The soul of Gysinge’s wallpapers is generally that they are not so perfect.

The Lars-Daniels farm in Järvsö, is a typical Hälsingland farm from the first half of the 19th century; two-storey, timber, red colored, many windows with green hand-blown glass panes, decorated bridge sprig … The main building has remained largely untouched since it was built. Since it was mostly used as a mobilization camp for the military during the 20th century, there has been no reason to renovate it. The “Great Chamber” is one of the most well-preserved rooms in the house and this stenciled wallpaper comes from there. The date is around 1840. The wallpaper is a mixture of styles; First, one of the 18th century’s favorite patterns – sparsely scattered floral bouquets against a plain background, but here combined with a delicate, lace-like medallion pattern of the type that came with the neo-rococo only a hundred years later. This is what is so interesting about the interior design of the common people, often unconventional style combinations, often “extra everything” but as a final product still neither vulgar nor tasteless. The commoners were masters of this balancing act. Another safe stylistic move is that the stenciled wallpaper is often combined with a calm, single-colored breast panel up to window height, so that the room, despite the large-patterned wallpaper, still became calm and well-proportioned.The original wallpaper is painted with glue paint on rag paper and has been over-papered several times, which is why many of the finest details in the lace pattern have been lost over time. When reprinting the wallpaper, we have been careful to preserve this patina and have chosen not to reconstruct the pattern to perfection. The soul of Gysinge’s wallpapers is generally that they are not so perfect.

“Farstun” is a typical Hälsingland stencil wallpaper from the last half of the 19th century. The era is known in Sweden as the Karl Johan period and had a penchant for silk-imitating patterns in sober colors. But very few could afford such silk wallpapers. Most had to make do with imitations, usually in the form of stencilled patterns in glue paint on rag paper. The middle classes of the population, priests and burghers, were also unable to afford expensive silk damask, but instead turned to local painters who became masters at imitating fabric patterns using stencils and silk-like colors. Finally, farmers also embraced the fashion for silk wallpaper, but translated the wallpaper patterns into bright vernacular colors. We have found this wallpaper in several farms in the Järvsö area where the color scheme blue, gray, red is the most common and the wallpaper that most closely resembles the farmers’ traditional colors. The more subdued color schemes in the catalog, on the other hand, are more typical of the 19th century and the Karl Johan era. Stenciled wallpaper is almost always combined with a single-color breast panel up to window height, made of wood or gray rag paper. This gives the rooms a sense of calm and harmonious proportions, even if the wallpaper patterns happen to be wild and colorful.