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Fifteenth Century Italian Ornament, Sydney Vacher, 1854 - 1935
This collection is inspired by the work of Sydney Vacher, an English architect of the late 19th century that created a book of patterns called ‘Fifteenth Century Italian Ornament’. The patterns within were inspired by the ‘brocades and stuffs found in pictures in the National Gallery, London’. Chiefly he chose patterns and details found within 15th-century Italian art and recreated these as repeat patterns for use with textiles, fabrics and print design. This particular repeat pattern is inspired by the mantel of the Madonna in The Virgin and Child, painted in 1476 by Carlo Crivelli.
Here at Rampley & Co, we’ve taken the originals from within the book and increased the vibrancy and variety of the colours used to create the perfect blends for beautiful pocket squares that truly tell a story.
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Carlo Crivelli, 1430 - 1495. Crivelli was born in Venice and probably trained with Squarcione in Padua. He spent most of his life in the Marches (eastern central Italy), after periods in Venice and Zara. Crivelli was active as a painter by 1457 when he was condemned in Venice for adultery. He was very successful as a maker of altarpieces in the Marches. These are especially well represented in the Collection.
Crivelli was influenced by the Vivarini at an early stage. From Squarcione, or one of his pupils such as Giorgio Schiavone, Crivelli could learn simulated marble architecture; festoons of fruit; parchment cartellini and music-making putti. Venetian painting up to this point had been dominated by the Late Gothic style, such as that of Jacopo Bellini and his son Gentile.
Crivelli was a fine technical painter and his pictures are in a good state of preservation. He had a strong linear decorative sense and was a brilliant colourist. His work was particularly appreciated in the 19th century, as witnessed by the price paid for the Gallery's 'Madonna della Rondine'.
This picture of the 'The Virgin and Child' is the central panel from a large altarpiece made for the high altar of San Domenico in Ascoli Piceno, east central Italy. Crivelli has used three-dimensional elements: glass, beads, carved and gilded wood and even gilded rope. In the flickering candle-light of a church, the effect of these would have been more powerful than in the well-lit gallery. Crivelli's work is distinctive for the detail of his settings. The Virgin is seated on a marble step and surrounded by festoons of fruit and a tooled gilded background.
The National Gallery in central London was founded in 1824 and houses over 2,300 paintings dating from the mid-13th century to 1900. Situated in Trafalgar Square, it is an iconic building that is famous the world over. Its collection belongs to the government on behalf of the British public and is among the most visited art museums in the world.
The National Gallery Collection contains over 2,300 works, with all major traditions of Western European painting represented from the artists of late medieval and Renaissance Italy to the French Impressionists.
The art of hand rolling pocket squares is a unique craft and truly makes each piece individual and unique. We feel that the precision and care taken by our skilled artisans gives each pocket square its own unique character, finish and feel. To create the finest rolled hems, the edge of the silk, wool/silk blend or cotton pocket square must be softy turned over with a handheld needle and then small stitches are inserted approximately one half to one centimetre apart around the edge, creating a supple yet prominent border.
It’s absolutely the best way to finish a pocket square for a variety of reasons but the key ones are for both visual effect and structure. Rolling by hand is the only way to get a really nice clean plump finish on the edge and this gives a really nice depth to the edges. It’s a more expensive process than machine rolling but by using a machine you’re often left with a flat edge and you don’t get the same luxurious feel. On top of this, the rolled edges add a lot more structure to your pocket square.
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