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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 pattern is taken from the mantle of the Madonna in 'The Nativity', painted about 1524 by Girolamo Romanino.
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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Girolamo Romani, 1485 - 1566, was the leading painter, with Moretto, of Brescia in the first half of the 16th century. His style differs from Moretto's in the heightened expressiveness of the figures and landscape. This is due to the impact of Dürer and German art.
Like Lotto, Romanino was active as a painter of frescoes and altarpieces - and occasional portraits - over a wide area of northern Italy, including Padua, Cremona and Trento. Brescia remained his chief place of residence and he became a municipal councillor there in 1559. His son-in-law was the painter Lattanzio Gambara, with whom he collaborated. The influence of Giorgione and Titian is apparent in Romanino's handling of paint, and in his treatment of subjects.
The details for this repeat panel are taken from The Nativity painted around 1524. This painting is one of the panels of the high altarpiece of the church of S. Alessandro, Brescia.
The National Gallery in central London was founded in 1824 and houses over 2,300 paintings dating from the mid-13th century to 1900. Situationed 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 scarf its own unique character, finish and feel. To create the finest rolled hems, the edge of the silk 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.
Jacopo Tintoretto, about 1518-1594 Saint George and the Dragon about 1555 © The National Gallery, London 100% Silk Hand Rolled Designed and Printed in Britain 42cm x 42cm Saint George is...
Canaletto 1697 - 1768, Venice: The Basin of San Marco on Ascension Day 1740, © The National Gallery, London 100% Silk Hand Rolled Designed and Printed in Britain 42cm x 42cm To...
Luca Giordano, 1634-1705, Perseus turning Phineas and his Followers to Stone early 1680s © The National Gallery, London 100% Silk Hand Rolled Designed and Printed in Britain 42cm x 42cm Andromeda was...
Paolo Uccello, about 1397 - 1475, The Battle of San Romano about 1438-40 © The National Gallery, London 100% Silk Hand Rolled Designed and Printed in Britain 42cm x 42cm This...