The Making
The leather is not a single flat shade. Across Tan Flowers, coppery passages meet deeper brown panels, while pale joining stitches give each section a clear outline. The variation in the ground is as much a part of the composition as the embroidery above it.
Fine cream thread draws a flower and a branching stem inside each radial panel. The heavier stitches follow the panel edges, separating one repeated motif from the next. At the centre, an angular star-like outline surrounds a smaller flower, bringing geometry and floral detail into the same circular medallion.
The repeated forms retain small differences in spacing and line. Alongside the leather’s creases and shifts in tone, these variations keep the orderly design from feeling rigid. Close inspection reveals both the construction that holds the cover together and the finer drawing that gives its surface character.
Collector’s Note
We chose Tan Flowers for the way its warm tones change the familiar floral pattern. The cream thread remains distinct, but the brown and copper underneath give the whole piece a softer presence than a sharply contrasting colour would.
Against plain linen or a quiet wool rug, the panels become especially legible. Beside dark wood, the lighter passages in the leather bring warmth without requiring another strong colour in the room. It is an object with enough detail to stand alone, and enough tonal depth to sit naturally among other materials.
What holds our attention is the exchange between the regular pattern and the uneven colour beneath it. The eye follows the flowers around the top, then returns to a darker panel, a crease or a warmer patch of leather. There is no need for every part to match for the whole to feel balanced.
The flowers repeat. The leather keeps its own rhythm.
