Zuber et Cie

from Wikipedia, the free encyclopedia
Harbor scene in Boston from "Vue de l'Amérique Nord"
Harbor scene in Boston from “Vue de l'Amérique Nord” in the diplomatic reception room of the White House
View of Niagara Falls from the panorama scene

Zuber et Cie , also known as Zuber & Cie , is a French wallpaper factory in Rixheim that has existed since 1797 and, according to its own information, is the last production facility in the world for wallpapers made with wooden models .

General

For the production of wallpaper and fabric curtains, Zuber can fall back on an archive of over 100,000 engraved printing blocks from the 18th and 19th centuries, which are listed as “historical monuments ” ( Monument historique ). Zuber offers panoramic scenes such as "du Vue de l'Amérique Nord", "Eldorado Hindoustan" or "Isola Bella" as well as patterned wallpapers, borders, ceiling pictures and furnishing fabrics, whereby all products are still produced today through a complex process.

Zuber has agencies with showrooms in Paris and Nice , New York , Los Angeles , London and Dubai .

When John F. Kennedy was serving as President of the United States in the White House , his wife Jacqueline Kennedy had the Diplomatic Reception Room decorated with the panoramic wallpaper "Vue de l'Amérique Nord" designed in 1834 by Zuber & Cie. This wallpaper came from the so-called Jones house, where it had hung until 1961, when the house had to give way to a grocery store. The wallpaper was saved shortly before the demolition and was then sold to the White House.

Another historic Zuber wallpaper, the approximately 15 m long panoramic scene "Les guerres d'indépendence", consisting of 32 strips, fetched $ 40,500 at auction and is considered the most expensive wallpaper sold in the world.

history

The Zuber & Cie manufactory has its roots in the German wallpaper factory Nicolas Dolfus & Cie in Mulhouse , where the Swiss employee Jean Zuber (1773–1852) made his first attempts to print wallpaper strips around 1790 with engraved copper rollers and sheets of paper glued together . Since paper could not be produced in meter-long strips like fabric at that time and the paper kept creasing when glued together, even printing was almost impossible, which is why Zuber's first attempts were not crowned with success. Only after the production of continuous paper rolls (1799) could his process be used industrially from around 1826.

In 1795 the company Nicolas Dolfus & Cie was renamed “Hartmann, Risler & Cie”. On August 8, 1796, Jean Zuber married Elisabeth Spoerlein (1775-1856), born in Mulhouse, daughter of the partner in the paper printing company Jean Spoerlein (1747-1803); the couple had six children. After the factory moved to the municipality of Rixheim, an eastern suburb of Mulhouse, in 1797 and bought out by Jean Zuber in 1802, the company took on the name "Zuber & Cie". The company, which was subject to French laws after Alsace changed to France in 1798, employed talented draftsmen and designers such as Eugene Ehrmann (1804–1896) and Georges Zipélius (1808–1890).

Zuber's son Jean Zuber jun. (1799–1853) took over the business and continued production, as did his son Ivan Zuber (1827–1919) after him. The company was managed by direct descendants of Jean Zuber until 1968.

The American newspaper “The Frederick Post” reported that Jean Zuber's wallpapers were so famous during the lifetime of the paper printer that King Louis-Philippe I accepted him into the Legion of Honor in 1834, when the American panorama scene first appeared .

See also

literature

  • B. Jacqué: Les Papiers peints panoramiques de Jean Zuber & Cie. In: Bulletin de la Société Industrielle de Mulhouse 1984, pp. 79-113.

Web links

Commons : Zuber et Cie  - collection of images, videos and audio files

Individual evidence

  1. ^ The White House Museum - Diplomatic Reception Room. Retrieved September 5, 2012 .
  2. World's most expensive wallpaper. Retrieved September 5, 2012 .
  3. Genealogy Elisabeth Spörlein
  4. ^ Gordon Campbell: The Grove Encyclopedia of Decorative Art. Volume 1. Oxford 2006. p. 574.