30 Inspirational Lincrusta, Anaglypta and Embossed Wallpaper Details

Lincrusta is like linoleum for the walls and ceilings. It differs from Anaglypta wallpaper; it’s harder wearing as it doesn’t have a paper or vinyl base. As with Anaglypta it can be identified by its raised relief. It can be painted, and is perfect for hard wearing areas such as hallways.

It was very popular in the Edwardian period. I used to go to many Victorian houses in my old job and the, now sad looking, grand premises often had stained glass doors with Lincrusta on the hallway walls. They’d often be painted in gloss paint and, although they interested me, they often looked….bleugh. But it doesn’t need to be; more on that later.

Bleugh!

Lincrusta is expensive. It’s about 300€ per roll and a freize with a Lincrusta design on it is the same amount. So bear that in mind if you’ve moved into a period home, spy it and want to tear it all down!

It’s made from a paste of gelled linseed oil and wood flour spread onto a paper base. It is then rolled between steel rollers, one of which has a pattern embossed upon it. The linseed gel continues to dry for many years, so the surface gets harder over time. This is why it’s so expensive and hard wearing.

Not only is Lincrusta expensive to buy, applying it is different from putting up standard paper or vinyl based wallpapers and would need a specialist. You need to cut the Lincrusta panels to the required size and then soak them in warm water until they are malleable, before sticking them to the wall using a special Lincrusta adhesive. The expertise is especially significant as it can’t be cut to allow it to go around corners.

A little history. Lincrusta was invented by Frederick Walton who also patented the aforementioned linoleum flooring in 1860. Lincrusta then followed in 1877 and was used in places from royal homes to railway carriages, hotel foyers, bars, restaurants and casinos.

Can you believe that it was in six staterooms on the Titanic? It’s also in the White House. Like I said – if you have it and are restoring please don’t tear it down!

Although Lincrusta was originally manufactured in various locations all over the world it is now produced in Morecambe, Lancashire using traditional methods.

Both oil-based and water-based paints can be applied to Lincrusta. Below are some inspirational images, but it’s worth bearing in mind that it can provide a base for a variety of treatments.

These are some traditional dado style Lincrusta. As said earlier, this is likely to be found in a hallway. Even giving it a fresh coat of eggshell paint will make it look dramatically different. However you’ll see other treatments too.

A whole wall of Lincrusta? Take a look at these…

Stunning isn’t it?

I can’t afford Lincrusta, I don’t even think I can afford Anaglypta – it’s poor, but still expensive, cousin. However I might be able to afford some embossed wallpaper. Why would I want to introduce this into our house? When you live in a period, stone house you notice the cold. Once it gets warm it stays warm, but this is largely because we have double glazing. However we’re always looking for ways to add insulation.

As there are a lot of these types of homes here in France using a thin layer of polyesterene prior to wallpapering is common. It adds a layer between the cold stone and the wallpaper, stops the heat seeping into the wall.

In the upper rooms and hallway we have a lot of polystyrene tiles on the ceiling for this reason (😱). So I’m thinking of replacing that with a polystyrene sheet and some embossed wallpaper. It won’t have the durability of the Lincrusta, but you don’t exactly get a lot of traffic on the ceiling. Why would I do this? Take a look…

The other way I’ve been inspired by Anaglypta is the friezes. They’re as much as the wallpaper. Yikes! So I’ve come up with an alternative. I’ll tell you about this shortly, but here’s what’s got me salavating…

How To; Door Mouldings and Details

Door Mouldings and Details

I’ve had a terrible chest infection, it’s something I’ve been susceptible to since forever, but this one has been very hard to shift. It still lingers, but I’m starting to be able to join the land of the living -even if I limp away after short periods of time.

However as it’s the feast of the Sacred Heart today I thought I’d give you an update on the hallway, with its dedication to the Sacred Heart, and in particular the doorways that I’ve painted. The hallway isn’t finished so you’ll see some snags in the paintwork amongst other things which I’ll touch up prior to those final details.

The doors originally looked like this…

I’d already added the vintage fingerplates and I knew I’d paint and gild the doors as I did in the dining room, but as you can see from these picture I’ve also added a feature on the top….

These were wood mouldings bought here that I didn’t painted gold. They tie in with the wood carving over thee main door. Those of you who read the blog at that time will remember that I’d bought this old top from an armour and put it above the door (the post is here).

As you can see I’ve highlighted this in gold too. I’m considering hand painting some roses in the panel that is bare as I did with my secrétaire. When I have more energy I’ll get to it.

On the doors you can see I’ve filled the gaps between the armoir carving with these wood mouldings bought here and spray painted gold.

You can also see that I’ve added additional flourish mouldings bought here and, again, spray painted gold. I’ve also highlighted details on the door in gold too. I did this as these doors are original Art Deco, which would be great in a more modern scheme but doesn’t really go with this. I took a chance that the details would bring it in line with the rest of the room and I think they’ve worked.

Previously I’ve given how tos on the panelling (here and here) but these were literally paint, glue them on and then repaint any details that need it. I haven’t done that last part yet due to my illness and you can see that when I remove the masking tape a little extra gold and blue came with it. It will be done.

You can see the little, porcelain door handle that used to be in the dining room that I’ve now moved here as I thought they went so well with the decor theme and colours.

I gave you a sneak peak of the marble relief picture, but here it is in more detail…

You’ll notice I’ve used the picture rail. The picture is so heavy I’d taken it down for fear of it dropping and smashing. I’d ordered the wire and picture rail hooks from here and here and it had taken some time to get to France (I hadn’t seen an equivalent here). They’re the brace to the belt of the picture hook and eye system that I’d already used. I’m a little more confident now that it will remain there.

The Queen Anne chair has been pictured on both sides of the room as shortly after I took the photos my husband came in and complained about its position. He thought that as it was just in front of the door it was an inconvenience. So I moved it to the other side.

Here’s a close up of the ceramic umbrella stand which is an original Art Deco piece and suits the colouring of the room superbly. I think it mimics the central chandelier with its pink candle cap light shades and the ceiling rose that reflects the stained glass design I made (see here).

In these shots you can see the cornice I’ve added and, unfortunately, the unfinished side panels. The one drawback of ordering the wood carvings from China is that they take soooooo long getting here and I’m waiting for two more pieces.

I was going to add some more wood carvings on the ceiling and above the picture rail, but it looks ‘enough’ now, and I don’t want to spoil it by adding more. Some of them have already arrived and I think I’ll use them in the dining room where I’d intended to do something similar.

What I am also waiting for is some crystal droplets to arrive for the chandelier – I’ll post with the other details as well as one more little thing I want to add.

So I moved the chair on the other side. I covered this about three years ago and had considered recovering it in gold damask as I have some material upstairs just waiting to be used. However seeing it here I’m not so sure I’ll rush into that.

Here’s a reverse shot of the chair. I’ve always loved the rose pattern on the reverse of the chair. I think the umbrella stand looks good here too.

Above the radiator, which I’ve spray painted pale blue along with the gold shelf, are some old dress design prints. One is from a collection in 1914….

or season one Downton, and the other is from 1922….

Now is that season three or four? Doesn’t the old telephone suit them?

Anyway I think they’re beautiful and the black and gold seems to tone down the cutesy girliness of the room as does, I hope, the muted pink and taupe.

I’ve replaced the photos of my great grandmothers, again. Whenever I decorate a new room they are ceremonially moved into it it seems.

Here’s a close up of that beautiful clock. I haven’t even tried to get it going yet. I don’t think it has a key. I know I won’t be winding it up every day so why fuss?

Finally here’s a close up of my Sacred Heart statue. I’ve added some tea light holders and flowers so it doesn’t look so bare as before. I’m dedicating all my family to Him anew today. Are you?

How To French Country Mouldings Part 2

 

How to French Country MouldingsYou may have noticed my long absence; I’ve had so much to contend with and in the middle of it all I decided to start the second part of our mouldings. I cannot tell you what a mistake that was! It turned out to be a huge job -not the mouldings themselves, which were simple, but I suddenly found myself doing lots of other work around them too.

I’ve seen on Pinterest lots of helpful ‘how tos’ on wainscoting or panels to your walls. I always think they look classic and they’re on my decorating want list for the other entrance.

However with the main entrance I wanted something more classicly French that would still go with my Art Noufaux doors (how to here). So I came up with this way to add faux panels (take a look at the more intricate panels in my first how to here).

Throughout the hallway was textured wallpaper with an underlay of very thin polystyrene. This had been used because the plaster beneath was rough and in some places falling a part. So the reason I’ve been delayed, amongst other things, is I’ve been stripping most of the wallpaper off and plastering the wall as well as starting to work on covering the seams of the remaining wallpaper to paint.

I’ve also added a picture rail. If you want a how to for either of these let me know in the comment box below.

For the panels I used19mm half rounds and more decorative wood appliques. The ones I used are here…

You need to decide if you want rectangles or squares for the panels. I chose rectangles as they elongate the room. I cut all my half rounds into the same length though as the height and length of the mounding still were very different so they actually created the rectangular shape.

Pre-painting?

Unlike the other panels I painted the wall before I applied them to make it easier to decorate post paneling. However I’m not sure if this was the best thing. I’m going for a two tone look in this section and I think I wasted paint in the middle which will be painted over with a taupe colour. Here’s my inspiration for this section by the way….

One benefit of painting first is that you can see blue through the fretwork of the scrolls, as you can see here…

I’d also pre painted the lengths and scrolls. Painting delicate details in situ can be tricky so this gave me a head start. My gold liquid paint is a slightly lighter colour, so I’m going to use the two shades as a detail itself.

As I had to work around the radiator, which I’ve sprayed the same shade of blue and it’s given it a new lease of life, it naturally led to my considering it in the placing of the panels considering its dimensions. Would I place it near the wall, and therefore have the entire panel on display, or would I have some of the detail behind the radiator itself? I went for the latter as I wanted the panels to be parallel to each other and, as there was no impediment on the other side, the spacing wouldn’t look right.

Work out the spacing?

Prior to continuing I placed what would be the upper half of the panels on the floor running alongside the wall to have an idea of how they’d fit. Satisfied I carried on to the next part.

Obviously when I was working out where to place the mouldings I measured the half rounds in addition to the lengths of the appliqués and then with the depth. As I was going to have two panels I subtracted the total of the two from the length of the wall and I was left with 32 cms. So I decided to allow for the majority of the gap in between and divided the space as 10cms, panel length, 12cms, panel length, 10cms.

I did the same with the depth, deciding on a distance of 5cms between the wall and the length of the wood scroll.

Adding the first detail

Just like my previous tutorial I used no more nails and immediately applied some to the back of the first, wooden scroll. I measured 5cms down and 10cms in and applied it to the wall. Using my infra red beamed spirit level I continued along.

Adding the first length

NMN was added to the half round and applied to the wall with the spirit level’s aid. However I checked the distance from the dado rail with my measure as we’ll.

It’s really important to do this as in an old house like this (ours is definitely pre 1850s, they only kept records after that date, so it could be sìgnificantly older) there is often movement in the walls etc. So although the houses are solid they may not be 100% level. As a result a level line might not coincide with the dado rail.

Continue with the rest of the rectangle.

Measure the width between the rectangles and start again

Is this sounding simple? It is. It would probably be tricker if I didn’t have the dado rail already. After the internal double doors, where I plan to continue the moulding, there’s no dado rail. I’ll have to apply a dado rail there and I’ll post about that then.

Odd areas

In the corners it was too small for individual panels without them looking odd, so I continued the panel around the bend. This meant still using four of the scrolls, the same half round length for the depth and a significantly reduced horizontal half round.

I glued the two top scrolls first, then worked out the different length for the top horizontal. Having glued the verticals and the second scrolls I worked out the next horizontal before gluing. Like with the previous panels I checked the measurements throughout.

More odd areas

The next odd areas where too narrow for double scrolls, so I used this carved, corner detail and a scroll without any horizontal half rounds. I’m actually really pleased how this one turned out.

How to French Country Mouldings

I painted the interiors this taupe colour, but I feel it’s a little strong. I intend to add a raised stencil to that area in the blue to tone it down. I’ll update you on that as well.

I’ve also used a complimentary gold to highlight the scroll detail and, as you can see in my last ‘odd area’ I’ve started to highlight parts in gold.

Of course, I’ve done it all out of order as I should have started with the ceiling first. However I was waiting for coving to arrive and was too eager. Next will be door details and following that the coving, ceiling details and a feature between the picture rail and the coving. Subscribe so you don’t miss any of it and let me know in the comments what you think – I’d love your feedback!

How To House Sign Inspired by Golden Victorian Typography

How to house sign inspired by golden typography

After my Art NouFaux stained glass front door and update of the front of the house I’m adding additional details. I absolutely love these signs, as the post shows, and I thought of a way to get a similar look for our house. It’s normal in France to have your name near your door so, even though I already had the iron number on the door, I thought this would be a good solution. It’s sooooo simple. Honestly, one of the easiest crafts I’ve ever done. Here are the simple steps…

Spray paint a picture frame to make it weatherproof

We have a French glass porch, so I’m not expecting the weather to be able to get at this too much. However it always pays to weather proof. Mine started off grey, but I thought it would blend too much with the stone, so I chose black and gold throughout.

Spray front and back. I intend to attach mine and try and seal it to waterproof it from behind, but just to give it a bit of extra protection I think it’s advisable.

Spray paint the wooden backing and glass with mirror bronze paint

As my frame is round I spray painted the insert that goes behind the picture gold too. I didn’t know how see through the colour would be and didn’t want the mirror like shine to be diminished.

I originally thought of doing this with an actual mirror, but then realised there might be accidents outside my house with glare from the sun 🤭 😆. I wouldn’t have been popular in the village!

So this mirrored finish gives the same feel, but without the danger.

Create your design and print it on clear, waterslide decal paper

I used a frame from the graphics fairy and a monogram. There’s obviously no point in my doing a print out for this. Follow the instructions on your packaging, but you can see my how to here for this craft. This is a picture of the image before sealing and the decal clearly stands out from the backing. The mirror image looked super shiny too.

As I’d cut the decal out too small you could just about see the edging in the one above, so I redid it. But, like pinning your hair in a chignon, finding a couple of stray hairs and attempting to make it perfect, it wasn’t to be. I had the decal équivalant of a messy chignon, because it kept puckering. I don’t know why. I tried a couple of more times to no avail. Tant pis!

Seal the image with glossy, acrylic craft varnish

So, on my slightly less satisfactory, final attempt I used this really thick craft varnish to create a waterproof finish and seal the gaps between the glass and the picture edge. Make sure it’s glossy to keep the mirror shine.

On the second image i don’t know if you can see that the letter is slightly raised from the backing giving it a 3D affect. I haven’t put it up yet, but I’ll update you when I do.

Art Nouveau Stained Glass

25 Inspirational Art Nouveau Stained Glass Designs

I want to do something with our boring upvc front door. I’m an admirer of Artt Nouveau stained glass, as this post showed. I would really like to see if I can imitate that on our dull front door. In the meantime here’s some inspiration….


I have one more to show you, but I might basing my attempt at repeating Art Nouveau stained glass on it; so more of that later.

God bless!

Making A Double Curtain Pole Valance

Making a Double Curtain Pole Valance

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This post has taken me a long time to write, because I became distracted by other projects when I went to finish the second valance. Yet finally, finally, my curtains are finished. This how to isn’t how I made the curtains, as I think they’re pretty self explanatory, (if anyone wants a how to on that let me know and I’ll do one as I have plenty more to make for the house), it just focuses on the valances.

I decided on a valance with a pole as one with a box seemed a bit complicated for my first outing – they use a double pole bracket. The measurements are obviously dependent on the width of your windows.

Identify the depth you want the valance to be

I had to cover these box structures which hold electric shutters, it’s one of the main reasons I want valances in this room. So for me the depth naturally flawed from that.

Identify its length

Then I identified the length; the width of the curtain pole plus the additional fabric needed to go around the end of the poles in order that the end curtain hook can be attached to the end curtain ring of the curtains (see the photo). As I knew I wanted pleats I cut my material to include the depth and twice the length – so two lengths of material. You may need three, or two and half dependent on the width of the window, or how many pleats you want.

Join the material lengths

Join up your lengths of material so the pattern is still evident. As I have a damask, striped curtain this pended itself quite easily to this. IMG_1540IMG_1538

Hem both lengths and ends

I just used a 1cm depth for the lengths and let the natural stripe of the curtains guide the ends.

Pin the trim along the bottom length

If you’re using trim pin it along the bottom, then sew it in place.IMG_1552

Pin the trim along the length where the curtain pole will be

I used to types of trim along this length; lace and a bobble trim. Again, because is specifically wanted the end of the valance to cover the shutter box, I measured the distance between where the curtain pole was and where I wanted the end of the valance to be and started pinning trim along this stretch.

I used three lengths of trim. In order to have the depth of lace I wanted I had an opposing, double length of lace. Pinning it along the length with curves down, then another length with the curves up so they overlapped as in the picture (you may of course find lace with a design you like, which is thick enough for your purposes).

I then pinned the length of bobbled trim in between the two and sewed them in place. After it was sewn I double checked that all three pieces were firmly secured.

 

Decide what pattern you want your pleats to have, then hand sew in place.

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I chose a more random, pleated pattern with a. central double pleat, single mid pleat and multiple pleats to the end. You may want a more regular pattern of course, but pin them in place at this point.

If, like me, you use a bobble trim you may need to snip some of the bobbles to ensure the material can lie flat – obviously ensure you’re sure you have the pleats in the right place before you do this.

Pin a stiff, curtain tape strip to the rear.

I used a really stiff strip of curtain header tape in order to hold the shape along the pole better. Pin it in place on the rear of the main length of the curtain where the trim is excluding the side of the valance where it will wrap around the end pole to attach to the curtain ring. Add extra pieces to this section of the curtain too – the divide will help the valance keep its shape too. Then sew both pieces.

Put curtain hooks in

Start about an inch in to make sure the material, stiffened by the curtain header, remains close to the wall, then place a hooks along the length of the curtain. Keep two hooks back. Hang the curtain valance and then add a hook each end in order to make sure they correspond with two curtain ring that you keep outside of the curtain pole brackets which will be you penultimate hook prior to the end one attached to the curtain (again, see the above picture).

Shutter box covered and a lovely period feature – I’m pleased with the result.

 

 

Little Details

Little Details

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Just the door – don’t look at what’s around it (ha).

The bedroom is still a strong yellow, but I’m planning to have decorative paneling half way up the wall in this dusky pink and toning down the yellow above. But after we broke through the doorway I couldn’t resist painting the door after I did added this glad she door handle.

If you look at the other post you’ll see the door had wall paper on the paneling which actually had a fabric like mesh underneath. The only way I could completely remove it was with a heat gun – the kind you use to strip paint.

The top panel felt funny as I was working and then when I heard a cracking sound I realised why – it was a window. The other side of the door is padded and I didn’t  have a clue.

I carried on carefully working round the broken glass anyway as I remembered I had this ‘Josette’ window film from Laura Ashley tucked away. You can see in the next image the cracked glass which the film is now holding together.

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The finger plate is an original, mirrored Art Deco piece and I got it from eBay along with the vintage glass handle.

I haven’t taken the other side of the door off yet so the panelling is behind the glass. It will eventually lead to a walk in wardrobe and then a bathroom if we’re able to get the plumbing in place. That’s going to take a little while yet though. In the meantime I’m loving the little vintage pieces.

What do you think?

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