HERITAGE WALLPAPER CONSERVATION AT FRENCH CHÂTEAU
- 21 hours ago
- 5 min read
An iconic panoramic wallpaper inspired by the 17th‑century Italian gardens of Isola Bella is now a dramatic centrepiece in the grand reception hall of the Château de la Gruerie in Burgundy, France.
Hand‑printed using 742 antique woodblocks carved in the 1840s and now classified as Historical Monuments, the Isola Bella wallpaper was produced by Zuber, the world’s oldest wallpaper manufacturer, which will provide a certificate of authenticity for the installation.
Discovered at auction 20 years ago by the Château’s owner, Jean‑Philippe Robé, the rare rolls of wallpaper were carefully stored, patiently waiting for the perfect setting for their display.
The installation of the delicate paper was entrusted to Arnaud Fouassier, a third‑generation master installer and the preferred installer for the Zuber family. Using traditional and meticulous processes, Fouassier applied the Isola Bella to a fabric‑covered, paper‑lined framework, designed to preserve the heritage paper and ensure its longevity.
Preserving Isola Bella
Few decorative wallcoverings carry the romance and technical intrigue of Isola Bella, the panoramic design created by Zuber & Cie in 1845. Printed using an extraordinary 85 colours, each panel reflects the painstaking craftsmanship of hand block-printing - a process where subtle irregularities are not flaws, but signatures of authenticity.
Today, conserving and reinstalling such historic papers demands both reverence for tradition and a precise understanding of the materials.
Part of a conservation process can be to mount the wallpaper onto a removable fabric liner, which has been attached to a wooden frame. This allows the fragile paper to be preserved, lifted, and reinstalled without compromising its integrity - a solution that balances longevity with flexibility.
A Matter of Materials
In France, the preferred adhesive for delicate wallpapers is potato starch - a clean, non-staining glue that is especially suited to sensitive, historic surfaces. By contrast, installers in the United States more commonly use wheat or corn starch pastes. For an historical project like Isola Bella, however, potato starch is ideal.
The physical behaviour of the paper plays a crucial role during installation. Because the inks used in traditional block printing are dense and water-soluble, the paper expands unevenly when dampened with glue. Areas with less ink, such as open skies, expand more than heavily detailed sections. For this reason, trimming must be carried out while the paper is wet. Cutting it dry would result in misaligned edges once expansion occurs.
The Discipline of Traditional Techniques
Historic installations follow a methodology distinct from modern wallpapering. Rather than butting edges together, panels are carefully overlapped - a hallmark of period-correct practice. Each trim is made just inside the pattern line, allowing for this overlap, and executed with extreme precision. There is no margin for error. The paper is very fragile and the inks can be easily smudged by moisture or handling.
Tools, too, reflect regional traditions. In France, a knife, called a sabre, is commonly used to trim dry wallpaper, while a blade is used for wet paper. In the United States, single-edge razor blades are favoured. Every movement requires a steady hand and immaculate cleanliness, as even a small mistake can lift pigment from the surface.
Before installation, the paper is ‘booked’ - a process in which the pasted surfaces are folded onto themselves, adhesive side to adhesive side. This can be to allow the material to relax and become more pliable and it can also help to prevent the paper from touching the floor when moving it from the table to the wall.
Beauty in Imperfection
The beauty of handcrafted wallpapers lies in their slight irregularities. Each colour in the design requires a separate pass through the printing process, and even the smallest shift can result in minute variations in alignment. These nuances are not defects but part of their beauty and a reminder of the human hand behind the craft.
Viewed as a complete scene, on a wall, these small inconsistencies are barely noticeable. Wallpaper, after all, is meant to be experienced at a distance.
A Shared Philosophy of Craft
Arnaud Fouassier has worked together with Jeff Ragland, a fellow member of the Wallpaper Installers Associated (WIA), on previous prestigious conservation projects including George Washington’s Mount Vernon home in the United States. Arnaud and Jeff share a commitment to expanding and preserving their knowledge while also educating the next generation. Their philosophy is rooted in balance - understanding when to apply time-honoured techniques and when modern methods may better serve the customer and the material.
As specialists in their field, both Arnaud and Jeff see themselves as custodians of their craft with a duty to achieve the best possible outcome while safeguarding cultural heritage. Refining skills, passing on knowledge, and nurturing respect for the craft are central to their shared philosophy.
Jeff Ragland and Arnaud Fouassier
Composition and Interpretation
Zuber expert and former head of Zuber et Cie, Emile Intondi, President of the Musée du Papier Peint de Rixheim, explains that each installation of Isola Bella offers a unique interpretation. Panels can be arranged in different sequences, allowing for subtle variations in the narrative flow of the landscape. In this instance, the composition was adjusted to place taller elements at either end, to frame the scene.
Such decisions highlight the artistry involved - not just in the original creation, but in its contemporary presentation and installation.
Emile Intondi (left), President of the Rixheim Wallpaper Museum, and Jean-Philippe Robé (right), owner of the Château de la Gruerie.
Heritage Wallpaper Conservation - The Finishing Touch
Once installed, the wallpaper is left to dry, tightening the fabric liner like a drum. A final, minimal paint touch-up may then be applied - not to alter the design, but to soften any edges created by the overlaps. This delicate and subtle painted touch-up ensures a seamless visual flow, preventing harsh lines from catching the eye.
Heritage wallpaper conservation is important to Château de la Gruerie owner, Jean-Philippe Robé, who says, “These wallpapers are truly unique. Preserving these works of art is a cultural imperative.”
The installation of Isola Bella is a dialogue between past and present, craftsmanship and conservation, precision and artistry.
The Château de la Gruerie
Located just 1.5 hours south of Paris, the Château de la Gruerie offers a unique setting with landscaped gardens, a swimming pool, and five‑star accommodation for exclusive private events.
The Château de la Gruerie is just 1.5 hours from Paris.
Fouassier installs the finest wallpapers for restoration projects, commercial premises and luxury residences around the world. From castles to penthouses, and from flagship stores to luxury hotels, every installation is meticulously executed and finished with expert artistry.
“Exceptional wallpapers deserve exception installation.”
Arnaud Fouassier
Fouassier Interiors
Jeff Ragland
Château de la Gruerie
Museum of Wallpaper, Rixheim, France
Zuber Wallpaper
