While his specialty is historically appropriate decoration of harpsichords, Adrian Card also lends his skills to historically inspired murals, painted furniture and other musical instruments. Through his work on harpsichords he has acquired extensive knowledge on the pigments used in Europe during the 17th and 18th centuries, and makes his own paints based on recipes from those periods, using only the pigments that were available at that time. He has also worked on the restoration of an important Flemish harpsichord which was built in Antwerp in the 1630s.
He enjoys creating murals and other applied ornament in a historic context, and is adept at creating new designs that look like they date from a particular period — from the ancient world through the 20th century. His clients include professional musicians, orchestras, universities, homeowners and just about anybody else who has an appreciation for applied ornament. More examples of his work can be seen at www.adriancard.com
Stenciled designs inspired by Christopher Dresser, for a 19th century dining room. This room in an 1850s house was “updated” in the 1870s with the wood-grained wainscoting. The wood is actually redwood, but is grained it to look like golden oak, which is how it had been painted originally. The stenciled fill pattern is adapted from a Christopher Dresser design from 1868, and the frieze is an original design of by Adrian Card in the style of Dresser.
An unorthodox treatment of a SF Victorian fireplace, hand-painted by Adrian Card with ornament inspired by early 17th century Flemish designs.
An unorthodox treatment of a SF Victorian fireplace, hand-painted by Adrian Card with ornament inspired by early 17th century Flemish designs.
Detail of a soundboard painting copied from a 1624 Flemish instrument by Johannes Ruckers.
Victorian ceiling mural painted by Adrian Card, in the stairway of the 1889 Coop House, the landmark Geilfuss-built Victorian featured in the film “The Last Black Man in San Francisco
Tulip detail painted by Adrian Card on the soundboard of a copy of a 1711 Pierre Donzelague harpsichord, gouache on spruce.
Trompe l’oeil “octopus mosaic” floor cloth by Adrian Card, inspired by ancient Roman floors like those found in Pompeii and Herculaneum. Acrylic paint on canvas.
Detail of Neo-classical harpsichord decoration by Adrian Card gives a new look for a 1970s Zuckerman kit harpsichord. Oil paint on wood
Dining Room ceiling painted in the Chinoiserie style by Adrian Card. Inspired by a pair of antique vases displayed in this room, this ceiling mural was commissioned for the 1889 Coop House, the landmark Geilfuss-built Victorian featured in the film “The Last Black Man in San Francisco.
17th century virginals built by Francesco Poggio, Florence, ca 1620. The case ornament by Adrian Card was copied from a 1585 Johannes Ruckers harpsichord and the lid painting is based on a landscape with bathers by Carracci.
