Lothstraße is a roughly 1.3 kilometer long street in Munich . It runs through the St. Benno district and forms the boundary between the municipality of Maxvorstadt , which lies southeast of the street, and the districts of Neuhausen and Schwabing-West, which are located northwest.
73-685: It runs from Nymphenburger Straße (house number 1 or 2) to Winzererstraße (number 29 or 54). From Linprunstraße to Thorwaldsenstraße, the Lothstraße forks off and forms a green triangle, a branch then leads to Nymphenburger Straße. On Lothstraße is the Zeughaus München, the back of the Deutsches Herzzentrum München (German Heart Center Munich) (now Lazarettstraße 36), the Munich University of Applied Sciences and its library, and
146-402: A building material ). Paper-mâché reinforced with textiles or boiled cardboard (carton bouilli) can be used for durable, sturdy objects. There is even carton-cuir (cardboard and leather) There is also a "laminating process", a method in which strips of paper are glued together in layers. Binding agents include glue, starch or wallpaper paste. "Carton-paille" or strawboard was already described in
219-554: A book in 1881. Pasteboard is made of whole sheets of paper glued together, or layers of paper pulp pressed together. Millboard is a type of strong pasteboard that contains old rope and other coarse materials in addition to paper. This composite material can be used in a variety of traditional and ceremonial activities, as well as in arts and crafts, for example to make many different inexpensive items such as Christmas decorations (including nativity figures), toys or masks, or models for educational purposes, or even pieces of furniture, and
292-559: A cartapesta 'Jesus Christ Dead in the Tomb' made in Sicily. In Siena, cartapesta products also diversified, from painted and gilded papier-mâché cherubs to boxes, trays, shelves, wall lamps and more. In the 19th century, new objects appeared, such as table centrepieces representing a pyramid of papier-mâché and glass fruits under a glass cloche, or views of Italy, probably made for tourists, such as one of "il Colosseo ed i Fori Imperiali". Pope Pius VII
365-887: A celestial globe known as the Kugel globe (1694 / 1726) in painted, gilded and varnished papier-mâché on a wooden core. Other papier-mâché items in the Louvre include a pencil box with floral decoration (1880 / 1890, Tabriz), a lacquered writing case (1900) and a half-moon mirror box with a typical " gul-i-bulbul [ fr ] " decoration (1850 / 1900). In Japan, Sendai hariko involves creating papier-mâché figurines of animals like tigers or rabbits, and Daruma dolls . Traditionally, Sendai hariko figures were gifted as toys and talismans to protect children or bring good luck. The word "hariko" refers to objects made from "kami" (paper) and "kiji" (wooden moulds), which are layered with papier-mâché, dried, and then painted by hand. The papier-mâché technique
438-685: A gold medal at the 1878 Paris Exposition . In the 1830s, Jacob Owen 's redesign of Dublin Castle featured papier-mâché work by Charles Frederick Bielefeld (1803–1864), known for his cornices and consoles at St James’s Palace . Bielefeld created papier-mâché ceiling roses, cornices, and Corinthian capitals for the castle, which were later reproduced in plaster after a fire in 1941. In 1846, Bielefeld patented large, robust papier-mâché panels that could be painted for ceiling and wall decorations, or used as cabin dividers in steamboats and train carriages as well as prefabricated homes. Bielefeld "modelled, gilt and fixed"
511-718: A plaster cast was made. These in turn were used to make multiple copies of papier-mâché Protestant images such as portraits of Martin Luther. There is an example in the Danish National Museum. and a portrait of Philip Melanchthon in the collection of the Staatliches Museum Schwerin . Georg Heinrich Stobwasser [ de ] (1717-1776) founded a ‘lacquerware factory’ in Braunschweig in 1763 together with his father Georg Siegmund Eustachius Stobwasser. Due to
584-541: A polychrome papier-mâché of The Deposition of Christ with a papier-mâché Christ on a wooden cross. Another papier-mâché bas-relief representing The Beheading of Saint Paul was inspired by Alessandro Algardi , who worked almost exclusively in Rome. The Louvre owns two very different pieces dating from the very end of the 17th century: a celestial globe (1693 signed 'Coronelli': SN 878 ; SN 340) and an earth globe (1697 signed 'Coronelli', 'P. Vincenzo, Venice': OA 10683 A) In
657-403: A process for making laminated sheets of papier-mâché and treating them with linseed oil to produce waterproof panels. His technique "involved pasting sheets of paper together and then oiling, varnishing and stove-hardening them. This process produced panels suitable for coaches, carriages, sedan chairs and furniture. It was claimed that the material could be ‘sawn, planed, dove-tailed or mitred in
730-473: A process in 1847 for steaming and pressing laminated sheets into various shapes, which were then used to manufacture trays, chair backs, and structural panels, usually laid over a wood or metal armature for strength. The papier-mâché was smoothed and lacquered , or given a pearl-shell finish. The industry lasted through the 19th century. This made the material more durable and it could be moulded into objects that would otherwise be difficult to manufacture, such as
803-554: A watch-holder in the form of a clock (Cartel porte-montre) in papier-mâché on a wooden frame, with a finish imitating tortoiseshell, or a polychrome papier-mâché bas-relief depicting the ‘Immaculate Conception’. Papier-mâché was used at the Château de Versailles in the 18th century: it allowed ornamentalists to improve the decorations and give them greater freedom to adapt to the different spaces to be decorated. The decoration could also be modified or changed at minimal cost. The decoration of
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#1732880867168876-418: A wooden (or bamboo, etc.) frame. Making papier-mâché is also a popular pastime, especially with children. There are two methods to prepare papier-mâché. The first method makes use of paper strips glued together with adhesive, and the other uses paper pulp obtained by soaking or boiling paper to which glue is then added. With the first method, a form for support is needed on which to glue the paper strips. With
949-484: Is a large stove, and these stoves are literally made of paper". Christie may have drawn inspiration from English papier-mâché techniques that he encountered on a trip to England. Unfortunately, the building deteriorated due to bad weather, and after Christie's death, the new owner, Michael Krohn , demolished both the church and mansion in 1830. Today, only Johan F. L. Dreier [ de ] 's watercolour of The octagonal church at Wernersholm (1827) illustrates what
1022-618: Is a part of the luxury ornamental handicraft market. The product is protected under the Geographic Indication Act 1999 of Indian government, and was registered by the Controller General of Patents Designs and Trademarks during the period from April 2011 to March 2012 under the title "Kashmir Paper Machie". The Shah Hamdan Mosque in Srinagar , one of the city's oldest mosques, is celebrated for its intricate papier-mâché work on
1095-687: Is attributed to Sansovino (1532, found in Venice, soon to be exhibited at the Ca' d'Oro ). The Museo Nazionale d'Abruzzo has a Saint Jerome (c.1567-1569, polychrome papier-mâché) by Pompeo Cesura . Baroque culture in Italy embraced papier-mâché, fostering devotion among the faithful through vivid religious imagery. In Bologna, in the late seventeenth and early eighteenth centuries, with sculptors such as Mazza ( Giuseppe Maria Mazza ), his pupil Angelo Piò and Filippo Scandellari [ it ] , papier-mâché flourished. In
1168-470: Is everywhere on the Internet, but it doesn't refer to anything specific, except sometimes to a book by Édouard Fournier , in which he mentions doll makers using a "terrible mixture of clay, paper and plaster" before 1540, and suggests that doll makers used the same mixture when they worked as ornamentalists making cornice and ceiling ornaments in carton-pierre. But he only mentions "un compte de 1540" (probably in
1241-451: Is ideal for large-scale production; Carton-pierre can be used to make decorative architectural elements, sculptures and statues, or theatre or film sets; papier-mâché has also been used to make household objects, which can become valuable if artistically painted (as many boxes and snuffboxes were in the past) or lacquered, sometimes with inlays of mother-of-pearl, for example. Large papier-mâché pieces, such as statues or carnival floats, require
1314-731: Is located on Winzererstraße 45, the Munich Department of Finance is located at Winzererstraße 47a, the City Archive is located at Winzererstraße 68, an outside office of the Federal Office of Freight Transport can be found in house number 52, and the Higher Labor Court and the Munich Labor Court are located at Winzererstraße 106. The street is named after the knight and Landsknecht leader Winzerer, which in 1525 prevented
1387-501: Is used to create brightly colored masks depicting deities and spirits, essential in monastery mystery plays. This technique is also used to make statues for monasteries. Originating in Asia, papier-mâché reached Europe in the 15th century, where it was first used for bas-reliefs and nativity figures. By incorporating some mineral elements, artisans were able to make copies of traditional statues for devotional use, which gained popularity after
1460-732: The Dachauer Straße is a measuring station of the Umweltbundesamt (Federal Environmental Agency). The Campus Lothstraße of the Munich University of Applied Sciences is its largest location and includes all central administrative units, nine faculties and the CAREER Center, the e-learning center, the further education center and the Open University of Upper Bavaria (OHO). Which are located directly in buildings on Lothstraße: 2004,
1533-606: The Forschungsinstitut für Wärmeschutz (Research Institute for thermal insulation). Since 1975, the Bayerische Blindenhörbücherei e.V. (Bavarian library for blind people) at Lothstraße 62, and in the Lothstraße 29, the Deutsche Landwirtschaftsverlag (German Agricultural Publishing house). In Lothstraße is the war memorial of the 2. Bayerischen Infanterie-Regiment, and at the intersection with
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#17328808671681606-622: The Han dynasty appeared to be the first to use papier-mâché around 200 CE , not long after they learned how to make paper. They employed the technique to make items such as warrior helmets, mirror cases, or ceremonial masks. In ancient Egypt, coffins and death masks were often made from cartonnage —layers of papyrus or linen covered with plaster . In Persia, papier-mâché has been used to manufacture small painted boxes, trays, étagères and cases. Japan and China also produced laminated paper articles using papier-mâché. In Japan and India, papier-mâché
1679-614: The Théâtre de la Reine in the grounds of the Petit Trianon in Marie-Antoinette's time was largely papier-mâché. At that time, many precious objects were made using papier-mâché. One example is a case made around 1760-1770. It was crafted from wood and papier-mâché, covered in black lacquer, and decorated with scenes from mythology inspired by The Birth of Venus and The Abduction of Europa by François Boucher in oil paint. The finish
1752-565: The 18th century, cartapesta also developed in Lecce (Puglia), where it remains a speciality. The Castle of Charles V houses the Museo della Cartapesta. Religious bas-reliefs in papier-mâché were still in vogue, but a man like Giacomo Colombo , who seems to have worked mainly in Naples, made a high-relief Saint Paschal Baylón (c.1720) measuring 168 cm. The places of production diversified: we know of
1825-544: The 18th century, papier-mâché (that could be gilded ) had begun to appear as a low-cost alternative to similarly treated plaster or carved wood in architecture, even replacing stucco in ceilings and wall decorations. Some Italian craftsmen (and the painter Giuseppe Mattia Borgnis ), were invited by Francis Dashwood, 11th Baron le Despencer , around 1750 to work on St Lawrence's Church, West Wycombe and West Wycombe Park , maybe importing carta pasta to England. Robert Adam soon embraced paper stucco for elaborate interiors. By
1898-545: The 1920s, in St Mary's, Bourne Street and St Augustine's, Queen's Gate , for example. Papier-mâché was still used in the 20th century, for George Philip & son's papier-mâché globes (1963) for example. Werner Hosewinckel Christie [ no ] (1746-1822), a cartographer who also quarried marble and extracted lime, had his own farm workers build a large octagonal paper church known as "Hop church", on his Wernersholm [ no ] estate near Bergen in 1796. It
1971-452: The 19th century, two London companies—Jackson and Son, founded by fondateur George Jackson , and Charles Frederick Bielefeld’s workshop—advanced papier-mâché’s architectural use. Jackson had previously worked for Robert Adam ; he established his firm in 1780, and it became one of the leading suppliers of decorative elements, particularly for ceilings, walls, and other architectural details, using plaster and papier-mâché. Jackson and Son won
2044-694: The Counter-Reformation. New devotional practices rested on faithful copies of particularly venerated images reproduced in series in stucco or in papier-mâché, such as Lorenzo Ghiberti 's Madonnas, or Donatello's (c. 1386-1466) bas-relief of the Virgin and Child, known as the Madonna of Verona (Louvre, RF 589, 1450 / 1500 polychrome cartapesta ). Jacopo Sansovino also used papier-mâché, for example in his bas-relief Virgin and Child (polychrome cartapesta, c.1550, Louvre: RF 746). Another Virgin and Child (with two putti)
2117-676: The First World War. The Second World War resulted in the destruction of the Ensheim and Schwarzenacker factories and the loss of the London branch. There are many more details in the German version of Misplaced Pages ( Pappmachédynastie Adt [ de ] ). Papier-mâché painted with black lacquer and inlaid with mother-of-pearl inlays ("burgauté") was adopted by French furniture makers inspired by English production from 1860 onwards, and then manufactured in
2190-544: The French term "mâché" here means "crushed and ground" ) is a versatile craft technique with roots in ancient China, in which waste paper is shredded and mixed with water and a binder to produce a pulp ideal for modelling or moulding, which dries to a hard surface and allows the creation of light, strong and inexpensive objects of any shape, even very complicated ones. There are various recipes, including those using cardboard and some mineral elements such as chalk or clay (carton-pierre,
2263-505: The Journal des Luxus und der Moden, among other publications, and sold throughout Europe. Genuine Mauchline ware made in Scotland for the tourist market between the 1820s and 1900, notably hand-painted snuffboxes, was flooded out of the market by German-made imitations, some of them in papier-mâché rather than wood. It is difficult to say when the first papier-mâché doll was made. The date 1540
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2336-602: The Parisian bookbinder Martin, although these had failed commercially in Paris. By 1739, Mathias was producing boxes for the Wadgassen Abbey [ de ] , and Abbot Michael Stein saw potential in the trade of what were called miller's tins or monastery tins. They were made by gluing strips of paper around a solid block of wood, which was then removed. The tin was then soaked in linseed oil and dried at low to medium heat, and when
2409-414: The abbot saw potential in the trade in what were called miller's tins or monastery tins. These were made by gluing strips of paper around a solid block of wood which was then removed. The tin was then soaked in linseed oil and dried at low to medium heat, and when the surface was perfectly smooth, it was covered with three to eighteen layers of varnish. Mathias' son Johann Peter (1751-1808) was in charge of
2482-640: The church once looked like. The cartapesta expert Raffaele Casciaro states that the earliest use of papier-mâché (or "Pappmaché") in Germany dates back to the first half of the 15th century, and he mentions a sculpture of the Virgin Mary that was part of a "Vesperbild" (or Pietà), by an anonymous German sculptor using stucco, pastiglia and cartapesta). In the 16th century, the North German sculptor Albert von Soest [ de ] carved wooden moulds from which
2555-520: The company employed more than 2,500 people and produced more than six million items per year. There was a branch in Forbach (Lorraine) and another one in Pont-à-Mousson , which focused entirely on the French market, with a different range of products. Pont-à-Mousson now has a museum of papier maché, Musée au fil du papier [ fr ] . The decline began with the invention of Bakelite in 1907 and
2628-645: The electrical industry, the company produced almost anything that could be made from papier-mâché. After the Franco-Prussian War , the factory in Forbach (Lorraine) surpassed the production output in Ensheim (Sarrebruck) [ fr ] and became the company headquarters until 1918. Mathias Adt, son of the miller Johann Michael Adt (b. 1715), began making functional tobacco boxes. A monk, probably Mathias's brother, introduced him to papier-mâché boxes associated with
2701-597: The encroaching of the peasant wars on Bavaria. It runs on a part of the Oberwiesenfeld. Starting in 1902, the Bavarian army occupied the Prinz-Leopold-Kaserne. The casino ("Offizierspeiseanstalt") at Winzererstraße 41 - in the 1980s, until a fire, was temporarily used as a chemical factory - was later a popular film site, for example by director Rainer Werner Fassbinder or for Schimanski - Tatorts . At that time,
2774-717: The filmmakers had simply completed the arduous walls for the shooting with papier-mâché and the like. Around 1905, it found itself, between the Lothstraße and the Elisabethstrasse, which had not yet been fully developed, along the Winzererstraße existing building portion so the 1. Pionier battalions barracks, in which part of the Oberwiesenfeld barracks was found east of the Infanteriestraße. At that time, Winzererstraße had already been extended to Herzogstraße , but not asphalted. North of Herzogstraße, in 1941, just south of
2847-654: The first head of the Ludwigsluster Carton (papier-mâché) workshop, which initially produced capitals, ornemental mouldings, statues etc for the palace, its church, park, and nearby buildings such as Herrenhaus Bülow [ de ] . The entire interior decoration of the Golden Hall of Ludwigslust Palace, including the sconces, is made of papier-mâché. Later the workshop turned to the production of small furniture, vases, centrepieces, portrait busts, church decorations and other decorative objects, which were advertised in
2920-612: The globe of Jennens and Bettridge's sewing table, and that could withstand greater wear and tear than traditional papier mâché such as "teatrays, waiters, caddies and dressing cases … japanned and decorated with painted scenes and classical (Etruscan) and Chinoiserie subjects". Jennens and Betridge (London, Birmingham) made large tea caddies circa 1850. Other objects included cane holders, fruit bowls with mother-of-pearl inlays or papier mache head dolls by "Childs & Sons". The papier-mâché stags' heads in Powerscourt were German, though. In
2993-421: The glue must be fully dried, otherwise mold will form and the product will rot from the inside out. For the pulp method, the paper is left in water at least overnight to soak, or boiled in abundant water until the paper breaks down to a pulp. The excess water is drained, an adhesive is added and the papier-mâché applied to a form or, especially for smaller or simpler objects, sculpted to shape. The Chinese during
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3066-474: The high quality of the (papier-mâché, wood or metal) goods and the resulting high demand from the Brunswick court, court society, the military and the merchant class, the new ‘factory’ soon employed almost a hundred people and started selling its products nationally and internationally. They produced household items as well as luxury items. However, their main products were snuff boxes and tobacco pipes, in which even
3139-690: The joint. All that remained was to smooth the surface before painting and varnishing. Many other toys were made of papier-mâché, such as puppets, or puppet heads, and all kinds of animals, pull toy dogs, rocking horses or horses on wheels, and even elephants on wheels 1910/1920 In 1900, Richard Mahr (1876-1952) founded Marolin – Richard Mahr [ de ] in Steinach, Germany, producing papier-mâché figures for nativity scenes. Production halted in 1940, but revived in 1990. Today, Marolin offers toy animals and nativity figures in plastic and papier-mâché. Papier-mâché objects were made under Louis XIV, such as
3212-518: The last decades of the 19th century was F. M. Schilling [ de ] , in Sonneberg. There was also Armand Marseille in Köppelsdorf, a district of Sonneberg, who from 1885 developed into one of the world's largest suppliers of bisque porcelain doll heads, some of them at least with moving eyes and a papier-mâché body. Ernst Heubach 's doll heads could also be mounted on a papier-mâché body. In
3285-568: The later amassed Schuttberg , which later became the Olympiaberg, the diary Nordmolkerei Deller KG was founded, and until the end of the 1990s was still in operation. In the year 2000, the diary was demolished and the residential complex at the Olympiapark was built. After 1946 to 1992, the Winzererstraße formed, between Lerchenauer Straße and Lothstraße, the border between the municipalities of Schwabing-West and Neuhausen-Oberwiesenfeld. It
3358-475: The latest specialists of cartapesta: Enrico dal Monte and his son Gaetano dal Monte (1916-2006). Early examples of Italian cartapasta seem to include mostly bas-reliefs. For example, there are many copies in cartapasta of Benedetto da Maiano 's Madonna 'del Latte ( Nursing Madonna ), the earliest ones attributed to his workshop, but some others dating from the early 17th century. Some were made in Tuscany, such as
3431-538: The manufacture of lacquered lamps. The Brunswick headquarters closed down in 1863. Stobwasser Berlin transitioned to lighting fixture production, becoming, by 1900, one of Germany's leading lamp manufacturers. The Braunschweig Municipal Museum has a large collection of ‘Stobwasser articles’. In the late 18th century, Frederick II, Duke of Mecklenburg-Schwerin , at the suggestion of one of his footmen, Johann Georg Bachmann [ de ] , considered using papier-mâché to redecorate Ludwigslust Palace . Bachmann became
3504-555: The meerschaum was replaced by papier-mâché. The snuffboxes were particularly popular - not least because of their sometimes erotic depictions, which were concealed under a false bottom. High-quality furniture was also produced for courts throughout Europe. The manufactory soon attracted a large number of highly qualified painters, such as the miniature painter Friedrich Georg Weitsch , who applied Stobwasser's miniature motifs (including idealised, romantic landscapes, historical and mythological scenes based on Italian, French or Dutch models) to
3577-552: The middle of the 19th century, another German, Ludwig Greiner (†1874) had emigrated to the United States of America and founded a papier-mâché doll manufacturing company in 1840. Doll heads (like globes) were moulded in two parts: "For round objects, such as doll heads, for example, two molds are used, one for the front of the head, the other for the back; the two pieces of cardboard made in these different moulds are joined by bringing them together and gluing strips of strong paper over
3650-399: The mixture reduces the chances of the product developing mold . Methyl cellulose is a naturally mold free adhesive used in a ratio of one part powder to 16 parts hot water and is a popular choice because it is non-toxic, but is not waterproof. For the paper strips method, the paper is cut or torn into strips, and soaked in the paste until saturated. The saturated pieces are then placed onto
3723-620: The name Adolf-Hitler-Kaserne. The trams lines 20 to 22 and the city bus 153 have a stop at the University of Munich with the name Lothstraße. Winzererstra%C3%9Fe The Winzererstraße is a two-kilometer-long street in the Munich districts of Maxvorstadt and Schwabing . The Winzererstraße starts at the Hessstraße at the Massmannspark and runs almost parallel to Schleissheimer Straße ,
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#17328808671683796-452: The nineteenth century, Emilia-Romagna once again took over with the famous workshops in Faenza of Giuseppe Ballanti [ it ] and his sons Giovan Battista Ballanti Graziani [ it ] and Francesco Ballanti Graziani [ it ] and the followers of Giovanni Collina [ it ] and Graziani, and the workshop of Gaetano Vitené and his successors, and
3869-456: The objects. Paintings by Johann Christian August Schwartz [ de ] , Pascha Johann Friedrich Weitsch and his son Friedrich Georg Weitsch , Christian Tunica [ fr ] and Heinrich Brandes are also mentioned. King Frederick the Great tried to entice Stobwasser away to Berlin, but in 1772/73 only a branch office (the 'Manufaktur für Lackwaren' ) was founded, specialising in
3942-710: The ornaments of papier mâché of the Theatre Royal in Drury Lane in 1847 (some of which were removed in 1851). The popularity of papier-mâché declined as electroplating offered a cheaper metal-coated alternative. McCallum and Hodson ("Summer-row, near the Town-hall, Birmingham" ), the last papier-mâché company, closed in 1920. Martin Travers , the English ecclesiastical designer, made much use of papier-mâché for his church furnishings in
4015-823: The present residential complex at the Olympiapark to the Lerchenauer Straße, so that the road ends at the level of the residential complex. 1980 until 1981, an 11-meter-long tree trunk section from Africa was set up for research purposes at the Wood Institute on Winzererstraße 45. Since 1996, the Winzererstraße between Lerchenauer Straße and Ackermannstraße forms the border between the municipalities of Schwabing-West and Milbertshofen-Am Hart . Papier-m%C3%A2ch%C3%A9 Papier-mâché ( UK : / ˌ p æ p i eɪ ˈ m æ ʃ eɪ / PAP -ee-ay MASH -ay , US : / ˌ p eɪ p ər m ə ˈ ʃ eɪ / PAY -pər mə- SHAY , French: [papje mɑʃe] -
4088-714: The road ends today in the North, after crossing the Ackermannstraße, southeast of the Olympiaberg. There are 11 architectural monuments, such as, the barracks building of the Prinz-Leopold-Barracks or the Obelisk in the triangle Winzererstraße / Lothstraße / Georgenstraße . The Bavarian Ministry of Labor, Social Affairs, Family and Integration is located on Winzererstraße 9, the Munich Wood Research ( TU München )
4161-504: The same manner as if made in wood". Clay, japanner , was a supplier to the Royal Family. (It was probably in the 1660s that Thomas Allgood had pioneered the use of japanning on metal.) Clay became a papier-mâché manufacturer in or before 1772 (until his death), first in Birmingham and then in London. When his patent expired in 1802 "a number of rival producers set up including Jennens and Bettridge who opened up in 1816 in Henry Clay's former Birmingham works". Theodore Jennens patented
4234-568: The second method, it is possible to shape the pulp directly inside the desired form. In both methods, reinforcements with wire, chicken wire , lightweight shapes, balloons or textiles may be needed. The traditional method of making papier-mâché adhesive is to use a mixture of water and flour or other starch, mixed to the consistency of heavy cream . Other adhesives can be used if thinned to a similar texture, such as polyvinyl acetate (PVA) based glues (often sold as wood glue or craft glue). Adding oil of cloves or other preservatives, such as salt, to
4307-451: The sense of a report or an invoice). The date 1540 is also too early for carton-pierre. What we do know is that papier-mâché was used in the early 19th century, perhaps since the mid-18th century, in Nuremberg ( Georg Hieronimus Bestelmeier [ de ] had a shop there and published his first mail-order catalog in 1793) and Sonneberg when they developed into world-renowned toy manufacturing centers. An important doll manufacturer in
4380-426: The shape of Chinese bowls attributed to Étienne-Simon Martin (1703-1770). The same technique could be used to make vases, for example. The Louvre owns a round candy box in violet varnished cardboard lined with brown tortoiseshell with a gouache signed van Blarenberghe on its lid. Papier-mâché tableware was also made, like this Déjeuner breakfast tableware) from the French Directory period, ca. 1790/1800 Pasteboard
4453-426: The so-called Roter Würfel was completed in the Lothstraße 64, which has since then also become a landmark anchored in corporate design of the University of Applied Sciences. The street was named in 1877 after the Bavarian court painter Johann Ulrich Loth. Towards the end of the 19th century, it formed the southeastern boundary of the Barackenkasernements Oberwiesenfeld. From 1879 to 1904 the Bayerisches Armeemuseum
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#17328808671684526-431: The surface and allowed to dry slowly. The strips may be placed on an armature , or skeleton, often of wire mesh over a structural frame, or they can be placed on an object to create a cast. Oil or grease can be used as a release agent if needed. Once dried, the resulting material can be cut, sanded and/or painted, and waterproofed by painting with a suitable water-repelling paint. Before painting any product of papier-mâché,
4599-442: The surface was perfectly smooth, it was covered with three to eighteen layers of varnish. Mathias Adt, son of the miller Johann Michael Adt (b. 1715), began making tobacco boxes. A monk, probably Mathias's brother, introduced him to the papier-mâché boxes associated with the Parisian bookbinder Martin, which had proved a commercial failure in Paris. By 1739, Mathias was making boxes for the Wadgassen Abbey [ de ] , and
4672-581: The walls and ceilings. Similarly, the Shalimar Bagh , a garden created by Mughal Emperor Jahangir , and dubbed the "Versailles of Mughal Emperors," features a papier-mâché ceiling in its central pavilion that has lasted nearly 400 years. Papier-mâché, a popular Kashmiri craft, originated in the 15th century when King Zain-ul-Abidin invited papier-mâché artists from Central Asia. Prior to this, vibrant patterns had been painted on wood, used in items like ceiling panels and furniture. In Ladakh , papier-mâché with paper pulp mixed with clay, cotton, flour, and glue,
4745-431: The workshop, which was eventually set up in the abbey's provostry. Papier-mâché was a flourishing industry. French troops then occupied the Saar region in 1792 (until 1815) and the monasteries were secularised. Peter III Adt (1798-1879) bought the monastery in 1826 and a few years later founded the company Gebrüder Adt (Adt Brothers) with his three sons. Sales markets and trading offices were opened on all continents. By 1889,
4818-519: Was a lacquer imitation called vernis Martin , developed in 1728. The Musée Carnavalet houses a Model of the Chinese Pavilion at the Hôtel de Montmorency-Luxembourg [ fr ] , circa 1775-1785, with papier-mâché rocks that are actually boxes. There were also many papier-mâché mirror frames. French lacquer applied to cardboard is a technique similar to lacquered papier-mâché invented by Guillaume Martin (1689-1749) around 1740. We know of cardboard bowls covered with red lacquer imitating
4891-638: Was crowned on 21 March 1800 (during the Marengo campaign ), in Venice, wearing a papier-mâché papal tiara. Founded in 1802 by Giovanni Battista Paravia, Paravia Publishing dominated educational materials in Italian schools by the late 19th century, offering papier-mâché globes, anatomical models, and flower models along with many other things. Didactic papier-mâché models of flowers were also made by C. Luppi in Modena (1900-1930). Papier-mâché came to be used for carnival masks and floats, in Viareggio for example. In 1772, an English inventor, Henry Clay (apprenticed to John Baskerville in 1740 - died in 1812), patented
4964-506: Was first adopted in Kashmir in the 14th century by Mir Sayyid Ali Hamadani , a Sufi mystic, who came to Kashmir during the late 14th century along with his followers, many of whom were craftsmen. These craftsmen used hand-made paper pulp from Iran. Kashmir papier-mâché has been used to manufacture boxes (small and big), bowls, trays, étagères, useful and decorative items, models, birds and animals, vases, lights, corporate gifts and lot more. It remains highly marketed in India and Pakistan and
5037-408: Was housed in the Zeughaus in Munich, before it moved into the newly built monumental building in the Hofgarten , the present state chancellery. Adolf Hitler lived during his affiliation to the infantry in the Lothstraße 29 and stayed there officially until 1 May 1920. From the Führergeburtstag (Birthday of Adolf Hitler) 1934 until denazification in 1945, the barracks in Lothstraße therefore held
5110-413: Was only with the construction of Ackermannstraße in the late 1960s, that the northern part of Winzererstraße (from the height of house number 89) to the Lerchenauer Straße was paved, as part of the construction measures for the 1972 Summer Olympics . In the 1970s, the access road from Lerchenauer Straße to the Winzererstraße was closed for cars. Later, the sub-area below the Olympiaberg was converted, from
5183-404: Was uniquely constructed using papier-mâché as a building material (a blend of waste paper, lime, and other natural ingredients) that could mimic the look of marble. Cornelius de Jong van Rodenburgh [ nl ] described it: "The supporting structures are made of stone, but the church is covered inside and out in papier-mâché. In each room of the farmhouse, also made of papier-mâché, there
5256-644: Was used for the geocentric armillary sphere attributed to Louis Charles Desnos [ fr ] in the Louvre The Adt papier-mâché dynasty was a family-owned manufacturer of papier-mâché consumer goods that started in the mid-18th century in the Saar region with small-scale hand production and went on to become the world leader in papier-mâché products before being driven into bankruptcy. Its catalog listed over 10,000 products: from buttons and snuff boxes to cardboard casings for grenades, paper wagon wheels and items for
5329-576: Was used to add decorative elements to armor and shields. In Persia, from the 16th century onwards, papier-mâché bookbindings were preferred to leather ones because the paint held better on the paper. This continued at least into the Qajar period, particularly in Tabriz and Isfahan. The Louvre owns a leather and papier-mâché board with a painted scene, and a later papier-mâché board with lacquered or varnished birds and flowers. They also made scientific instruments like
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