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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 a detail taken from the cope of a high priest in a work by Marco Marziale, painted in approximately 1500.
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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Marco Marziale, Unknown birth and death, active from 1492 - 1507. Marziale described himself as a Venetian and a pupil of Gentile Bellini. In about 1500 he moved from Venice to Cremona.
The donor, Tommaso Raimondi (died 1510), was a jurist and a poet. He is seen on the right of the painting, opposite his wife, Doralice Cambiago, on whose clothing the letter 'D' is embroidered. The kneeling boy may be their son Marco. Two other figures may be Tommaso Raimondi's brother Eliseo, and the latter's wife Lorenza degli Osi.
The Circumcision was painted in 1500 for the high altarpiece of S. Silvestro, Cremona. The mosaics in the background presumably imitate those of St Mark's in Venice.
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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