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Photograph from Getty Images.T
hroughout the ages, resourceful
designers and manufacturers
have contrived to make furniture
from all manner of materials – straw,
wood, metal, glass, plastic, even
cardboard, but paper? Well, yes.
Papier-mâché, a method of creating
3D objects out of masticated paper, has
been around for centuries. The process
really took off in the late 19th century,
however, after Englishman Theodore
Jennens patented a process for steaming
and pressing laminated paper into
various shapes, thus transforming them
into a dizzying variety of objects,
utilitarian or purely decorative.
Although predominantly driven by its
popularity in England, papier-mâché
fl ourished elsewhere in Europe, the
desirable black-and-gilt style becoming
fashionable in France and as far away
as Russia, which had its own thriving
industry in ornamental papier-mâché.
Myriad assorted knick-knacks of
which the Victorians were enamoured –
from thimbles to toys, coasters, covers
for family bibles and photo albums and
suites of furniture – were all made in
this manner. Gilding and handpainting
was the standard form of decoration,
although more elaborate items often
incorporated mother of pearl. Flowers,Windsor Castle, animals and London’s
Crystal Palace were favourite subjects.
Besides the traditional decorative
stuff there were practical uses for all
that soggy paper. Jennens’ method
allowed papier-mâché to be used in
place of moulded plaster to create
ornate cornices for the grand rooms
of late-19th century houses. And a
signifi cant example can add a surprise
touch to a modern interior.
Well-known Sydney design fi rm
Burley Katon Halliday shows how this
can be done in the luxurious coffee-
table book containing alluring examples
of its work (Burley Katon Halliday
by Antonia Williams & Heidi Dokulil,
$110, Thames & Hudson). A magnifi cent
example of high Victorian papier-
mâché furniture, an armchair gilded
and painted to within an inch of its
life (pictured above), sits bang in the
middle of a starkly modern interior. It’s
a startling contrast to the minimalist
apartment interior.
The best examples in good condition
are sought after, but if the gilding is
rubbed or the paint worn, you can pick
up a charming example for a song. As
always, best to check for a manufacturer’s
mark. If a piece is marked Jennens, you
can add a zero or two to the value. #COLLECTABLES
Innovative use of an everyday material led to
the production of fi ne furniture and all manner
of natty knick-knacks, writes Leo Schofi eld.Trash or
treasure?Q
This light fi tting is
installed in the house
I recently moved into. The
house was built in 1969
or so. The light appears
to be made from resin.
Can you tell me anything
about it? Fiona Jerinic,
Attadale, WAA
You have a winner
here, Fiona. It’s an
elegantly designed fi tting
that’s a cut above the
Bakelite fi ttings common
in the 1960s. The colour is
subtle, the design unusual
and the condition appears
excellent. Well-designed
objects from this period
are fetching solid prices
and it would be no surprise
to see a fi tting as unusual
and evocative of its time
as this one fetch at least
$500 at auction, and
double or treble that at one
of the modish shops in
Melbourne and Sydney
retailing examples
of good design
from the third
quarter of the
20th century.$500+
If you have an object you would like considered for publication, send us details, snaps (including markings), and
your name and address. Write to H&G advice, GPO Box 4088, Sydney, NSW 1028, or [email protected].WRITE TO
LEOThis high-Victorian
papier-mâché chair made
a striking appearance in a
modern co ee table book.H&G ADVICE
as this one fetch at least
$500 at auction
double or treble that at one
of the modish shops in
Melbourne and Sydney
retailing examples
of good design20th century.$500+
If you have an object you would like considered for publication, send us details, snaps (including markings), and
advice, GPO Box 4088, Sydney, NSW 1028, or [email protected].