Boutique Printers Keep Historic Wallpapers Alive
Bradbury & Bradbury and others fill a demand for period patterns crafted by hand
Victoria Villeneuve
3 January 2017
Houzz contributor. Remodeling veteran, copy editor and reporter who enjoys writing about home and garden, especially when they intersect with travel, history, health, literature or the arts. Previously at Sunset magazine and the San Jose Mercury News
Houzz contributor. Remodeling veteran, copy editor and reporter who enjoys writing... More
Historic preservationists aspired after authenticity when restoring author Mark Twain’s 1874 house in Connecticut. Production designers needed to replicate the interior of a Jazz Age nightclub in Atlantic City, New Jersey, for HBO’s Boardwalk Empire television series. Homeowner Carl-Johan Callin fancied something a la Frank Lloyd Wright for his Functionalist house outside Stockholm. They all turned to Bradbury & Bradbury Art Wallpapers, whose staff of eight prints designs from the 1860s to the 1960s by hand in its Victorian-era factory near San Francisco.
With amazing grace, these artisans wield awkward silk-screen frames and sloshing paint buckets in a well-rehearsed, rhythmic bit of choreography alongside paper-topped tables. They’re carrying on the pioneering work of Bruce Bradbury, who founded the print shop in 1979 in Benicia, California, to focus exclusively on museum-quality reproductions for a growing Victorian restoration market.
Liliane Hart Interiors
This pattern by William Morris (1834-1896), called Marigold, was the first in Bradbury’s inaugural collection of a dozen designs.
By the time Bradbury retired in 2005, his company was offering “the world’s largest selection of historical, coordinating wall and ceiling papers — over 600 pattern and color choices, from Anglo-Japanese to Neoclassical,” according to Old-House Interiors.
By the time Bradbury retired in 2005, his company was offering “the world’s largest selection of historical, coordinating wall and ceiling papers — over 600 pattern and color choices, from Anglo-Japanese to Neoclassical,” according to Old-House Interiors.
Bradbury & Bradbury’s B.J. Talbert room set of coordinating wallpapers, floor to ceiling, are Wreath dado, Chrysanthemum border, Arbor wall fill, Clematis frieze, Talbert stripe, Flora border and corner blocks, Flora ceiling fill.
These coordinating papers, or room sets, simplify the reproduction of the tripartite walls and ornamented ceilings that were fashionable in the 19th century. The typical wall of the time had a frieze at the top, a dado (wainscot) at the bottom and a fill in between, with a border sometimes capping the dado at chair-rail height. The ceiling often consisted of a light-patterned field enclosed by a darker and densely patterned enrichment with coordinating blocks anchoring the corners.
Room sets continue to be Bradbury & Bradbury’s claim to fame. “Big companies can’t produce the little details for coordinated patterns,” says Stephen Bauer, who signed on as a 19-year-old apprentice to Bradbury in 1982 and eventually took over the company with his wife, Lisa.
These coordinating papers, or room sets, simplify the reproduction of the tripartite walls and ornamented ceilings that were fashionable in the 19th century. The typical wall of the time had a frieze at the top, a dado (wainscot) at the bottom and a fill in between, with a border sometimes capping the dado at chair-rail height. The ceiling often consisted of a light-patterned field enclosed by a darker and densely patterned enrichment with coordinating blocks anchoring the corners.
Room sets continue to be Bradbury & Bradbury’s claim to fame. “Big companies can’t produce the little details for coordinated patterns,” says Stephen Bauer, who signed on as a 19-year-old apprentice to Bradbury in 1982 and eventually took over the company with his wife, Lisa.
The Bauers, pictured, have been keeping up with the times — sort of — by introducing collections of reproductions and reinterpretations of designs extending through the Art Deco period and into the mod era of AMC’s Mad Men.
Photo by Macall B. Polay
Havana, the wallpaper seen here behind Michael Kenneth Williams as racketeering Onyx Club owner Chalky White, was designed specifically for Boardwalk Empire, whose Prohibition-era sets earned multiple Emmys. The wallpaper is now a top seller.
“Our general line is to help homeowners find historically appropriate wallpaper for their homes,” says Stephen, who also notes an uptick in projects for restaurants and other public spaces. He’s dismayed by the wholesale gutting of period buildings. “I don’t know in the long run how much of a focus preservation will be,” he says.
Havana, the wallpaper seen here behind Michael Kenneth Williams as racketeering Onyx Club owner Chalky White, was designed specifically for Boardwalk Empire, whose Prohibition-era sets earned multiple Emmys. The wallpaper is now a top seller.
“Our general line is to help homeowners find historically appropriate wallpaper for their homes,” says Stephen, who also notes an uptick in projects for restaurants and other public spaces. He’s dismayed by the wholesale gutting of period buildings. “I don’t know in the long run how much of a focus preservation will be,” he says.
Bradbury & Bradbury’s Spatial Dance wallpaper is from the Frank Lloyd Wright collection.
Bradbury & Bradbury’s latest collection is five patterns made in collaboration with the Frank Lloyd Wright Foundation and inspired by the architect’s work. A second set is due out later this year.
“Wright designed some wallpapers in the 1950s, but they weren’t very popular,” Stephen says. “They may have been too ahead of their time.”
Bradbury & Bradbury’s latest collection is five patterns made in collaboration with the Frank Lloyd Wright Foundation and inspired by the architect’s work. A second set is due out later this year.
“Wright designed some wallpapers in the 1950s, but they weren’t very popular,” Stephen says. “They may have been too ahead of their time.”
Homeowner Callin ordered the collection’s Spheres Squared for a hallway in his late-1920s house outside Stockholm, along with Zenith, from the Art Deco collection, for the dining room. “I am a great fan of Art Deco, and while Googling for Art Deco wallpapers for the dining room, I got in contact with Bradbury & Bradbury. We saw Spheres at B&B’s homepage and fell in love,” he says.
A triptych window from the Avery Coonley Playhouse is displayed at the Metropolitan Museum of Art in New York. Photo by Peter Dutton
Stephen, the company’s primary artist, adapted Spheres Squared from art glass windows Wright had designed for the Avery Coonley Playhouse in Riverside, Illinois. Wright wanted the windows of the kindergarten to appeal to children. The geometric shapes in primary colors are thought to have stemmed from Wright’s affection for parades, with their balloons, flags and confetti, and for the educational toys of his childhood known as Froebel Gifts.
Stephen, the company’s primary artist, adapted Spheres Squared from art glass windows Wright had designed for the Avery Coonley Playhouse in Riverside, Illinois. Wright wanted the windows of the kindergarten to appeal to children. The geometric shapes in primary colors are thought to have stemmed from Wright’s affection for parades, with their balloons, flags and confetti, and for the educational toys of his childhood known as Froebel Gifts.
Silk-Screen Printing
The Bradbury staff recently got to work on Callin’s order for Spheres Squared in its atmospheric 1884 factory. The two-story brick building with high arched windows used to be the machine shop of the Benicia Arsenal, the U.S. Army’s main West Coast ordnance facility from 1851 to 1964. After the arsenal was deactivated, the city bought and redeveloped the site as work and sales space for artists.
The company uses the silk-screen process, a kind of stenciling technique that goes back at least to the Song dynasty in China (960-1279). Although many of Bradbury’s stencils were cut by hand, today computers are used to create a film separation of each color of the artwork. Next, the screen is made — one per color separation. In former times, the screen material was silk, but Bradbury & Bradbury uses monofilament polyester stretched on a titanium frame. The screen is coated with a photosensitive emulsion, then sandwiched with the color separation in the frame and exposed to ultraviolet light. The exposed areas become impervious, while the other areas allow paint to pass through. The screen pictured above is the fifth and final one for printing Spheres Squared.
The Bradbury staff recently got to work on Callin’s order for Spheres Squared in its atmospheric 1884 factory. The two-story brick building with high arched windows used to be the machine shop of the Benicia Arsenal, the U.S. Army’s main West Coast ordnance facility from 1851 to 1964. After the arsenal was deactivated, the city bought and redeveloped the site as work and sales space for artists.
The company uses the silk-screen process, a kind of stenciling technique that goes back at least to the Song dynasty in China (960-1279). Although many of Bradbury’s stencils were cut by hand, today computers are used to create a film separation of each color of the artwork. Next, the screen is made — one per color separation. In former times, the screen material was silk, but Bradbury & Bradbury uses monofilament polyester stretched on a titanium frame. The screen is coated with a photosensitive emulsion, then sandwiched with the color separation in the frame and exposed to ultraviolet light. The exposed areas become impervious, while the other areas allow paint to pass through. The screen pictured above is the fifth and final one for printing Spheres Squared.
Only five screens are needed for Spheres Squared. By comparison, this St. James pattern, the most complex in the company’s history, requires 17. It’s a smaller-scale reproduction of a damask designed by Morris for Queen Victoria’s throne room at St. James’ Palace. Star Wars creator George Lucas had it printed for his Skywalker Ranch, then changed his mind in favor of something quite monochrome, Stephen says.
Over its 30-plus years in business, the company has collected too many screens to count. They’re stored above the printing tables and in another room.
Over its 30-plus years in business, the company has collected too many screens to count. They’re stored above the printing tables and in another room.
Before printing, veteran colorist Anne Kelly mixes each shade of the quick-drying oil-based poster paints by hand without any recipes. “She has a really good eye,” Stephen says.
A single roll, usually 5 yards long, typically costs $70 to $90. The company will do custom colors for an additional charge, but Stephen warns that the colors in each pattern are designed to work together and that swapping out one shade generally entails changing others for a successful result. “Sometimes clients come up with a colorway so good, we put it in our collection,” he says.
A single roll, usually 5 yards long, typically costs $70 to $90. The company will do custom colors for an additional charge, but Stephen warns that the colors in each pattern are designed to work together and that swapping out one shade generally entails changing others for a successful result. “Sometimes clients come up with a colorway so good, we put it in our collection,” he says.
The paper is laid out on 92-foot-long tables, with each table holding the equivalent of six single rolls of wallpaper. This substrate is made of mostly cotton and wood fiber with just a touch of vinyl. Stephen likes it for its ability to stretch and bend — important when it comes to installation. Like most traditional hand-printed wallpapers, it comes untrimmed and unpasted.
This sample shows how the pattern begins to materialize as each of the first three colors is applied. But in practice, the colors are printed one at a time, usually from light to dark, all the way down the tables.
This sample shows how the pattern begins to materialize as each of the first three colors is applied. But in practice, the colors are printed one at a time, usually from light to dark, all the way down the tables.
Lead printer Julian Valdez uses the rail along the table and the marks on the paper to carefully line up the screen in the proper place. Then he pours green paint, the fourth in the sequence, on the corresponding screen.
Next, Valdez draws the paint through the screen with a large plastic squeegee. This is where his experience comes in. “We have to find the right balance between how thin our ink is, the softness of our squeegee blade, and the pressure and angle at which we hold it. If we don’t get that right, then there are several different things that can go wrong,” production manager Burt Kallander says.
As Valdez continues down the table, he skips every other spot to give the previous color time to dry.
As Valdez continues down the table, he skips every other spot to give the previous color time to dry.
When printer and screen tech Jacob Toussaint prints the final color, black, the design of Spheres Squared leaps to life. The crispness of the lines and clarity of the colors seem to defy reason. These qualities attracted fine artists like Andy Warhol and Roy Lichtenstein to the medium, also called serigraphy, in the 1960s.
“With silk-screening printing, you get a really nice, even, lustrous color,” Stephen says. “It allows you to hold more detail.”
“With silk-screening printing, you get a really nice, even, lustrous color,” Stephen says. “It allows you to hold more detail.”
The screens for Spheres Squared are relatively easy for one person to handle, but that’s not always the case. Take this Lion and Dove frieze, for example. “This Walter Crane-inspired frieze is so large in scale, the screens require two printers working together to pull the squeegee,” customer service manager Beverly Phillips says. “Since we only have two printers and there are 13 screens to print in one day, it’s all hands on deck. Burt, Anne and I all step in to keep the screens moving down the tables. It is my favorite day: printing!”
Photo from Malin Frank and Carl-Johan Callin
Here is the Spheres Squared wallpaper in the hallway of the home of Callin and his wife, Malin Frank. They’re happy with the way their hall and dining room turned out.
“The wallpaper was a little bit difficult to install compared to Scandinavian wallpapers — trimming marks, paper quality, etc…. But quality was overall good, especially the colors and printing finish,” Callin says.
Here is the Spheres Squared wallpaper in the hallway of the home of Callin and his wife, Malin Frank. They’re happy with the way their hall and dining room turned out.
“The wallpaper was a little bit difficult to install compared to Scandinavian wallpapers — trimming marks, paper quality, etc…. But quality was overall good, especially the colors and printing finish,” Callin says.
Adelphi Paper Hangings’ Bacchus is an Early American arabesque inspired by French patterns. The original paper was found lining a hide-covered document box. Photo by Holly L. Nelson Photography
Other U.S. Makers of Period Wallpapers
Adelphi Paper Hangings. This four-person company in upstate New York was founded in 1999 by Chris Ohrstrom and Steve Larson to faithfully re-create period wallpapers. It focuses on wallpapers from the 1740s to 1860s, copying them from original documents whenever possible without changes in design or scale.
The patterns also are printed in the most traditional method: block printing, which dates back 2,000 years. At Adelphi, laser-engraved Swiss pearwood blocks are coated with distemper paints, which dry to a fine matte surface, and are pressed on acid-neutral paper made of 75 percent cotton and 25 percent cellulose. As with silk-screen printing, a separate block is required for each color. Some large patterns require three blocks per color, Larson says. The distinctive character created as the block is pulled away from the paper is a hallmark of this time-honored craft.
Other U.S. Makers of Period Wallpapers
Adelphi Paper Hangings. This four-person company in upstate New York was founded in 1999 by Chris Ohrstrom and Steve Larson to faithfully re-create period wallpapers. It focuses on wallpapers from the 1740s to 1860s, copying them from original documents whenever possible without changes in design or scale.
The patterns also are printed in the most traditional method: block printing, which dates back 2,000 years. At Adelphi, laser-engraved Swiss pearwood blocks are coated with distemper paints, which dry to a fine matte surface, and are pressed on acid-neutral paper made of 75 percent cotton and 25 percent cellulose. As with silk-screen printing, a separate block is required for each color. Some large patterns require three blocks per color, Larson says. The distinctive character created as the block is pulled away from the paper is a hallmark of this time-honored craft.
Adelphi Paper Hangings
The Daughters of the American Revolution Museum commissioned Adelphi Paper Hangings to make this reproduction of a 1787 arabesque from the Réveillon factory in Paris. Besides block printing, it involves extensive hand painting and gilt work.
Patterns come from the company’s archives as well as from such institutions as Historic New England, Colonial Williamsburg and Cooper Hewitt. “Increasingly we have been commissioned to reproduce wallpapers for various historic sites with patterns of their own,” Larson says. “These are then licensed to Adelphi to be included in our line.” Sir John Soane’s Museum and Strawberry Hill, the Georgian Gothic home of novelist Horace Walpole, are two recent examples in England.
Still, residential clients make up about half of Adelphi’s business. Wallpaper prices reflect the number of printed colors, with most running $380 to $470 for an 11-yard roll. The company will reproduce from fragments by request and produce its patterns in custom colors.
Patterns come from the company’s archives as well as from such institutions as Historic New England, Colonial Williamsburg and Cooper Hewitt. “Increasingly we have been commissioned to reproduce wallpapers for various historic sites with patterns of their own,” Larson says. “These are then licensed to Adelphi to be included in our line.” Sir John Soane’s Museum and Strawberry Hill, the Georgian Gothic home of novelist Horace Walpole, are two recent examples in England.
Still, residential clients make up about half of Adelphi’s business. Wallpaper prices reflect the number of printed colors, with most running $380 to $470 for an 11-yard roll. The company will reproduce from fragments by request and produce its patterns in custom colors.
Trustworth Studios’ Fools Parsley is reproduced from a circa 1907 design by Charles Voysey.
Trustworth Studios. David Berman of 31-year-old Trustworth Studios specializes in the work of British Arts and Crafts architect-designer Charles Voysey (1857-1941) and his contemporaries. In addition to reproducing Voysey’s designs for furniture, lighting, hardware and fabrics, he introduced a wallpaper line in 2001. Over the years, the three-person company switched from silk-screen to digital printing, usually using latex paint on uncoated vellum. The cost per 30-square-foot roll is $210.
“I love that I have access to a huge array of technical visuals that I can employ with digital,” Berman says. “I can simulate laid paper, the capillary action of block printing, and I can make the patterns look either new or as if they have been around for 200 years.”
Trustworth Studios. David Berman of 31-year-old Trustworth Studios specializes in the work of British Arts and Crafts architect-designer Charles Voysey (1857-1941) and his contemporaries. In addition to reproducing Voysey’s designs for furniture, lighting, hardware and fabrics, he introduced a wallpaper line in 2001. Over the years, the three-person company switched from silk-screen to digital printing, usually using latex paint on uncoated vellum. The cost per 30-square-foot roll is $210.
“I love that I have access to a huge array of technical visuals that I can employ with digital,” Berman says. “I can simulate laid paper, the capillary action of block printing, and I can make the patterns look either new or as if they have been around for 200 years.”
Trustworth Studios’ Apothecary’s Garden is reproduced from a circa 1926 Charles Voysey design.
Berman develops a new design about every three to six months, either by request or in pursuing a current interest. Clients span the gamut from residential to commercial; four Trustworth wallpapers decorate the rooms of Manhattan’s High Line Hotel, housed in a former seminary built in 1895. Looking ahead to 2017, Berman plans to reproduce an 18th-century arabesque recently discovered on a fireboard in Plymouth, Massachusetts, where Trustworth is based.
“Although they are from a general time period, the designs are quite timeless and work in all kinds and periods of rooms,” he says.
Berman develops a new design about every three to six months, either by request or in pursuing a current interest. Clients span the gamut from residential to commercial; four Trustworth wallpapers decorate the rooms of Manhattan’s High Line Hotel, housed in a former seminary built in 1895. Looking ahead to 2017, Berman plans to reproduce an 18th-century arabesque recently discovered on a fireboard in Plymouth, Massachusetts, where Trustworth is based.
“Although they are from a general time period, the designs are quite timeless and work in all kinds and periods of rooms,” he says.
Mason and Wolf Wallpaper
Mason and Wolf’s Eden is on view in the Illinois house of suffragist Frances Willard, which just reopened after a major renovation.
Mason and Wolf Wallpaper. Wayne Mason and his wife, Cheryl Wolf, liken themselves to wallpaper detectives. “True story: We were walking down a street, passed a building under renovation and were allowed to remove some wallpaper from a wall that was going to come down. That’s where Hudson Enrichment came from,” Mason says. “We later found the same pattern in a photograph of a historic interior.”
The decoration of their own home led the New Jersey couple to launch Mason and Wolf in 2005. Their coordinated wall and ceiling papers, which run $50 to $85 per 30-square-foot roll, lean heavily toward the designs of Christopher Dresser (1834-1904) and the Aesthetic Movement, which approached art and beauty as worthy ideals in their own right.
“Our patterns are reproductions of wallpaper, authentic period patterns produced as wallpaper, and original constructions using period motifs,” Mason says. They contract with a silk-screen printer to render them in solvent-based inks on uncoated, unpasted and untrimmed paper.
“This has been the standard for art wallpapers, and the metallic inks are excellent, which is important for re-creating 19th-century wallpapers,” Mason says. “None of the installation is difficult; it only requires patience. The methods for pasting and hanging our wallpaper have been in use for over 100 years. The benefit of dividing the wall into frieze, fill and dado is you are hanging shorter lengths of paper, which can be easier to handle. The same is true when dividing the ceiling space.”
Mason and Wolf Wallpaper. Wayne Mason and his wife, Cheryl Wolf, liken themselves to wallpaper detectives. “True story: We were walking down a street, passed a building under renovation and were allowed to remove some wallpaper from a wall that was going to come down. That’s where Hudson Enrichment came from,” Mason says. “We later found the same pattern in a photograph of a historic interior.”
The decoration of their own home led the New Jersey couple to launch Mason and Wolf in 2005. Their coordinated wall and ceiling papers, which run $50 to $85 per 30-square-foot roll, lean heavily toward the designs of Christopher Dresser (1834-1904) and the Aesthetic Movement, which approached art and beauty as worthy ideals in their own right.
“Our patterns are reproductions of wallpaper, authentic period patterns produced as wallpaper, and original constructions using period motifs,” Mason says. They contract with a silk-screen printer to render them in solvent-based inks on uncoated, unpasted and untrimmed paper.
“This has been the standard for art wallpapers, and the metallic inks are excellent, which is important for re-creating 19th-century wallpapers,” Mason says. “None of the installation is difficult; it only requires patience. The methods for pasting and hanging our wallpaper have been in use for over 100 years. The benefit of dividing the wall into frieze, fill and dado is you are hanging shorter lengths of paper, which can be easier to handle. The same is true when dividing the ceiling space.”
Mason and Wolf Wallpaper
Technology hasn’t changed much for Mason and Wolf. “The Great Recession has, of course, impacted everyone’s purchasing decisions, but there will always be individuals and families who want to make their house a home, don’t want to live in a plain white box or a bland hotel room, allow the architecture of their house to speak to them, love color and pattern someplace in the room other than throw pillows, and are looking for a little individuality in their design scheme,” Mason says. “If you think wallpaper is boring, these certainly are not.”
This photo was taken in Mason and Wolf’s house. “We do walk the talk!” he says.
This photo was taken in Mason and Wolf’s house. “We do walk the talk!” he says.
Bradbury & Bradbury’s Kazume wallpaper and Osaka border is from the Japanese collection. Photo by Alice Lin
So do the Bauers of Bradbury & Bradbury. “We love period interiors, and so we were excited to have original wallpaper in our early ’60s storybook ranch,” Lisa says. “We have a dining room we keep changing our minds about which Bradbury wallpaper to hang, but I had a wish for something Asian that would coordinate with some family pieces we inherited from my grandmother. I just had to wait for Steve to design it. Now that we have our Japanese collection, we will be hanging one of those patterns.”
More
Room of the Day: New Life for Historic Wallpaper Landscapes
Houzz Tour: San Francisco’s Haas-Lilienthal House
When Color Could Kill: Stories From the History of Paint
So do the Bauers of Bradbury & Bradbury. “We love period interiors, and so we were excited to have original wallpaper in our early ’60s storybook ranch,” Lisa says. “We have a dining room we keep changing our minds about which Bradbury wallpaper to hang, but I had a wish for something Asian that would coordinate with some family pieces we inherited from my grandmother. I just had to wait for Steve to design it. Now that we have our Japanese collection, we will be hanging one of those patterns.”
More
Room of the Day: New Life for Historic Wallpaper Landscapes
Houzz Tour: San Francisco’s Haas-Lilienthal House
When Color Could Kill: Stories From the History of Paint
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Awesome!
How wonderful to see this! My daughter took ballet lessons in the same building that Bradbury and Bradbury is in and while waiting for her I used to wander down the hall to watch them at work. It was like another kind of ballet-- smooth, economical, graceful movements. I love fine hand craftsmanship of all kinds.
Another amazing small wallpaper company that reproduces vintage wallpapers from it's archives is Thomas Strahan. Check them out!