The Museum of Leathercraft, Northampton (UK)

The Museum of Leathercraft, Northampton

The Museum of Leathercraft is internationally acknowledged as having one of the finest collections of leather artifacts in the world. Founded in 1946 by John Waterer and Claude Spiers, the museum now has over 5000 leather objects, examples of ingenuity, creativity and superb craftsmanship that serve to show the importance of leather as a raw material across the centuries.
(Text from the website)


"La chasuble en cuir de Saint Bertrand de Comminges" par Aribaud (1997)

Aribaud, Christine; “La chasuble en cuir de Saint Bertrand de Comminges“, Mémoires de la Société Archéologique du Midi de la France, t. LVII (1997) 143-156

La chasuble en cuir doré de la cathédrale de Saint-Bertrand-de-Comminges est, selon la tradition, héritée de Donadieu de Griet, évêque de Comminges de 1625 à 1635. Or son étude stylistique et technique démontre qu'elle se rattache à un ensemble peu connu de vêtements liturgiques en cuir, probablement produits en Allemagne du sud dans le premier tiers du XVIIIe siècle.


Head of Christ by Petrus Christus, ca.1445, The Met Museum of Art

"Petrus Christus: Head of Christ (60.71.1)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/60.71.1 (December 2008)


"A combined Raman microscopy, XRF and SEM–EDX study of three valuable objects..." by Chaplin et al (2010)

Chaplin, T. D.; Clark, R. J. H.; Martinón-Torres, M.; “A combined Raman microscopy, XRF and SEM–EDX study of three valuable objects – A large painted leather screen and two illuminated title pages in 17th century books of ordinances of the Worshipful Company of Barbers, London”, Journal of Molecular Structure 976 (1-3) (2010) 350-359 
doi:10.1016/j.molstruc.2010.03.042 (restricted access)
Raman microscopy has been used to identify the pigments decorating three valuable items owned by the Worshipful Company of Barbers (established in 1308 in London), one being a large leather screen dating to before 1712, the other two being illuminated title pages of books of ordinances of the Company dating to 1605 and 1658. Pigments which could not be fully characterised by this technique (particularly the green paints) have also been subject to XRF or SEM–EDX analysis. The combined analytical approach has shown that the pigments identified on all three items are typical of those in use as artists’ pigments in the 17th C and include azurite, indigo, vermilion, red lead, pink and yellow lakes, verdigris, lead white, calcite (and chalk), gypsum, carbon-based black, and gold and silver leaf. However in the case of the screen alone, restoration in the 1980s has been carried out with different pigments – haematite, phthalocyanine green, rutile, and a mixture of azurite, malachite and barium sulfate. This work constitutes the first in-depth study of painted leatherwork and demonstrates that the palette used for this purpose is similar to that used on other works of art of the same date. It has also allowed the original colour schemes of the decorations to be determined where pigment degradation has occurred. The combined analysis has also provided a more complete understanding of the materials used for, or on, objects to which access is limited.


"Artes do couro no Sul Peninsular" por Pereira (1994)

Pereira, Franklin; "Artes do couro no Sul Peninsular", A Cidade de Évora: Boletim de Cultura da Câmara Municipal 1, II Serie, (1994-1995) 371-395

Franklin Pereira quer mostrar com este artigo os movimentos culturais e a versatilidade estética da arte do couro, hoje entendida como matéria para sapatos, blusões da moda e apetrechos utilitários, ao longo da história.
O uso do couro, tanto a nível popular como artístico, atingiu enorme fama e qualidade nos reinos do Al-Andalus. O autor inicia aqui a sua breve história da arte de trabalhar o couro no Sul Peninsular, terminando no século XVIII.