Exterior Color: Noe Valley Victorian

Beautiful Victorian details celebrated with six colors and gold leaf!

This Victorian in San Francisco's Noe Valley could not help being a bit cute. The Stick-Eastlake Cottage had been painted about 15 years ago using the pink colors from the magnificent hortensia blooming in its front entry.

before: a pink and green scheme for the cutest house on the street!

When it came time to repaint, the owners asked me to design something a bit more grown-up.

Choosing a Color: I ask my clients to drive around town and photograph houses of similar style whose paint schemes appealed to them. Every one they chose was green! So we started with green. The color scheme I devised for this house uses six colors, all from from Benjamin Moore's Historic Color range, with 23 karat gold leaf on the buttons and pediment ornaments.

Managing contrast: This palette is as much about contrast as it is about color. One technique being employed here is the use of what I call a "secondary trim" color, in this case HC-96 "richmond gray" which is about 30% darker in value than the "high trim" color (HC -32 "standish white") and is used to support features like brackets and window columns, and to create a break between the main body color of the house and the more vibrant accent colors of the window sashes and insets.

Know when to say when: The custom garage door was simplified from three colors to one, and painted the same as the body color, so as not to compete for attention from the main part of the facade. The front door, which had been whimsically painted with four different colors, now sports a more European look in a solid glossy teal with polished hardware and gold leaf details, leading the eye right to the entrance.

After: the Victorian Cottage as stately home

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Color Consulting by Lynne Rutter 415-282-8820

Lynne Rutter Murals and Decorative Painting

The Fabulous Peacock Parlor of Mr. Clem Labine

During our recent visit to New York, the maestro and I made a trip out to Brooklyn, to visit Mr. Clem Labine at his historic Park Slope brownstone.

Portrait of the Publisher as a Young Aesthete.

Mr. Labine is a longtime Friend of Artistic License, and the notorious founder and former editor and publisher of the Old House Journal, Traditional Building, and Period Homes magazines, all of which sprang from his passion for preserving and improving older buildings, starting with his own spectacular manse. It's no surprise that his home boasts outstanding original as well as restored features and is decorated in high Victoriana, complete with koi pond and neoclassical statues.

My favorite room is the Peacock Parlor, the formal sitting room on the grand main floor of the house, with its massive original casings and doors, high ceilings, coral walls, and crammed with art and statues. On the day we visited, an indoor bocce court (non-regulation) had been constructed on the spacious peacock feather patterned carpet. But the real story for The Ornamentalist here is the custom-painted frieze.

Unusually large at about two and a half feet high, the Peacock Frieze was designed and painted ~ 30 years ago by Austrian-trained Helmut Bucherl, ably assisted by Howard ("Howie the Grainer") Zucker, the son of a German-born decorative painter. Both artisans spent most of their professional life working for Rambusch Painting Studios of New York. The inspiration for the design was found in an old Dover Edition and embellished by Mr. Bucherl, whose Austrian roots show in the Secessionist-style elements. The ceiling has a very cool anthemion detail of stylized peacock feathers. These borders were painted using a combination of stencils, pounces, hand-shading, and gold leaf, and the entire room, including the ceiling, has been glazed. While the color are rather intense, in the intimate light of this room, they look perfectly balanced.

The peacock motif was adapted to create a four by eight foot ceiling rosette with a fabulous antler-branch spiral border and gold leaf accents which glitter above the electrified gas chandelier.
As you can see a gorgeous decorative painting job endures, like great architecture.

click on any image to view larger
anthemion is in the glossary!

Visit Clem Labine's new blog, The Preservationist

Lynne Rutter Murals & Decorative Painting

Cover story!

December 2008 - check out this month's California Homes magazine, whose cover story puts the spotlight our favorite new San Francisco designer, Claudia Juestel of Adeeni Design.




The cover article features a historically significant Victorian country house in Diablo, California, to which I have previously contributed a fair amount of work, including restoring and recreating the faux bois for the baseboards and doors in the main parlors and entry, the entry floor, and the ornamental overdoor panels in the living room.

Above: The panels over the windows and doors in the Living Room were painted by Lynne Rutter.
Artistic License associate Brian Kovac created a weathered wood finish for the beams in the newly built wine cellar.

I am so happy to see this work used in Claudia's fresh design, which is an eclectic, worldly mix, and celebration of the Victorian house's original features.


<-- The entry with its painted checkerboard floor and restored faux bois baseboards and casings.



Here is proof positive that you can live,
really live in a period home, with all its "dark" wood and traditional proportions, and still have a joyful, current interior.






click on images to view larger.
images 1 and 2 © California Homes Magazine
image 3 photo by Bernardo Grijalva

Lynne Rutter Murals & Decorative Painting

Library Children's Room Mural completed!

We recently finished the murals for the Children's Room in the Burlingame Public Library. I am so thrilled with the transformation of this space!

<----- Sierra as Melisande


The mural was commissioned by the Burlingame Library Foundation to commemorate the centennial celebration of the Library.


My goal was to create a mural that appears original to the room, as though it's always been there. Indeed it is hard to imagine the room without the paintings.





The North "main" mural wall is about 37 feet wide and the ceilings are 20 feet high. The first 5 feet of the walls are filled with bookcases, so all of the murals had to be painted with perspective from below eye-level.

There is a large metal grate and a little maintenance door in this wall, that I worked into the design, so the architecture became part of the composition of the mural.







I had a lot of fun re-imagining this little door area, to make it an entrance to a castle, or possibly, another world.

Faraway Castles, approx. 9 feet wide

We added images all around the room, so the room becomes a story, its walls the pages of a favorite book.
Details like tiny faeries, mice, and California poppies become more noticeable when you get up close.

(click on images to view larger)

See my previous post for work in progress images, and more about this project

Centennial Mural story in San Mateo Times

Bay Area Art Quake review by Phil Gravitt!

My thanks to:
Burlingame Library Foundation for their support and this amazing commission
the Burlingame Librarians for all their research and enthusiasm
interior design consultant Michelle Nelson
and to the ladies of my atelier: Sierra Helvey and Melka Myers.

Lynne Rutter Murals & Decorative Painting

Marouflage Ceiling in progress

122 hand painted ornaments, 28 canvases, 12 colors of paint, 5 rolls of 22k ribbon gold leaf...

This week we started to hang the "Italian Ceiling" which we have been painting on canvas in the studio for the last several months.









I am elated that my fabulous installer Peter Bridgman, who has been living in Florence the last year or more studying art restoration techniques, came home just in time to help me with this project.
Each ceiling panel is pasted with clay based adhesive and allowed to dry. The back of the canvas is then moistened with water, and a second, fat coat of paste put on the ceiling just before the canvas is applied.

In the longest panel we found that the chandelier electrical box was not actually in the center. Bad news, since an elaborate rosette was painted for the center. This is always a danger when painting canvases for ceilings that have not yet been framed. No matter what the carpenters tell you about how perfect their measurements are, they are never, ever correct. That's why the design of this ceiling incorporated a lot of "bleed" on the outside edges.

Peter's technique is to find the "priority" edge and work from there. Sometimes the priority is the "center", and sometimes is the spot that makes the ornament line up with the ornament in the next coffer. Some pulling and adjusting and language is usually needed. Most of the panels, however, seem to smooth out like butter on bread.
Once the canvases are smoothed into place they are left to rest while they tighten; they are then trimmed neatly to fit. My assistants and I paint the lighting trim, vent covers, etc. to match, and touch up or embellish wherever needed.

After today the false floor that allowed us access to this part of the 22 foot high ceiling is being removed, so we were in a crush to get that area finished.
Next week we will install the remaining 17 ceiling panels, and start working on the walls! stay tuned....


Marouflage is in the glossary!

Lynne Rutter Murals & Decorative Painting

The Fantastic World of Edvard Mordake

Mordake, Erling Wold's latest opera, tells the story of the 19th century aristocrat, Edvard Mordake, who was driven mad by his twin sister - a female face on the back of his own head.
I was asked to help visualize the setting- a suite of rooms fit for a Victorian gentleman.

I found plenty of inspiration at Richard Reutlinger's lovingly restored Victorian house in San Francisco, especially in the master bedroom, which features a Dresser-inspired frieze painted by my late friend and mentor, Larry Boyce.
I photographed some rooms, and made a Thurber-esque line drawing, as well as a simplified gouache painting of the bedroom (above) which are all to be computer- modified by Erling and German visual artist Freider Weiß, and then projected on stage to create Edvard's world. The large mirror I left blank, as they will be adding some invented reflections there. The set will alternate between photos, video, drawings, and paintings, to create varying levels of reality and fantasy.
And I hope Larry won't mind that in making my paintings of this room, I filled in his rather glaring persian flaw, so as to leave room for some of my own.

Mordake by Erling Wold, a solo performance with tenor John Duykers, premiers May 22 and runs through June 7, 2008
as part of the San Francisco International Arts Festival
More information and musings on this subject can be found on Erling's blog.

Mordake is featured on the cover of Theater Bay Area this month!

Lynne Rutter Murals & Decorative Painting

Singerie Screen in 7x7

September issue of 7x7 Magazine has included a shot of my singerie screen in their home and design section.

A Delicate Matter - Care for your bare necessities with these pretty picks for your laundry room. by Leilani Labong


This large screen made its debut my "Vintage Laundry" in the 2007 San Francisco Decorator Showcase.
Each panel is 90" high by 26" wide and 1.75" thick - sturdy enough to serve as a room divider, or to create a dressing area from a larger room.



One side of the screen is painted in a blue/gray neoclassical motif with singerie scenes in which the monkeys are all playing with clothing, sewing, etc.

Contact Lynne Rutter for details about purchasing this screen or commissioning a custom piece.

My thanks to David Papas Photographer for these photos.

Bayview Victorian gets her just reward

Today the SF Chronicle ran a wonderful piece on the home of my friends Adrian Card and John Tinker. They've spent years rehabbing one of the oldest houses in San Francisco, with respect for its architecture, and its previous owners.

Adrian is also a member of Artistic License, and I've enjoyed collaborating with him in the last year.