History of Raised Materials for Relief Decoration

Florentine Embossed Leather

The Renaissance period gave us some very fine work; we imported the rococo styles of King Louis XIV, XV and XVI, and produced the styles termed Elizabethan, Tudor, The Adam, Chippendale and Georgian. During the whole of this period, namely from the 12th to the beginning of the 19th century, paneled wood, carved wood, and embossed leathers were continually used, together with tapestries and silk damasks, which were introduced in France in about the 14th century, for interior decoration, and although tapestries and silks cannot, strictly speaking, be termed relief decoration, their use is still relevant in the development of present day reliefs. An immediate forerunner, the raised “flock”, which itself was a descendant from the velvet hangings of the Middle Ages.

The 19th century saw what one might term the first of the substitutes; that is to say, a class of decorative material which imitated one or more of the former classes mentioned. The first substitutes were Lincrusta-Walton and Tynecastle Tapestry, which at first imitated the lower relief plaster work and embossed leathers. Other and later substitutes were Cameoid, Anaglypta, Calcorian, Muromorna, Cordelova, Japanese Papers, Salamander, Lignomur, Corticine, etc. These materials also imitated the leathers and the low relief plaster work. They, however, were soon found to be usable for many purposes to which plaster could not be put.

Florentine Embossed Leather Historic Restoration

16th Century Specimen, V&A

Anaglypta, Cameoid, Lignomur and Tynecastle, etc., owing to the light weight of the material, were also found to be adaptable to higher relief than Lincrusta had been, and to be serviceable for moderate relief work with mouldings and ornament up to two or three inches in depth. Cameoid, Anaglypta, Tynecastle, Salamander and Cordelova, all produced the higher reliefs, while the lower reliefs of the Lignomur and so-called Leatherette, produced results more after the type of the embossed leathers, the use of which, owing to their expensive nature, had almost ceased.

Scott Morton and Tynecastle

The Scott Morton and Tynecastle Company, Limited began in the year 1870 and was based in the district of Tynecastle, Scotland. The father of Scott Morton the founder was the village wright or joiner who generally had a violin in the making or a picture in process in the back premises. Thus from an early age he was in touch with the Arts and was apprenticed to a Glasgow architect.

Tynecastle tapestry, which was a special product of the works, grew out of a commission in the year 1874, for embossing and gilding leather for a house belonging to Lord Cadogan. The story of its inception may be told in a few sentences. About this time an elderly man applied to the firm for employment in any kind of work in which he could make himself useful. On questioning him as to his previous occupations it was found that in London he had done a little in the working of leather enrichments, in imitation of flowers, for picture frames, furniture and cornices. The mention of his leather-working experience encouraged Scott Morton, who had been seeking a means of expressing original designs in relief, to give him employment, and a start was made by the modelling of a leather decoration for the background of cabinet recesses and covings. The pomegranate formed the subject of the patterns, and one is reminded of this early effort by an occasional visit to the Grosvenor Gallery, where it fills some panels in the large saloon.

Scott Morton had always been associated with arts and had often discussed the subject with them. The general opinion was that, on the whole, for fine effects of pigment, the texture of canvas offers a surface that cannot be beaten by any artificial material. It was not their aim to simulate; but to produce an honest and beautiful substitute, which should not merely imitate more costly forms of relief decoration. Consequently, instead of “up-to-date” designs, now aesthetic, now rococo, and now quasi-Japanese.

The outstanding feature of “Tynecastle” is that the canvas, being merely coaxed into the interstice’s of the mould by hand, still preserve the texture. In the usual embossed paper, or fabric, the heavy pressure required to produce the design leaves a shiny surface which possesses no facets at different angles. This quality is of the utmost value when gold-leaf is used.

“Tynecastle Vellum” is made from a substance which, in its semi-manufactured state, resembles a pulp, and later assumes an appearance of old parchment, and has it’s same tough quality. It’s resemblance to plaster is striking, and since its purpose is to act as a substitute for this, “Vellum” appears to the architect or decorator. With a large assortment of “period” ornaments to choose from, remarkable beautiful results can be obtained for walls, friezes, or ceilings. Low relief “Vellum” lends itself well to decoration and particularly where a soft leather effect is desired.

Prominent artists whose designs have been worked out in “Tynecastle” include Sir J. Burnett, Norman Shaw, H. Baillie Scott and T. E. Collcutt.

Lincrusta Walton and Cameoid

Frederick Edward Walton and his brother, William, who in around 1860 invented the process for oxidizing linseed oil to produce an alternative form of rubber and originated the linoleum floor-cloth industry, described in the booklet ‘The infancy and development of linoleum floor-cloth’ [1925]. He coined the word ‘linoleum’ – ‘linum’ [flax] and ‘oleum’ [oil] and in April 1863 took out a patent on the floor-covering. In the year 1877 it occurred to the inventive mind of Frederick Walton that the material was capable of development in another and totally distinct way. Instead of applying it to floors he would, with some variation in its manufacture, apply it to walls, but with a modeled surface in relief in lieu of the printed coloured surfaces of the floor covering. The resulting product was Linoleum Muralis which was subsequently re-named Lincrusta Walton; ‘Lin’ for ‘Linium’ (flax) and ‘Crusta’ (relief) one of the chief ingredients of Lincrusta being solidified linseed oil, and the inventor’s name being added to prevent other firms using the same title.

For flexibility and resiliency Lincrusta Walton is quite unequalled. Earlier productions were sufficiently strong and stiff enough to hold a wall up if there were any structural weakness. After a very few years’ experience, and thanks to valuable comments and practical suggestions from some of the most prominent decorators who showed a keen interest in the development of the article, the old heavy canvas backing was discontinued in 1887 and superseded by a light waterproof paper. In due course the wall paper merchants realized its value and commenced to insert mounted samples and illustrations in their new pattern books.

Cameoid was the invention of D. M. Sutherland, the manager at Sunbury, and was originated in 1888 as an attempt to meet the competition with and demand for lightweight relief materials. The directors however, were unwilling to market an article which might compete with Lincrusta proper, and it was not until 1898 that they decided to produce Cameoid. It is interesting to note that the discoverer of Anaglypta by T. J. Palmer, who left the Lincrusta Co. in 1886, where he was London showroom manager and because of this same reluctance to admit alternatives to the original. Production of Cameiod ceased in around the year of 1915.

The year 1902 marked a further step in the development of Lincrusta with the introduction of glazed tile patterns which were instantly recognized as being a perfectly sanitary and hygienic decoration. Hospitals and public institutions were quick to appreciate the value of the new line, produced in a variety of colours with a permanent glaze, showing no perceptible joint.

Apart from its use for general decorative purposes, Lincrusta Walton was extensively used in ships, yachts, railway carriages, tramcars and motor cars. For shop-fronts and fascias it proved very effective and durable, being particularly adaptable for exterior decoration through its imperviousness to the weather if well painted or varnished after application. It is the only relief material which from the nature of its composition is not affected by the white ant, and, is therefore extremely suitable for tropical countries.

The introduction of Lincrusta Wainscot in 1912 (first used for panelling the Masonic Temple at Chester) opened up again an entirely new field. A form of oak dado had been previously tried in 1884, but this new innovation was an effective replica of real oak, capable of being stained to any colour and then polished with any ordinary wood polish. It could be applied at a fraction of the cost of real wood with precisely the same effect.

In 1918 the manufacture of Lincrusta was transferred to Darwen from where it was originally manufactured at Sunbury-on-Thames. As an alternative to oak panelling the company then brought out an excellent imitation mahogany, following this up with a range of plain leathers, which were an extremely good reproduction of actual skins. Lincrusta silks, another revival of a previously unsuccessful experiment (1885), had also been introduced and obtained a firm hold on the market at the second attempt.

Due to the Second World War, a number of pattern rollers were lost being seconded for the production of armaments, banishing them to the history books and reducing the range.

Anaglypta

Whilst Lincrusta Walton in its earliest stages was creating for itself a deservedly popular market, it occurred to T. J. Palmer, at that time the London manager of that company, that there was room for another product which through its character and price would appeal to the ordinary householder, so he set himself to solve the problem of embossing paper pulp before it arrived at the stage of finished paper. Two inducements offered themselves, firstly, the cheapening and simplification of manufacture, and, secondly the fact that although the relief would have a hollow back, it would be almost equal to a solid relief, because as there would be no straining of the fibres, the tendency of such a material after having been pasted and pressed home to the surface to be covered, would not be to revert to a flatter form.

After many experiments covering a period of years, T. J. Palmer was at last able to take out patents in 1887, for embossing paper pulp on a paper-making machine. The name given to the material was ‘Anaglypta’ derived from the Greek words ‘Ana’ meaning ‘raised’, and ‘Glypta’ meaning ‘cameo.’ The first manufacture of this material was undertaken by Storey Bros., Queens Mill, Lancaster, in the year 1888, and was eagerly taken up by the decorating and furnishing trade because of its extreme lightness in weight, its durability of relief, and last, but not least, its moderate cost as compared with other materials, placed it within the reach of the masses. Placing it a good second to Lincrusta in many respects, and actually superseded it for ceiling work, on account of this lightness.

In 1894 the business was acquired by C. & J. G. Potter & Company and transferred to Darwen, T. J. Palmer continuing as manager. Out of the original patent arose a process of making a higher relief decoration by means of hydraulic pressure from plastic pulp, and this latter method had been so improved from time to time that the company was able to produce such bold relief ornament as to vie with much of the best modelled fibrous plaster work and at a fraction of the cost.

This factor had enabled the Anaglypta works during the few years to cater so successfully for the ornamental work of public buildings, theatres, cinemas, etc., that examples may be found in most of these places throughout the world. The firm carried off two gold medals at the Paris Exhibition of 1900.

Corticine

This relief material, exclusively produced by means of rollers, was placed on the market about 1888 by the Corticine Floor Cloth CO. Ltd., of ponders End, London.

It was originated by an earlier employee of the Lincrusta Company, who was familiar with the process of manufacture at Sunbury and bore a considerable similarity to the older Walton process, though the material used was not the original one, which was of course protected by patent.

After a few years the manufacture was abandoned and the pattern rollers were acquired by the Lignomur Company.

Cordelova

The "Tournament" frieze Produced in 1902

This relief which was somewhat akin to Tynecastle Tapestry, and probably owed its inspiration to this article, was first produced at Pitt Street, Edinburgh, by a firm named Brow. Shortly after its appearance the factory was taken over by Thomas Hall, a decorator, with some associates, one of whom was J. R. Nesbitt.

The material was made from a white homogenous wrapping paper, the roller goods being manufactured by beating in the moistened paper, with suitable brushes, whilst the pattern or engraved (or carved) roller was slowly revolved also by hand. This method was changed to the Lignomur type of male and female rollers, or to use a better phrase, engraved rollers revolving in unison with vulcanised counter-part rollers, after the business had been acquired by the Wall Paper Manufacturers Ltd. in 1899.

The high relief designs were produced by beating the paper, previously softened and made somewhat plastic, in to the recesses of cast-iron pattern plates (cast from plaster models) by hand with suitable brushes, in the handling which considerable skill was required. Two layers or sheets of paper were used, a front paper and back, forming a duplex material.

These methods bear a considerable similarity to those employed in the manufacture of Tynecastle. Their origin is steep in antiquity, being based on the old process used in the making of Cordova leathers from which the name Cordelova also owed its adoption.

The usual gamut of designs in ceiling and wall decoration was traversed by the producers; but in 1903 an exceptionally handsome frieze called “The Tournament” was issued 30 inches deep and 12 feet in repeat. It was a finely modelled achievement presenting a procession of knights and horses in mediaeval costume, the latter being most richly emblazoned in colour. The firm also manufactured private designs for Rottmann & Company.

Lignomur and Calcorian

Designed by Ellingham, 1912 production.

The name “Lignomur” was introduced by an American company, who, in about 1880 commenced making a wall and ceiling decoration. Today the name is all that has been preserved of the original company and its methods. The whole process of manufacture and basic materials have been abandoned, and, whereas the original Lignomur Company used a wood fibre pulp for obtaining their reliefs, which were impressed and coloured by means of wood blocks, the “Lignomur” of today is made from the finest rag pulp obtainable and the most powerful and modern machines are used in the manufacture.

For the distribution of their productions in the country the American Company had established a small office and warehouse in London. This proved unsatisfactory from an economic view point, and it was decided to manufacture in London. “Lignomur” was patented and put on the market in England in 1886.

During the year 1892 there was in the market for sale a concern known as “Calcorian”, Wallpaper and Ceiling Decoration Manufacturers, and negotiations opened by the Lignomur Company resulted in the purchase, by them, of this business, and the establishment of a manufactory for the production of Lignomur at Addison Works, Shepherd’s Bush. The process of the Lignomur Company in its early days was somewhat chequered, and it was eventually bought by the principle shareholder, a gentleman named Lucas, who carried on the business until 1896, when Allan, Cockshutt & Co., wallpaper manufacturers of Old Ford, London, who were desirous of including in their business the supply of relief papers, purchased this business as a going concern. The removal to Old Ford took place during the early part of 1897, since when the progress of this relief material has been continuous.

The actual process of manufacturing Lignomur today in much the same as that used for making Calcorian , but whereas Lignomur is made from the rag pulp, Calcorian was manufactured from a composition of cork dust and rubber, spread on paper, by large callendering machine, at a considerably greater cost.

The manufacture of the low relief Cameiod decorations which had hitherto been conducted by the Lincrusta-Walton Company, Sudbury-on-Thames, was taken over by the Lignomur Company in 1911.

Amongst great designers whose work has been reproduced in Lignomur are Rene Rainger, Owen W. Davis, A. Jonquet, J. H. Lamb, George C. Haite, S.J. Aumonier and Durrant.

Salamander

"Georgian" Produced c. 1899

This wall and ceiling decoration, including both high and low relief, was put on the market about 1895 or 1896 by The United States Asbestos Co. Ltd, of Harefield, Middlesex, later amalgamated with Bell’s United Asbestos Co. It was under the management of A. J. Duff and obtained a good foothold in the trade. In 1899 it was acquired by the Wall Paper Manufactures Ltd. And in 1901 manufacture at Harefield Works was closed, the rollers being transferred to the Lignomur Co. at Ford and the plates and presses to the Anaglypta Co., Darwin.

The high relief was made from wet asbestos pulp in sheet form on flat pattern plates and was the earliest attempt of its kind. The low reliefs, or rollers goods were embossed out of asbestos paper; the former quality were finely executed, the relief being bold. The presses were of ordinary hydraulic character.

Much was claimed from the “fireproof” quality of asbestos, which unquestionably afforded great protection to rooms in case of fire; but the material had corresponding drawbacks as it was not waterproof, absorbed moisture readily, causing many unsightly failures where the walls were damp. It was ultimately merged into regular productions of Anaglypta and Lignomur respectively.