Drawing on the extensive collections of the Cooper-Hewitt Museum, the Smithsonian Institution's National Museum of Design, as well as from sources across America and Europe, the author documents the changing tastes in pattern and color preferences. Richly illustrated with 102 color plates and over 245 black and white photographs, this book is a stunning achievement.

She has just given birth to their child. He labels her postpartum depression as »hysteria.« He rents the attic in an old country house. Here, she is to rest alone – forbidden to leave her room. Instead of improving, she starts hallucinating, imagining herself crawling with other women behind the room's yellow wallpaper. And secretly, she records her experiences. The Yellow Wall-Paper [1892] is the short but intense, Gothic horror story, written as a diary, about a woman in an attic – imprisoned in her gender; by the story. Charlotte Perkins Gilman's feminist novella was long overlooked in American literary history. Nowadays, it is counted among the classics. CHARLOTTE PERKINS GILMAN (1860–1935), born in Hartford, Connecticut, was an American feminist theorist, sociologist, novelist, short story writer, poet, and playwright. Her writings are precursors to many later feminist theories. With her radical life attitude, Perkins Gilman has been an inspiration for many generations of feminists in the USA. Her most famous work is the short story The Yellow Wall-Paper [1892], written when she suffered from postpartum psychosis.

This version of 'Shadows from the Walls of Death' is a tribute to Robert Clark Kedzie, who produced the originals of which there are now only two left in existence. They are located at the University of Michigan and Michigan State University. The originals are approximately 22 x 30 inches containing a title page and an 8 page preface followed by 86 samples cut from rolls of arsenic impregnated wallpaper. The book is sealed in a protective container and each individual page is encapsulated. This particular edition does not actually contain any arsenic. Further to that the content of this volume including both text and images are for entertainment purposes.

"""The Yellow Wallpaper"" is a short story by American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine.[1] It is regarded as an important early work of American feminist literature, due to its illustration of the attitudes towards mental and physical health of women in the 19th century.Narrated in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer. Forgoing other rooms in the house, the couple moves into the upstairs nursery. As a form of treatment, the unnamed woman is forbidden from working, and is encouraged to eat well and get plenty of air, so she can recuperate from what he calls a ""temporary nervous depression - a slight hysterical tendency"", a diagnosis common to women during that period"

The shocking story of a deadly trend in Victorian wallpaper design, illustrated by beautiful and previously unseen arsenic-riddled designs from the British National Archives In Germany, in 1814, Wilhelm Sattler created an extremely toxic arsenic and verdigris compound pigment, Schweinfurt green–known also as Paris, Vienna, or emerald green–which became an instant favorite amongst designers and manufacturers the world over, thanks to its versatility in creating enduring yellows, vivid greens, and brilliant blues. Most insidiously, the arsenic-laced pigment made its way into intricately patterned, brightly colored wallpapers and from there, as they became increasingly in vogue, into the Victorian home. As its use became widespread, commercial arsenic mines increased production to meet the near-insatiable demand. Not least of which was the UK’s largest mining plant, DGC whose owner was William Morris, originator of the British Arts and Crafts movement and arguably the finest wallpaper designer of his generation. Bitten by Witch Fever (Morris’s own phrase to dismiss arsenic- and- wall-paper-related public health concerns in 1885) tells this fatal story of Victorian home décor, building upon new research conducted especially for this book by the British National Archive, on their own samples. Spliced between the sections of text are stunning facsimiles of the wallpapers themselves.

Primary authority on what was proper, beautiful, efficient in all aspects of mid-19th-century interior design. Originally published in 1868. Over 100 illustrations.