London Wallpapers V introduces four previously unseen designs and amalgamates seven popular patterns from London Wallpapers II and III, which have been updated with the addition of 15 fresh colourways.
Below we detail the provenances of each new design. All have been sensitively remodelled and expertly coloured for the 21st century home.
Brodsworth c.1863 – 3 colourways
A lively and engaging design featuring striking birds and delicate floral motifs. Slightly raised and incorporating rich gilding detail, the pattern was originally designed to be an imitation of stamped leather. Based on early-18th century French textiles and furnishings, encompassing panels, scrolls and cross hatching, this wallpaper was found at Brodsworth Hall in South Yorkshire, an elegant, Victorian home belonging to the Thellusson family. Used in both the library and the morning room in reverse colourways, this paper was certainly a family favourite and can still be seen in situ today.
Brook Street c.1895 – 5 colourways
In entirely different eras, two neighbouring houses in Mayfair’s fashionable Brook Street were homes to the baroque composer George Frideric Handel and rock musician Jimi Hendrix. Hendrix spent some of his short-lived musical career in a flat at No. 23, the same property from which this pattern hails. The woven cane-like design is typical of the late 19th century: an all-over pattern, which sits on a lightly brushed ground and incorporates a soft texture within its motif.
Carlton House Terrace c.1885 – 5 colourways
A flamboyant peacock feather design, found in the attics of 18 Carlton House Terrace, a beautiful stucco-faced London town house overlooking The Mall. Originally machine-printed in green on a yellow background, the contemporary surface-printed technique used to recreate it accurately reflects the original, whilst a judicious splash of colour in the feather provides something on which to anchor a contemporary scheme.
St James’s Park c.1940 – 4 colourways
This large damask pattern was found in Marlborough House, next to St James’s Park, a grand abode designed by Christopher Wren and home to the Duchess of Marlborough, friend and confidante of Queen Anne. Originally a dark blue flock on a pale blue ground, the paper is believed to be comparatively recent, though the origins of the general design are Victorian (as a wallpaper) and older still (as a silk fabric). The twist in this interpretation is the light-to-dark ombré effect, which puts bolder colour at the base of the wall and lighter above, with the effect of making a space feel taller and lighter than it would with a conventional damask design. It is a panel design, with three panels making up one full repeat.