Printing Matters:
Wallpaper in the Context
of Printmaking
Written by Andrew Raftery
One of the most exciting aspects of spending a lifetime as a printmaker is that there are always new techniques to learn, along with their attendant criteria and histories.
Carving blocks in response to the technical requirements, design imperatives, and functions of wallpaper opens up novel ways of making and thinking about prints. Modestly sized units form patterns to decorate and transform large interior spaces; this is very different from single-sheet etchings, engravings, woodcuts, lithographs, and screenprints, which typically define the field of prints, but ultimately it is familiar territory. Wallpapers are prints in every sense of the term and a wallpaper production studio is a printshop.
1 → Linda C. Hults, The Print in the Western World: An Introductory History (Madison: University of Wisconsin Press, 1996). This comprehensive history of prints does not mention wallpaper.
It might seem redundant to point out that a woodblock-printed wallpaper is indeed a print. The word print encompasses the history of printed art, including its techniques and research methods. Wallpaper is well placed in discourse surrounding decorative arts, commerce, and industry, but histories of printmaking rarely recognize woodblock-printed wallpapers for being some of the most ambitious and technically innovative color prints ever made.1
2 → Victor I. Carlson and John W. Ittmann, eds., Regency to Empire: French Printmaking 1715–1814 (Baltimore: Baltimore Museum of Art; Minneapolis: Minneapolis Museum of Art, 1984); Margaret Morgan Grasselli, Colorful Impressions: The Printmaking Revolution in Eighteenth-Century France (Washington, DC: National Gallery of Art, 2003). These standard surveys of French printmaking from the period covered in our show make no reference to relief printmaking or wallpaper.
3 → In France these prints are called imagerie or images d’Épinal, after the city where many of them were published. This tradition of popular woodcuts colored with stencils continued well into the nineteenth century.
4 → Jacob Kainen, John Baptist Jackson: Eighteenth-Century Master of the Woodcut (Washington, DC: United States National Museum, 1962). Kainen describes the typographic ornaments of Jean Michel Papillon (1698–1776), criticized by John Baptist Jackson as being carved with such finesse that it could not be clearly printed on textured laid papers of his time. Papillon was also involved in the wallpaper trade and left a description of the production and installation process. His essay and illustrations on the topic are described in Robert M. Kelly, The Backstory of Wallpaper: Paper Hangings 1650–1750 (Lee, MA: Wallpaper Scholar.com, 2015).
Woodblock printing scarcely gains a mention in most histories of printmaking covering the eighteenth and early nineteenth centuries.2 This was a time of great innovation in print culture, with many new refinements in existing techniques, such as mixed etching/engraving and the perfection of mezzotint. In a period that saw the invention of soft ground, chalk manner, aquatint, and multiple-plate color in intaglio, followed by the development of lithography beginning in 1798, woodcut seems comparatively static. It was used for popular imagery, often crude, and printed in huge editions to be sold at fairs and by itinerant peddlers.3 More refined woodcuts had an auxiliary status, serving as typographic ornaments, cut in hardwoods on woodblocks of the same thickness as the lead type. Decorations such as headpieces and tailpieces could be fitted into the printer’s movable forms and printed along with text.4 This led to the one widely acknowledged innovation in the eighteenth-century woodcut—Thomas Bewick’s (1753–1828) development of wood engraving on end-sawn boxwood. Although the density of boxwood had long been recognized for its durability during the printing process, Bewick used engraving tools on the circular rings of the wood to make a matrix that could produce hundreds of thousands of very detailed prints without showing wear. This had tremendous consequences for printed images until the gradual introduction of photographic reproduction by the end of the 1800s.
Some wallpapers in the RISD Museum’s Huard Collection are part of this tradition of press-printed illustration. Two sheets from Atelier Boulard (34.869–.870) (Figs. 1 and 2) consist of detailed repeating patterns printed in oil-based ink from relatively small blocks on a typographic press. In scale and style, they are equally appropriate for end papers in a book or for lining a box or cabinet. Made circa 1810, they are late examples of dominoes, or small sheets made to be pasted onto surfaces to create patterns. An earlier example, attributed to the manufacturer Basset circa 1770 (34.872) (Fig. 3), is stenciled with semiopaque layers of blue, pink, and brown applied over the black printing. The effect must have been charming when installed in an interior, but manufacturers clearly wanted more elaborate and controllable ways to apply color.
5 → Naoko Takahatake, The Chiaroscuro Woodcut in Renaissance Italy (Los Angeles: Los Angeles County Museum of Art; New York: Delmonico Books/Prestel, 2018), 256–70. Takahatake recruited Linda Stiber Morenus to do a superb reconstruction of the chiaroscuro woodcut technique.
6 → Kainen, John Baptist Jackson, 46–49.
Multiple-block color printing was introduced in Europe in the early 1500s. These chiaroscuro woodcuts evoked the effects of wash drawings done on toned paper and finished with white highlights. The first block carried the tone, with the highlights carved away to reveal the white of the paper. Subsequent blocks provided shapes and contours that were printed in layers of transparent oil-based ink to form the image.5 Chiaroscuro woodcut’s niche as a specialized, experimental branch of printmaking had died out before being revived by Venetian art dealer and printmaker Anton Maria Zanetti I (1698–1767). His woodcuts after the Parmigianino drawings he collected used the sixteenth-century chiaroscuro technique to combine antiquarianism with the fresh prettiness of an eighteenth-century palette (50.142) (Fig. 4). A more muscular approach is evident in the work of Zanetti’s sometime rival, the British printmaker John Baptist Jackson (1701–1780). Jackson’s Marriage at Cana (47.396.6–.7) (Figs. 5 and 6), after Veronese, is part of his 1740 publication of woodblock prints of Venetian masterpieces. These prints challenged the scale possible on contemporary presses and explored the potential of oily brown inks to suggest a full color palette. They were printed with immense pressure—the embossment is abundantly evident on the prints (47.396.6) (Fig. 7). Despite all Jackson’s ambition and skill, there is something disagreeable about the deeply printed glossy layers of ink. Jackson turned to wallpaper later in his career, without success, and his insistence on oil-based inks meant his work could not compete with the fresh tones of the distemper paints being introduced for wallpaper printing in England and France.6
Anton Maria Zanetti 1, Italian, 1680–1757
Francesco Mazzuoli, called II Parmigianino, Italian, 1503–1540
Woman with an Amphora, 1724
Chiaroscuro woodcut from three blocks in pink, dark pink, and blue
Plate: 20.2 x 10.3 cm (7 15/16 x 4 1/16 inches)
Museum purchase: gift of Henry D. Sharpe 50.142
John Baptist Jackson, British, 1701–ca. 1780
Paolo Veronese, Italian, 1528–1588
The Marriage at Cana, 1740
Chiaroscuro woodcut on two sheets from five blocks in light tan, dark tan, light brown, brown, and dark brown
Plate: 57.6 x 42.1 cm (22 11/16 x 16 9/16 inches)
Museum Collection 47.396.6
John Baptist Jackson, British, 1701–ca. 1780
Paolo Veronese, Italian, 1528–1588
The Marriage at Cana, 1740
Chiaroscuro woodcut on two sheets from five blocks in light tan, dark tan, light brown, brown, and dark brown
Plate: 58.1 x 42.1 cm (22 7/8 x 16 9/16 inches)
Museum Collection 47.396.7
John Baptist Jackson, British, 1701–ca. 1780
Paolo Veronese, Italian, 1528–1588
The Marriage at Cana, 1740
Chiaroscuro woodcut on two sheets from five blocks in light tan, dark tan, light brown, brown, and dark brown
Plate: 58.1 x 42.1 cm (22 7/8 x 16 9/16 inches)
Museum Collection 47.396.7
7 → Bernard Jacque in The Papered Wall: The History, Patterns and Techniques of Wallpaper, ed. Lesley Hoskins, 2nd ed. (London: Thames and Hudson, 2005), 178. Jacque explains the scale of French industrial wallpaper production, where hand printing remained viable well into the nineteenth century. He asserts that eight hundred wallpaper printing tables (presses) were still operating in Paris in 1866.
8 → In 1806, British papermaker Henry Fourdrinier patented a machine that made continuous lengths of paper. His invention allowed for the seamless wallpapers that became the industry standard.
Each color in a wallpaper design required a separate carved block. A more modest design may have used only a few, while a complex pattern could have needed a few dozen. A large wallpapered room might require that each block in the design be printed hundreds of times. Historical records imply that such woodblocks yielded millions of impressions, another reason they were cut so deeply.7
In Western oil-based printing and Asian water-based techniques, the woodblock is inked face up and paper is placed on the block, with pressure applied on top of the paper. Ink is rolled, daubed, or brushed onto the carved surface before the blocks are hand-printed or run through a platen or roller press. Wallpaper printing is radically different. The color itself is a gelatin-based paint called distemper, traditionally used for decorative work and theatrical scene painting.
To print onto the prepared ground, the distemper paint is brushed on a felt pad that the block is pressed face down against, much like inking a rubber stamp. The block is then positioned, again face down, on the paper by means of small metal pins protruding a bit from the edges of the block. The pins correspond to marks made by the printer on the edges of the paper roll and ensure perfect alignment of multiple layers. Pressure to the back of the block comes from the top, applied by means of a counterweighted lever and the printer’s body weight. The block is lifted, the paper is moved, and a new layer of paint is applied as the process continues.
French wallpaper manufacturer Jean-Baptiste Réveillon’s large printed panels, the Five Senses (Les Cinq Sens), circa 1780 (34.899–.901) (Figs. 8, 9, 10), are prime examples of the new possibilities for decorative figuration that came into play during the latter part of that century. Conceived at mural scale, they are printed on joined sheets coated with blue distemper. The same blocks were used to print the framework for each of the senses; only the figurative elements and titles used different blocks, and scale was achieved with relatively small blocks used to print sections of the design. These printed joins are cleverly concealed, only discoverable by carefully comparing the different scenes. Although early wallpapers were printed on separate sheets that could be pasted edge to edge to form the pattern, manufacturers and paper hangers soon recognized the convenience of installing papers that were stored, shipped, and sold in rolls. In the 1700s, relatively small sheets made from pulped linen rags were glued together to make larger lengths. By the early nineteenth century, continuous rolls of paper were embraced by wallpaper manufacturers.8 Before printing, the paper is brushed with a ground color of distemper, which is allowed to dry. The ground has an aesthetic function of establishing the color harmony for the design, but the gelatin and pigment mixture also sizes and strengthens the paper, making it receptive to subsequent printed layers.
9 → Grasselli, Colorful Impressions, 10 and 42–44.
10 → Grasselli, Colorful Impressions, 126–27. Grasselli analyses the color separations in the impression in the Ivan Phillips Family Collection, comparable to the fine impression at RISD.
Philbert Louis Debucourt, French, 1755–1832
The Bouquets, or Grandmother's Day, (Les Bouquets, ou La Fête de la Grand-maman), 1788
Color etching and aquatint
Sheet: 36.5 x 28.9 cm (14 3/8 x 11 3/8 inches)
Mary B. Jackson Fund 2012.6.1
Pierre-Charles Canot, French, 1710–1777
Jean Baptiste Pillement, French, 1728–1808
March; From Allegories of the Twelve Months of the Year, Allégories des Douze Mois de l'Année, 1759
Etchings with engraving print on paper
40.5 x 27.3 cm (15 15/16 x 10 3/4 inches) (sheet)
Mary B. Jackson Fund 2008.88.1.3
Anne Allen, English, active in France in the 1790s
Jean Baptiste Pillement, French, 1728–1808
Fantasy Flower Design; Cahiers No. 2, Nouvelles Suitte de Cahiers de fleurs idéales L'usage des déssinateurs et des Peintres, ca. 1796
Color etching inked à la poupée on pale blue paper
17.8 x 13.7 cm (7 x 5 3/8 inches) (plate)
Walter H. Kimball Fund 2003.108
French
Design for Wallpaper Border, 1830
Gouache and graphite on paper
33.3 x 41.9 cm (13 1/8 x 16 1/2 in.)
Mary B. Jackson Fund 34.1173
French
Design for Wallpaper, 1830
Tempera and graphite on paper
28.6 x 22.5 cm (11 1/4 x 8 7/8 in.)
Mary B. Jackson Fund 34.1174
11 → Odile Nouvel-Kammerer, ed., French Scenic Wallpapers: 1795–1865 (Paris: Flammarion, 1991). Nouvel-Kammerer notes that the critical response to scenic wallpapers could be extended to any pictorial designs. “We can say that we believe it unlikely that anyone will manage to reproduce more faithfully not only the draftsmanship but also the subtleties of painting by means which are, nevertheless, relatively crude if you compare them with the infinite resources of the brush.” Even though this quote is from 1856, it highlights the lingering threat of fine wallpapers to painters.
12 → A room with an installed version of this design is illustrated in Hoskins, The Papered Wall, 87, ill. 86.
Dufour et Leroy, manufacturer
Paris, France; 1823–1836
Sleeping Love (L’Amour Endormi) Wallpaper, ca. 1825
Woodblock print on paper
78.7 x 98.7 cm (31 x 38 7/8 in.)
Mary B. Jackson Fund 34.983
French
Wallpaper Dado, ca. 1795
Woodblock print on paper
56.2 x 108 cm (22 1/8 x 42 1/2 in.)
Mary B. Jackson Fund 34.981
French
Wallpaper Border, ca. 1804–1811
Woodblock print on paper
34.1082
French
Flocked Wallpaper Border, 1830
Woodblock print on paper with flocking
25.4 x 41.6 cm (10 x 16 3/8 in.)
Mary B. Jackson Fund 34.1167
Pair of Wallpaper Borders, ca. 1825
Woodblock print on paper with flocking
83.2 x 51.4 cm (32 3/4 x 20 1/4 in.)
Mary B. Jackson Fund 34.1046