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Charles Le Brun 1619-90, The Triumph of Alexander, or the Entrance of Alexander into Babylon, c.1673
A beautiful painting and an exceptional addition to our fine art collection, this painting of Alexander by Charles Le Brun is truly special. Alexander, who had defeated Darius III of Persia at the Battle of Issus (333 BC), foresaw another battle to take Babylon. He was then surprised to find the gates of the city open to give him a hero's welcome. Le Brun depicts this moment where Alexander, holding a scepter topped by Victory in his left hand, advances in a chariot drawn by two elephants captured from Darius' army. The hero, crowned with laurel leaves, is preceded by Persian trumpeters. Next to him three men directed by a mounted warrior (perhaps Hephaestion, Alexander's friend) carry a large golden vase. In the background one can see the Hanging Gardens of Babylon.
A strong pocket square full of golds and creams that is guaranteed to be noticed while providing versatility through the colour blends.
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Charles Le Brun, 1619-90, was a French painter, art theorist, interior decorator and a director of several art schools of his time. As court painter to Louis XIV, who declared him "the greatest French artist of all time", he was a dominant figure in 17th-century French art and heavily influenced by Nicolas Poussin.
His emphatic and pompous talent was in harmony with the taste of the king, who, full of admiration of the paintings by Le Brun for his triumphal entry into Paris (1660) and his decorations at the Château Vaux le Vicomte (1661), commissioned him to complete a series of subjects from the history of Alexander. Le Brun primarily worked for King Louis XIV, for whom he created large altarpieces and battle pieces.
His most important paintings can be found at Versailles. Besides his gigantic labours at Versailles and the Louvre, the number of his works for religious corporations and private patrons is considerable. Le Brun was also a fine portraitist and an excellent draughtsman, but he was not fond of portrait or landscape painting, which he felt to be a mere exercise in developing technical prowess. What mattered was scholarly composition, whose ultimate goal was to nourish the spirit. For Le Brun, a painting represented a story one could read. Nearly all his compositions have been reproduced by celebrated engravers.
Macclesfield was once the centre of the English silk weaving industry and the world's biggest producer of finished silk. The area has been printing silk for over 300 years and at one point had over seventy mills operating in the town. The town is close to a water supply that passes through limestone, and when used in washing and dyeing it gives silk a uniquely attractive lustre.
Our silk pocket squares are printed at a mill that has been producing printed fabric on the same site for the past fifty years and the process uses water sourced from its own reservoir.
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 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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