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He created fifty different block-printed wallpapers, all with intricate, stylised patterns based on nature, particularly upon the native flowers and plants of Britain. His wallpapers and textile designs had a major effect on British interior designs, and then upon the subsequent Art Nouveau movement in Europe and the United States. [1]
Arthur Sanderson & Sons' Grade II* listed wallpaper printing works in Chiswick was designed by the modernist architect Charles Voysey in 1902, his only industrial building. It is faced in white glazed brick, with Staffordshire blue bricks forming horizontal bands; the plinth, door and window surrounds, and dressings are in Portland stone.
The brick tax was levied on bricks before burning. To be able to examine if a brick had been taxed, the mould would have the word 'excise' on it which would leave an imprint on the brick. Brick were originally taxed at 2s 6d per thousand. The tax was increased to 4s per thousand in 1794 and again to 5s in 1797. [1]
On the other hand, Smith reported that others objected to the tax on the grounds of its inequality, since it was thought to have a disproportionate impact on the poor. Smith himself observed that the tax's effect was to lower rent. [11] In Scotland, a window tax was imposed after 1748.
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.
Polychrome brickwork also became popular in Europe in the later 19th century as part of the various medieval and Romanesque revivals. In France, the Menier Chocolate Factory in Noisiel, designed by Jules Saulnier and completed in 1872, is an early and very elaborate example, which is also noted for its early use of iron structure.
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