Timeline

Key figures

Origin and history

The Rixheim wallpaper museum was established in 1797 by the Hartmann Risler & Cie, which became Zuber & Cie in 1802. It occupies the right wing of the former Teutonic Knights Command Office (classified in 1946), shared with the still active factory and city hall. This historic site, built from 1735 by Jean Gaspard Bagnato, symbolizes the link between architectural heritage and craftsmanship.

The museum's idea emerged in 1969 during a meeting between Jean-Pierre Seguin, director of the printing firm of the National Library, and Pierre Jaquet, CEO of Zuber. Inaugurated in 1983, it quickly enriched various collections, such as the Claude Frères fonds (1870-1900) originally preserved at the Mulhouse Print Museum. Its objective is threefold: to preserve the memory of the wallpaper, to make it accessible to the public through thematic exhibitions, and to support research on this medium.

The collections cover four centuries of history of the wall decoration, from dominoted 18th century papers to contemporary creations. Eight emblematic panoramas of Zuber, including the views of North America (exposed at the White House in 1961), are presented continuously. The museum also preserves historical machines, such as the impressive "12 colours" and "16 colours" presses, illustrating the technical evolution of manufacturing. These objects, associated with the archives, reveal commercial strategies and artistic trends, from neo-classicism to modern design.

Temporary exhibitions explore various themes, such as the links between wallpaper and clothing styles (Two centuries of costumes, 1990), Japanese influence (Japanisms, 2013), or contemporary innovations (Paper paintings of the future, 2017). These events are based on a fund of more than 100,000 items, including current productions and exceptional pieces, offering an aesthetic and sociological look at interior history.

The museum plays a key role in promoting an industrial heritage that is still alive, with the Zuber factory still active on the site. Its anchoring in the former command office, transformed in 1797, highlights the continuity between medieval heritage, industrial revolution and current creation. This duality between conservation and innovation makes Rixheim a unique place to understand the evolution of decorative arts in Europe.

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