Best HD Walpapers 2013,2014&2015

Saturday, 7 September 2013

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.
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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.
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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.
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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.
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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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Bangla Walpaper 2013 Pics Images Photos Pictures

Bangla Walpaper Biography

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In the early 1600s, the French introduced flocked wallpaper. Flock is powdered wool or silk left over from the manufacture of cloth. The background color was applied first and the design was then stenciled on with a slow-drying adhesive. The flock was scattered onto the adhesive and a velvet-like pile was left on the design. Flocked wallpaper that imitated cut velvet was very popular but more expensive. English flocked papers (papiers d’Angleterre) were considered superior to French and fans of the English product included Madame de Pompadour, who used English flock papers in her apartments at Versailles and in the Chateau de Champs.
Prior to the 1700s, wallpaper was usually used in less important rooms, with the walls in “public” rooms hung with fabric. In the 18th century, with advances in printing and the commissioning of artists to design custom papers, wallpaper was no longer relegated to private quarters and the demand increased. At first, in addition to flocked papers that imitated cut velvet, trompe l'oeil papers (papers that “fooled the eye”) of architectural details , marble, and wood were most fashionable, and were often used with borders depicting swags of fabric or tassels. .
In the early 18th century, the most beautiful and extravagant wallpapers in Europe and the American colonies came from China.
The earliest documentation for printing wallpaper in America dates to a December 13,1756 advertisement of John Hickey, “lately from Dublin” whose ad in the New York Mercury noted that he he “stamps or prints paper in the English manner and hangs it so as to harbour no worms.” In 1765 another New Yorker, John Rugar, is recorded as having begun the manufacture of wallpaper and, in 1769, Plunket Fleeson, a Philadelphia upholsterer who had been in business at least since 1739, ran an announcement about the manufacture of American “paper-hangings of all kinds and colors, not inferior to those generally imported and as low in price. Also papier maché, or raised paper mouldings for hangings, in imitation of carving, either colored or gilt…As there is considerable duty imposed on paper-hangings imported here, it cannot be doubted but that everyone amongst us who wishes prosperity to America will give a preference to our own manufacture, especially on the above proposition of equally good and cheap.” Prior to the American Revolution, English papers were copied but after the Revolutionary war, patriotic themes were very popular in addition to florals, neoclassical motifs, and traditional patterns.
In 1778, sizes of wallpaper began to be standardized when King Louis XVI of France issued a decree specifying that the length of a wallpaper roll should be about 34 feet. In 1785, Christophe-Philippe Oberkampf, a Frenchman, invented the first wallpaper printing machine. Around the same time, another Frenchman, Nicholas Louis Robert invented a way to make a virtually endless roll of wallpaper from wood pulp instead of cotton and linen fiber, which also made it less costly.

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Saturday, 31 August 2013

New Walpaper 2013 Pics Images Photos Pictures

New Walpaper Biography
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As grand and elaborate as wallpaper was in th Steichen and Ansel Adams.

After WWII, the use of plastic resins revolutionized the wallpaper industry. Vinyl wallpaper , introduced in 1947, offered increased stain resistance, washability, durability, and strength. Pre-pasted papers first appeared in the early 1950s, but by that time wallpaper was beginning to fall into disfavor. Modernism was all about spareness and embellishments, including wallpaper, were frowned upon.
Today, in the early 21st century, we talk of wallcoverings instead of wallpapers and the field encompasses materials not even dreamed of by wallpaper manufacturers of the past. Recunprecedented variety of looks. Nothing effects the mood and style of a room like your choice of wallpaper.

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