New Bond Street: in a VIP room


New Bond Street

An unique room

Made for unique people


“Lauderdale” : A gilt leather wallcovering



Yours Truly


Pieter De Hooch 17th century Gilt Leather Interiors

Pieter De Hooch

A remarkable painter of Dutch interior scenes of the 17th century.

He is often compared to Vermeer or at least mentioned in the same phrase, De Hooch being 3 years older than Vermeer.

However Vermeer’s paintings are more emotional. Vermeer is a master in  creating an atmosphere, the interior being an accessory to help express the feelings he brushes down so delicately.

De Hooch is more precise, making the interior communicate with the exterior by opening doors and windows, using tiled floors to accentuate the perspective. The interior scene an elegant way to allow painting elaborated surroundings.

Before 1660 De Hooch lived in Delft there he painted middle class interior scenes.
When he moved to Amsterdam his clientele being wealthier the interiors reflect this. High ceilings, rich furniture, paintings on the walls, elaborated tapestries and indeed gilt leather

  Pieter de hoogh Merry Company 1664 1-19-10

Pieter de hooch interior-with-figures 1664 .jpg!Large


Theses paintings were painted around 1664


Gilt Leather collection at John Nelson Inc Miami (part 2)

Here than the second part of the collection we have at John nelson Inc Miami,

the first part of the collection as illustrated in an earlier posting was about fully painted gilt leathers designs.

for these designs John went for Silvered backgrounds and light colors.






Faded blue’s on a silvered ground




The last one with lesser silver showing




Monochrome and Polychrome










Sample panels soon to be seen in Paris


Here a good example of a strictly monochrome panel.

One background color painted on an antiqued silvered ground.

The Dragon form our collection dates originally from the 1750’s.

Besides being a rococo design it is worth to note,

  that it is a good and life giving female dragon.

There will also be a

Moncla Polychrome


Here we have a full polychrome panel.

The background paint is sort of bottle green on a flat Silver-gilded ground.

The Moncla is a great classic design probably by Daniel Marot

circa 1720

As Always


Meet our Parisian distributor: Marchand Mercier

New Distributor:

Marchand Mercier Creation & Diffusion

18 Rue St Louis en l’ile

75004 Paris

01 55 42 00 88

Isabelle Husson will be happy see you in her “Ile  Saint Louis” showroom.

During Maison & Object and Paris Deco Off,

the Marchand Mercier showroom will be transformed into an open gallery.

If you happen to be in Paris don’t miss this event.

Friday 23, Saturday 24 and Monday 26

from 9h30 AM till 7 PM



Upholstery leathers for the Hallwyl Museum, Stockholm

For the Hallwyl museum we supplied upholstery leathers.

which were fitted to a set of chairs form the Hallwyl dining room, by Lages AB

LSH Museums is a group of three Swedish museums the Royal Armoury, Skokloster Castle and The Hallwyl Museum together they constitute a government agency, accountable to the Ministry of Culture.

The original leathers could have been restored yet the choice was made to replace the leathers.
No conservator takes this decision easily, it certainly must have been a long discussed matter among the LSH staff.

In the reserves of the museum the original embossing mould was stored securely, which is exceptional.
No mould needed to be made. In the workshop we merely made the original mould operational.

Form there we made some sample panels. These were apparently conclusive thus the LSH staff took the decision to have the leather panels replaced. The original damaged leathers being stored in the reserve.


The dining room with one chair upholstered with Lutson leathers


Here its the central chair that is fitted with Lutson leathers.


The freshly upholstered chairs, picture taken at Lages AB


The Hallwyl panel as we have supplied it

Note the trapezoidal form of the panel, quite unusual.

Bellow some variations of the Hallwyl panel



Many thanks to the LSH Staff, especialy Mrs Ingalill Jansson.

And our Swedish partners since many years

Annika & Leif from Lages AB

As Always


Antependium or Pallium Altaris

Antependium or Pallium Altaris


In the tranquility of a humble chapel or in the greatest cathedrals where one is overwhelmed by the proportions and majesty of the architecture. Where one feels elevated by the dazeling light  of the century old stained glass windows, once mass starts, all are focused to what is happening arround  the Altar.

The Altar is a representation of the Jesus Christ therefor great attention is given to the Alter in the liturgy of the Church of Rome ;

Over the years we have been asked at several occasions to provide giltleather alterpieces called Antependium or Palluim Altaris

Since the 17th century alterpieces of giltleather were quite frequent certainly in the southern part of Europe .

In the earlie 18th century there was gilt leather workshop specialised in Antependia near the town of Ex-en-Provence, form the catalogue one could order a giltleather Antependium  of various designs with or without a central medaillon representing the Church protector or theVirgin Maria or one of the Apostels

My knowledge on the theoreical side of the subject  is limited therefor I did some research on the subject and found (and copied)  from

An interesting reference to the doctrinal significance of clothing the altar is given by Amalarius [of Metz] (d. 859). “The Altar signifies Christ, as Bede narrates. The robes (vestimenta) of the Altar are the Saints of Christ.”


The purpose of a frontal is threefold.
1) a frontal helps to make the altar stand out from its surroundings. It has always been the mind of the Church that, in a mystical sense, the altar is Christ, and that, like the priest who celebrates Mass, it should be clothed in precious vestments on account of its dignity… the frontal is one of the most ancient of all the furniture of the altar.

 2) It is a covering of honour for the body of the altar which, as we have already seen from the liturgical books, represents Christ Himself; and if further proof is necessary, it is provided by the five crosses incised upon the upper surface of the altar, representing the five wounds in Our Lord’s Body on the cross. Van der Stappen, Sacra Liturgia, ed. 2, vol. iii, Q. 42, i., says, “For the altar is Christ, therefore, on account of its dignity, it is clothed in precious vestments, as the Pontifical says in the ordination of sub-deacons.” Moreover, on Maundy Thursday this frontal and the cloths are stripped off during the recitation of the psalm, Deus, Deus meus, in which the verse foretelling the parting of Our Lord’s garments occurs…

3)The frontal is a means of employing colour to bring out the full meaning of the very beautiful symbolism in that same office of ordination of subdeacons which speaks of “the faithful with whom the Lord is clothed as with costly garments.” The red frontal, for instance, reveals the victory of the Rex Martyrum, realized afresh in yet another of His members…

Our Lord, as represented by His consecrated altar, puts on robes of majesty to identify Himself with those in whom His victory has borne fruit; His own purity reproduced again in the white robe of the virgin saint; His own heroic fortitude in the red robe of the martyr: and thereby additional emphasis is given to His invitation to be approach through the intercession of the saint with whose colour the altar is robed. And when the Robes of Majesty are all removed on Holy Thursday, more is indicated than the removal of His garments. His faithful, His costly garments, His disciples, are all stripped from Him; and His desolation is made the more evident by this complete annihilation of colour. But in addition to emphasizing the union of the Head with the saint commemorated by the feast of the day, the coloured frontal also serves to bring into clear prominence the union of the Head with His ministers of the altar, who are vested in the same colour…

The frontal — the altar’s clothing — has a deep, symbolical value. As the early linen clothing of the altar recalled our Lord’s burial shroud, so the precious coloured fabric of the later frontal is to recall his royalty. At the ordination of a subdeacon, the bishop in his charge to the candidate says “the cloths and corporals of the altar [which represents Christ] are the members of Christ, Gods faithful people, with whom, as with costly garments, the Lord is clad, according to the Psalmist: ‘The Lord reigns as king, robed in majesty’.” The clothed altar with its beauty and changing colours is a symbol of the Mystical Body — the whole Christ, Christ united with all his saints — it translates this doctrine into the language of colour and form. In addition to its symbolical value, the frontal — with its sequence of colours and its changing form and decoration — lends variety and new beauty to the altar, and helps to mark the degrees of festivity in the Church’s liturgy.

Another interesting reference to the doctrinal significance of clothing the altar is given by Amalarius [of Metz] (d. 859). “The Altar signifies Christ, as Bede narrates. The robes (vestimenta) of the Altar are the Saints of Christ.”

…a frontal helps to make the altar stand out from its surroundings. It has always been the mind of the Church that, in a mystical sense, the altar is Christ, and that, like the priest who celebrates Mass, it should be clothed in precious vestments on account of its dignity… the frontal is one of the most ancient of all the furniture of the altar.

Some pictures of Antependia made by Lutson



These are pictures  from the Antependium we’ve made for the Chrurch of Mingot France , Hautes Pyenées

restauration by Regina Purkat


This is the Antependium of the church of Germ

France Hautes Pyrenées

 We were involved in some other Antependia, I’ll promise to travel and take some decent pictures.

As Always


MetLife Boardroom Gilt leather panels some more pictures.

Last year I posted on the MetLife Boardroom leathers.

Pictures of this room are hard to get. The posting, however, moved the lines.

Here are some good shots of this unique room, form an unique Co° in the very hart of New York City.





For those interested in thechnical matters of hanging these leathers.

 Mr. Kelly from  hopes to have a presentation on the subject soon.

Image courtesy of  MetLife NY NY

As Always


Domino Panel “Cuir de Cordoue” or “Gilt leather” panels

Domino panel 80 X 56 cm / 31,5 X 22,05 inch

 The Domino was one of the designs that were supposed to form the core of a wallpaper collection that never saw daylight.

Sad ? I don’t think so, we integrated the designs in our Gilt Leather collection, where they develop a happy career.

We didn’t change the name « Domino » even though is was a reference to the domino wallpapers from the early 18th century, at the end of the day our wallpaper collection would have been classified as domino wallpaper so we thought it was a good name altogether

The design itself is an interpretation of a 16th century sample of a Spanish leather form

the collection of  the “Museo Nacional de Artes Decorativas”   Madrid.

Here the picture from the reference work by John W. Waterer «  Spanish Leathers »


 The design is a great classic.

We wanted it less dramaticthan the original sample panel.

Here the pattern is painted on a stamped gilt ground.

For our Domino Lut sculpted the mould so that the pattern is embossed,

ornaments can always be added. …

As shown here


The recently launched Silver and Gold collection is already going into another direction thanks to the  ever creative mind of Tatiana Tafur, she asked  for a Silver & Transparent Aubergine combination…..

This is what we made.


 Here a set of 4 panels


Best Wishes


Lutson Leathers at ISGM Boston

The Tapestry Room at ISGM

Chairs With Lutson Leathers in the actual setting at ISGM Picture coutrtecy of the Isabella Stewart Gardner Museum

I’m quite an amateur of the eclectic mix of contemporary furniture  and antiques.

Or antique furniture with modern art.

I love the lived-in interiors, not too neat nor too neglected, rooms filled with memories and faded colours.

This dining area in the Tapestry Room at the Isabella Stewart Gardner Museum is in his “medieval” ways just splendid.

  At ISGM they describe the Tapestry Room as follows:

“The Tapestry Room is one of the few galleries affording room to wander freely. The sense of space and openness that visitors will discover in the restored Tapestry Room will be amazing—and unexpected for many—and a celebration of Gardner’s original vision.”

—Gianfranco Pocobene, Head of Conservation

While  the Tapestry Room was being restored we were asked to reproduce the Giltleather for the dining room chairs .

Some of the original leather panels traveled to our workshop and in cooperation with the conservators we provided new Giltleather.

Korfus on a chair for ISGM Picture courtesy of Isabella Stewart Gardner Museum

From the original Giltleather some was gone beyond salvation, mostly the seats.


One back of a chair, though severely damaged, was in good enough, readable state to allow us to recreate the right gilding and the matching colour palette.


The design that lined the chairs is the one we call the “Korfus” and it’s actualy one of the first moulds we made,I believe  it will stay on the catalogue ….. forever !

  Pictures above are courtesy of Isabella Stewart Gardner Museum Boston. Many thanks.

As Always