Studio Visit: Alison Woolley

A Florentine studio where Renaissance finishes meet contemporary design.

A circus performer flips in Alison Woolley's gilded artwork

Here I am again in Florence making lots of visits to my friend Alison's studio, on the top floor of a vintage stone palazzo filled with light and packed with samples, gilding tools, pigments, painted furniture, and at least two harpsichords-in-progress.

Long known for her  gilding work,  traditional harpsichord decoration,  and distinctive Florentine painted furniture, Alison Woolley has in recent years been expanding more into contemporary design. 

"I love nice craftsmanship and design and it doesn't matter what period," Alison tells me. "I do enjoy clean lines and I love that about the mid-century modern. Florentine Renaissance style often has clean lines, lovely large proportions, and very rich surfaces."

The juxtaposition is a harmonious one for an aesthetic shared across 600 years.

Gilding, painting, and patterns at Alison Woolley's studio

Alison Woolley's office features hand-painted walls with a mid-century aesthetic

In the design office of Alison's studio, an Art Deco style mirror hangs on hand-painted walls inspired by 1970s wallpaper designs. The bold scale of the pattern is surprisingly effective.

"The different values of the circles create a feeling of space so the pattern on the walls has made the room feel more spacious than it did before when the walls were white. I have a carefully chosen colour scheme that ties everything together."

Gilded Art Deco detail in a faux tortoise mirror frame by Alison Woolley.

A native of Toronto, Canada, Alison moved to Florence in the late 1980s, and worked for 15 years under the guidance of Florentine master artisans, prior to opening her own bottega in the heart of the artisan district.  A specialist in harpsichord decoration, Alison uses historic materials and techniques for this exacting work, which she in turn applies to furniture, textile designs, and artwork. Recently she has designed custom Italian Stencils for California-based company Royal Design Studio, as well as scarf designs for the Italian fashion house Salvatore Ferragamo.

Her teaching studio is world-famous, drawing students and commissions from 5 different continents. 

Alison Woolley  in her studio with the Italian harpsichord case she designed for L'Opéra Royal de Versailles

sample for a French harpsichord case (L) and a gilt floral panel by Alison Woolley

Living and working in Florence for 30 years  has given Alison a life full of inspiration.  It's not just the old city, rich with historic artwork, architecture, and decoration,  but the natural beauty of Tuscany,  which has inspired its artists for centuries, and helped to create a environment that celebrates  a high level of artisanship in every aspect of life, from art and architecture to  fashion and food.

"I have been collecting photos of simple grates that I see around here. I love the idea of a craftsman who has the task of making a practical grate, 500 years ago or 40 years ago, and puts that extra thought into it to make it aesthetically pleasing. "

"Circus" by Alison Woolley  - diptych of painted and incised 22 karat gold 

Among the traditions of Florentine art is the fondo oro - the ornamented gold fields seen in the Gothic and Early Renaissiance work of the 13-15th centuries by artists such as  Duccio, Giotto, and Domenico Veneziano, which relates directly to the Byzantine work of the 11th-12th centuries.  Gilt gesso panels embossed with patterns and incised with designs celebrate the rich gold surface and serve as the support of a painted figure or scene.  These same historic techniques are beautifully integrated into Alison Woolley's decorative commissions as well as her fine art work. 

Gilt and painted finishes by Alison Woolley

You can see more of Alison Woolley's work at  WoolleyStudio.com
and check the classes offered  via FlorenceArt.net  in Florence, Italy







Lynne Rutter Studio will be hosting Alison Woolley for two classes in San Francisco:
Florentine Gilding Techniques
August 24-26, 2017
and
Renaissance Finishes for Contemporary Design
August 28-30, 2017





all photos by Lynne Rutter
except nº 3 courtesy Alison Woolley

Lynne Rutter Studio

Studio Visit: FlorenceArt.net Studio d'Arte

detail of gilt and painted ornament on a harpsichord, by Alison Woolley

My good friend and collaborator Alison Woolley has a lovely studio here in Florence, and my first order of business after settling in to our apartment was to visit FlorenceArt.net Studio d’Arte and get a look at the harpsichord she just finished ornamenting, a prestigious commission for the L'Opéra Royal de Versailles.

Harpsichord built by Atelier Marc Ducornet and painted by Alison Woolley

The "Ruckers Taskin" style harpsichord was built by Atelier Marc Ducornet in Paris, and shipped to Florence for Alison to decorate.   The design of the piece was inspired by the architecture and ornament in the Château de Versailles.  

detail of interior of harpsichord lid, gilt and painted by Alison Woolley

Yesterday Erling and I went to the studio to help pack the finished harpsichord and then the shipper came and took it away to Paris and we all felt a bit sad to see it go, particularly Alison who had been working on this for months. I know I feel a bit blue when I send off a mural from my studio and all of a sudden it seems terribly blank and quiet.
Fortunately another harpsichord will be arriving in Alison's studio soon.

samples of work at FlorenceArt.net

Elsewhere in the studio are examples of  designs, class projects, experiments,  Florentine style painted furniture, and a beautiful (top secret) design for a scarf for Salvatore Ferragamo. 

gilding tools at FlorenceArt.net

Alison regularly teaches classes in the tradtional Florentine techniques of gilding and painting furniture and other fine surfaces at the FlorenceArt.net studio as well as through special retreats in Italy and intensive workshops.  The studio accepts commissions year-round for furniture, instruments, murals, and seriously beautiful things.

Watch this video of another recent project by Alison Woolley: painting a Claviorganum.

Lynne Rutter Murals + Decorative Painting

Studio Visit: Adrian Card

Harpsichord soundboard painted by Adrian Card  * 

This week I visited the studio of a great artist closer to home, the San Francisco atelier of my good friend Adrian Card.  Adrian is one of those amazing fellows who is expert at so many esoteric things I can't help but wonder if he was transported here directly from the 17th Century. Or maybe he is possessed by the ghost of some Flemish harpsichord decorator, which would of course be a good thing if you had a harpsichord needing ornamenting, as this just happens to be Adrian Card's specialty.

Flemish harpsichord with strapwork ornament painted by Adrian Card *

Adrian Card at his drafting table, designing Delft-style ornamentation for a guitar.

Adrian comes from an old Dutch-American family:   "My father's ancestors all came over here in the early 17th and 18th centuries, mostly of English and Dutch extraction. They settled in Northern New Jersey in the late 17th century after getting tired of the city life in Manhattan (New Amsterdam). My family has been in the same place ever since. My father was baptized in a church whose graveyard contains the remains of his ancestors who fought in the American Revolution - it's about 5 minutes from where my parents live now and where I grew up." 

Adrian became fluent in Dutch, which he learned by and for studying antique books on painting techniques.

A corner of Adrian Card's Studio, filled with design books and inspiring what's-its.

"I had been fascinated with 17th century Dutch painting since the 6th grade"  Adrian says, "when an art teacher (aptly named Mrs. Farber) showed us slides of some Vermeer paintings... it was like an epiphany. I got interested in how they did it, and started to learn Dutch when I realized how much had been written about technique and whatnot in Dutch, that had never been translated into English."

Reprint of De Hooge Schoole der Schilderkonst anders De Zichtbaere Wereld  by Samuel van Hoogstraeten, 1678

Not long after that Adrian painted his first harpsichord soundboard.  "Getting involved in harpsichord decoration only solidified my drive to learn Dutch."

gilt and painted ornament for the inside of a harpsichord, painted by Adrian Card

Adrian studied at the Philadelphia College of Art, and after a brief flirtation with the idea of going to the Hochschule Der Kunste in Berlin, he came to San Francisco where he earned a degree in printmaking at the San Francisco Art Institute. 
"I have long been fascinated with historic ornament. A fellow-student and friend at SFAI and I both shared a passion for ornamental borders, which was something we needed to keep to ourselves, or risk the ridicule of our neo-neo-neo-expressionist fellow students."

Historic woodblock-printed papers reproduced by Adrian Card for a harpsichord restoration.

hand carved woodblocks for printing harpsichord papers

After graduating from SFAI,  Adrian began to do some historic ornament work for a variety of applications, but when the opportunity to work for a prestigious animation company presented itself, he pursued it. He worked in animation for a number of years before returning to the world of ornament, starting his own business in 1999.

Adrian credits other harpsichord painters for helping him with his career:  "... notably Janine Johnson and Sheridan Germann, who were generous with their time and knowledge, and instrument maker Kevin Fryer, who also taught me a lot." 
His printmaking skills have been useful for creating the hand-printed papers for Flemish harpsichords, "a practice that dates back to the 1500s, when they were employed as an inexpensive way to imitate the expensive Italian custom of ebony and ivory inlay work."  

samples for the decoration of harpsichord and other furniture in Adrian Card's studio

Skills used in harpsichord decoration are also applicable to furniture and murals, and Adrian has completed a number of fantastic commissions using historic ornament of many different periods and styles.

design in progress for a harpsichord case using strapwork ornament

The soundboards of harpsichords (and other instruments) must be painted with particular water-based materials to preserve the sound of the instrument. This means making the paint from raw pigments and materials using historic recipes.

Pigment collection at Adrian Card's studio

The studio is like a walk-in Wunderkammer, filled with inspiring objects, old broken things, old working things, drawers full of designs and past work, as well as collected bits of tiles, insects, minerals and wallpapers.

Historic Avocado Green.

I met Adrian Card some years ago when he joined my guild, Artistic License.  We have since collaborated on some projects as as well as become great friends through our shared love of ornament, collecting, martinis, flea markets, books, and the search for the perfect Victorian light fixture.
During a recent meeting several kindred spirits discussed which animal's urine had the strongest ammonia content needed for making bluest Verdigris pigment.  Ok well, maybe you had to be there.

Adrian Card's studio Wunderkammer includes fluorescent rocks collected near his home town.

Now you can imagine how thrilled I am to be hosting Adrian Card at my own studio in San Francisco,  September 11-13, 2013 
for a fantastic workshop on Strapwork Ornament, 
a favorite of Flemish designers and a great trompe l'oeil device for any number of uses.

Class panel for Adrian Card's Strapwork Ornament workshop

Please have a look at more of Adrian Card fantastic work on his website:  AdrianCard.com
 

pigments, and tiny bug art

And here are some of Adrian Card's favorite influential books:

In Dutch:
De Hooge Schoole der Schilderkonst anders De Zichtbaere Wereld   (The Esteemed School of Painting or, The Visible World)   by Samuel van Hoogstraeten, 1678

Hoe Schilder Je Een Druif  (How Does One Paint a Grape)  by Karel van Mander, 1604   and yes, the title is a reference to Parrhasius

Verlichterie-Kunde of Het Regt Gebruik der Water-Verwen   (Illumination or the Right Use of Water Colors) by Willem Goeree, 1697

In English:
A Treatise Concerning the Art of Limning by Nicholas Hilliard, circa 1600

Miniatura or the Art of Limning by Edward Norgate, circa 1627

Medieval & Renaissance Treatises on the Arts of Painting, edited by Mary P. Merrifield, originally published in 1849, now available as Dover reprint




Images in this post by Lynne Rutter except * ©Adrian Card
click on images to view larger

Limner is in the glossary!  of course it is.

Lynne Rutter Murals + Decorative Painting

Gustavian Bench

I dreamed of a little gray bench

For at least 20 years or more this small neoclassical bench has been kicked around my tiny home - I used it as a vanity stool,  and for a while as a piano bench - all the while it was begging to be reupholstered at least. With a few hours to spare in my studio, I finally got around to doing something about it.

before:  the sweet fluted legs attracted me to this piece

Dating from the 1910s, this nice little bench is blessed with carved fluted legs and is solidly built- but it had a bad break in one part of the frame and had been buried under magazines and finally wound up in my basement gathering even more neglect.  Once in my studio, I  gave my old friend a good dusting-off.

straightened and cleaned

I repaired the break with fish glue and some clamps. All of the joints tightened, the entire surface was then cleaned with fine steel wool and some alcohol.  I didn't bother repairing any dents or scratches.  A couple of layers of walnut crystal stain evened up the wood color and brought it back more to its original intent. I could have given this a nice French Polish this at this point,  but I decided that what I wanted was a simple, painted bench.

after:  the wee painted bench of my dreams

Two coats of Annie Sloan Chalk Paint gave me the perfect Gustavian look.  This is really nice, easy to use paint for furniture. The color here is "French Linen."     I decided not to "distress" or artificially age the surface any further, as I am sure dings and scrapes will appear in time, quite naturally. The painted surface was burnished and polished with two coats of micro-cyrstalline wax, and finally the seat was re-covered with a bit of Belgian linen left over from one of my artists smocks.
I'm quite please with this little project.  What do you think?

Lynne Rutter Murals + Decorative Painting

Studio Visit: Atelier Peinture sur Bois, Paris

Work in progress at the studio of Jean-Pierre Besenval

Entrance to the Atelier

One rainy day in Paris, after a fabulous day exploring the Musée Carnavalet, my friend Ziska and I set off through the Marais thinking about a good place for dinner, when we were distracted by the sight of a doorway and signs for the Atelier Peinture Sur Bois, the studio of Jean-Pierre Besenval.
I'm a long-time fan of M. Besenval's painted furniture and have two excellent books on his work.
So of course we ventured inside the courtyard to the shop,  where we were warmly greeted by artist Luigi Madéo, Besenval's longtime collaborator and co-author.
The shop contains a gallery filled with beautifully painted furniture pieces and art panels, all done with traditional media and techniques, and inspired by Italian Renaissance ornament, as well as 15th century Flemish painting and other historic European decorative art.

Luigi Madéo in the atelier

We got to talk about  traditional painting methods and the hopeful revival of these techniques and materials, like gesso, caseins, egg tempera, decorative gilding.

Painted furniture and art panels in the studio/gallery of Jean-Pierre Besenval

work in progress in the studio

The studio itself is a showpiece, with all of its beams and posts painted with colorful traditional designs.

This is I think a great way to raise the height of the ceiling and create a simple architectural opportunity for some splendid ornament.
 

Borders are repeated in different colors and with added elements, and while each beam is unique, the color palette and structure of the ornament is consistent and overall look is cohesive and utterly charming!

The huge support posts in the center of the shop are also decorated, and the designs are painted plumb, even when the  posts themselves are not.

I love this armoire door inset which is spectacularly painted, and seems to pay homage to Renaissance botanical artist  Jacques Le Moyne De Morgues.

If you are in Paris, be sure to visit the Atelier Peinture sur Bois at 32 rue de Sévigné in the Marais; or visit the website at www.meublespeints.com 



All photos in the post by Lynne Rutter, October 2011
click on images to view larger

Lynne Rutter Murals + Decorative Painting

Mad for Malachite

vintage Fornasetti malachite plates at First Dibs.

One of my long-time obsessions is malachite. Not just the stone, but as a motif in interior design.  I love the vibrant color, the mesmerizing pattern, and the way it just seems to look fabulous no matter where you use it.  I am also a bit crazy for Fornasetti, whose gold and malachite plates (above) mix Empire splendor with Mid-Century chic.

Malachite Room of the Grand Trianon, Versailles.  photo by Lynne Rutter

Malachite as both a pattern and a color works wonderfully into period as well as contemporary interiors.  Napoleon lived for a time in the Grand Trianon at Versailles, and decorated its interior in Empire style.  Le Salon des Malachites showcases a collection of furnishings using the semi-precious stone, set off by deep rose pink upholstery. A generous amount of ormolu trim never hurts (and makes for a nice color triad).

Pillows made from "Gemstone" fabric in Emerald, from the Tony Duquette collection for Jim Thompson.

Tony Duquette was famous for using malachite as part of his eclectic and colorful interior design. Above, the addition of malachite pillows brings a vibrant complementary punch to the analogous palette of the space.  The same fabric used in a black or red Chinoiserie scheme?  Oh yes!

Coral-colored branches and Chinese porcelain with Fornasetti Malachite wallpaper form Cole and Sons, England.

painted malachite in progress by Lynne Rutter

Cole and Sons makes a wonderful Fornasetti Malachite wallpaper and you can also find a well-designed malachite fabric by Ravynka at Spoonflower.

Pantone's Color of the Year for 2013 is Emerald Green.  I can think of no better way to incorporate this color into your life than with  malachite.   Although, real emeralds are totally acceptable, of course.  

For my fellow painters and color enthusiasts, genuine Malachite pigment is available from Sinopia.

faux malachite mirror painted by Lynne Rutter

I recently painted a large faux malachite mirror frame with 22 karat gilt edge, which is now available for sale at $2,300.  Sold!   Contact me  to commission one like it!

Lynne Rutter Murals + Decorative Painting

Ebony Cerused Oak - how to create this hip finish

ebony limed buffet, via 1stdibs

The last few years I have been getting more requests to "do something" with old furniture pieces, adding ornament, refinishing wood,  repairing gilding, etc. I love working on furniture and the special challenges each piece presents.

"before" orange varnished oak

One of the hardest things to work with is bright orange oak --- a tough one because of the assertive grain among other issues. Oh yes, you can fill it and paint it,  but why not find a way to work with it?
In this age of cheap laminate furniture, solid wood is something to be celebrated!

One project I had recently I took my inspiration from a midcentury piece of cerused oak, also known as limed oak.

Inspiration:  1943 Paul Frankl limed oak dresser, at 1stdibs.

In the sixteenth century this finish was created to help deter insects and rot in oak beams and paneling, by filling the grain with lime or lead-white and wax,  but after a while it became a fashionable way to lighten up and enhance the the look of the wood.     Cerused oak finishes  were also fashionable in Art Deco and midcentury interiors for  furniture, floors, cabinetry, and paneling, and is now once again very much on trend.
Note: I am not talking about the pickled "slimy pink" whitewash that was all the rage in the 1980s.  

A good cerused finish shows the grain in contrast to the rest of the surface.   High contrast between the wood and the grain is a really effective look.  Please note this is not a technique useful for any kind of soft wood (pine, cedar, redwood, etc.) nor do I advise trying this on any kind of plywood or veneer.

Inspiration: circa 1950 James Mont bench in ebony limed oak.

I found many instructionals for liming wood on the internet but none with pictures.  I like pictures!  So I decided to share the process of transforming this orange varnish oak piece into something more fabulous and moderne looking.

How to Make a Cerused Oak Finish:

 

Apply Citristrip liberally.

1.  Make samples!
Don't do this directly on a piece you care about. Always test an area or get some scrap wood to try out your materials!

2.  Strip and clean:
First, we need to strip off that varnish.  I like Citristrip for this kind of thing. Let it sit for at least  a half hour then scrub in the direction of the grain with a stiff stripping pad or brush.

raising the grain with a brass brush

Once you have removed all of the varnish,  rinse the wood thoroughly with water.

3. Raise the Grain

While the wood is still damp, scrub lightly with a brass brush. Brass will not discolor the wood nor be too rough.

If you are starting with raw wood, simply get it wet and scrub it a bit to raise the grain.   Rinse thoroughly, then let dry.

4.  Light Sanding
After the wood is dry, lightly sand to smooth out the top, and get all the dust and bits off with steel wool and/or stiff bristle brush.

You should then have a very clean oak surface with pronounced grain pattern.

Clean oak with deep grain pattern

5.  Dye the Wood Black
Make sure your wood is dry, and let's get some color on it!
Do not use "stain."  Stain will absorb into the softer  parts of the wood more than the rest of it.   Instead you want to dye it. 

Apply the dye with a brush, rag, or pad

ebonized oak

Aniline dye will soak into all the wood evenly without leaving any kind of residue.
You may get it in powder form - like raw pigment but much finer ground - to dissolve in water or denatured alcohol. Aniline dyes tend to be opaque, leave no lap marks, and dry quickly.
There are also pre-mixed "super penetrating" dyes that use acetone as a vehicle and are very effective. If you buy this kind of thing, please read the MSDS carefully, and wear the proper protection.

In some cases you need 2 applications if you want to get a good solid color.

*****Note:  In this demo I used a dye that I had on hand, but check out this tutorial on how to make your own inexpensive iron acetate  to ebonize wood. This natural option for ebonizing wood  uses a solution made from steel wool and vinegar, and is an extremely effective and affordable way to blacken the oak.******

6.  Seal the surface:
At this point what we have is an evenly dyed, fairly matte, and absorbent surface. It needs to be sealed mainly to make it a bit slicker, which will make the following steps easier. 

tinting  some amber shellac to a clear black

Shellac is perfect for this as it will not build up or fill the grain, and it dries quickly. And if the shellac is tinted with a drop of black (or the same color as the dye underneath), it will add to the depth of the finish.  In addition to keeping the color from migrating into the wax, the shellac makes it easier to lightly wipe the liming off the surface while leaving it in the grain.
Remember too much tint will slow the drying time of the shellac and add volume, so use just few drops.

Apply one or two thinned coats of shellac to your surface and allow to dry thoroughly.
 

"liming wax"  my home-made mix of wax paste and whiting

7.  Liming:
Liming wax is available pre-mixed but I made my own by mixing clear microcrystalline wax and whiting (chalk).   You can also use white powdered pigment or lime powder mixed into wax paste.    Make sure the wax paste you use is a type that will dry fairly hard, and does not turn yellow. 

filling the grain with liming wax

Rubbing the wax into the grain and removing excess

Cover the whole surface, use a liberal amount of liming wax and push it into the grain with steel wool or a soft cloth.

Immediately wipe off the excess with a soft cloth. 

Sealing the surface with clear wax

Let dry thoroughly. You can repeat the liming if needed,  or go straight to sealing. 


8.  Seal the finish
To seal this finish you need only add another layer or two of clear wax, and buff.

Microcrystalline wax is made with low odor mineral spirits and dries quickly and quite hard and impervious. 

finished surface!

Options:   I have achieved this look using paints and acrylic finishes,  but I have to say using more traditional materials makes this far easier and the finish has more depth. It  feels very smooth to the touch and is quite durable as a furniture finish, and very easy to maintain.

You may also try this finish with different colors.   And obviously, the nicer the  grain of the wood, the more appealing the finish will look.

Lynne Rutter Studio