Pink and papered: the John and Bartha Moulton homestead and its relationship to broader trends in rural, Mormon, and domestic architecture in the American West

The John and Bartha Moulton Homestead is one of six remaining homesteads settled by Mormon families along “Mormon Row,” an early 20th century ranching community in Grand Teton National Park. Built in 1938, the Moulton family’s home is known as the “Pink House” for its striking pink exterior. It is a standout relic of late-stage homesteading and has become a popular tourist attraction. The house has been unoccupied since 1990 and has been passively conserved by The National Park Service. As such, the building retains a high degree of integrity and still showcases original hardware, wallpaper, paint, and other finishes that illustrate the life and tastes of the Moulton family. Though anomalous in color, the Pink House was in many ways typical of homesteads along Mormon Row and among 20th century Mormon homes throughout the American West. Today, few buildings remain on Mormon Row, and those that do are largely log frame structures in keeping with a romantic, rustic vision of western settlement. However, the Moulton homestead is a vibrant reminder that the Row was once populated by thoughtfully designed houses in a variety of materials. This thesis examines the Pink House and its interior finishes as they relate to Mormon domestic architecture, and contextualizes the house within greater trends in farmhouse planning and design as modern amenities and mass-produced items became available in rural areas

Food Chain

University of Michiganhttp://deepblue.lib.umich.edu/bitstream/2027.42/156372/1/Final_Thesis_Olsen.pd

The marketing of wallpaper in our American economy.

Thesis (M.B.A.)--Boston Universit

Japantastic: Japanese-inspired patterns for British homes, 1880-1930

In the 1870s and 80s, Britain experienced a craze for all things Japanese. Japanese art and design was seen as exciting and exotic by Europeans, because it was so different to Western culture. It offered a whole new way of looking at and representing the world. Arthur Silver was a British designer of wallpapers and textiles. He established his company, the Silver Studio, in 1880. He and his colleagues were avid collectors of Japanese source material. The Silver Studio incorporated Japanese materials, methods and motifs these into designs for wallpapers and textiles for British consumers between about 1880 and 1930. The resulting designs are not straightforwardly ‘Japanese’ but are the result of a cross-cultural fertilisation of design ideas. Today the Silver Studio Collection is the core collection of the Museum of Domestic Design & Architecture (MoDA), Middlesex University. This book accompanies an exhibition held at MoDA between 2009 and 2010. This is a text only version. A fully-illustrated version is available from www.blurb.co

Review of The Papered Wall: The History, Patterns and Techniques of Wallpaper by Lesley Hoskins

Translation from French to English by Pamela J. Warner of Jérémie Cerman\u27s book review of: Lesley Hoskins, ed. The Papered Wall: The History, Patterns and Techniques of Wallpaper, 2nd ed. London and New York: Thames & Hudson, 2005. 272 pp., 216 color pls., 153 b/w ills., bibliog., gloss., index. Paper, $34.95, £19.95

Who paints the house? Scotswomen as housepainters and decorators from 1820

In the early 21st century it is still considered unusual to find a woman in paid employment as a skilled housepainter and decorator. Tradeswomen, in these most domestic of building trades, were working throughout Scotland during the 19th and 20th centuries. The women were those whose work self-identities were sufficiently strong to be recorded in directories and census returns. These are women who worked, not middle class or amateur women interior decorators dabbling in the arts and crafts because it was fashionable. The historical record is compared with contemporary records of women taking paid employment in these fields and also with the strong market created in modern times by the many TV DIY programmes encouraging women into DIY. The high level of present and past involvement of women in house-painting and decorating shows that the aptitude and ability exists at both the professional and amateur levels. The factual reality is compared with perception and prejudice within the industry and the barriers that were and are placed in front of women wishing to do this work

The Assimilation of European Designs into Twentieth Century Indian Saris

Although so-called Indian designs of seventeenth- and eighteenth-century chintzes influenced Western European [Western] textiles almost from their introduction, Western patterns did not impinge on indigenous Indian fabrics, such as saris, until the last half of the nineteenth century. They were superimposed upon an already complex mix of textile ornamental styles, which can be briefly categorized as: (i) Mughal, (ii) Hindu, and (iii) adivasi (aboriginal). The Mughal style consists of the elaborately patterned prints and brocades typical of western India. It shows strong Persian influences, such as the kalga (Paisley motif); intertwining floral vines (bel); and life-like depictions of entire plants, often with roots as well as leaves and flowers. The Hindu style, on the other hand, is commonly found throughout the Subcontinent and is a mix of geometric and stylized natural forms with an often refined use of space and line. Vines, flowers, animals, birds, insects, and humans are often depicted but rarely have that sense of three-dimensionality as found in the Mughal tradition. Adivasi patterns go one step further, being purely geometric, although the motifs may be given names of objects seen in nature. Western designs entered the sari ornamental repertoire in three ways: through (i) the printed patterns created in British, and later Indian, textile mills; (ii) non-textile Western design sources, such as wallpaper sample books; and (iii) depictions of what, from the Indian point of view, were the exotic technological products of the industrialized West. The semiotics of wearing saris with Western designs evolved differently according to the section of Indian society using them, but I aim to show that for the majority of India\u27s middle and working class women, not its elites or remote rural communities, man-made fiber saris with Western patterns are today actively used. For with the breakdown of traditional social roles in the face of changing social and economic environments, they impart messages that the wearer belongs to the modern world rather than the traditional, and they help disguise what may be perceived as low status personal backgrounds

Toward A History of Canadian Wallpaper Use: Mechanization 1860-1935

This article examines wallpaper use in Canada from the beginning of cylinder printing in 1860 to 1935. Statistics reveal that the value of wallpaper within Canada grew steadily during this period, before declining precipitously during the 1930s. Canada’s four major factories achieved dominance in their home market by producing low-to-middle grade wallpaper at affordable prices. This paper documents this achievement and explores its significance, centering on a key compilation of primary and secondary sources. From this compilation, costs and patterns of trade are extracted in order to show Canadian development against the backdrop of wallpaper history. Partial comparison to Canada’s chief competitor and trading partner, the United States, is made through analysis of per capita production and consumption figures. This article is grounded in recent scholarship from Europe which suggests that wallpaper can be viewed as an object of use over and above its more familiar role as a minor art-historical artifact