Our traditional wallpaper is screen printed by hand on coated paper for a luxe, hand-painted look and feel. We use eco-friendly ground paper that is Forest Stewardship Council (FSC) certified and manufactured carbon neutral.
Enter a wonderland of fantastical florals with our patterned wallpapers; unleash your rebellious spirit with pretty in punk blooms or take a walk on the wild side with animal prints. Fall for the nostalgic glamour of the Art Deco era or our Victorian Arts and Crafts inspired collections. Get lost in the wooded wonderland of our beautiful botanicals or journey to mythical lands and whimsical worlds.
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As well as our iconic prints, we have you (and your walls) covered with a wealth of interior inspiration to discover, including how-to-hang-wallpaper guides, styling ideas and complimentary decorating consultations so you can create your very own wonder walls with confidence.
Throughout our seventy-five year history, we have inspired people to think differently about their walls through continuous innovation, creativity, and craftsmanship. Undeniably famous for wallpaper, we have developed our paint range to partner perfectly with our wallpaper patterns.
To help make the choice easier, all our wallpapers have four recommended colors that our trends and color team have picked to either complement, match or contrast with the key colors in each wallpaper.
The most important thing for us is that our customers are able to shop wallpaper and paint that is truly made for each other.
At Graham & Brown every wallpaper is crafted with passion to create a loving home especially for you! Along with an array of colors from Blush Pinks to Dark Greens, we also have a wide selection of popular color combinations from elegant Black and Whites to versatile Gray and Silver & classic Blue and Gold so you will be sure to find a wallpaper color to suit any theme.
You could pre-cut all the white seams off the paper (#tedious), but often this is no help anyway, because this type of wallpaper is generally also printed with an overlap. In other words, you have to overlap the two pieces in order to match the pattern correctly.
Being able to easily reposition your paper will save you from ending up in foetal position in the corner at the end of this experience, rocking and muttering as you stare at the bubbling, crooked wallpaper that is now affixed to your walls for all of eternity.
I tried various implements in my quest for wallpaper smoothness, and the wallpaper brush did not even rate. A clean, dry foam roller was really good. You can use a fair bit of pressure without damaging the paper. Hands were just as good (as long as you keep them clean.)
*Please note that all 2nd Quality dinnerware, Overstock Tile, Final Few, Furniture, and Rug sales are final sale and are not eligible for returns or exchanges. For wallpaper returns, please contact Hygge & West directly.
Wallpaper is used in interior decoration to cover the interior walls of domestic and public buildings. It is usually sold in rolls and is applied onto a wall using wallpaper paste. 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. Wallpaper printing techniques include surface printing, rotogravure, screen-printing, rotary printing press, and digital printing.
Modern wallpaper is made in long rolls which are hung vertically on a wall. Patterned wallpapers are designed so that the pattern "repeats", and thus pieces cut from the same roll can be hung next to each other so as to continue the pattern without it being easy to see where the join between two pieces occurs. In the case of large complex patterns of images this is normally achieved by starting the second piece halfway into the length of the repeat, so that if the pattern going down the roll repeats after 24 inches, the next piece sideways is cut from the roll to begin 12 inches down the pattern from the first. The number of times the pattern repeats horizontally across a roll does not matter for this purpose. A single pattern can be issued in several different colorways.
Wallpaper, using the printmaking technique of woodcut, gained popularity in Renaissance Europe amongst the emerging gentry. The social elite continued to hang large tapestries on the walls of their homes, as they had in the Middle Ages. These tapestries added color to the room as well as providing an insulating layer between the stone walls and the room, thus retaining heat in the room. However, tapestries were extremely expensive and so only the very rich could afford them. Less well-off members of the elite, unable to buy tapestries due either to prices or wars preventing international trade, turned to wallpaper to brighten up their rooms.
Early wallpaper featured scenes similar to those depicted on tapestries, and large sheets of the paper were sometimes hung loosely on the walls, in the style of tapestries, and sometimes pasted as today. Prints were very often pasted to walls, instead of being framed and hung, and the largest sizes of prints, which came in several sheets, were probably mainly intended to be pasted to walls. Some important artists made such pieces - notably Albrecht Drer, who worked on both large picture prints and also ornament prints - intended for wall-hanging. The largest picture print was The Triumphal Arch commissioned by the Holy Roman Emperor Maximilian I and completed in 1515. This measured a colossal 3.57 by 2.95 metres, made up of 192 sheets, and was printed in a first edition of 700 copies, intended to be hung in palaces and, in particular, town halls, after hand-coloring.
Very few samples of the earliest repeating pattern wallpapers survive, but there are a large number of old master prints, often in engraving of repeating or repeatable decorative patterns. These are called ornament prints and were intended as models for wallpaper makers, among other uses.
England and France were leaders in European wallpaper manufacturing. Among the earliest known samples is one found on a wall from England and is printed on the back of a London proclamation of 1509. It became very popular in England following Henry VIII's excommunication from the Catholic Church - English aristocrats had always imported tapestries from Flanders and Arras, but Henry VIII's split with the Catholic Church had resulted in a fall in trade with Europe. Without any tapestry manufacturers in England, English gentry and aristocracy alike turned to wallpaper.
During the Protectorate under Oliver Cromwell, the manufacture of wallpaper, seen as a frivolous item by the Puritan government, was halted. Following the Restoration of Charles II, wealthy people across England began demanding wallpaper again - Cromwell's Puritan regime had imposed a repressive and restrictive culture on the population, and following his death, wealthy people began purchasing comfortable domestic items which had been banned under the Puritan state.
In 1712, during the reign of Queen Anne, a wallpaper tax was introduced which was not abolished until 1836. By the mid-eighteenth century, Britain was the leading wallpaper manufacturer in Europe, exporting vast quantities to Europe in addition to selling on the middle-class British market. However this trade was seriously disrupted in 1755 by the Seven Years' War and later the Napoleonic Wars, and by a heavy level of duty on imports to France.
In 1748 the British Ambassador to Paris decorated his salon with blue flock wallpaper, which then became very fashionable there. In the 1760s the French manufacturer Jean-Baptiste Rveillon hired designers working in silk and tapestry to produce some of the most subtle and luxurious wallpaper ever made. His sky blue wallpaper with fleurs-de-lys was used in 1783 on the first balloons by the Montgolfier brothers.[1] The landscape painter Jean-Baptiste Pillement discovered in 1763 a method to use fast colours. 0852c4b9a8
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