Wallpaper sample 50 cm.

With the advent of Art Nouveau at the turn of the 20th century, a wide variety of new and modern patterns were introduced to wallpaper and textiles. There was everything from the strictly geometric to the undulating and floral. This particular wallpaper belongs to the latter category with its finely scattered flower stems and lobed leaves that form a playful and harmonious expression.

One of the great sources of inspiration at the time was Japanese woodblock prints with their masterfully composed plant decorations, and perhaps one senses some similar features here.

The Hullebo wallpaper is available in both a mild deep red and a muted medium green, both typical fashion colors of the period around 1900-1910. Together with a matching border, the pattern gives a stylish Art Nouveau feel and is particularly effective in combination with joinery painted in soft tones of, for example, Art Nouveau beige, English red or green umber.

Hullebo was found in one of the workers’ dwellings in Gysinge during an inventory in the early 1990s and has been waiting for a reprint ever since. Now it was finally time!

The wallpaper fits well in both small and large rooms, but here in Gysinge we think the pink would fit extra well as a bedroom wallpaper, as it gives a cozy and homely feeling.

Period wallpaper from the end of the 19th century in a mild green tone with a beige background. The wallpaper is a recreation from an old wallpaper fragment of unknown origin. The simple but detailed grid pattern fits both in older houses and in a more modern environment.

The wallpaper has a straight pattern fit and is edge-cut. Printed using the old glue dye technique on unprimed paper. An important step for us in the production of a new wallpaper. However, unpasted wallpaper is slightly more fragile when wallpapering.

The environmental image shows the wallpaper hung in blue and the door painted in a self-mixed color of blue and gray linseed oil paints.

“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.