Wallpapers

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

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.

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.

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.

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.

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.

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.

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. Subsequently, we have printed it in another typical color of the time, brown and now in – English red! The wallpaper is printed in the old glue color technique on unprimed paper and the wallpaper therefore has a unique luster and thinness that is not available in other wallpaper prints. Thanks to a strong glue color with a lot of binder, the English red wallpaper is equivalent to a modern plastic wallpaper from a wallpapering point of view.

Wallpaper sample approx. 50 cm of our wallpaper Benedicks Lilja.

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.

Pattern height 40 cm

Wallpaper sample 50 cm.

Wallpaper sample 50 cm.

Wallpaper sample 50 cm.

Wallpaper sample 50 cm.

Wallpaper sample 50 cm.

Wallpaper sample about 50 cm of our wallpaper Hullebo green

Pattern height 40 cm

With the advent of Art Nouveau at the turn of the 20th century, a wide variety of new and modern patterns were introduced for 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.