Wallpaper sample approx. 50 cm of the wallpaper Nästgårds, brown.

Typical wallpaper from the second half of the 19th century with an elegant medallion pattern in a single-color print. The wallpaper was in a strong ultramarine blue color against a beige background in the lower hall of the Nästgårdshuset in Gysinge, probably put up in 1887. Here is the same pattern in brown, which is another typical variant of a single-color print from the time. The wallpaper is printed in the old glue dye technique on unprimed paper and the wallpaper therefore has a unique luster and thinness that is not available in other wallpaper prints. In return, an unprimed wallpaper is slightly, but only slightly, more fragile in the wallpapering process.

With the advent of Art Nouveau at the turn of the 20th century, a wide variety of new and modern patterns were introduced to wallpaper and textiles. There was everything from the strictly geometric to the undulating and floral.

This particular wallpaper belongs to the latter category with its finely scattered flower stems and lobed leaves that form a playful and harmonious expression.

One of the great sources of inspiration at the time was Japanese woodblock prints with their masterfully composed plant decorations, and perhaps one senses some similar features here.

The Hullebo wallpaper is available in both a mild deep red and a muted medium green, both typical fashion colors of the period around 1900-1910. Together with a matching border, the pattern gives a stylish Art Nouveau feel and is particularly effective in combination with joinery painted in soft tones of, for example, Art Nouveau beige, English red or green umber.

Hullebo was found in one of the workers’ dwellings in Gysinge during an inventory in the early 1990s and has been waiting for a reprint ever since. Now it was finally time!

The wallpaper fits well in both small and large rooms, but here in Gysinge we think the pink would fit extra well as a bedroom wallpaper, as it gives a cozy and homely feeling.

Period wallpaper from the late 19th century in a muted blue tone with a beige background. The wallpaper is a recreation from an old wallpaper fragment of unknown origin. The simple but detailed checkerboard pattern fits both in older houses and in a more modern environment. The wallpaper is also available in a mild green color with a beige background.

The wallpaper has a straight pattern fit and is edge-cut. Printed using the old glue dye technique on unprimed paper. An important step for us in the production of a new wallpaper. However, unpasted wallpaper is slightly more fragile when wallpapering.

The environmental image shows the blue wallpaper and door painted in a self-mixed color of blue and gray linseed oil paints.

Printed paper wallpaper in a warm beige shade with a classy little checkered pattern in light red and yellowish tones. Printed in the traditional way in old rollers, one color at a time. Straight pattern fit. Very good light fastness and wipeable. The wallpapers are applied edge to edge or with a wire edge. Edge-cut. Not pre-pasted.

This particular wallpaper originally hung on the walls of a farm office at Wirum manor in Småland, and the date should be around 1880. It may be justified to point out that the wallpaper was on the walls, because small-patterned wallpapers often ended up on the ceiling in the gloomy, over-decorated interiors of the late 19th century. As wallpaper on the walls of simple cottages, or rooms such as farmhouses, kitchens and chambers, “The Farm Office” is an unbeatable mood creator along with white boarded ceilings, shed floors and rather dark carpentry.

Wallpaper history. It was not until the latter part of the 19th century that wallpaper became the property of every man. Poor families often bought thin, single-color wallpapers for their walls, known as 25-penny wallpapers. Rich families with large houses and apartments could instead excel with lots of patterns and colors in their rooms. But what really separated the rich from the poor was not the patterns, which were quite similar from one castle to the next, but the number of colors. The more colors, the more expensive the wallpaper was the rule. And the same rule still applies today.

In the late 19th century, a clear hierarchy emerged between different wallpaper patterns. In fine rooms such as the dining room and drawing room, the large-patterned wallpapers came in many shades of color, even gold. In simple spaces such as the kitchen and hallway, the small-patterned wallpapers came in instead.