Q and A with David Lennie

Two very clean and clear reasons:

1.The excellence of the designs allows for great flexibility in the use of colour. Most "normal" designs are constructed for a specific use, including colour, and often only work within that colour band.

2. Signature Print's (often bold) use of actual colour. Possessing both short and long-run print facilities allows Signature Prints to look forward and experiment with colours - playing visual games with their companion colours without committing production to high stock commitments.

 The time and era in which Florence Broadhurst lived "Asia" was when high fashion and culture (and perhaps decadence) was the ultimate, and this certainly is reflected in the construction of the designs. Link that, in the year 2011 - 2012 with Signature Prints’  capacity to lead rather than follow fashion with strong use of usable colour,  and the result seen now on an international arena is "modern".

The fascinating thing from within is that at times we feel we have only just begun!

What's the appeal of this particular look at the moment?

 All over the globe (and increasingly situated in the depths of Asia) are factories pumping out metres and metres of safe wallpapers and fabrics and, guess what? The international market is getting bored. The world has changed and the home has become a much more important playground in which people play. Theatre thus comes into the equation and people need a stage upon which to perform. I know of no better theatrical prop than Florence Broadhurst fabrics and wallpapers to set the scene for Act 1 - be it a home, office, nightclub or a hotel space

Please also let me know if there are any relevant new launches around this story?

Yes, Kate Spade New York is our biggest collaboration to date. We are teaming up with this iconic brand to present 12 Florence Broadhurst designs for their year of pattern. Interestingly enough their focus is the Asian Inspired Japanese Floral which appears to be one Deborah Lloyds (creative director Kate Spade New York) favourite designs. It is mine too.

Why Our Luxury Wallpaper is Better than Paint

Our range of luxury wallpapers is perfect for your exclusive boutiques, superior hotel rooms, powerful corporate conference rooms, and elegant living spaces.  We take pride in reproducing the bold and daring artwork of the Australian icon Florence Broadhurst.  No wall paint can match the refined strokes and elegance of her designs. 

Here are the top three reasons why our hand-printed wallpaper is still – and will always be – better than wall paint. 

1. Sheer appeal – Florence Broadhurst wall coverings create a visual dimension, rich and full of texture and depth, which is impossible to achieve with paint.  Our wallpaper offers a more luxurious finish, making it the ultimate choice for lovers of surface design and home decorating.

2. Choice – This is probably the most difficult part of working with Signature Prints handprint studio because there are so many designs to choose from.  We have hundreds of design options; colours are simply endless; and we can tailor wallpaper to your exact needs.  If our design range is too daunting, one of our expert team members would love to help you narrow down your choices.  But watch out, because you’re likely to end up with purchasing wallpaper for more rooms than you first expected!

3. Easy installation – All our papers are non-woven or paper-based. They are easy to hang, clean, eco-friendly, green, and recyclable.  We use pigment inks and pastes that are 100% water-based and contain no harmful ingredients.  Maintenance is easy because they are tough and durable; and removal is quick because your space is back to being usable in a flash and totally odour-free.

Delivering Florence Broadhurst designed wallpaper throughout Australia and the World

We believe in Florence Broadhurst’s hand-printing techniques and contemporary colours to create our unique wallpaper; that’s why we have continue the tradition which she started 50 years ago.  She revolutionised wallpaper, abandoned the conventions of mass production, and rapidly left behind traditional, conservative wallpapers by printing vigorous designs for modern living.  Her works of art, expressed in lush imagery of exotic birds and florals and psychedelic and oriental patterns are preserved in the elegant rooms of upscale residential and commercial spaces all over the world (including Royal Palaces).  As the exclusive custodians of the Florence Broadhurst design library, we are reviving her fabulous designs by promoting her beautifully made, luxury Australian design to the world, through our range of wallpaper and fabric collections.  We aim to re-introduce her design at the very top of the luxury market.

Internationally recognised interior designers and prominent personalities from various industries celebrate Broadhurst’s designs through the wallpapers in their commercial and personal spaces, from posh bars and restaurants in Australia to high-end boutiques in London, from Donald Trump’s international hotel in Las Vegas to the world-class design brand Belloni in Italy. 

Creating Wallpaper by Traditional Hand-printing Techniques

Florence Broadhurst’s design is all about making a statement.  At Signature Prints, we painstakingly recreate Broadhurst’s art by hand.  It’s amazing how the production of this scale is still done by hand but that’s what we do at Signature Prints to preserve the visual aesthetic of the design.  Our craftsmanship adds to the uniqueness and beauty of each work.

With the strong influence of technology, it’s easy to be swept away with the fast and mass-producing digital techniques.  As a result, many people become more interested and amazed in learning about traditional forms of printing and production.  This makes Signature Prints’ methods more refreshing and intriguing, especially to those who appreciate great skill work and timeless art. 

Our process, materials and design show that we have the best when it comes to quality hand-printed wallpaper.  We know what’s perfect to make your elegant rooms look even more majestic.  Contact us today to talk to our wall prints experts.                     

Here is the second part to Patrizia’s story

Sydney interior designer Leslie Walford, who knew her for 20 years, describes her glowingly as a ‘red hot character. If she had been a singer she would be a red-hot mama. She (still) appears before me, bright eyed and flame haired”. Others say she was vain, self-absorbed, and sharp-tongued and osententatious, gadding about in full-length mink coats and dripping with jewels.

Florence was reputedly impossible to work for. Picture is painted of an eccentric woman who responded to flattery, who talked to the kerosene heater “as if it were a member of the family” and embellished the truth. Indeed in early articles about Broadhurst (who retained her maiden name), she presents herself as an Englishwoman with entrée to “sub royal” circles, who came to Australia for a holiday and stayed, and as a one-time concert singer. It is said she also told acquaintances she was an Australian cattle heiress.

Demand for her wallpapers increased rapidly. By 1963, 200 rolls of paper were being printed each week and she was soon battling to fill international orders. Eventually, she moved with 25 employees to a spacious print studio in Paddington.

The designs reflected the changes in the makeup of the Australian population. Her work from the sixties often uses Mediterranean themes, reflecting the migration from Italy to Greece during that period and indeed all her floral designs are based on European species. But Asian influences dominate her later work alongside indigenous Australian flora, which replaced the European varieties.

Quality, quantity and attention to detail were her hallmarks. Six thousand printed samples lined the walls of her elegant show room. Chartreuse and lime green sofas and fuchsia velvet chairs created a fashionable setting in which to show her work. Broadhurst was an apparent perfectionist, watching over every element of design and production – as art director, quality controller, and as marketing manager. Each design was custom made: she dealt directly with clients and did not wholesale.

She also experimented in printing with finely ground metals, importing bronze; copper, gold and silver from Scandinavia when she was unable to find what she wanted in Australia. Using metallic colours in Australian interiors was unheard of at the time, but soon became the height of fashion. Lurid greens, fluorescent yellows, brilliant magentas and sapphire blues were used as top colours.

After her death, the business was taken over by Broadhurst’s son, who was later sold the studio, including designs and screens to a sizeable Australian furnishing wholesaler. For the next 10 years, the Broadhurst screens collected dust – the designs deemed too strong for current fashion use. In 1989 the screen printing facility, including all artwork and designs was sold. Signature Prints, under the guidance of Lennie began a program lasting 3 years – painstakingly identifying and cataloguing the 530 surviving designs.

Signature Prints David Lennie says, “There are a power and an artistic element that you don’t normally find in a commercial product in everything she did, from the simple to the opulent”.

Lennie, who recalls meeting Broadhurst just once – “She was really quite self centred but if she saw commercial opportunity she gave you all the time you needed”... Lennie believes the resurgence of interest in the 60’s and 70’s design and the renewed vouge for wallpapers suggest the time is ripe for a revival of her work. Broadhurst, he says was ahead of her time: “The scale of the designs if large and powerful – the artwork highly detailed. These designs are wonderful to work with – they can be made dramatic using strength of colour or softened using tonal colourations”.

The more she documents Broadhurst’s life and work, says Powerhouse Museum curator Anne-Marie van de Ven, the ore “amazing and mysterious” she seems. “Those extraordinary, recently discovered, early 20th century photographs of her living and travelling in Asia and other parts of the world ……those enormous wallpaper patterns……and the colours! Where did she find the inspiration and courage to reproduce such dynamic designs?”

It is a question Florence Broadhurst would probably have several answers to.

The end! Hope you enjoyed today’s blog......

Helen Lennie

Part one of two parts

Florence Broadhurst, a 78-year-old artist and designer, was brutally murdered on October 16 1977. Her battered body was discovered by police the following morning in her wallpaper showroom situated in a fashionable inner city suburb of Sydney. Her fingers had been broken and jewellery estimated to be worth up to $100,000 removed. Twenty five years later her killer remains unknown.

It was a murder that shocked Sydney’s society set. With her flamboyant clothes and perfectly coiffed and hennaed hair, Broadhurst cut a striking figure on the social scene. An avid fund-raiser for charity, she was a regular speaker and hostess, and her parties were frequently recorded in the press. But Broadhurst was more than a social butterfly. She was acclaimed in both Australia and overseas for her sensational hand-printed wallpapers, and she was a dedicated painter – her first exhibition in Sydney, in 1954, filled three rooms of a leading art gallery. In her spare time she also managed her husband’s interstate trucking business.

Florence Broadhurst is now recognised as one of the most significant post World War 2 designers, working in the formative decades from the 1930’s to the 1970’s, when Australian design was still finding its way. Her international commissions included designs for Qantas, a chain of hotels in Saudi Arabia, wallpapers for Estee Lauder Cosmetics and scarves for American Express. She established a loyal and influential clientele, exporting to London, New York, Paris, Kuwait, Madrid and Oslo. Socialites decorated their dining rooms with her wallpapers, and Broadhurst made news when she sent Winston Churchill one of her paintings of Alice Spring at, she claimed, “his own request”.

Following her death, her extraordinary contribution to interior design in Australia was largely forgotten until David Lennie, a New Zealand born lover of the arts, discovered the designs, screens and film positives intact and unused in a Sydney screen print studio warehouse in 1989. After acquiring ownership of the designs David and his wife Helen, with a commitment to preserving this collection, along with others, as a whole, spent many long hours restoring, archiving and maintaining Broadhurst’s vast design output. Through their company, Signature Prints, Australia’s leading design house / editor / silk screen printer, selected designs are being reworked and offered on the international markets as interior furnishing fabrics, wallpapers and limited edition art.

Born in Mount Perry (Bundaberg), Queensland, on July 28, 1899 Broadhurst won a singing eisteddfod in her mid-teens. Her prize was to sing a duet – Abide with me  with Nellie Melba. Later that year she was invited to join Dame Melba and the dancer Robert Helpmann, who were developing a production for a world tour. During rehearsals she was involved in a car crash, which left her with a fractured skull and her music career on hold.

She travelled overseas to London at age 17, to study and later work in interior design. Accounts of her activities there are vague and often contradictory. She opened a dress design salon in bond Street, where she traded and lived as Madame Pellier. She married an English businessman,  Leonard Lloyd Lewis. It was her second marriage. The identity of her first husband is something of a mystery – her son, Robert Lloyd Lewis, is reluctant to reveal it, but Robert’s wife Annie, and says he was a “titled character”.

Vintage photographs, from the collection of the Powerhouse Museum, show her dancing the Charleston at the French club in Shanghai in 1926, reclining on a tiger skin in India, travelling in an automobile in South East Asia in the 1920’s and riding a camel in the desert. London’s town and country magazine in 1933 praised her as an “original dress designer”.

Returning to Australia in 1949, aged 51, the outspoken Broadhurst declared Australians were afraid of colour, preferring monochromatic, muted tonings, which, in her opinion, were not “vigorous enough to withstand modern living”. She claimed that frustration kick-started her wallpaper venture – it was impossible, she said, to buy suitable decorations and ordering from England involved such a long wait for delivery.

A one-time employee tells a different story. He says that a young textile designer from Melbourne rented a shop in Sydney’s St Leonard’s, behind Leonard Lloyd Lewis’s trucking business, to print his textile and wrapping paper. Broadhurst, who, as director of the trucking firm spent much of her time there, took an interest in what he was doing. “He was floundering and unable to pay the rent and Florence took the reins”. In an interview in Harper’s Bazaar in 1984, the designer claimed Broadhurst said to him, with a keen eye on his work: “this is so exciting, my dear. This commodity should be marketed in a very social way”.

Either way armed with sharp business acumen, a penchant for work, a will of iron and a passion for vibrant colours, Broadhurst threw herself into the wallpaper business, which she described as somewhere between mathematics and design. Working in a leaky shed, with umbrellas to protect her designs and only a handful of prospective clients, she set about establishing herself as Australia’s only screen printer of wallpapers.

Although intrepid, adventourous and a socialite, Broadhurst was also highly private person shielding the details of her private life.  People have different memories of Florence Broadhurst the person, therefore she remains an elusive person to define and understand.

Part two a few days away.......

Business - Florence Broadhurst Wallpapers Pty Ltd
Location -12 Roylston Street, Paddington, Sydney
Year – 1975

Expansion of the print studio by Florence Broadhurst

The demand for my wallpapers continued to increase at a galloping ate – to be exact – by 100 per cent.

I was now in the position of having to decide whether to take advantage of this demand or remain small.

After seven years of manufacturing under somewhat difficult conditions, I felt the potential in Australia warranted further expansion. It required that I go on to a much larger production, obtain more premises, carry a larger stock, employ and train more staff and issue a larger number of catalogues.

I thus moved to a studio of 15,000 square feet in Paddington, NSW. At the same time I obtained a freehold of a coating factory at Kirrawee and it is here that I have my base paper coated to any background I require. This enables me to produce any colour or texture background within a few days, to meet any demand.

It also became necessary to carry large stocks of base papers to be able to give instant service. Inks and dyes were still obtained from the manufacturers as and when required.

Papers are designed and printed in my studio in Paddington and catalogues are on display in a large, elegant show room on the top floor (David Lennie once visited Florence here in her studio. He was quickly shown the door when he introduced himself! HL)

Over five hundred designs are on show and in addition to looking through the catalogues, clients can actually see the rolls, which enables them to mix and match papers for effect. Papers are available in a few days – and it has been this service that has helped maintain such successful sales.

Thanks Florence – the next part of her speech is about competition and export – stay tuned - HL

Business - Florence Broadhurst Wallpapers Pty Ltd
Location -12 Roylston Street, Paddington, Sydney
Year – 1975

The beginning

I began alone in 1959 with space for only two tables in a disuse shed at the back of a truck yard at St Leonards – with only a handful of prospective clients.

From the beginning I was besieged with manufacturing difficulties.

A deputation from a paint and paper-hanging organisation called me in the initial stages and demanded an immediate 20 per cent from the selling price for every roll sold or they would see to it that none of my papers would ever be sold at all….naturally I refused.

The next step was to find a way of drying the paper and at the same time to be able to continue printing. I decided to dry on racks but I had difficulty finding an engineer prepared to go along with my ideas (probably no easy feat for a woman in the 70’s HL). However the method I evolved, I still use – I have found no better one after 17 years.

I also had to find an engineer to make a mould to my requirements to cast the stoppers for the guide rail on the printing table. It was not easy (for anyone that has worked in a print studio you will understand how important this is from a technical point of view)

1. It was a small job
2. It required accuracy
3. The request came from a woman who had no previous engineering experience!!!

There were many other problems, such as the screen making – the right silk sensitisation was most important because my designs could not be cut by the old stencil method. This was one of the things that distinguished me from my overseas competitors.

We hear you Bobby Broadhurst! Well done for creating this amazing print studio and helping put Australia on the map for wallcoverings and decorative art! HL

Business - Florence Broadhurst Wallpapers Pty Ltd
Location -12 Roylston Street, Paddington, Sydney
Year – 1975

The problem

My background is one of creativity – educated in art design and music, painting and interior decoration. In addition, my world travel from an early age helped me to become acquainted in all spheres of design.

Having been a successful designer and decorator in London I was surprised when I arrived in Australia in 1959 and found it impossible to buy any co-ordinated interior decorations. (She was busy telling everyone she was English too! HL)

At that time in Australia, the emphasis was on carpets and wallpapers were seldom used. When they were, they were generally in muted tonings and non-descript patterns and colours.

I found that the imported colours and designs were generally unsuitable to Australian requirements. The Australian public was inexperienced in the effect of wallpapers and afraid of colour. (What a brave woman to take this daunting task on. We know what she means here it would have been no easy feat to change the buying habits of a beige loving Australian market in the 60’s and 70’s – HL)

They were unable to visualise rooms completely covered with paper and were not prepared to accept wallpaper on the ceilings.

Upon further investigation I found the following:

• wallpapers were only available on indent
• there was no choice of colours other than those in catalogues
• extension of orders, i.e., extra rolls to match, could not be guaranteed and colours could not be expected to be identical with those in the original order.
• There was a long wait for delivery
• The choice was very limited and more often than not, designs were withdrawn from sale – or discontinued owing to the time lag between the printing and the distribution in England form ordering here

As the Australians’ taste in décor was generally conservative, I realised that it would not be an easy task to persuade them to be a little more adventurous with the effects of bold colour and colour harmony, and in addition to try the effects of three dimensions and colour vibration as well as using metal papers.

The challenge to me was to be able to offer an almost instant service to clients with any choice of colour or shading of colour to match their existing décor.

Full of enthusiasm, ideas and hope, I set out to pioneer this new field. (Florence Broadhurst what great quotes you have!)

Well that’s part one of the speech and as I sit here in our print studio in Sydney, Australia. I can relate to a lot of these issues Florence faced. I wonder if she had all the tools we can now utilise the impact this would have had. I can see Flo reinventing herself on face book, tweeting away and being the master a good blog! The next part of her speech talks about how she began – so stay tuned to our Newsflo

Like paint and other decorative features, wallpaper is added to a space to make a statement. Our interior wallpapers are NEVER applied to cover something up or a disguise a cracked wall. Florence Broadhurst is all about making a statement. Our customers have usually fallen in love with the design. Just like a piece of art…..

Will wallpaper create an atmosphere within a home?

I hope so! Wall coverings from Signature Prints can be tailored to suit specific needs. We call this our custom or bespoke service. You can have subtle and soft or a bold wow “look at me” wallpaper. This is created through the selection of base paper and the ink colours. Our reflective papers are world famous these days. I always start with the design selection, followed by the substrate, the final component is choosing the ink colour. It is fun and exciting in our print studio when we are making colour and printing customised décor for the home

What does your wallpaper offer to the people that buy it?

Our hand printed wallpapers are unique not just in their design but in the process that is used to create them. The craftsmanship of hand printed wallpaper is obvious in the visual aesthetic of the print. Our clients are always buying a totally unique product.

Are Signature Prints wallpapers expensive? Who buys them?

If we look at the Florence Broadhurst wall coverings I would say they are “top end” – yes! But it is not a question of money for me! This is something I am very passionate about. You can still get a look of Florence Broadhurst by incorporating some cushions, making a lamp, home decorating with a metre of fabric here and there. Of course, I do love entire rooms wallpapered but don’t be put off by that. Start collecting other pieces and get started. I promise following Florence is highly addictive! There are so many end uses……did I mention we even make rugs now!

Helen and David Lennie’s business acumen and entrepreneurial drive have contributed over the past 13 years to the worlds of art, fashion and furnishing’s, discovering the power and passion of the designs of Florence Broadhurst. Florence who was born in Australia, caught up in the heady whirl of Shanghai in the 1920’s and 30’s where she was a singer and dancer, then opened a dress salon in London patronised by royalty before returning to Australia where her flamboyant wallpaper enraptured Sydney’s high society in the 1960’s and 1970’s.

So although we feel very proud to be the custodians to this amazing archive, we always remind each other and our team what Florence created in such a short time span (16 years).

So what’s new in our world and where are we heading? We are expanding our range dramatically to include hundreds of new designer fabrics! This new range is going to be online in November, so stay tuned! That is closely followed by a wonderful new project in New York but that one is still under wraps. All I can say at this stage is if you see me walking down the street wearing my favourite Florence Broadhurst design with matching shoes and handbag with my arm waving hello with perfectly a coordinated watch – well I am sorry but I LOVE our brand Broadhurst

Helen Lennie   

We bring Florence Broadhurst’s archive and decorative art to life by designing, printing, and manufacturing a variety of products; not only offering textiles and wallpaper in Sydney, but also exporting to 23 countries around the world.  As the proud custodians of the extraordinary Florence Broadhurst design library, we continue to live the colourful life, dreams, and legacy of this exceptional artist. 

Florence Broadhurst used life and art as inspirations for wallpaper and fabric designs

We commit to the art of Florence Broadhurst because of how she translated the brilliant life she lived into colours, patterns, and designs.  Born in Queensland, Australia, in 1899, she was years ahead of her time, giving her the complex, eccentric, and talented personality she had.  A legend in her expressions of herself, she enthralled the world with her creative talents in multiple mediums and platforms.  Starting as a young singing sensation in Queensland, she spread her wings and performed in India, Southeast Asia, and China.  Her passion for the arts was strongly felt by the people in Shanghai when she founded Broadhurst Academy, a modern academy of arts for those interested in learning violin, pianoforte, voice production, modern ballroom dancing, classical dancing, musical culture, and journalism.  From Asia, she moved to London and reinvented herself as Madame Pellier, running a dress salon.  When she finally returned to Australia, she settled in Sydney and started painting enthusiastically.  She transformed her creative talent into a business opportunity, opening a wallpaper business.  She created hundreds of unique, luxurious designs with rich and vibrant colours that matched her flamboyant personality.  After her company monopolised the Australian market, she started exporting to America, Europe, and Asia.  The dedication she put into her work was a testament to the legendary artist that she was.

We wish to express her zest for life and art into your lifestyle and personal and commercial spaces, that’s why we offer you her amazing designs through our collection of fabric, wallpaper, artwork, and lifestyle products. 

Beautiful Florence Broadhurst patterns are featured in our wall prints collection

Our broad range of wallpaper designs for home, office, or commercial fit-out will give your environment a refreshed, elegant, and vibrant look.  Let go of the dullness of your walls and give them an edge with our vividly designed wall prints.  You can choose from our Flora, Glamour, and Blueprints Collection, or our Production Picks.  Our Flora wallpaper collection holds some of Florence Broadhurst’s beautiful floral designs, featuring colours from the classic to the brightly coloured, with flowers from the newly