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The period between 1876 and 1882 was the most productive for Morris; he created sixteen different wallpaper designs. In his wallpapers of this period, he reverted to more naturalistic themes, somewhat less three-dimensional than his earlier work, but with an exceptional harmony and rhythm, as in his designs Poppy (1885) and Acorn.
Here, Paris design duo Le Berre Vevaud pared down the formal dining room of this 19th-century loft with a playful monkey sconce from Seletti and a foliage-rich wallpaper from Besson.
Wallpapers can come plain as "lining paper" to help cover uneven surfaces and minor wall defects, "textured", plain with a regular repeating pattern design, or with a single non-repeating large design carried over a set of sheets. The smallest wallpaper rectangle that can be tiled to form the whole pattern is known as the pattern repeat.
In these designs, Morris created the decorative elements, while his friend Edward Burne-Jones drew the figures, and a team of embroiderers manufactured the work by hand. Other wall hangings were designed to be sold off the shelf of the new Morris and Company shop on Oxford Street which owned in 1877. Later, he and his daughter May made designs ...
After venturing into the field of wallpapers at the Festival of Britain, Lucienne Day continued to design wallpapers for the rest of the decade. Keen to reach a wider market, she teamed up with the progressive Lightbown Aspinall branch of the Wall Paper Manufacturers Ltd, whose products were collectively marketed under the tradename Crown.
Wallpaper was often made in elaborate floral patterns with primary colors (red, blue, and yellow) in the backgrounds and overprinted with colours of cream and tan. This was followed by Gothic art inspired papers in earth tones with stylized leaf and floral patterns.
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