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.

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

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 blue wallpaper and door painted in a self-mixed color of blue and gray linseed oil paints.

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.

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.