Robert M. Kelly - Academia.edu (original) (raw)
Papers by Robert M. Kelly
Polychrome, gilded, and embossed leather was considered an attractive covering for decorative fur... more Polychrome, gilded, and embossed leather was considered an attractive covering for decorative furnishings and walls in American Gilded Age mansions. These specialty European leathers originally crafted in the 17th and 18th century were either repurposed in the 19th century for the American market or, new versions of them were crafted following evolving 19th century technologies. By the 21st century, with a decreased demand for these decorative leathers, the craft traditions had become a forgotten art. The 2003 decision to replace 1,400 square feet of polychromed embossed leather in a gilded age boardroom presented an opportunity to visit the atelier to discuss and document the decorative finishing process. This presentation shares through a photo essay how one workshop has revived this traditional craft for the 21st century marketplace. Decorated leathers are produced using a combination of traditional techniques and contemporary materials. The presentation will also address how the...
SSRN Electronic Journal, 2012
Historic Paperhanging Techniques: A Bibliographic Essay 18 Working Methods, 257. 19 "...hanging p... more Historic Paperhanging Techniques: A Bibliographic Essay 18 Working Methods, 257. 19 "...hanging paper, lesser quality: one edge work...40 rolls per 8 hours; ...medium quality of paper, two-edge, 24 rolls per 8 hours; ...high quality papers, two-edge, 20 rolls per 8 hours..." John Ehrhardt, Estimating Painting and Decorating... (New York: National Painter's Magazine, 1936), p. 67. "On the cheapest class of work. .. only one side of the paper trimmed (commonly called "slap work"), a paper hanger should hang 40 to 44 single rolls per 8-hr. day. . ." Frank Walker,
This article examines wallpaper use in Canada from the beginning of cylinder printing in 1860 to ... more This article examines wallpaper use in Canada from the beginning of cylinder printing in 1860 to 1935. Statistics reveal that the value of wallpaper within Canada grew steadily during this period, before declining precipitously during the 1930s. Canada's four major factories achieved dominance in their home market by producing low-to-middle grade wallpaper at affordable prices. This paper documents this achievement and explores its significance, centering on a key compilation of primary and secondary sources. From this compilation, costs and patterns of trade are extracted in order to show Canadian development against the backdrop of wallpaper history. Partial comparison to Canada's chief competitor and trading partner, the United States, is made through analysis of per capita production and consumption figures. This article is grounded in recent scholarship from Europe which suggests that wallpaper can be viewed as an object of use over and above its more familiar role as a...
The WALLPAPER, 2020
THE ZUBER PATRIARCHY: Spring: Jean Zuber, fl.1790-1835 Summer: Jean Zuber-Karth, fl. 1836-1853 Au... more THE ZUBER PATRIARCHY: Spring: Jean Zuber, fl.1790-1835 Summer: Jean Zuber-Karth, fl. 1836-1853 Autumn: Ivan (Jean) Zuber, fl. 1854-1907
This multi-part series is a re-telling of how the Zuber factory made wallpaper over a 117-year period (1790-1907). It is closely based on the thesis “From the Workshop to the Wall” by Dr. Bernard Jacqué. Two disclaimers: the thesis is written in the French language. The possibility of errors in sense and transcription should be kept in mind; should these exist, they belong to me. Secondly, these technical and biographical sketches are a radical concision of the thesis, which takes a bird’s-eye view of the history of wallpaper.
The WALLPAPER, 2020
V. 1, N. 5 (May 15, 2020) is titled "Is Wallpaper Essential?," answers in the affirmative, and ar... more V. 1, N. 5 (May 15, 2020) is titled "Is Wallpaper Essential?," answers in the affirmative, and argues for a new definition: "Wallpaper is affordable and flexible, modular in form and design, ordinarily covered with a printed pattern, and made for decorating domestic walls."
The WALLPAPER, 2020
V. 1, N. 4 (April 15, 2020) is titled "Bernard Jacqué, His Thesis, and His Methods." It shows how... more V. 1, N. 4 (April 15, 2020) is titled "Bernard Jacqué, His Thesis, and His Methods." It shows how Jacqué's work relates to that of Jules David Prown, an art historian credited with formulating an influential approach to material culture in the pages of the Winterthur Portfolio in the early 1980s.
The WALLPAPER, 2020
V. 1, N. 3. (March 15, 2020) is titled "Wallpaper Values" and compares and contrasts the values o... more V. 1, N. 3. (March 15, 2020) is titled "Wallpaper Values" and compares and contrasts the values of wallpaper as decorative art, as avatar of social values, and as material culture.
The WALLPAPER (newsletter), 2020
Vol. 1, No. 2 is titled "Wallpaper and America" and is a critique of "Wallpaper In America" (1980... more Vol. 1, No. 2 is titled "Wallpaper and America" and is a critique of "Wallpaper In America" (1980), the standard text in the field of historical wallpaper by Catherine Lynn.
The WALLPAPER, 2020
Vol. 1, No. 1 of The WALLPAPER is an essay contrasting the approaches to wallpaper in the work of... more Vol. 1, No. 1 of The WALLPAPER is an essay contrasting the approaches to wallpaper in the work of Catherine Lynn, Phillippa Mapes, and Bernard Jacqué.
9th North American Textile Conservation Conference, 2013
Polychrome, gilded, and embossed leather was considered an attractive covering for decorative fur... more Polychrome, gilded, and embossed leather was considered an attractive covering for decorative furnishings and walls in American Gilded Age mansions. These specialty European leathers originally crafted in the 17th and 18th century were either repurposed in the 19th century for the American market or, new versions of them were crafted following evolving 19th century technologies. By the 21st century, with a decreased demand for these decorative leathers, the craft traditions had become a forgotten art. The 2003 decision to replace 1,400 square feet of polychromed embossed leather in a gilded age boardroom presented an opportunity to visit the atelier to discuss and document the decorative finishing process. This presentation shares through a photo essay how one workshop has revived this traditional craft for the 21st century marketplace. Decorated leathers are produced using a combination of traditional techniques and contemporary materials. The presentation will also address how these leathers were prepared and mounted for long-term preservation needs using current materials and methods. Título-FUSIÓN DEL SIGLO XXI CON UNA EDAD DE ORO, LA SALA DE REUNIONES FORTUNE 500 Resumen-El cuero policromado, dorado y repujado era considerado como una cubierta atractiva para los muebles decorativos y las paredes de las mansiones en la Edad de Oro Americana. Esta especialidad en cuero europeo, originalmente manufacturado en los siglos XVII y XVIII, fue reutilizada en el siglo XIX para el mercado americano, o bien, se crearon nuevas versiones de dicha especialidad empleando tecnologías desarrolladas durante ese siglo. En el siglo XXI, con una disminución en la demanda de estos cueros decorativos, las tradiciones artesanales se han convertido en un arte olvidado. En el año 2003, la decisión de sustituir 1,400 pies cuadrados de cuero repujado y policromado al interior de una sala de reuniones de la Edad de Oro, presentó una oportunidad para visitar el taller con la finalidad de discutir y documentar el proceso de acabado decorativo. Esta presentación comparte a través de un ensayo fotográfico, cómo un taller ha revivido esta artesanía tradicional para el mercado del siglo XXI. Los cueros decorados se producen usando una combinación de técnicas tradicionales y materiales contemporáneos. La presentación también indicará cómo estos cueros fueron preparados y montados para las necesidades de preservación a largo plazo, utilizando materiales y métodos actuales. Titre-INTÉGRER LE 21E SIÈCLE À UNE SALLE DE RENCONTRE DE LA PÉRIODE GILDED AGE Résumé-Le cuir polychrome, doré et repoussé était considéré comme un produit de recouvrement attrayant pour les meubles décoratifs et les murs de somptueux manoirs américains de la période Gilded Age. Ces cuirs européens spécialisés, fabriqués au 17e et 18e siècle, ont été adaptés au 19e siècle pour le marché américain et de nouvelles versions ont été fabriquées en utilisant des technologies du 19e siècle. Au 21e siècle, la demande pour 40 San Francisco, California • November 12 th-15 th , 2013 ces cuirs décoratifs ayant diminuée, les techniques de fabrication artisanales ont été oubliées. En 2003, la décision fût prise de remplacer 1 400 pieds carrés de cuir repoussé polychrome dans une salle de rencontre décorée à la mode de la période Gilded Age. Cela donna l'occasion de visiter un atelier de fabrication pour discuter du processus de finition décorative et le documenter. Cette présentation raconte, à l'aide d'un compte-rendu photographique, comment un atelier a repris cette technique traditionnelle pour le marché du 21e siècle. Les cuirs repoussés sont produits à l'aide d'une combinaison de techniques traditionnelles et des matériaux contemporains. La présentation abordera également la manière dont ces cuirs ont été préparés et supportés pour les besoins de préservation à long terme en utilisant des matériaux et des méthodes actuelles.
International Preservation Trades Workshop, 2011
Wallpaper gained a foothold in the United States around 1750, yet the methods used to install it ... more Wallpaper gained a foothold in the United States around 1750, yet the methods used to install it have seldom been recorded. Most technique was handed down or learned on the job, while some of it was regarded as a trade secret. Most of the physical record of paperhanging has vanished because most wallpaper was not made to last. Caretakers of historic homes occasionally seek to replicate historic installations by installing documented reproduction wallpaper. And yet, because of the limitations cited above, an accurate replication is a challenging task. Although the written record is incomplete, there are early English and French sources which describe paperhanging techniques. Through the emigration of craftsmen, these techniques were transplanted to other countries. There are also mid-19th century patent records showing the development of trimming tools and machines. Trade manuals and magazines began around 1875. These help us understand the workaday world of the paperhanger, and the serial literature led directly to large compilations about technique in the early 20th century. Books about wallpaper, though largely situated in an art history context, also contain helpful information. The essay examines the secondary sources, research in archives, and surviving installations to arrive at a timeline for historic technique. Four chronological divisions are made which are characterized by typical tools and techniques: Early (1750-1860) - scissor trimming; overlapping; tacks, battens & canvas. Middle (1860-1900) - trimming machines; straightedges; track trimmers; muslin on boards. Late (1900-1940) - perforated selvedges; trimming knives; paneling; miter boxes. Modern (1940-1975) - butt seams; factory trimming; inlaid and overlaid borders; handscreens. Throughout the chronological section, trimming and borderwork are discussed, and techniques for hanging wallpaper are described. The second half of the essay explicates literature about wallpaper and paperhanging, and guides the reader to a bibliography of over 55 books, articles and archival sources about wallpaper and paperhanging.
Material Culture Review 80, 2014
This article examines wallpaper use in Canada from the beginning of cylinder printing in 1860 to ... more This article examines wallpaper use in Canada from the beginning of cylinder printing in 1860 to 1935. Statistics reveal that the value of wallpaper within Canada grew steadily during this period, before declining precipitously during the 1930s. Canada’s four major factories achieved dominance in their home market by producing low-to-middle grade wallpaper at affordable prices. This paper documents this achievement and explores its significance, centering on a key compilation of primary and secondary sources. From this compilation, costs and patterns of trade are extracted in order to show Canadian development against the backdrop of wallpaper history. Partial comparison to Canada’s chief competitor and trading partner, the United States, is made through analysis of per capita production and consumption figures. This article is grounded in recent scholarship from Europe which suggests that wallpaper can be viewed as an object of use over and above its more familiar role as a minor art-historical artifact.
Books by Robert M. Kelly
Backstory of Wallpaper, 2013
Wallpaper design has captivated Western consumers for 300 years, but few have written about the m... more Wallpaper design has captivated Western consumers for 300 years, but few have written about the material culture of wallpaper use. This book tells how single-sheet wallpaper developed in Europe, found wide acceptance in England and France, and was successfully transplanted to New France and New England. By 1750, wallpaper was well-established and poised for growth in the Anglo-American world. "Backstory" was nominated for the annual book prize of Historic New England and recommended by CHOICE (Current Reviews For Academic Libraries) and the Art Libraries Society of North America.
Thesis Chapters by Robert M. Kelly
DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 , 2019
Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 ... more Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 (From the Workshop to the Wall - Toward a Material History of Wallpaper 1770-1914) a thesis by Dr. Bernard Jacqué, University of Lyon, 2003. Translated by Robert M. Kelly. PDF 3: The Scenic Revival of the Twentieth Century
DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 , 2019
Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 ... more Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 (From the Workshop to the Wall - Toward a Material History of Wallpaper 1770-1914) a thesis by Dr. Bernard Jacqué, University of Lyon (2003). Translated by Robert M. Kelly. PDF 2: Zuber’s “Indépendance” (1853), a hand-painted restatement of “Scenic America” (1835)
DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914, 2019
Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 ... more Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 (From the Workshop to the Wall - Toward a Material History of Wallpaper 1770-1914) a thesis by Dr. Bernard Jacqué, University of Lyon (2003). Translated by Robert M. Kelly. PDF 1: A Historiography of Wallpaper
Polychrome, gilded, and embossed leather was considered an attractive covering for decorative fur... more Polychrome, gilded, and embossed leather was considered an attractive covering for decorative furnishings and walls in American Gilded Age mansions. These specialty European leathers originally crafted in the 17th and 18th century were either repurposed in the 19th century for the American market or, new versions of them were crafted following evolving 19th century technologies. By the 21st century, with a decreased demand for these decorative leathers, the craft traditions had become a forgotten art. The 2003 decision to replace 1,400 square feet of polychromed embossed leather in a gilded age boardroom presented an opportunity to visit the atelier to discuss and document the decorative finishing process. This presentation shares through a photo essay how one workshop has revived this traditional craft for the 21st century marketplace. Decorated leathers are produced using a combination of traditional techniques and contemporary materials. The presentation will also address how the...
SSRN Electronic Journal, 2012
Historic Paperhanging Techniques: A Bibliographic Essay 18 Working Methods, 257. 19 "...hanging p... more Historic Paperhanging Techniques: A Bibliographic Essay 18 Working Methods, 257. 19 "...hanging paper, lesser quality: one edge work...40 rolls per 8 hours; ...medium quality of paper, two-edge, 24 rolls per 8 hours; ...high quality papers, two-edge, 20 rolls per 8 hours..." John Ehrhardt, Estimating Painting and Decorating... (New York: National Painter's Magazine, 1936), p. 67. "On the cheapest class of work. .. only one side of the paper trimmed (commonly called "slap work"), a paper hanger should hang 40 to 44 single rolls per 8-hr. day. . ." Frank Walker,
This article examines wallpaper use in Canada from the beginning of cylinder printing in 1860 to ... more This article examines wallpaper use in Canada from the beginning of cylinder printing in 1860 to 1935. Statistics reveal that the value of wallpaper within Canada grew steadily during this period, before declining precipitously during the 1930s. Canada's four major factories achieved dominance in their home market by producing low-to-middle grade wallpaper at affordable prices. This paper documents this achievement and explores its significance, centering on a key compilation of primary and secondary sources. From this compilation, costs and patterns of trade are extracted in order to show Canadian development against the backdrop of wallpaper history. Partial comparison to Canada's chief competitor and trading partner, the United States, is made through analysis of per capita production and consumption figures. This article is grounded in recent scholarship from Europe which suggests that wallpaper can be viewed as an object of use over and above its more familiar role as a...
The WALLPAPER, 2020
THE ZUBER PATRIARCHY: Spring: Jean Zuber, fl.1790-1835 Summer: Jean Zuber-Karth, fl. 1836-1853 Au... more THE ZUBER PATRIARCHY: Spring: Jean Zuber, fl.1790-1835 Summer: Jean Zuber-Karth, fl. 1836-1853 Autumn: Ivan (Jean) Zuber, fl. 1854-1907
This multi-part series is a re-telling of how the Zuber factory made wallpaper over a 117-year period (1790-1907). It is closely based on the thesis “From the Workshop to the Wall” by Dr. Bernard Jacqué. Two disclaimers: the thesis is written in the French language. The possibility of errors in sense and transcription should be kept in mind; should these exist, they belong to me. Secondly, these technical and biographical sketches are a radical concision of the thesis, which takes a bird’s-eye view of the history of wallpaper.
The WALLPAPER, 2020
V. 1, N. 5 (May 15, 2020) is titled "Is Wallpaper Essential?," answers in the affirmative, and ar... more V. 1, N. 5 (May 15, 2020) is titled "Is Wallpaper Essential?," answers in the affirmative, and argues for a new definition: "Wallpaper is affordable and flexible, modular in form and design, ordinarily covered with a printed pattern, and made for decorating domestic walls."
The WALLPAPER, 2020
V. 1, N. 4 (April 15, 2020) is titled "Bernard Jacqué, His Thesis, and His Methods." It shows how... more V. 1, N. 4 (April 15, 2020) is titled "Bernard Jacqué, His Thesis, and His Methods." It shows how Jacqué's work relates to that of Jules David Prown, an art historian credited with formulating an influential approach to material culture in the pages of the Winterthur Portfolio in the early 1980s.
The WALLPAPER, 2020
V. 1, N. 3. (March 15, 2020) is titled "Wallpaper Values" and compares and contrasts the values o... more V. 1, N. 3. (March 15, 2020) is titled "Wallpaper Values" and compares and contrasts the values of wallpaper as decorative art, as avatar of social values, and as material culture.
The WALLPAPER (newsletter), 2020
Vol. 1, No. 2 is titled "Wallpaper and America" and is a critique of "Wallpaper In America" (1980... more Vol. 1, No. 2 is titled "Wallpaper and America" and is a critique of "Wallpaper In America" (1980), the standard text in the field of historical wallpaper by Catherine Lynn.
The WALLPAPER, 2020
Vol. 1, No. 1 of The WALLPAPER is an essay contrasting the approaches to wallpaper in the work of... more Vol. 1, No. 1 of The WALLPAPER is an essay contrasting the approaches to wallpaper in the work of Catherine Lynn, Phillippa Mapes, and Bernard Jacqué.
9th North American Textile Conservation Conference, 2013
Polychrome, gilded, and embossed leather was considered an attractive covering for decorative fur... more Polychrome, gilded, and embossed leather was considered an attractive covering for decorative furnishings and walls in American Gilded Age mansions. These specialty European leathers originally crafted in the 17th and 18th century were either repurposed in the 19th century for the American market or, new versions of them were crafted following evolving 19th century technologies. By the 21st century, with a decreased demand for these decorative leathers, the craft traditions had become a forgotten art. The 2003 decision to replace 1,400 square feet of polychromed embossed leather in a gilded age boardroom presented an opportunity to visit the atelier to discuss and document the decorative finishing process. This presentation shares through a photo essay how one workshop has revived this traditional craft for the 21st century marketplace. Decorated leathers are produced using a combination of traditional techniques and contemporary materials. The presentation will also address how these leathers were prepared and mounted for long-term preservation needs using current materials and methods. Título-FUSIÓN DEL SIGLO XXI CON UNA EDAD DE ORO, LA SALA DE REUNIONES FORTUNE 500 Resumen-El cuero policromado, dorado y repujado era considerado como una cubierta atractiva para los muebles decorativos y las paredes de las mansiones en la Edad de Oro Americana. Esta especialidad en cuero europeo, originalmente manufacturado en los siglos XVII y XVIII, fue reutilizada en el siglo XIX para el mercado americano, o bien, se crearon nuevas versiones de dicha especialidad empleando tecnologías desarrolladas durante ese siglo. En el siglo XXI, con una disminución en la demanda de estos cueros decorativos, las tradiciones artesanales se han convertido en un arte olvidado. En el año 2003, la decisión de sustituir 1,400 pies cuadrados de cuero repujado y policromado al interior de una sala de reuniones de la Edad de Oro, presentó una oportunidad para visitar el taller con la finalidad de discutir y documentar el proceso de acabado decorativo. Esta presentación comparte a través de un ensayo fotográfico, cómo un taller ha revivido esta artesanía tradicional para el mercado del siglo XXI. Los cueros decorados se producen usando una combinación de técnicas tradicionales y materiales contemporáneos. La presentación también indicará cómo estos cueros fueron preparados y montados para las necesidades de preservación a largo plazo, utilizando materiales y métodos actuales. Titre-INTÉGRER LE 21E SIÈCLE À UNE SALLE DE RENCONTRE DE LA PÉRIODE GILDED AGE Résumé-Le cuir polychrome, doré et repoussé était considéré comme un produit de recouvrement attrayant pour les meubles décoratifs et les murs de somptueux manoirs américains de la période Gilded Age. Ces cuirs européens spécialisés, fabriqués au 17e et 18e siècle, ont été adaptés au 19e siècle pour le marché américain et de nouvelles versions ont été fabriquées en utilisant des technologies du 19e siècle. Au 21e siècle, la demande pour 40 San Francisco, California • November 12 th-15 th , 2013 ces cuirs décoratifs ayant diminuée, les techniques de fabrication artisanales ont été oubliées. En 2003, la décision fût prise de remplacer 1 400 pieds carrés de cuir repoussé polychrome dans une salle de rencontre décorée à la mode de la période Gilded Age. Cela donna l'occasion de visiter un atelier de fabrication pour discuter du processus de finition décorative et le documenter. Cette présentation raconte, à l'aide d'un compte-rendu photographique, comment un atelier a repris cette technique traditionnelle pour le marché du 21e siècle. Les cuirs repoussés sont produits à l'aide d'une combinaison de techniques traditionnelles et des matériaux contemporains. La présentation abordera également la manière dont ces cuirs ont été préparés et supportés pour les besoins de préservation à long terme en utilisant des matériaux et des méthodes actuelles.
International Preservation Trades Workshop, 2011
Wallpaper gained a foothold in the United States around 1750, yet the methods used to install it ... more Wallpaper gained a foothold in the United States around 1750, yet the methods used to install it have seldom been recorded. Most technique was handed down or learned on the job, while some of it was regarded as a trade secret. Most of the physical record of paperhanging has vanished because most wallpaper was not made to last. Caretakers of historic homes occasionally seek to replicate historic installations by installing documented reproduction wallpaper. And yet, because of the limitations cited above, an accurate replication is a challenging task. Although the written record is incomplete, there are early English and French sources which describe paperhanging techniques. Through the emigration of craftsmen, these techniques were transplanted to other countries. There are also mid-19th century patent records showing the development of trimming tools and machines. Trade manuals and magazines began around 1875. These help us understand the workaday world of the paperhanger, and the serial literature led directly to large compilations about technique in the early 20th century. Books about wallpaper, though largely situated in an art history context, also contain helpful information. The essay examines the secondary sources, research in archives, and surviving installations to arrive at a timeline for historic technique. Four chronological divisions are made which are characterized by typical tools and techniques: Early (1750-1860) - scissor trimming; overlapping; tacks, battens & canvas. Middle (1860-1900) - trimming machines; straightedges; track trimmers; muslin on boards. Late (1900-1940) - perforated selvedges; trimming knives; paneling; miter boxes. Modern (1940-1975) - butt seams; factory trimming; inlaid and overlaid borders; handscreens. Throughout the chronological section, trimming and borderwork are discussed, and techniques for hanging wallpaper are described. The second half of the essay explicates literature about wallpaper and paperhanging, and guides the reader to a bibliography of over 55 books, articles and archival sources about wallpaper and paperhanging.
Material Culture Review 80, 2014
This article examines wallpaper use in Canada from the beginning of cylinder printing in 1860 to ... more This article examines wallpaper use in Canada from the beginning of cylinder printing in 1860 to 1935. Statistics reveal that the value of wallpaper within Canada grew steadily during this period, before declining precipitously during the 1930s. Canada’s four major factories achieved dominance in their home market by producing low-to-middle grade wallpaper at affordable prices. This paper documents this achievement and explores its significance, centering on a key compilation of primary and secondary sources. From this compilation, costs and patterns of trade are extracted in order to show Canadian development against the backdrop of wallpaper history. Partial comparison to Canada’s chief competitor and trading partner, the United States, is made through analysis of per capita production and consumption figures. This article is grounded in recent scholarship from Europe which suggests that wallpaper can be viewed as an object of use over and above its more familiar role as a minor art-historical artifact.
Backstory of Wallpaper, 2013
Wallpaper design has captivated Western consumers for 300 years, but few have written about the m... more Wallpaper design has captivated Western consumers for 300 years, but few have written about the material culture of wallpaper use. This book tells how single-sheet wallpaper developed in Europe, found wide acceptance in England and France, and was successfully transplanted to New France and New England. By 1750, wallpaper was well-established and poised for growth in the Anglo-American world. "Backstory" was nominated for the annual book prize of Historic New England and recommended by CHOICE (Current Reviews For Academic Libraries) and the Art Libraries Society of North America.
DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 , 2019
Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 ... more Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 (From the Workshop to the Wall - Toward a Material History of Wallpaper 1770-1914) a thesis by Dr. Bernard Jacqué, University of Lyon, 2003. Translated by Robert M. Kelly. PDF 3: The Scenic Revival of the Twentieth Century
DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 , 2019
Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 ... more Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 (From the Workshop to the Wall - Toward a Material History of Wallpaper 1770-1914) a thesis by Dr. Bernard Jacqué, University of Lyon (2003). Translated by Robert M. Kelly. PDF 2: Zuber’s “Indépendance” (1853), a hand-painted restatement of “Scenic America” (1835)
DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914, 2019
Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 ... more Selections from DE LA MANUFACTURE AU MUR: Pour une histoire matérielle du papier peint 1770-1914 (From the Workshop to the Wall - Toward a Material History of Wallpaper 1770-1914) a thesis by Dr. Bernard Jacqué, University of Lyon (2003). Translated by Robert M. Kelly. PDF 1: A Historiography of Wallpaper