Anaglypta, Lincrusta and stamped tin are embossed wallcoverings that you can use to affordably give your home an elegant, authentic look that’s straight out of Old World movies such as “The Age of Innocence” or “Titanic.”
Common at the turn of the century, these textured wallcoverings differentiate only in the materials. “Tin” wallcoverings are actually made from either brass or copper; Anaglypta, cotton paper; and Lincrusta, ingredients similar to linoleum. Yet, they all can be used interchangeably, depending on the look you seek and your budget.
Some homeowners find these versatile wallcoverings appealing because “there’s a certain mystique, a look that they’re after,” says Riverside interior designer MJ Kamin.
Most people are familiar with stamped tin ceilings. You’ll often see them in old stores, courthouses and other buildings that were built at the turn of the century.
W.F. Norman Co. in Nevada, Mo., is a major distributor of stamped tin. It’s huge supply of tin panels comes in various patterns and can completely transform a simple room into something grand.
The embossed patterns date to the late 1880s, when tin became hugely popular. The panels cost from as little as $2.50 to as much as $4.50 per square foot, depending on the materials used and the complexity of the embossed pattern.
“What a great source of material that’s been around for 100 years,” says Bob Yapp, creator of “About Your House with Bob Yapp,” a home-improvement television show. “Initially it started out in commercial buildings. Now we have it in kitchens and offices.”
As luxurious and expensive as it appears, a tin ceiling’s cost is comparable to that of a dropped ceiling, especially if you do your own installation, says Norman executive Sue Vicory.
Yapp, who’s preparing an “About Your House” show on stamped tin ceilings, agrees.
“The labor (to install tin) costs less than to drywall a ceiling,” says Yapp. He finds stamped tin a nice alternative to dropped ceilings you’ll often find in basements. “Dry wall doesn’t make much sense in a basement because you can’t get to mechanicals,” he says.
Whether it’s the living room or the basement, you can save money by doing it yourself. “The installation is on a do-it-yourself level,” says Norman executive Mark Quitno. “If you can do a nice job of wallpapering, you can do one of these.”
You simply tack up the tin panels to a grid of furring strips or a thin layer of plywood.
Obviously, it’s more expensive to have someone install the tin for you. Interior designer Rachel Ashwell had a stamped tin ceiling installed in her Santa Monica, Calif., store. It cost $8,000 to install the tin on a 3,000-square-foot ceiling. The job cost $4,000 for materials, and another $4,000 for labor.
But Ashwell believes the cost was worth it. “Though expensive, tin ceilings with their intricate designs, are truly beautiful,” she writes in her book, “Shabby Chic” (HarperCollins).
Once you have the tin up, you can do anything you like to it. You can leave it au naturel. But you should definitely as least paint it with lacquer to retain the shiny copper look. Otherwise, the copper eventually will turn green.
Or you can paint the panels. “There are a lot of finishes that you can put on to make them look more antique,” say Vicory.
Ashwell favors a pale color such as cream or mint green to prevent the tin ceiling from appearing too heavy. Ashwell also believes that tin ceilings make a great backdrop for beautiful lights such as antique chandeliers.
But if the thought of using hammer and nails on a ceiling intimidates you, you can achieve the look and feel with Anaglypta without the cost of tin.
“If you paint Anaglypta with a metallic paint, you can’t tell the difference. You think it’s tin.” says Darlene Vosika, owner of Crown Corp., a Denver-based company that distributes Anaglypta and Lincrusta.
“It’s one-tenth the cost of tin,” she adds, noting that Anaglypta averages 32 cents a square foot, and you apply it like wallpaper. Lincrusta averages $2.50 a square foot.
White in its original form, Anaglypta must be painted to protect the stamped pattern. According to its manufacturer, it can be painted over at least seven times without losing its embossed pattern. With more than 100 patterns, the possibilities are virtually endless.
Anaglypta is commonly used for the bottom half of a wall. It’s usually separated from the painted top portion by a chair rail or wood molding.
Decorators, set designers for film and theater, and home decorators use it to recreate the exquisite detailing that once only teams of master craftsmen could execute.
“Anaglypta adds texture and detail to a wall without overpowering it,” Ashwell writes in her book.
Because of its raised surface, Anaglypta is often used to hide cracks, bumps and surface flaws in walls and ceilings.
A few years ago, Kamin had a client who used Anaglypta as a wainscot on a wall. “It was gorgeous,” she recalls. The client wanted to use a wallcovering to evoke the time period that her house was built in, the Victorian era. “She wanted to bring back what had been there,” Kamin says.
Anaglypta was invented in 1887 by English wallcovering pioneer J.J. Palmer, who derived the name for his product from the Greek words “ana,” meaning raised, and “glypta,” meaning cameo. It is still manufactured exclusively in Darwen, England, by Crown Decorative Products Ltd.
As delicate as it appears, Anaglypta is actually quite strong once it’s painted. “It would take a sharp object or cat claws to tear it,” Vosika says. And if it’s damaged, you simply remove the damaged spot and replace it with another piece of Anaglypta. It’s not like wallpaper with die lots, which often makes matching difficult, she notes.
Lincrusta (“lin,” meaning flat and “crusta,” meaning relief) is even stronger. “You can run into it with a grocery cart and you can’t damage it,” says Vosika.
Like Anaglypta, Lincrusta must be painted to prevent the wallcovering’s oils from seeping out. Lincrusta has a deep embossed surface that only becomes more dramatic with a coat of paint.
Unlike Anaglypta, Lincrusta should be installed professionally because it breaks easily. “If you’re hanging it and it drops, it’s going to crack,” says Vosika.
Lincrusta was invented in England in 1877 by Frederick Walton. His goal was to develop a product that accurately imitated the work of 16th Century artists and craftsmen, yet would be affordable for middle-class Victorians. It is also manufactured by Crown Decorative Products.
The product is made from natural ingredients similar to linoleum. The base is boiled linseed oil, wax, whiting and rosin, which are mixed to form a cohesive compound. This is then fused onto a heavy backing paper and the high-relief design is applied by an engraved steel roller. After processing, the Lincrusta rolls are stored for two weeks, allowing the relief to harden and ensuring an embossed surface that is solid and permanent.
Stamped tin, Anaglypta and Lincrusta aren’t just for walls. You can cut out the middle of a stamped tin panel for a unique mirror. Or make hardy placemats or a headboard out of Lincrusta. Arden Nelson, owner of ABN, a Chicago home furnishings store, once took old tin panels and nailed them to the bar area in a restaurant. “People loved it,” she recalls. “They copied it.”
For those homeowners intent on recreating the Victorian era, there’s just as much thrill in obtaining period-accurate paper or tin as finding an antique chair.
“There’s a certain enjoyment in finding products that are just right for the house,” says Kamin.
For more information about stamped tin, call W.F. Norman at 800-641-4038. To reach Crown Corp., call 800-422-2099. “Fabulous Finishes with Anaglypta and Lincrusta,” a four-color leaflet from Crown Decorative Products, gives simple, step-by-step instructions on capturing the rich beauty of authentic styles. Call product distributor Bentley Brothers in Louisville, Ky. (800-824-4777) for a copy.
