I have long admired the work of Adelphi Paper Hangings, of Sharon Springs, NY, but only in my convalescence did I start to look very carefully though their collections, and make note of the patterns I might want to use in my nonexistent house. Observe ...
I know the whole damask thing is DEAD, but Webb House Damask of 1770--80 doesn't read damask to me; it doesn't have the symmetry that I (perhaps wrongly) associate with damasks, and the motifs also read more organically. I included two colorways, and a snippet of the Adelphi team photo, in order to indicate its scale. I'd be happy with either color, but think the black (or a custom very, very dark indigo) would be lovely in a dining room:
Bixby vine and Drapery of 1811--17 I absolutely adore, both in its sedate blue colorway and the raucous primary variant (it looks like it would go nuts with 3d glasses). I'd put the blue one anywhere, heck, even in the closet, but I'd like to reserve the primary coloring for a guest bedroom for my dearest Holly, who I know would relish it:
My love of Dagobert Peche is well documented, and Orchid Vine was most likely designed by the master 1911--1920. It reminds me of something that might have hung in the breakfast room of the Schlegel's London townhouse in Howards End, the shock of the modern with all their Georgian furnishings. Those Schlegel girls. I would also like the yellow colorway in my breakfast room, and maybe the green in a hall or staircase:
But I've saved my personal favorite for last: Viennese Trees of the 1920s, likely by Joseph Hillerbrand. If this is what trees look like in Austria, can I use my compromised state to buy an ill-advised ticket to visit them in Vienna?
I would love the blue version in my bedroom -- what a pleasant sight to wake up to -- a forest like lollipops, or the silly parasol pines of Rome.