As the work on the catalogue of Chinese wallpapers in National Trust houses progresses, an informal ‘advisory committee’ has sprung up around it consisting of a dozen or so academics, curators and conservators. We bombard each other with information and queries and general enthusiasm – a genuine little liquid network.
This morning one member of the group, Dr Clare Taylor, mentioned the similarities between the Chinese wallpaper at Ightham Mote in Kent and the one at at Felbrigg Hall in Norfolk. They are in fact almost identical, which makes them a good example of how Chinese wallpapers were sometimes produced as multiples, with the combined use of printing and hand-painting resulting in near-identical copies.
Another member of the group, conservator Allyson McDermott, then chipped in by saying she had examined the Ightham paper in the past, and found that it had had quite a hard life, with quite a lot of overpainting and restoration over time. This probably explains the difference in colouring between the Ightham and the Felbrigg papers.
Allyson also mentioned that a Chinese wallpaper that was discovered under later wallpaper at Uppark, West Sussex, was also rather similar, and indeed it has the same ‘frosted’ palette of a white background, subfusc greens and bright reds, purples and blues.
We know that the Felbrigg paper was hung in 1752, and the Uppark paper is thought to have been put up in about 1750, so this appears to be a relatively early type of Chinese wallpaper. The Ightham one is said to have been hung in about 1800, which suggests that it was hung or stored somewhere else before coming to Ightham.
The antiquarian setting of the Drawing Room at Ightham, with its Jacobean fireplace, is in some ways quite incongruous for a Chinese wallpaper, but that is part of the fascination of this subject: to learn more about the different ways people used Chinese wallpaper in different places and at different times.