Papier maché was a serious technology of interior design in the 19th century. The meaning of the French phrase is chewed paper. Henry Clay spread it in Europe who recognized its possibility in 1722.
Paper-pulp was made by a cooking method in France in the 18th century, to which glue was added and the mix was poured into molds. However, with Clay’s technique, large paper sheets were glued together on the surface of a pre-made frame and the air was pressed out of it after every 2-3 layers. The edges were cut, it was dipped into linseed oil and put into a hot oven (think in industrial sizes of course). More layers were applied on it after this, until the desired thickness was reached. The surface of the ready piece was grinded then the whole was dipped into linseed oil again and baked for several hours. This way it became not only hard and sturdy but waterproof also. Theodore Jennens patented a procedure when these pieces could be curved in forms by steaming and pressing.
Papier maché objects were produced until the beginning of the 1900s: faux-columns, backs of chairs, headboards, trays, sewing boxes, ink stands, table tops, snuffboxes, doors of coaches, toys, picture frames etc. This was a much cheaper solution for moldings, rosettes and wall panels than if the pieces were made of gypsum or wood. The surfaces of household objects were mostly lacquered black (perhaps red or dark green) and decorated with paint (flowers, birds) or mother of pearl inlay, sometimes they were gilded instead of lacquering. At the first glance, these masterpieces couldn’t be determined that they weren’t made of wood.
The original papier maché pieces are very valuable today and sought after by collectors.