Identifier: decorativetextil1918hunt (find matches)
Title: Decorative textiles; an illustrated book on coverings for furniture, walls and floors, including damasks, brocades and velvets, tapestries, laces, embroideries, chintzes, cretonnes, drapery and furniture trimmings, wall papers, carpets and rugs, tooled and illuminated leathers
Year: 1918 (1910s)
Authors: Hunter, George Leland, 1867-1927
Subjects: Embroidery Tapestry Textile fabrics Lace and lace making Wallpaper Decoration and ornament
Publisher: Philadelphia and London, J. B. Lippincott company Grand Rapids, The Dean-Hicks company
Contributing Library: Sterling and Francine Clark Art Institute Library
Digitizing Sponsor: Federally funded with LSTA funds through the Massachusetts Board of Library Commissioners

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y thatencouraged the use on the walls in paper, of the same pattern that inchintz upholstered and draped the furniture and windows, paralysingthe occupants of the room with constant bombardment of monotony. Monotony is, of course, an easy sin for wall paper to commit.It is easy to paste the walls, over with a pattern a thousand timesrepeated of which even a hundred repetitions are too much. It iseasy to make too large and too noticeable a pattern that in miniatureis inoffensive or even pleasing. It is easy, in trying to secure hand-blocked or textile effects, to exaggerate the oddities whilst losing thevirtues. One can get more pattern for ones money in wall paperthan in other material. Consequently, most apartments and housesoverwhelm one with the noise of the designs papered on the walls.The dining room moans in dark verdure; the living room screams witha polychrome trellis; the reception room threatens with an exaggeratedstripe, and the chambers suffocate with tiresome florals. 385
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Plate XVII—AN AMERICAN HAND-BLOCKED PAPER The finest wall paper ever made in the United States, containing 120 colours eachprinted slowly and laboriously by hand 386 WALL PAPERS No wonder that many architects and decorators turn with reliefto the papers that emphasise texture and minimise pattern, such asthe ingrains with their felt-like surface; the grass cloths with theirreproduction of the strong line effects of the Japanese originals; thevery remarkable imitations of plain and illuminated leathers; theflock papers with their coating of silk or woollen powder reproducingplain and figured velvets; tekko and the other papers that simulatesatins and damasks and moires; the reproductions of verdure tapes-tries, most of them not in real tapestry but in needlework tapestrytexture produced by overprinting with short vertical and horizontallines; and, last but not least, the imitations of marble and tiles, andplaster, and stone. Especially are the tile effects appropriate for bathrooms,

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