All of these elements are rooted in medieval English history and representative of the arts and crafts design vocabulary originated by Augustus Welby Northmore Pugin (1812–1852).Īs the decades advanced in the 19th century, new influences from around the world had a major impact on ornamental wallpaper design. The infill designs are highly simplified and two-dimensional in the Gothic Revival style. The infill is composed of rosette elements, acanthus leaves, and Tudor Roses in an iconic 5-petal format. The compositional structure is a metallic gold-leaf trellis. The “Box 7” wallpaper fragment is an example of decorative design from the Aesthetic movement. The first step in reconstructing that story was to identify the wallpaper sample, its design, and its likely date of manufacture or installation. Nothing in the box connects those fragments to the history of the Florence Griswold House. It contains several 1.5-inch thick boards with cut nails, plaster lath tracings on the back sides, and wallpaper fragments of a glorious floral design on the front. This is the story of the research journey which brings that remnant back into focus, back into relevance for the grand Late Georgian house.Ī box in the museum’s Lyme Historical Society archives is simply labeled “Box 7, Fabric, Wallpaper, Etc”. It was purposely saved and has now been matched with the showpiece wallpaper that graced the front entryway of the house in the late 19th century. A wallpaper fragment in a hall closet was removed during renovations undertaken in the 1990’s. Throughout the years, leftover wallpaper from larger rooms was used in smaller storage spaces. Wallpapers of many periods have covered the walls and lined the closets of the Florence Griswold House. Featured Image: Fragments of Wallpaper from Griswold Boarding House, Box 7, Fabric, Wallpaper Etc., Lyme Historical Society Archives at the Florence Griswold Museum
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