Baguette moldings were very common in fine rooms from the late 1800s to the 1920s.
Often they were attached between the wallpaper border and the cornice, or the white ceiling color was painted a bit down the wall and the baguette strip had to mark the border between wallpaper and ceiling. Also very useful as a replacement for wallpaper border. Nailed with brass nails. Can be taken down and put up again when redecorating.
Available for purchase in our stores.
EUR49.19
Cardboard corners for stiffening corners in connection with new clamping of wallboard, or in connection with renovation of cardboard clamped walls. Provides sharp and smooth corners.
EUR8.20
Gysinge’s own Swedish chipboard of superb long-fiber, wear-resistant quality, corresponding to the classic “Dalpilen No 1”.
The chipboard has a brown side and a white side. The white side is primed with a diffusion-open white chalk paint and is used on the outside. In this way, you save on one coat of paint when you use it as roofing felt, for example.
Since the cardboard is “pre-primed”, one coat of primer and one coat of adhesive paint is all that is needed to obtain a white traditional cardboard adhesive roof.
A similar result, but in a much simpler way, can be achieved by applying a coat of matt white linseed oil paint.
EUR6.83
A favorite revisited, reprinted in celebration of our 30 years in Building Conservation!
Wallpaper with a floral pattern from the 1920s in a modified vernacular style. Patterns of flowers, garlands and bows. The original is a wallpaper find that was found during the dismantling and relocation of our exhibition building Nästgårds in Gysinge.
Matching wallpaper border available. See related products.
EUR72.42
Used for wallpapering in the way that was common before cellulose paper and before paper was produced in rolls. See instructions for use in our article on rag paper.
Cardboard made from recycled textile and cellulose fiber.
A small and handy knife for cutting stencils. We have tried a number of knives and fell for this one.
EUR7.74
Templates Four wallpapers, nine borders
Almost all repeat patterns have been painted using stencils throughout history. The painters of medieval churches, the wallpaper makers of the 18th and 19th centuries, all used stencils to create their repeat patterns.
The golden age in Sweden was the early 19th century, when people often decorated their houses with stencils, a cheap and relatively easy way to imitate the expensive printed paper wallpaper of the upper classes. Stenciled walls became the decorative art of the social middle class and were common in the finer rooms of the home. In kitchens and simpler rooms, the walls were more often splash-painted. In some parts of Sweden, stencilling developed into a fine art, such as Hälsingland. Many patterns became localized, as painters worked within limited geographical areas.
In the 20th century, the technique has survived, for example in the production of signs. With the revival of interest in folk art in the late 20th century, stencil painting experienced a renaissance and many local associations and museums took up local patterns again.
Interest in old houses has also opened up new avenues for stencilling in cities. In the stairwells of apartment buildings, it is therefore common today to have stenciled borders on the walls. Stenciled walls often have bold patterns and many people are therefore hesitant to use them. But remember that stenciled wallpapers almost always belong to rooms with breast panels. They are only meant to cover part of the wall. That’s why wild and colorful patterns can still create both calm and harmonious rooms.
Strip for cardboard tensioning of roof and walls.
EUR13.21
Wallpaper on roll. Untreated. Not pre-glued, not plastered. Natural white color.
Ideal for use as a base for painting with adhesive paints and linseed oil paints, and for making cardboard strips for cardboard stretching.
Length 10,05 m. Width 53 cm
EUR13.57
The beautifully undulating lines of Art Nouveau meet soft tones of green and cream. Around the turn of the 20th century, wallpaper patterns like these became extremely popular thanks to their ability to create bright and cozy rooms.
Inspiration was drawn from the new idioms developed in Paris, Vienna and Berlin, among other places. The motif of foliage on elegantly curved stems is very characteristic of Art Nouveau.
The wallpaper was found in one of the rooms in the workers’ barracks in Gysinge and has now been reprinted.
The acanthus plant is one of the most cherished decorative elements of the late 18th and early 19th centuries. On this border, it winds its way above a strip of lightly oriental-inspired ornaments against a dark background. The latter combination allows us to date the border to the mid-nineteenth century, a time when plain-colored walls were still common. The interesting thing about the border is that it can be divided into two different and give completely different impressions; An acanthus border from around 1800 and / or a narrow dark-bottomed border from around 1850. In this case, the border is most easily divided with scissors or a hobby knife. Historically, “Akantus” is particularly suitable as an undivided border for the matt linseed oil colors Brown Umbra, Blue Green and Chrome Oxide Green. If you split the border, the lower narrow dark strip goes perfectly with the wall colors Brown Umbra and Burnt Terra.
EUR42.36
Wallpaper border 1920s with patterns of lingonberries and leaf garlands. Copied from wallpaper finds from the walls of our exhibition building, Nästgårds, in Gysinge.
The wallpaper Färnebo has the same color scheme but with patterns of flowers, leaf garlands and bows.
Length per roll 10 meters, width 6 centimeters.
EUR35.98
During the late Gustavian period, i.e. the latter part of the 18th century and the early 19th century, it was fashionable to paint the walls in a single color and break it up with a lavish border. The border “Råcksta” is from this time with a typical pattern of a winding plant vine in several shades of gray. Compare Gysinge’s stencil pattern …. which is on the same theme. The borders at this time were usually set up after the ceiling, or used to frame the walls in wall fields. “Råcksta” gives a special contemporary impression to the matte linseed oil paint colors Blue Grey, Yellow Ochre, Burnt Terra and Pompeian Red. The Råcksta border is magical, because as soon as you choose the carpentry 15% green umber, the border “marries” the carpentry and can thus be combined with any matte wall color, no matter what color it is.
Without a border, it was once considered that the wallpapering was unfinished. In Sweden, however, it was usually enough to have just a single border under the cornice, while in rich environments abroad you could also see borders along the edges of the breast panel and floor plinth, and sometimes even around door and window frames. Before the 20th century, the borders were not the same color as the wallpaper; on the contrary, the aim was for them to stand out and thus provide a clear border to the wallpaper. Thus, a blue border for a blue wallpaper was only allowed if it was a much darker or much lighter blue than the wallpaper’s own color. But ideally, the border of a blue wallpaper should be yellow, that of a pink one should be green, and so on. This rule about different colors of wallpaper borders has always applied to the common people. Therefore, the peasants usually had a different brush-painted line to finish their splash wallpaper; black line against light gray wallpaper, dark blue line against light blue and so on – or if they could afford it – a pre-printed paper border in vibrant colors and in completely different patterns. Contrast was the goal.Gysinge’s “Salsbården” comes from the Nästgårds show house in Gysinge and dates back to the 1880s. The interesting thing about the border is not only the color scheme, it has probably been printed in many more color variants than we have found, but the motif with a bell string, a very common decorative element in painting, woodcarving and in the intarsia of veneer furniture during the Gustavian era. The bell string is one of those 18th century patterns that has never gone out of fashion. So, without fear of breaking the style, you can use the bell string for all the wallpapers in this catalog, even the plain ones. And the more the border breaks against the wallpaper, the more genuine the feeling becomes.
EUR38.72
Printed paper border. Not pre-pasted. Edge trimmed. Not pattern matched. Length 10,00 m. Width 4,5 cm. Extra washable. Very good light fastness.
A wallpaper brush is normally used to smooth the wallpaper on the wall when wallpapering. Brush over the wallpaper to smooth it out and avoid bubbles and creases. Work up and down and from the center out to the sides. Wash the brush in water after use to keep it soft.
The wallpaper brush can also be used for grain painting. It is ideally suited to the “long straw” technique, a kind of simple striped grain that makes the stained surfaces slightly, slightly striped, much like knotless wood. This technique is commonly used on beadboard, linings and moldings (however, cores, flaming, etc. are usually painted, especially on door mirrors, to more accurately imitate real wood).
Wooden handle, black horsehair and synthetic blend brush. Length 21 cm, height 7 cm
EUR15.49
Printed paper wallpaper in a warm beige shade with a classy little checkered pattern in light red and yellowish tones. Printed in the traditional way in old rollers, one color at a time. Straight pattern fit. Very good light fastness and wipeable. The wallpapers are applied edge to edge or with a wire edge. Edge-cut. Not pre-pasted.
This particular wallpaper originally hung on the walls of a farm office at Wirum manor in Småland, and the date should be around 1880. It may be justified to point out that the wallpaper was on the walls, because small-patterned wallpapers often ended up on the ceiling in the gloomy, over-decorated interiors of the late 19th century. As wallpaper on the walls of simple cottages, or rooms such as farmhouses, kitchens and chambers, “The Farm Office” is an unbeatable mood creator along with white boarded ceilings, shed floors and rather dark carpentry.
Wallpaper history. It was not until the latter part of the 19th century that wallpaper became the property of every man. Poor families often bought thin, single-color wallpapers for their walls, known as 25-penny wallpapers. Rich families with large houses and apartments could instead excel with lots of patterns and colors in their rooms. But what really separated the rich from the poor was not the patterns, which were quite similar from one castle to the next, but the number of colors. The more colors, the more expensive the wallpaper was the rule. And the same rule still applies today.
In the late 19th century, a clear hierarchy emerged between different wallpaper patterns. In fine rooms such as the dining room and drawing room, the large-patterned wallpapers came in many shades of color, even gold. In simple spaces such as the kitchen and hallway, the small-patterned wallpapers came in instead.
Printed paper wallpaper in a dark gray shade with a classical small checkered pattern in English red and gray-white. Printed in the traditional way in old rollers, one color at a time. Not pre-glued. Straight pattern fit. Very good light fastness and wipeable. The wallpapers are applied edge to edge or with a wire edge. Edge treatment.
Printed paper wallpaper in a light gray shade with a classy small checkered pattern in soft blue and gray tones. Printed in the traditional way in old rollers, one color at a time. Straight pattern fit. Very good light fastness and wipeable. The wallpapers are applied edge to edge or with a wire edge. Edge-cut. Not pre-pasted.
“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.
When, in connection with the restoration of one of the attics at Wirums Säteri in Småland, we found the first flake of the wallpaper “Förmaket”, we thought we had found a real 18th century wallpaper. The diagonal checkered pattern with a small flower sprig in each square breathes very typical rococo. The flaming gray glue paint base also gives an unmistakable feeling of hand printing. Everything in our 18th century theory was right – until we found flag number two and saw that the pattern was printed on cellulose paper and not on paper made of cloth rag, as it should have been if it was genuine 18th century. The wallpaper also turned out to be made on a roll, not on glued sheets of paper, as in the 18th century. Today we know better. “Förmaket” is a wallpaper from around 1860, but of a low-key, elegant diagonal-patterned type that became popular already 100 years earlier – and is still one of the wallpaper printers’ favorite patterns. What distinguishes Gysinge’s wallpaper from other reprints is the uneven, handmade impression and the shifting ground color. Early machine printing art, one could define the wallpaper as.
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.
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.
