Exterior Color: The Fulton Street Sisters

In which we learn that the whole is greater than the sum of its details.

Cranston and Keenan-designed Queen Anne Victorian circa 1890 recently restored, with color design by Lynne Rutter

My work as a colorist is often more involved than simply choosing paint colors for a "Painted Lady."  

Working with the historic homes of San Francisco has given me a deep understanding of the regional architecture, and it is so rewarding when I can collaborate with people who appreciate and work to preserve that architecture.  The owners of neighboring Cranston and Keenan-designed "Queen Anne" style homes on Fulton Street wanted their sister houses to look good next to each other, and to set a precedent for the rest of the street. They knew things were missing and that they needed more than just a paint job. Both owners enlisted San Francisco Local Color Painting, and asked that their façades be restored in tandem.

Here is a "before" picture from 2016:

Before:  aging sisters on Fulton Street, hanging onto their dignity

As you can see, these sisters share the great bones they were born with. Like many grand old homes in our fair city, this pair of Queen Anne mansions endured many decades of slow neglect.  Changes in the neighborhood, deferred maintenance, hidden damage, and past expedient repairs over time, can add up to a very shaggy appearance and what looks like a really daunting project.  Praise is due to the dedicated owners who coordinated their efforts and committed considerable resources and energy to rejuvenating these beauties.

Now, here is our glorious "after" photo of 1374 and 1368 Fulton Street.

Sister houses: "Queen Anne" style Victorians with their newly restored and painted façades.  color design: Lynne Rutter

For those of you who'd like to know a bit more about how this renaissance was accomplished, read on.

1368 Fulton "before."  I stopped here at the base of the stairs and wondered, what's going on with the mismatched crown at the roofline? Also, please, don't ever paint your steps with battleship gray porch paint ~this is not your garage floor, it's your entrance.

Analysis and Research

I met with the owners of both homes to discuss what they'd like to see. Naturally, each house would have colors according to the taste of its respective owner, but as neighbors they wanted the colors of both homes to be compatible, and to be somewhat consistent as to the use of ornament and color placement.  As the houses face south, we needed to use colors that work well in full sun and won't fade easily.  But before I could finalize where those colors would be used, both façades needed some resolution about missing ornament and other carpentry matters.

1374: some areas we needed to resolve prior to painting

A Queen Anne style house, especially one built by Cranston and Keenan, tends to have a lot of ornament on its façade. Unlike many other period styles of architecture, these designs don't follow any classical rules about proportions or column height or window size. It can be extremely difficult to figure out where to put colors to complement this style of home. There is no clear "body" or "trim" as their façades are mostly mouldings and ornament. It's like the builder  pulled up with a cart full of surface ornaments and threw them on the house. 

All the same, there is a style, and details that really work, and when they are missing or replaced with undersized elements, it's terribly obvious and  can result in a lopsided or unstable appearance. So I worked up a list of problem areas I felt needed to be addressed.

 

For example, due to a code change requiring railings to be higher, each house had had its original balcony replaced with taller, fairly indifferent-looking railings.  At 1374 the rounded balcony (7) had been straightened and its bowed "clamshell" (8), no longer protected properly, began to rot. Missing ornament in the frieze (6)  had been covered over with shingles, which resulted in a shaggy, heavy-looking area over the arch.

We looked at other houses in the area by the same builders which have similar details, to find solutions. 

Even better, one of our homeowners located an archive photo that would answer many of our questions!

1374 Fulton Street, circa 1910

This amazing photo from 1910 showed us the original ornament plan of BOTH houses. I was then able to place colors for them using this photo as a guide.

To solve the issue of the modern requirements for balcony railing height, I recommended continuing the horizontal band from under the window clear across, and then adding better proportioned balusters above that. And then of course, finials or vases on top of that. And then of course some little balls atop those, so we can gild them!

Rallying Resources

It is my distinct honor to belong to a group called  Artistic License - A Guild of Artisans. It is through this guild that I met Bruce Nelson, owner of SF Local Color Painting, and many other skilled carpenters, architects, painters, and designers. Like me, most of the members of this guild could not look at that "before" photo without making a mental inventory of everything that was wrong or missing from these façades.  So Bruce recommended several members of the guild to our homeowners, to help set things right. 

Chris Yerke of Restoration Workshop mastered the restoration of the façade at 1368. Missing mouldings were custom milled and replaced, and copious amounts of ornament cast by Lorna Kollmeyer Ornamental Plaster were added where appropriate. Chris re-designed the balcony with a parapet and turned balusters, in a very pleasing proportion that seamlessly integrates with the original design. Urns were placed on top of the balcony railing of course. With little balls on top.

1368 Fulton after painting. Color design by Lynne Rutter

Local Color's team restored the old wood surfaces and painted the subtle scheme of six colors with 23.5 karat gilt details. As the house is so high from the street and faces south, some ornament was dry-brushed with an accent color,  to bring up more of the detail in the full sun.

This color wasn't a big departure from the previous scheme, which the owners liked.  But to note is the relatively minimal contrast between colors, and this was done to give the façade a more unified and and elegant look.  

Layers of wood and cast rosettes were used to recreate the ornamentation of the upper pediment

Meanwhile, next door... at 1374, new wooden window sashes were built with stained glass panels, recreating the originals in the antique photo.  Skeeter Jones of Clearheart Fine Design and Building lead the revival of this façade including restoring the curved balcony with custom turned  balusters and finials, replacing rotted wood and missing ornament, again with castings from Lorna Kollmeyer. Dozens of elements were painstakingly assembled to create the richly textured surface of the original façade.

1374 Fulton Street restored 2018. color design by Lynne Rutter

Finishing touches

Years of old paint were removed, epoxy repairs and minute details carefully prepared by Local Color painters prior to painting this six-color scheme. Some ornament was enhanced with a glaze, by painting a thin layer of color over the surface, then wiping back the raised parts to create more depth.  Finally, special details and buttons were gilt with 23.5 karat gold leaf, which adds a warm accent color as well as shimmery finesse.

1374 and 1368 Fulton Street newly restored and painted. color design: Lynne Rutter

In addition to expressing my admiration to my colleagues for their fine work, I want to express once  again my deep appreciation to the owners of these important homes, for their stewardship, and for their commitment to the beauty of our city's shared history.

 ~

Resources:
Period Revival Artisans of the San Francisco Bay Area 
Artistic License,-A Guild of Artisans

Find an archive image or learn more about your Victorian house:
San Francisco Public Library Historical Photo Collection
SF Heritage Historical Research Guide
Open SF History historical images and maps
Guide to San Francisco Architecture at the Bold Italic

 Lynne Rutter Studio

Exterior Color: The Nightingale House

The upper bay and tower of the 1882 Nightingale House, San Francisco Landmark #47

The Nightingale House, San Francisco Landmark #47,  is named for John Nightingale, who built  the house in 1882, as a wedding gift for his daughter Florence.   I have long adored this house, ever since I moved to the city. I love the scale of it, the eclectic Victorian Gothic-a-rama style of it. 

The Nightingale House in 2008

The house had seemingly always been white: layers of post-WWII Navy surplus paint and then some, gave it a sunny cottage-like appearance.  Its longtime owner, Jo Hansen, a San Francisco artist and activist, cared for it with everything she had for over 40 years. As a young artist living nearby I met Jo a number of times. It’s still hard to imagine this city without her.

Since 2010, the new owners and current custodians of the Nightingale House have been carefully restoring it.  But by “carefully” I don’t mean living in a museum. They have researched its history, repaired its injured areas, and made it their own. 

I have been thrilled to participate in what has truly been a collaboration between me, the owners, and the house itself.  

Entry and tower after restoration and painting

We started talking about color before the heavier aspects of the restoration work had even started. Envisioning the color was not just the light at the end of the tunnel, but a step towards solidifying the intent and goals.  I asked what they were looking to say with their color scheme;  one said  “historic, important”  the other said  “gothic, unusual …  ”     Elvira may have been mentioned.

Well then, said I, let’s see if we can do both!

Rare in San Francisco, a covered entry porch, with outer pocket doors, which we painted with a faux bois finish

The curved balcony had been missing, and was recreated from a vintage photo

The color scheme I designed is for the most part monochromatic, with different shades of warm greens. The eaves are brightened with a green-gold color, and 23.5 karat gold leaf helps celebrate  some very special details.

Historic homes of this period were often painted with a medium tone body and darker trim.   I have been finding more and more, that the white trim so prevalent in the 20th century is not as appealing, especially when urban dirt accumulates on it. The 19th century style of painting darker trim can give the period architecture a lot of stability and grace.  

A favorite detail:  Gothic pendant under the bay window

Many years of work have gone into the restoration of this landmark home. Dozens of skilled artisans have contributed to its revival along with tireless effort on the part of the owners.  A complicated roof and tower was totally refitted, with copper gutters, working chimneys, and metal cresting sitting atop like tiara. Window sashes have been restored or reproduced, lead paint stripped off, missing ornament and architectural features recreated.   During some of the work evidence of the original paint color was found to be... green.

Sometimes I go a bit out of my way just to pass the corner on which the Nightingale House is perched.   

More about the Nightingale House at  Hoodline
Color Design by Lynne Rutter
 


I have never heard that the house was haunted, but I'd be happy to start a rumor...

Lynne Rutter Studio

Églomisé Rhinoceros

Allow me to introduce you to "Albert," a name that means  both "bright" and "famous."

"Albert" a six foot-wide verre églomisé rhinoceros in rose gold, by Lynne Rutter. photo by David Papas.

Approximately two meters wide, Albert is a verre églomisé mural,  etched into gold on the reverse side of glass, and based on ( and named for)  the famous rhinoceros woodblock print by Albrecht Dürer. 
This commission came about  when my client asked for a large painting with gold or copper and maybe an animal, or an imaginary creature, and then I said well you know if I did this on the back of glass, it would be way more work and so much more expensive but so totally cool!   So of course they said yes.

the enlarged master drawing in reverse

We chose the image of the rhinceros, which Dürer created having seen only a sketch of an Indian rhino.  The folds of the skin look very much like armor.  Dürer added an extra little spiral horn on the spine of his noble beast, as well as a pattern of spots over the "armor."
My first step in creating this mural was to get to know this creature very well, through a series of drawings at large size, in reverse, as this is how I needed to etch the image.

As red gold, coincidentally known as "Albertina Gold," was being used for this piece, it was essential to work on Starfire glass, which is clear and colorless, as the color of normal glass would muddy the special rosy tone of the gold leaf.

The rhino gilt with rose gold leaf on clear glass

I gilt the rhino's body with a mirror finish,  and then began etching the design through the gold. 

etching the 23 karat rose gold

Once the body of the rhino was complete, the background was gilded with the same red-gold leaf, but with a matte finishin in a broken leaf pattern.  Additional features were then etched into it. The piece was backed with a chocolate brown paint, and then mounted in a float frame of solid walnut built by Christine Lando. 

Photographer David Papas takes Albert's fashion portrait in the studio

To photograph a mirror is pretty difficult!   My photographer David Papas created a white environment to reduce reflections in order to document this piece (see  his amazing shot in the first image above.)

Albert the églomisé rhino reflects on his new surroundings

Installed in his new home Albert is the boss of the entire first floor. At first a ghostly apparition, the details of his face and body are visible from certain angles as you- and he- move about the room.  

I love that moment when the gold locks onto the glass...

Thanks to:  
Michelina and Adrian!
David Papas Photographer
Christine Lando, artist, archival framer
Farber Art Services  expert installation
W&B Gold Leaf

Lynne Rutter Studio

Creating an Heirloom Display

Miniature portrait of Marie Antoinette, gouache on ivory, in an ormolu frame.

 
Some years ago I began a journey, cleaning and restoring a large collection of miniature portraits that had belonged to my great-grandmother.  A group of these had been set aside for my niece, Elizabeth, and long after I had finished cleaning them, I was still struggling with a way to arrange them in some kind of display, to both protect and present them in a relevant way.

Miniature collection, cleaned and restored, and arranged for framing!

Enter the wonderful Christine Lando.  Christine is an artist and archival framer,  with whom I share my studio in San Francisco.  She located a vintage oval frame with convex glass in which to set the collection.  The frame had been spray over with gold-brown radiator paint and its glass had been glued in place with gobs of silicone caulk.  While Christine studied the grouping of the miniatures and devised ways to attractively mount them in a reversible, museum-quality manner, I set about cleaning and re-gilding the frame itself.

Christine Lando, framer extraordinaire, made careful notes in preparation for mounting this display of miniature portraits.

Auntie Lynne, gilding the antique oval frame

gilding in progress

The frame was re-gilded using composition leaf, on a base of casein gesso made by Sinopia. This was then shellacked, antiqued, and waxed to make a nice vintage "French" looking finish.

The finished piece makes a very sweet display for this collection,  and a nice decorative addition to my newlywed niece's new home. 

Seven beauties presented in a vintage gilt frame with convex glass.

Soon after completing this display, I decided to make a similar heirloom as a gift for my sister.   To compliment the goth aesthetic of her home, I chose three portraits out of the collection that are just a tad creepy.  Christine created a shadowbox frame out of her personal stash of Italian mouldings, this one with a verdigris guilloche pattern.

A group of three miniature portraits of Marie Antionette, mounted in a shadowbox frame by Christine Lando

Included in this trio is my favorite big-eyed portrait of Marie Antionette,  beautifully painted and set  in an ormolu frame (see first image.)  This piece had a noticeable crack in it, damage that occurred after the frame had been back-stuffed with paper and cardboard (to keep it tight or something) which then got wet and swelled, pushing the fragile ivory substrate into the pillowed crystal front until it snapped. Someone then glued it to a piece of paper and stuffed it back into its frame.  After removing all the garbage from the back of the painting, I set it in a press for a few days to flatten it, and then cleaned it and restored just a few tiny areas. It is stable and won't get any worse, and in this setting, I think the remaining fracture adds a certain je ne sais quoi. 


See this previous post for up-close photos of these miniature portraits.
Have something special needing an inventive framing solution?
Christine Lando  artist, archival framer    415.821.6485

Lynne Rutter Studio

Exterior Color: Alameda Queen Anne

Morton St. Queen Anne with a new paint scheme by Lynne Rutter

Alameda, California is a lovely small town on its own island, and home to the best flea market on the West Coast.  I counted as a good sign that my clients called me from Forbidden Island, Alameda's famous tiki bar, asking for help choosing paint colors for the Victorian house they had just bought.
The house is a fabulous 1890 "Queen Anne" style, set back from the street with a front garden.  It had been painted with a bachelor-pad color scheme in the late 1980s, and it seemed to me the feminine aspects of the architecture got a bit lost in the process. 

Before: "bachelor pad" color scheme or brown and beige

Walter Crane "Swans" by Bradbury and Bradbury

With a major restoration and interior upgrade already in progress,  the exterior painting was a ways off, but it often feels like the light at the end of a long tunnel to have the colors worked out in advance, and to have that to look forward to, as well as to help us focus on what this house - what the experience of living in this house -  will be "about."
I was asked to give her back her dignity, as well as some of her sass, like a well-dressed lady who is also fabulously smart.

Meanwhile, awkwardly-added gutters and downspouts were reworked or replaced, and the balcony rebuilt; a large number of window sashes were replaced as were many of the cedar shingles.

Our new color scheme was inspired in part by an Aesthetic Movement poster, printed by Bradbury and Bradbury Art Wallpapers, on a swan design by Walter Crane. The gold ochre, the terra cotta... even that little bit of black.  So this is where I started.  Th gold, ochre, and bronze color all look so different at various times of day.  I meant to use two of them, because normally I approve of painting the shingles differently from the shiplap, but in this case the texture difference was enough.
The blue appears not only in the sky but on the ceiling of the porch and the underside of the eaves.  Gold leaf embellishes some features, including many that are visible from inside the house, through the upstairs windows.

Morton St Queen Anne with its new paint scheme by Lynne Rutter

I have been involved with the interior of this home as well, and may share that later. But for now I want to point to those amazing giant thistle lace sheers, custom-made using a fabric by Timorous Beasties. With such prominent windows the choice of window sheer had an immense effect on the exterior.


Lynne Rutter designs color for interiors and exteriors in the San Francisco Bay Area as well as by email for homes all over the world!  Contact her here.

~

Lynne Rutter Studio

Featured in Traditional Building Magazine

This month I am featured in Nancy A. Ruhling's article for Traditional Building Magazine entitled "The ABCs of Decorative Ornament: The experts agree Decorative ornament is a big plus in commercial buildings. "

A rooster mural by Lynne Rutter crows cockily at Gilberth's Rotisserie and Grill in San Francisco, CA. The hand-painted oil on copper leaf diptych adds down-home warmth to the industrial-chic interior of the restaurant, which is built in an old cannery in the city's Dogpatch neighborhood. Photo: David Papas

Clem Labine's Traditional Building Magazine is a trade publication which provides resources to architects, designers, and builders involved in preservation and design for public architecture.  It's an honor for me to be interviewed alongside such veteran studios as Canning Studios, EverGreene, and the brilliant muralist Russ Elliot. The article drives home the message that decorative painting is an intrinsic part of a commercial interior that adds to its interaction with the public as well as its overall value.

" ... San Francisco artist Lynne Rutter, who has made murals for restaurants, casinos and hotels, sees her work as art. "People think of decorative painting as being somehow less about expressing oneself and more about decoration, but this is not true of many of us in the field," she says.

The award-winning muralist and colorist is passionate about historic projects. "On the West Coast, there is a lot of creative reuse of our older buildings, so even if the project isn't a 'restoration' per se," she says, "the period detail of a building can be celebrated in its new incarnation, and decorative painting is an excellent way to achieve that sense of history."

Rutter, who is inspired by the works of masters like Vermeer, Fra Angelico and Max Beckmann, travels extensively, picking up ideas along the way. "I collect images of ornament, or moments of great old murals and beautiful surfaces," she says. "Recently, I submitted a design for a dome based on something I saw in a beautiful place I visited in Bulgaria."

Murals are an ideal medium for Rutter, who studied architecture and design at the University of California at Berkeley before she opened her boutique atelier in 1990. Typically, she paints the murals on canvas in her studio and installs them on site. "This process — marouflage — is an excellent technique for saving valuable time and allows for more detailed work to be done in advance," she says. In some projects, like the 900-sq.ft. ornamental ceiling mural created for the Paris Hotel and Casino in Las Vegas, only the stenciling was done on site "instead of working weeks on site, my team and I were only there for four days."

Rutter points out that decorative painting serves no one style, and that's what makes the work interesting to her. "I have been doing this since the mid-1980s and the popularity of decorative painting has gone up and down over the years, but mainly what I see is a change in the design of the work," she says. "The skills and techniques used are similar even as the definition of 'contemporary' changes from year to year.  "

read the full article at Traditional Building Magazine

 Lynne Rutter Studio

Églomisé Cephalopod

églomisé mural (~5 feet high) by Lynne Rutter.  photo by David Papas

Allow me to introduce you to Nolan.
Commissioned for a home in Hawaii, Nolan is a very large octopus,  gilt, etched, and painted on the reverse of a 5 foot high slab of glass using a set of techniques known as verre églomisé. 
The body of the octopus is gilt  with aluminum leaf arranged in a random broken pattern to create the texture of the cephalopod's skin.  The thickness of this metal allowed me to etch the details  through it using a cross-hatching pattern very much like etching a printing plate. The suckers of the tentacles are gilt with 22 karat gold.

work in progress, Nolan slinking over a cart in the studio

During the process I asked our client if she'd like to give this noble  creature a name, and she immediately wrote back:  "Nolan came blazing through the ether like a shot…I was completely powerless to do anything else.  I believe he's just been waiting for his opportunity to let us know who he is…what else could I do?"   

detail showing the etching and paua shell eye

The surface of the octopus reflects the color of whatever is near it, much like the way the octopus camouflages itself in the water.  A final touch, the eye is a piece of abalone shell from New Zealand.

Nolan was packed into a very large crate last week and is now en route to a beautiful house on Oahu.  We dearly miss him in the studio and wish him well in his new home.

Lynne Rutter Studio

Paris en Grisaille

"Les Monuments de Paris" mural by Lynne Rutter, photo by David Papas

Recently I got the opportunity to return to a client's home to photograph the mural I painted for them. How exciting to see this room finished!   The magnificent Saarinen table is surrounded with chairs upholstered in the most fantastic blue velvet,  and crowned with a vintage Italian chandelier in crystal and rose brass. The floors have a black cerused oak finish.
The interior design of this gorgeous room is the work of Gary Spain.  The shot was styled by Damian Alvarado and photographed by David Papas.  Of course I assisted in the shoot, mainly by looking through the camera now and then and saying "wow, you guys!"

The mural is painted en grisaille using dozens of shades of warm gray, and is patterned after  Les Monuments de Paris by Josef Dufour. It is painstakingly hand-painted in the style of the early 19th century block-printed scenic wallpapers, or papiers peints panoramiques. Unlike the original paper this mural is painted on canvas, and is quite durable, a necessity in a home with young children. I also added a few Paris monuments not found in the original paper and freely (re)arranged the design to best suit the room.

  
More about the creation of this mural here.
click on image to view larger

 

Lynne Rutter Studio

Exterior Color: Aesthetic Inspiration

Stick-Italianate Victorian in San Francisco her new custom paint scheme

I am excited to show you this recently completed color project - a Victorian in San Francisco a stylish new artistic dress.

Eddy St. Victorian, before painting

This 1880s Stick-Italianate Victorian house in the Western Addition  was long overdue for a paint job. Pale and peeling, it was nearly invisible and set back from the street behind an added garage and a tangle of overgrown plants.  The owner asked me to help make the house show up better, and give his home an artistic look using some of his favorite colors.

I created a scheme using a muted split-complimentary palette of mauve, green-grey, ochre, and rose, with hints of purple and peridot, and of course, some well-placed gold leaf.  This isn't necessarily an historic color scheme, but such colors were popular during the Aesthetic Movement, along with those other "indescribable colors" that I have been studying lately, and which provided inspiration for this design.

Eddy St. Victorian with new, Aesthetic colors

The garage and foundation walls were painted a warm grey, very simple and plain so as not to compete with the house. The roof of the garage will become a front garden.

Entry doors painted a deep glossy phthalo green-black

Originally I suggested an intense peacock teal for the front doors, picking up some of the color in the stained glass insets, but we decided to use a deep phthalo green/black, for a more formal look. Gilt elements on the glossy doors make for a stunning entrance.







*****

Color Consulting by Lynne Rutter 415-282-8820
  

Paints used on this house are by Benjamin Moore and C2 Color.



all images in this post by Lynne Rutter  - click on images to view larger

Lynne Rutter Studio

Les Monuments de Paris

Les Monuments de Paris, detail of hand-painted scenic mural by Lynne Rutter

Recently I completed work on a scenic mural  for a home in San Francisco, in the style of  a papier peint panoramique, an extraordinary wallpaper popular in the late 18th and early 19th century.

Interior Designer Gary Spain commissioned me to paint an entire room mural in grisaille, or more specifically using an eau forte palette, which has a warm gray-brown asphaltum color that would compliment his design for the home.  Our clients asked for something chic and urban, with scenes of Paris, but wanted to avoid anything too romantic or dramatic (many scenic papers depict battles and crowds of people), and that we make a personal view of Paris, rather than just the famous sights.

Dufour's Monuments de Paris, detail in color

Combing through my fabulous book French Scenic Wallpaper 1795-1865 I found the marvelous "Monuments de Paris" by Joseph Dufour et Cie. This paper was last printed in 1820, and there are few surviving examples of it.  Its design  seemed the ideal reference  for this project, all of the monuments are pre-Hausmann era buildings; some easily recognized, and some not; lined up along the banks of the Seine in no particular order (or scale for that matter) while the viewer sits on a lush, peaceful island in the center of the river.   I knew I could easily adapt this to suit the client's taste and site considerations. 

a 3d mock-up of the room helps me determine sightlines so I can fine-tune the composition of the mural

Les Invalides, in progress

In San Francsico, our City Hall has a dome that pays homage to the dome of  les Invalides in Paris.  I chose this building as the center image of the east wall.
Using some digital images of the original paper from the Victoria and Albert Museum, as well as some photos of actual structures in Paris,  I began design work, tailoring the mural composition for the room, and creating a custom palette divided into the necessary values.

The original wallpaper was block-printed, so in painting in this style, there can be no blending, and colors must be opaquely painted and repeated. To preserve a flat, regular surface, there could be no touching up, no rubbing out of errors.  Each stroke must be confident and committed. While this appears simple, it's actually far more work than using a "painterly" style. The effect is well worth the effort; the room looks rich, calm, and timeless.

Yes, this is a COLOR photograph!  the ceiling and dado were matched to colors in the mural

Dufour's paper was strangely lacking in bridges, so we designed the Pont Neuf into the mural - its architecture echos the shape of the archway in the room

While the style of the mural is faithful to the Dufour paper, the composition and many elements in it are entirely original.  The entire mural is scaled to the space and composed to work with the architecture of the room.

 
click on any image to view larger

Lynne Rutter Studio