Gracewood Collection

This Collection includes our favorite patterns from floorcloth company Gracewood Design, which our co-founder, Gwen Jones, co-founded in 2004.  Recently, we were able to acquire the stencil assets of Gracewood Design and we will be offering a growing selection of floorcloths based on these fabulous patterns.

The Autumn Leaves design was derived from a 1915 Frorlicht-Dunker rug catalog and this unusual design is by rug manufacturer Dominion Axminster. 

This very versatile pattern works for a variety of different floorcloth shapes and sizes.

This pattern is based on a tin ceiling design from the Wunderlich Ceiling Company's 1912 catalog.  Wunderlich was an Australian company that produced a fabulous array of tin ceiling designs, many of which are adaptable to rug design.  The examples of floorcloths shown here always use the central element of the wonderfully misshapen squares and art nouveau floral design, and then all or some portion of the other elements, depending on the size and shape of the floorcloth. 

This pattern was loosely inspired by tin ceiling designs.  We look forward to exploring this wonderful design in other palettes.

This pattern was originally developed for Portland, OR, clients and is based on both the leaded glass design adorning some of the original windows in their 1907 home and the "bee and dot" fabric used in their kitchen nook upholstery.

The Hay House is a National Historic Landmark owned by the Georgia Historic Trust.  The exterior of the house was completed in 1860 and the furnishing of the interior was complete by about 1870, after the civil war.  Known as The Palace of the South, the 18,000 square foot mansion is capped by a cupola 80 feet above the ground that provides sweeping views of the city of Macon.  Please visit the Hay House website to learn about this remarkable home and see a virtual tour of parts of its interior.

In 2010, Gracewood Design created a new version of the original floor covering in the dining room, a floorcloth from about 1870.  Pieces of this floorcloth had been discovered under built-in bookcases that were being removed as part of a dining room renovation.  

The original floorcloth remnant and Gracewood's interpretation are shown here.  The original floorcloth was burlap-based, and the design was probably applied either by stamping or some sort of printing/rolling process that deposited a thick, textured application of the heavy oil-based paint products used at the time.  The pattern has an 8” repeat, with each red ”cross” and black “star” measuring 8”.  

This design is based on a leaded glass pattern in the 1907 home of Portland clients and is found in windows throughout the main floor of the house.  

This floorcloth design is based on a pattern sketched by noted historian, William Seale, for the Field House Museum in Missouri.  Stencils were created based on the sketch. 

This pattern is a German interlocking circle design with a somewhat Victorian feel and lots of nice detailing.  Depending on the palette used, the overall effect can be that of a field of color, or a more distinct pattern of interlocking circles.  This pattern has been explored in many different colorways.

This pattern was chosen by Eidsvoll 1814, Norway's Constitutional Museum, when they were looking for an appropriate floorcloth design for their dining room in preparation for their Bicentennial celebration in 2014.  The pattern is based on a design from Calke Abbey, a historic property in the UK. 

Alexander Hamilton, the first United States Secretary of the Treasury, a Founding Father, and political philosopher moved into the Hamilton Grange in 1802.

A five-year restoration project was completed in 2011 and as part of this effort, three floorcloths were commissioned by John G. Waite and Associates, the architectural firm working on the restoration. The floorcloth pattern is based on a remnant from the architect’s archives, which followed a John Carwitham design.