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This classic Georgian design can be seen at Greyfriars, a medieval timber house in Worcester. The property?s 20th Century owner, Elsie Moore, acquired some unused rolls from a rectory attic in nearby Pershore, and displayed sections of them as framed panels in her bright yellow dining room. Suspecting that the turquoise pigment in the ground could have been arsenic, she covered the panels in plain brown paper to prevent the unwitting poisoning of either herself or her guests. The holes made by the pins she used can still be seen today, but the paper is, thankfully, (safely) back on show. The scale of the original pattern has been reduced for usability, whilst the four colourways include a nod to the original, a traditional interpretation and more contemporary options. -
This classic Georgian design can be seen at Greyfriars, a medieval timber house in Worcester. The property?s 20th Century owner, Elsie Moore, acquired some unused rolls from a rectory attic in nearby Pershore, and displayed sections of them as framed panels in her bright yellow dining room. Suspecting that the turquoise pigment in the ground could have been arsenic, she covered the panels in plain brown paper to prevent the unwitting poisoning of either herself or her guests. The holes made by the pins she used can still be seen today, but the paper is, thankfully, (safely) back on show. The scale of the original pattern has been reduced for usability, whilst the four colourways include a nod to the original, a traditional interpretation and more contemporary options.
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This classic Georgian design can be seen at Greyfriars, a medieval timber house in Worcester. The property?s 20th Century owner, Elsie Moore, acquired some unused rolls from a rectory attic in nearby Pershore, and displayed sections of them as framed panels in her bright yellow dining room. Suspecting that the turquoise pigment in the ground could have been arsenic, she covered the panels in plain brown paper to prevent the unwitting poisoning of either herself or her guests. The holes made by the pins she used can still be seen today, but the paper is, thankfully, (safely) back on show. The scale of the original pattern has been reduced for usability, whilst the four colourways include a nod to the original, a traditional interpretation and more contemporary options.
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This classic Georgian design can be seen at Greyfriars, a medieval timber house in Worcester. The property?s 20th Century owner, Elsie Moore, acquired some unused rolls from a rectory attic in nearby Pershore, and displayed sections of them as framed panels in her bright yellow dining room. Suspecting that the turquoise pigment in the ground could have been arsenic, she covered the panels in plain brown paper to prevent the unwitting poisoning of either herself or her guests. The holes made by the pins she used can still be seen today, but the paper is, thankfully, (safely) back on show. The scale of the original pattern has been reduced for usability, whilst the four colourways include a nod to the original, a traditional interpretation and more contemporary options.
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A rare and very early find, this Baroque design was uncovered by the National Trust Papers, hiding beneath wall-hung tapestries at Erddig in Wales. Block-printed onto handmade paper panels, which would have been nailed directly to the wall (rather than glued), their removal revealed the earliest verified tax-stamp on the reverse. The colourful yellow original has been pared down for one of four tonal colourways. A further three colourways bring versatility to the modern use of this lively paisley design.
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A rare and very early find, this Baroque design was uncovered by the National Trust Papers, hiding beneath wall-hung tapestries at Erddig in Wales. Block-printed onto handmade paper panels, which would have been nailed directly to the wall (rather than glued), their removal revealed the earliest verified tax-stamp on the reverse. The colourful yellow original has been pared down for one of four tonal colourways. A further three colourways bring versatility to the modern use of this lively paisley design.
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A rare and very early find, this Baroque design was uncovered by the National Trust Papers, hiding beneath wall-hung tapestries at Erddig in Wales. Block-printed onto handmade paper panels, which would have been nailed directly to the wall (rather than glued), their removal revealed the earliest verified tax-stamp on the reverse. The colourful yellow original has been pared down for one of four tonal colourways. A further three colourways bring versatility to the modern use of this lively paisley design.
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A rare and very early find, this Baroque design was uncovered by the National Trust Papers, hiding beneath wall-hung tapestries at Erddig in Wales. Block-printed onto handmade paper panels, which would have been nailed directly to the wall (rather than glued), their removal revealed the earliest verified tax-stamp on the reverse. The colourful yellow original has been pared down for one of four tonal colourways. A further three colourways bring versatility to the modern use of this lively paisley design.
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A rare and very early find, this Baroque design was uncovered by the National Trust Papers, hiding beneath wall-hung tapestries at Erddig in Wales. Block-printed onto handmade paper panels, which would have been nailed directly to the wall (rather than glued), their removal revealed the earliest verified tax-stamp on the reverse. The colourful yellow original has been pared down for one of four tonal colourways. A further three colourways bring versatility to the modern use of this lively paisley design.
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A rare and very early find, this Baroque design was uncovered by the National Trust Papers, hiding beneath wall-hung tapestries at Erddig in Wales. Block-printed onto handmade paper panels, which would have been nailed directly to the wall (rather than glued), their removal revealed the earliest verified tax-stamp on the reverse. The colourful yellow original has been pared down for one of four tonal colourways. A further three colourways bring versatility to the modern use of this lively paisley design.
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A rare and very early find, this Baroque design was uncovered by the National Trust Papers, hiding beneath wall-hung tapestries at Erddig in Wales. Block-printed onto handmade paper panels, which would have been nailed directly to the wall (rather than glued), their removal revealed the earliest verified tax-stamp on the reverse. The colourful yellow original has been pared down for one of four tonal colourways. A further three colourways bring versatility to the modern use of this lively paisley design.
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This flamboyant, vibrant peacock design is a beautiful example of late-19th century wallpaper printing. Found on a lobby wall at Erddig in Wales, it was hung in the 1870s, and has the painterly finish of a traditional Chinese silk. Showing peacocks perched on branches, accessorised by flowers, leaves and birds, the subject is typical of wallpapers and fabrics produced to satisfy the western elite?s interest in Chinese design. Coloured in eight vibrant ways including elegant pale and bolder dark grounds, and even a shimmering gold
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This flamboyant, vibrant peacock design is a beautiful example of late-19th century wallpaper printing. Found on a lobby wall at Erddig in Wales, it was hung in the 1870s, and has the painterly finish of a traditional Chinese silk. Showing peacocks perched on branches, accessorised by flowers, leaves and birds, the subject is typical of wallpapers and fabrics produced to satisfy the western elite?s interest in Chinese design. Coloured in eight vibrant ways including elegant pale and bolder dark grounds, and even a shimmering gold
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This flamboyant, vibrant peacock design is a beautiful example of late-19th century wallpaper printing. Found on a lobby wall at Erddig in Wales, it was hung in the 1870s, and has the painterly finish of a traditional Chinese silk. Showing peacocks perched on branches, accessorised by flowers, leaves and birds, the subject is typical of wallpapers and fabrics produced to satisfy the western elite?s interest in Chinese design. Coloured in eight vibrant ways including elegant pale and bolder dark grounds, and even a shimmering gold
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This flamboyant, vibrant peacock design is a beautiful example of late-19th century wallpaper printing. Found on a lobby wall at Erddig in Wales, it was hung in the 1870s, and has the painterly finish of a traditional Chinese silk. Showing peacocks perched on branches, accessorised by flowers, leaves and birds, the subject is typical of wallpapers and fabrics produced to satisfy the western elite?s interest in Chinese design. Coloured in eight vibrant ways including elegant pale and bolder dark grounds, and even a shimmering gold
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This flamboyant, vibrant peacock design is a beautiful example of late-19th century wallpaper printing. Found on a lobby wall at Erddig in Wales, it was hung in the 1870s, and has the painterly finish of a traditional Chinese silk. Showing peacocks perched on branches, accessorised by flowers, leaves and birds, the subject is typical of wallpapers and fabrics produced to satisfy the western elite?s interest in Chinese design. Coloured in eight vibrant ways including elegant pale and bolder dark grounds, and even a shimmering gold
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This flamboyant, vibrant peacock design is a beautiful example of late-19th century wallpaper printing. Found on a lobby wall at Erddig in Wales, it was hung in the 1870s, and has the painterly finish of a traditional Chinese silk. Showing peacocks perched on branches, accessorised by flowers, leaves and birds, the subject is typical of wallpapers and fabrics produced to satisfy the western elite?s interest in Chinese design. Coloured in eight vibrant ways including elegant pale and bolder dark grounds, and even a shimmering gold
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This flamboyant, vibrant peacock design is a beautiful example of late-19th century wallpaper printing. Found on a lobby wall at Erddig in Wales, it was hung in the 1870s, and has the painterly finish of a traditional Chinese silk. Showing peacocks perched on branches, accessorised by flowers, leaves and birds, the subject is typical of wallpapers and fabrics produced to satisfy the western elite?s interest in Chinese design. Coloured in eight vibrant ways including elegant pale and bolder dark grounds, and even a shimmering gold
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This flamboyant, vibrant peacock design is a beautiful example of late-19th century wallpaper printing. Found on a lobby wall at Erddig in Wales, it was hung in the 1870s, and has the painterly finish of a traditional Chinese silk. Showing peacocks perched on branches, accessorised by flowers, leaves and birds, the subject is typical of wallpapers and fabrics produced to satisfy the western elite?s interest in Chinese design. Coloured in eight vibrant ways including elegant pale and bolder dark grounds, and even a shimmering gold
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The prolific output of William Morris and the Arts & Crafts movement is widely evident within the National Trust Papers portfolio, not least at Morris?s own London home ?Red House?. He was a visitor, ?student? and 19th Century influencer at the Hencroft Works in Leek, where his friend Thomas Wardle taught and experimented with dyeing fabrics and printing papers with natural inks. This design ? a stitched, repeating pattern of stylised cowslips ? was found at Wardle?s school of embroidery in Leek, and has been effortlessly translated into a wallpaper design in eight stunning colourways.
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The prolific output of William Morris and the Arts & Crafts movement is widely evident within the National Trust Papers portfolio, not least at Morris?s own London home ?Red House?. He was a visitor, ?student? and 19th Century influencer at the Hencroft Works in Leek, where his friend Thomas Wardle taught and experimented with dyeing fabrics and printing papers with natural inks. This design ? a stitched, repeating pattern of stylised cowslips ? was found at Wardle?s school of embroidery in Leek, and has been effortlessly translated into a wallpaper design in eight stunning colourways.
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The prolific output of William Morris and the Arts & Crafts movement is widely evident within the National Trust Papers portfolio, not least at Morris?s own London home ?Red House?. He was a visitor, ?student? and 19th Century influencer at the Hencroft Works in Leek, where his friend Thomas Wardle taught and experimented with dyeing fabrics and printing papers with natural inks. This design ? a stitched, repeating pattern of stylised cowslips ? was found at Wardle?s school of embroidery in Leek, and has been effortlessly translated into a wallpaper design in eight stunning colourways.
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The prolific output of William Morris and the Arts & Crafts movement is widely evident within the National Trust Papers portfolio, not least at Morris?s own London home ?Red House?. He was a visitor, ?student? and 19th Century influencer at the Hencroft Works in Leek, where his friend Thomas Wardle taught and experimented with dyeing fabrics and printing papers with natural inks. This design ? a stitched, repeating pattern of stylised cowslips ? was found at Wardle?s school of embroidery in Leek, and has been effortlessly translated into a wallpaper design in eight stunning colourways.
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The prolific output of William Morris and the Arts & Crafts movement is widely evident within the National Trust Papers portfolio, not least at Morris?s own London home ?Red House?. He was a visitor, ?student? and 19th Century influencer at the Hencroft Works in Leek, where his friend Thomas Wardle taught and experimented with dyeing fabrics and printing papers with natural inks. This design ? a stitched, repeating pattern of stylised cowslips ? was found at Wardle?s school of embroidery in Leek, and has been effortlessly translated into a wallpaper design in eight stunning colourways.
