TY - THES ID - 138660921 TI - The restoration of historic wallpaper and chintz: the evolution of reproduction as a restoration technique AU - Maertens, Eline AU - Hurx, Merlijn AU - KU Leuven. Faculteit Ingenieurswetenschappen. Opleiding Master of Conservation of Monuments and Sites (Leuven) PY - 2023 PB - Leuven KU Leuven. Faculteit Ingenieurswetenschappen DB - UniCat UR - https://www.unicat.be/uniCat?func=search&query=sysid:138660921 AB - Keywords: restoration, wallpaper, cotton/chintz, reproduction, castle d’Ursel Research question: ‘How has the restoration technique of filling gaps and missing parts in historic wallpaper and cotton wallcoverings evolved? And does it, in its current state of development, offer a complete restoration solution?’ This thesis examines the evolution of the restoration technique of reproduction, used to fill gaps and voids in the restoration of historic wallpaper and chintz/cotton wallcoverings. It also answers the question of whether this technique offers a complete solution within a restoration. This included the use of a case study, 'the castle d'Ursel' in Belgium, which illustrates this evolution in the restoration of wallcoverings. In addition, five interviews were conducted and analysed with restorers and various stakeholders within this restoration. This knowledge was complemented by a literature review of historical and academic studies on the subject and other case studies and restoration projects. Research shows that the evolution of the use of reproduction has its origins in the late 19th - early 20th century. In this evolution, we see a transition from authentic methods (block printing, cylinder printing, etc.) to screen printing and, later in the 21st century, to digitally printed reproductions. These bring many possibilities, but also drawbacks, such as the loss of traditional characteristics in each transition. How this technique is perceived, how it is ethically evaluated and whether it can be considered a complete solution depends on the perspective from which one approaches the wallcovering to be restored. This can be seen as an art object, with an emphasis on aesthetic values, and as an architectural object, with an emphasis on material values such as composition and production process. From this we can conclude that each restoration is unique and one should always consider what the goal is and how to provide the richest possible experience from as many perspectives as possible for the person experiencing it. All of this is crucial in assessing the reproduction technique and whether it offers a complete solution for filling in and completing missing fragments of wallpaper and chintz/cotton. ER -