Handmade Scenics
By Chris Murphy
Handmade scenics are recognized as the highest form of wallpaper art. Using
centuries-old manufacturing methods these papers require hundreds of
hours to produce a continuous scene. The French and Chinese invented
and perfected
these arts; although imitated, they are still recognized as unparalleled
in the industry.
The traders that went to China in the 1600's noticed the painted furniture screens and window coverings used there. These items became cherished belongings in Europe. Consequently, as traders asked for them, the Chinese began making them for export. Although some paintings were done on paper-covered walls in royal houses, these had been painted in place. Now, panels were painted in workshops to be later hung on walls.
The designs were influenced by chintz, a fabric printed in India with European influenced designs. The motifs were of three types: life and occupations, birds and flowers, or figures and trees. Depictions of all the elements were realistic: botanists copied some designs for their own illustrations.
These papers were and are hand-painted in a non-repeating design. Originally they used a white mulberry fiber paper, and often silk adhered to a ground paper. Usually 3-4 feet wide, they were 12 feet in length, and the height of the design varied.
These Chinese papers were considered valuable
enough that they were rarely pasted directly to a wall. Often they were
applied to canvass
that had
been stretched out on wood battens. The papers could then be
moved and re-hung.
Some examples in Europe have lasted for 300 years.Sometime
after 1700, furniture screens were covered with printed papers. Wood
blocks were
carved to print
pictures or scenes. Over-door panels and fireplace screens
became elaborately printed; these types were able to be mass-produced
because of the wood
blocks.
Tapestries had been woven decorations for the rich and royal,
depicting historic or decorative scenes. Sometime before 1780,
all these
ideas began to be incorporated
by the French to make scenic papers. For decades these were
an inexpensive alternative to the more expensive tapestries
or paintings;
eventually
they became panoramas, that is they were printed to cover entire
rooms with
no obvious end point.
Wood-block printing requires a team effort. The scene is drawn
and colored; the artist and wood carver determine the number
of blocks
and colors:
often 200+ colors and 1000+ blocks. In the print shop, a ground
color is spread
over the entire surface first and dried. Register holes are
then placed on the selvedges
to correspond to the placement of the individual blocks. One
at a time, the blocks are pressed onto an inkpad or trough,
and then
placed
with
pins on the
registration marks. A lever-press forces the ink onto the paper,
and then it is hung up and dried. Each color with its block
is done in
turn.
The French system is like the Chinese in that 5 feet of
scene is below 7-8 feet of sky. Compositions are divided into scenes,
separated
by
large trees
and/or rocks. These are also often separated by other decorative
elements when installed: borders, columns, balustrades, dadoes,
etc.
Also like the Chinese, the French artists worked in anonymity,
just a part of the company's efforts. These also were usually
hung on
canvass and battens,
and were originally printed on low-acid rag paper.
Installation
tips and
techniques
First things first: check all wall surfaces and make sure they are sound enough for a valuable hanging. Use the best prep techniques and primers (I use Zinssers Gardz and Bulls Eye 1-2-3).
Attention must be paid to engineering these panels. Consider the placement of the scenes and the height of the design: note the amount of space between door/window openings, the height of these openings, and whether a chair rail or other moulding may be desirable to move the scene to eye level. Excess sky ground may be able to be used to fill in headers so that all the panels are displayed and extra sets are not needed or repeated (although this may be unavoidable, or desired). For a custom printed Gracie, accurate room drawings are essential (don't use plans, only drawings from completed spaces). The Chinese panels are sometimes framed in like paintings using wood mouldings.
The
inks on a Zuber are distemper (tempera): pigments carried by a water-based
glue or size. Gracies artists
use gouache,
also
water-based but with
less binder. Both inks mar when touched by water or
paste: your hanging techniques
must take this into consideration.
Zuber uses a thick wood-pulp paper. It expands less
at the scene than in the sky portion. Gracie uses many
different
substrates: paper, silk
on
paper, foil-on-kraft
paper, overlapped paper squares. Usually expansion
is even. On
both, there is extra at the top; experiment with these
cut-off
pieces.
Traditionally, seams were overlapped. Modern tastes call for butt seams. I advise trimming on the table with a straight-edge: double cutting introduces many irreversible problems with these delicate items. For Gracie, I usually paste, book (and allow to expand), and then trim. Zuber, with its uneven expansion, is problematic. In wet trimming a crease may cause the inks to flake off, and it is hard to get a parallel cut without losing too much of the design. I now wet the back lightly with a natural sponge, let it relax, and then trim. The sheet is allowed to dry before pasting. Usually I trim a section and hang them together later.
As far as pastes, whatever the choice, the lower the moisture content, the better. Bill Kraves uses straight (whipped) Dynamite 234 (HD clear); Bob Stelzer uses the traditional cooked wheat; Bob Kelly makes and uses his own Paper-Hangings wheat and cellulose (50-50); I use Kelly's wheat and 25% clay.
Pasting with a brush allows for more control, but a roller gives a thinner, more even thickness. Roll out at a slight angle from the seam edges to keep paste off the face. And usually, double-paste as these substrates are absorbent: after the first coating, allow the panel to relax, and then run the brush/roller over it again without adding more paste (unless the previous layer has dried, then add more).
Liners are required. Muslin (light- or medium-weight) or canvass will allow the scenic to be dry-strippable, and be re-hung. I use Rosebrand to get muslin that can cover a wall in one piece, corner-to-corner, floor to ceiling. With either, mist with water and set aside for at least an hour or so; then paste the wall and hang. Smooth out wrinkles with a damp sponge and a light touch. Size (50% water) when dry.
Blankstock is necessary. This wood-pulp paper absorbs excess paste at the seams and smoothes the wall surface. Size when dry.
Acid-free liner slows the deterioration of wood-pulp scenics. This is often used in museum-type installations.
When handling, make sure you have clean hands and work surfaces. Use a light touch; lift the panel to reposition. You made need two people for most installations.
Matching these is somewhat like screen prints: don't expect perfection, go for the best possible match. On Zuber's, match at the most prominent part of the scene. Gracies usually match quite well. When hanging a custom scenic, keep track of the layout they provide and adjust the widths so that the panels frame openings as they were drawn.
Sources:
(Zuber) Travis and Assoc., (404) 237-5079
(Gracie) Earnest Gaspard and Assoc., (404)
233-8645
Zuber: www.zuber.fr
Gracie: www.graciestudio.com
Books:
The Papered Wall: History, Pattern, Technique,
edited by Lesley Hoskins, (Thames and
Hudson, London, 1994)
French Scenic Wallpaper, Odile Nouvel-Kammerer,
Musee des Arts decoratifs (Flammarion,
Paris, 1990; English
ed., 2000)
Supplies:
Rosebrand: www.rosebrand.com; NY: (800)223-1624,
LA: 800-360-5056
Paper-Hangings: www.paper-hangings.com;
ph./FAX: (413) 243-3489
Cavalier Wall Liner: www.wallliner.com;
(800) 221-5798