Best HD Walpapers 2013,2014&2015: September 2013

Saturday 7 September 2013

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Beautiful Walpaper Biography
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By the first quarter of the nineteenth century the abundance of high quality French wallpaper threatened the existence of many American wallpaper firms. Though many American paper stainers claimed to offer domestic papers of the same quality as French papers, their main selling point was that they were "inexpensive." The difference in craftsmanship between the two countries in this period is obvious. The French excelled in creating three-dimensional modeled forms and demonstrated an adherence to realism not found in early American wallpaper de1973_101absigns.

Aiming for the high end of the marketplace, the French exported rainbow papers, floral patterns with realistically-depicted bouquets and sprays, imitation drapery and marble masonry designs, charming landscape figure papers, flocked borders with faithfully rendered flowers and expensive scenic landscape papers. The latter represent the highest achievement in French wallpaper printing and design. Composed of between twenty and forty individual panels, an entire set required thousands of blocks to produce the elaborate design. A room hung with a scenic paper became a substitute for travel as it offered a view of the great monuments of Europe or an escape to an exotic, far-away place.

James H. Foster, a Boston wallpaper dealer, advertised several "long-strip landscapes" that included three by the Paris wallpaper firm Joseph Dufour et Cie. One of the most popular sets of scenic paper exported by Dufour was Telemachus also known as Les Paysages de Telemaque dans l’ile de Calypso. Based upon a 1699 French adaptation of Homer’s Odyssey by novelist Francois Fenelon (1651-1715), Les Adventures de Telemaque was immensely popular. The set, created about 1818, was printed in eighty-five colors and required over two thousand wood blocks to print the design. The continuous scene of non-repeating panels is filled with visual delights and narrative drama, including this detail which presents the moment when Telemachus attempts to escape from the Island of Calypso. Historic New England’s set was removed from the parlor of the Salmond House, Hanover, Massachusetts, and is one of six 1972_98known to have been installed in New England.

French wallpaper manufacturers pushed the limits of block printing and developed relatively simple techniques for producing spectacular designs. Jean Zuber experimented with ways of applying multi-colored grounds to the papers. His cousin, Michel Spoerlin, perfected a method of blending multiple ground colors, called irise, on a single roll of paper. In America, these were called rainbow papers. The brilliant green, pink and yellow matte ground of this Zuber paper dating from 1825-1835 is over printed with a restrained foliate medallion pattern en grisaille. Found in the attic of the Lord Mansion in Kennebunkport, Maine, it is assumed to have been hung in the house though its exact room location is unknown.

A third type of wallpaper that originated in France and that was popular during the early nineteenth century was called a "landscape figure." These patterns were composed of rows of two or three repeating vignettes with pastoral or classical themes separated by vertical stripes on a dotted or diapered f1976_92ield. To keep pace with their French competitors, American wallpaper firms produced adaptations of this style. Made around 1810-1815, this American landscape figure paper was used in a house near Plymouth, Massachusetts; Apparently, the home owner didn’t mind that the design was misprinted.

During the first quarter of the nineteenth century, American wallpaper manufacturers competed to improve the quality of their printing and began to develop new uses for wallpaper. Fireboards placed in front of the fireplace in the summer typically were covered in the same wallpaper that was used in the room. However, with the popularity of "landscape figures" manufacturers began producing large vignettes to be used specifically to cover fireboards. Manufacturers also began to create wallpaper designs for other uses such as covering the exteriors of bandboxes. Several of the bandboxes in Historic New England's collection are covered in decorative papers that were never intended to be applied to the walls.

Bandboxes are round or oval containers covered with wallpaper that were used to store or carry hats or other lightweight items. Hannah Davis (1784-1863) of Jaffrey, New Hampshire, turned to making band boxes in 1818 after the death of her mother. Her father Peter Davis, a clock maker, had died when Hannah was a young woman and she needed some means of supporting herself. Early in her career, Hannah began bartering her bandboxes in exchange for the goods or services she required, and by 1825 she was selling her band boxes to local merchants. She discovered that it was far more lucrative to sell the band boxes directly to the young women who worked in the textile mills located in cities along the Merrimack River. The wooden boxes made of spruce or pine were lined with newspaper and covered in common floral patterned wallpaper, or remnants of landscape figure papers. On the inside of the lids, she applied a label with her name and place of manufacture.

One can sometimes date the bandboxes based on the design of the label, or if available, the date of the newspaper lining. This labeled 1841-1842 Hannah Davis bandb1930_1679ox is lined with pages from an 1841 New Hampshire Baptist Register and is covered with an exuberant block-printed floral pattern. Printed in white and varnish green against a blue ground the box is a stylish example of floral wallpaper designs available during the early to mid nineteenth century.

In addition to all-over floral designs, striped floral patterns remained popular and were commonly produced during the first half of the nineteenth century. These small-scale designs feature stylized flower stripes alternating with bands of Xs or dots and are printed in two or three colors. A pattern book of the Hartford, Connecticut, firm Janes & Bolles, in business between 1821 and 1828, shows five colorways of a striped pattern that relates to this variation used to line a pine trunk found in the Josiah Smith Tavern in Weston, Massachusetts.

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Walpaper Download 2013 Pics Images Photos Pictures

Walpaper Download Biography
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Prior to 1750, few colonists in New England could afford to decorate their homes with wallpaper (or painted paper as it was called in the eighteenth century), and surviving examples from this period are rare. There is documentation that wallpaper was available as early as 1700 as evidenced by the inventory of a Boston bookseller which lists "7 quires of painted paper and three reams of painted paper."
Wealthy urban colonists could purchase "painted paper" (a translation of the French term papier peint) from stationers, book sellers and as a custom order from merchants who specialized in imported luxury goods. Wallpaper was an expensive decorative material, yet it was created as an affordable alternative to more costly wallcoverings.
1977_109
The most sumptuous wallcoverings in seventeenth-century Europe were leather, silk or wool damask and Italian cut velvets. Early eighteenth-century English flocked wallpaper frequently imitated the latter. Flocked papers were quite striking because of their bright colors and large-scale foliate designs. An early flocked paper in Historic New England’s collection is an unused sample found in the attic of the house of stationer Thomas Hancock. This paper is believed to have hung in the parlor of the prosperous merchant’s 1737 Boston home. The vivid crimson color survives because the wallpaper was not continually exposed to sunlight or to smoke from the fireplace.
1971_2187
By the mid-eighteenth century floral patterns based on more common textile designs such as brocades and cotton chintzes had come to dominate the market. A neatly composed daisy-like sprig paper of 1760-1790 was found in a house in Ipswich, Massachusetts, installed over a later paper dating from 1810-1815. Were it not for the charge stamp (see below) found on the reverse, its English origin and earlier date would not be conclusive. Block printed black, green and white on a pink ground this type of simple floral pattern remained popular in New England into the mid-nineteenth century and has recently been reproduced. Historic New England’s collection contains several other examples of English hand-blocked floral wallpapers which were used as pamphlet covers and as trunk linings. Though their original use on walls is unknown, they serve as important documentation of eighteenth century color schemes.
1926_960In contrast to the brightly colored flocked and floral patterned wallpapers, New Englanders frequently selected classical architectural pillar and arch designs printed en grisaille to decorate the stair halls and formal parlors of their elegant homes. These grand spaces could easily accommodate the large repeat of the patterns (some measure almost 48 inches high) and when installed would create a double-tiered colonnade across the wall. The popularity of pillar and arch papers printed by both English and later by American paper stainers is attested to by the variety of designs found throughout New England. Variations of the pillar and arch design were hung in the Josiah Quincy House, Quincy, Massachusetts, in Sparhawk Hall, Kittery Point, Maine and in the Timothy Johnson House in North Andover, Massachusetts.
1924_182
The somber grisaille palette was not limited to use in only pillar and arch patterns, but was used for other large figured papers. Though large figured papers retain a similar scale to the pillar and arch design, the severity of the architectural pattern is enlivened by the inclusion of Rococo and Gothic architectural elements, and classical and pastoral motifs which create a romantic effect. Sometime around 1765 loyalist Daniel Murray hung this pastoral paper in his house in Rutland, Massachusetts. The rustic scenes may have been copied from prints.
Stamp
England was the principal supplier of wallpaper to pre-revolutionary America, and English merchants benefitted financially by exporting their goods to the colonies. As early as 1712, England established a tax on wallpaper of 1d (pence) per square yard in addition to the tax levied on the individual undecorated sheets of handmade paper used to make a roll. However, the duty paid on the surface decoration could be reclaimed by the merchant if the paper was exported. Duty officers stamped each individual sheet of undecorated paper with a "First Account Taken" stamp and, after it was decorated, with a charge stamp in the form of a crown above an interlaced GR monogram.
England repealed the duty tax in 1836 so stamps like the one found on the Ipswich sprig paper help date and attribute early English wallpapers. After the war, England’s wallpaper industry stagnated. Perhaps because of increased taxes and a lack of skilled craftsmen, English wallpaper manufacturers focused their efforts on increased production rather than improved quality. Technical innovations in block printing allowed French firms to surpass their English counterparts and led to the unrivaled supremacy of French wallpaper design for much of the nineteenth century.

Walpaper Download 2013 Pics Images Photos Pictures

Free Walpapers 2013 Pics Images Photos Pictures

Free Walpapers Biography
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Prior to 1750, few colonists in New England could afford to decorate their homes with wallpaper (or painted paper as it was called in the eighteenth century), and surviving examples from this period are rare. There is documentation that wallpaper was available as early as 1700 as evidenced by the inventory of a Boston bookseller which lists "7 quires of painted paper and three reams of painted paper."
Wealthy urban colonists could purchase "painted paper" (a translation of the French term papier peint) from stationers, book sellers and as a custom order from merchants who specialized in imported luxury goods. Wallpaper was an expensive decorative material, yet it was created as an affordable alternative to more costly wallcoverings.
1977_109
The most sumptuous wallcoverings in seventeenth-century Europe were leather, silk or wool damask and Italian cut velvets. Early eighteenth-century English flocked wallpaper frequently imitated the latter. Flocked papers were quite striking because of their bright colors and large-scale foliate designs. An early flocked paper in Historic New England’s collection is an unused sample found in the attic of the house of stationer Thomas Hancock. This paper is believed to have hung in the parlor of the prosperous merchant’s 1737 Boston home. The vivid crimson color survives because the wallpaper was not continually exposed to sunlight or to smoke from the fireplace.
1971_2187
By the mid-eighteenth century floral patterns based on more common textile designs such as brocades and cotton chintzes had come to dominate the market. A neatly composed daisy-like sprig paper of 1760-1790 was found in a house in Ipswich, Massachusetts, installed over a later paper dating from 1810-1815. Were it not for the charge stamp (see below) found on the reverse, its English origin and earlier date would not be conclusive. Block printed black, green and white on a pink ground this type of simple floral pattern remained popular in New England into the mid-nineteenth century and has recently been reproduced. Historic New England’s collection contains several other examples of English hand-blocked floral wallpapers which were used as pamphlet covers and as trunk linings. Though their original use on walls is unknown, they serve as important documentation of eighteenth century color schemes.
1926_960In contrast to the brightly colored flocked and floral patterned wallpapers, New Englanders frequently selected classical architectural pillar and arch designs printed en grisaille to decorate the stair halls and formal parlors of their elegant homes. These grand spaces could easily accommodate the large repeat of the patterns (some measure almost 48 inches high) and when installed would create a double-tiered colonnade across the wall. The popularity of pillar and arch papers printed by both English and later by American paper stainers is attested to by the variety of designs found throughout New England. Variations of the pillar and arch design were hung in the Josiah Quincy House, Quincy, Massachusetts, in Sparhawk Hall, Kittery Point, Maine and in the Timothy Johnson House in North Andover, Massachusetts.
1924_182
The somber grisaille palette was not limited to use in only pillar and arch patterns, but was used for other large figured papers. Though large figured papers retain a similar scale to the pillar and arch design, the severity of the architectural pattern is enlivened by the inclusion of Rococo and Gothic architectural elements, and classical and pastoral motifs which create a romantic effect. Sometime around 1765 loyalist Daniel Murray hung this pastoral paper in his house in Rutland, Massachusetts. The rustic scenes may have been copied from prints.
Stamp
England was the principal supplier of wallpaper to pre-revolutionary America, and English merchants benefitted financially by exporting their goods to the colonies. As early as 1712, England established a tax on wallpaper of 1d (pence) per square yard in addition to the tax levied on the individual undecorated sheets of handmade paper used to make a roll. However, the duty paid on the surface decoration could be reclaimed by the merchant if the paper was exported. Duty officers stamped each individual sheet of undecorated paper with a "First Account Taken" stamp and, after it was decorated, with a charge stamp in the form of a crown above an interlaced GR monogram.
England repealed the duty tax in 1836 so stamps like the one found on the Ipswich sprig paper help date and attribute early English wallpapers. After the war, England’s wallpaper industry stagnated. Perhaps because of increased taxes and a lack of skilled craftsmen, English wallpaper manufacturers focused their efforts on increased production rather than improved quality. Technical innovations in block printing allowed French firms to surpass their English counterparts and led to the unrivaled supremacy of French wallpaper design for much of the nineteenth century.

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Flower Walpaper 2013 Pics Images Photos Pictures

Flower Walpaper Biography
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The popularity of striped floral papers coincided with the introduction of steam-driven roller printing. Invented in England, the first cylinder printing machine was imported to America in 1844 by John Howell of Philadelphia. By the mid 1850s, many American wallpaper manufacturers were producing roller-printed designs on inexpensive machine-made wood pulp papers. Manufacturers could now produce vast quantities of paper and introd1971_167uce new designs in response to rapidly changing decorating styles.

In the early-to mid-nineteenth century, the Gothic Revival style in architecture offered an acceptable alternative to neoclassicism. English critics, most notably, John Ruskin (1819-1900) and A. Welby Pugin (1812-1852), praised Gothic design for its ordered spaciousness and "honest" ornamentation. Pugin and Sir Charles Barry (1795-1860) championed the Gothic Revival style for religious and public buildings, and in 1836 began work on The Houses of Parliament, London - a vast complex of government offices and a symbol of national pride.

Although A.W. Pugin favored the Gothic Revival style for architecture, he decried its use for the decorative arts and specifically wallpaper. He deplored the use of artificial, uniform shading to indicate three-dimensional modeling of niches, pointed arches, quatrefoils and tracery. Although the Gothic Revival style of wallpaper was much criticized, it proved to be quite popular with consumers who often selected it to paper their walls. A cylinder printed design from the Carter Homestead in Lancaster, Massachusetts, is a schematic interpretation of Gothic ornamentation. Vertically repeating pointed arches frame views of a wooded landscape and alternate with rows composed of a pastiche of Gothic motifs. The shell-like center motif suggests a flattened ribbed vault or elaborate pendant in the flamboyant continental style.

Designers and architects in the mid-nineteenth century turned to earlier periods for stylistic alternatives to neoclassicism. Neobaroque designs feature over-the-top ornamentation and a profusion of motifs vying for space while the lighter and more open styles of the Rococo Revival wallpapers imported from France feature naturalistic flowers, C-scrolls, fanciful bouquets and delicate garlands. American wallpaper manufacturers copied the French designs, but many could not produce the su1969_580_2btle shading and soft colors that characterize the French Rococo Revival papers of this period.

The use of cylinder printing by American wallpaper manufacturers in the middle decades of the nineteenth century increased the production of moderately priced striped designs known as common papers. Many of the striped designs were also frequently printed in the Renaissance Revival style. In this paper from the Edward Mansfield House, Wakefield, Massachusetts, the three-dimensional qualities of more elaborate and expensive Renaissance Revival papers have been replaced with a flattened linear effect. The lacy cartouches and flanking diapered stripes that suggest strapwork are mere silhouettes against the white ground. Though cylinder printing could not match the three-dimensional qualities and subtleties of block printing, it did allow for the continuous printing of an entire roll of paper and could print finer detail than block printing permitted.

To create these designs, patterns were transferred to a wooden cylinder and the negative areas around the design were carved away. The remaining positive areas were outlined with metal pins and bars which strengthened the wooden cylinder and allowed for a greater number of impressions than traditional wooden blocks. Printed in a few colors on a low-quality paper, either lightly grounded or left ungrounded, common papers were an inexpensive way to update the appearance of a room. Many common striped papers in Historic New England's collection are preserved as fragments in a sequence of papers.

1971_177_2This common paper dates from 1840-1860 and was hung as the second wallpaper in a chamber of the Blanchard-Wellington House, Medford, Massachusetts. The design is printed in a simple palette of blue, red and gray and combines rows of stylized roses alternating with stripes of imitation silk moire. The overall effect is light, airy and feminine.

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