John Rosselli & Associates Fall/Winter 2019 Lookbook

FALL/WINTER

2019

LOOKBOOK

ROSSELLI

#INSIDEROSSELLI FERMOIE NAMAY ADELPHI

SAMAY

PAPER

HANGINGS

JOHN ROSSELLI & ASSOCIATES

JOHN ROSSELLI & ASSOCIATES www.johnrosselli.com

Letter from John Rosselli Fermoie Namay Samay Adelphi Paper Hangings

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John Rosselli ar·ti·san /ˈärdəzən/

noun a worker in a skilled trade, especially one that involves making things by hand.

Throughout my career, artisans in the Rosselli organization, including our many representative partners, have been the single most important factor in our continued success and longevity. In every aspect of our interior trade, artisans create and produce goods that enrich our homes and lifestyles. Join me, in this our second look book, as we celebrate all that is artisan.

Fermoie, is a unique and wonderfully colored premium collection of printed cotton and linen textiles. Designed in house and printed in England, their wide range of colors and patterns are perfect for all your upholstery and drapery needs.

Namay Samay, is a superlative in the Bhutanese language, literally meaning “beyond sky and beyond earth.” Namay Samay is an artisanal fabric house specializing in hand weaves, hand embroideries, and handprints. At the heart of their approach is a dedication to the finest of traditional craft.

Adelphi Paper Hangings, is a small artisanal producer of historically accurate blockprinted wallpaper. To help ensure that the art and craft of traditional handmade wallpaper would survive, Adelphi established the only commercial production facility for block printing historical paper in the United States; located here in New York State.

From our home state of New York, across the big pond, to the mountains at the top of the world, I am pleased to bring this group of artisan’s collections together and share them with you.

John Rosselli

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Fermoie is a British designer and printer of fine fabrics and accessories. Our designs, often with traditional echoes, have the distinction of being completely original. Everything we print starts off being hand-drawn in our Studio and is then printed in house using pigment dyes and traditional screen printing to create effects that intrigue.

Fermoie’s aim has always been to capture the life, light and enjoyment of old woven textiles. We print traditionally with a light touch creating a subtle impression but with the depth of a woven fabric. All patterns in the Fermoie offering are presented in 5 colour Families; Reds, Yellows, Greens, Blues, and Neutrals, edited to create infallible combinations. Fabrics are either pure cotton, 100% linen or a Union of the two and are suitable for upholstery, drapery, fabric walling and other interior uses.

@fermoie

shell grotto

100% Cotton

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Inspired by the ancient shell grotto. A large-scale mosaic of colour & shells. Playful, decorative details sit neatly within large flowing, symmetrical naïve florals.

SHEL-001

SHEL-003

SHEL-004

SHEL-002

SHEL-005

SHEL-006

4

4Â

abbey stripe

Cotton Linen UnionÂ

ABBE-001

ABBE-010

ABBE-008

ABBE-011

ABBE-005

ABBE-004

ABBE-002

ABBE-007

ABBE-003

ABBE-009

ABBE-006

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A large stripe made up of layers of tiny shapes, small stylised details of observed nature, stone carved Norman arches and medieval paintings.

6

4Â

lucent

100% Cotton

LUCE-002

LUCE-010

LUCE-008

LUCE-009

LUCE-006

LUCE-004

LUCE-003

LUCE-007

LUCE-001

LUCE-005

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Facets of light. Brush strokes of natural electric colours across the fabric, mid-century shapes and a timeless lattice of texture with the obvious touch of the maker.

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Our company is founded on the love of traditional craft and desire to create fabrics that possess a character and warmth reminiscent of old textiles.

Introduced here is an edit of recently launched fabrics – screen and resist prints, hand weaves and hand embroideries.

Whilst our origins are in the rich weaving heritage of the Himalayan Kingdom of Bhutan, our techniques and aesthetic influences have expanded over time. We draw upon historical designs from around the world where we think there is an opportunity to use our methods to make something interesting and relevant. We are thrilled to now have a home in New York with John Rosselli & Associates.

@namaysamay

anar

100% Linen

DEEP TAUPE

sitaron

HEATHER GREEN

HAY

FRANGIPANI

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The resist print technique allows us to make fabrics with more subtle colour variations and softer edges (relative to screen printing). Anar is the most recent addition to a collection that draws heavily on 13th century Indian trade textiles.

100% Linen

DENIM

HONEY

SCARLET

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With our resist prints we aim to offer quiet and complementary fabrics possessing a somewhat loose handmade character. Sitaron is one of several designs from this collection where the simple small-scale pattern creates a textured surface.

10Â

alya chota

100% Linen

DOVE

kiba

KALE

YELLOW

FRANGIPANI

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Based on a 19th century Persian block print and originally launched in a larger scale, our Alya Chota reduces the motif from 4 to under 2 inches, in so doing altering the look and likely use of the design.

100% Silk

MING

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CONIFER

SANDALWOOD

RASPBERRY

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Looking to introduce a pared back stripe to our Bhutan collection, this scheme is from an early 20th century Persian Jajim. We love the eccentricity of the ticking and the stripe variation.

anaras

100% LinenÂ

CREAM

BLUE

GREY

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Reproduction of a late 18th century French Indiennes textile fragment, we immediately fell in love with the vibrant tropicality of this design. Hand printed over 9/10 layers, our goal was to retain the lively and layered look of the original block print.

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Our flame stitch embroideries aim to closely reproduce antique versions, both in terms of design and technique. The inspiration for our first flame stitch was a (likely 17th century) fabric from Northern France. This more muted version is based on a similarly made original document.

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Sonam

100% Silk

Our Bhutan weaves possess a textural quality that epitomises our commitment to handmade fabrics.

Whilst many of the designs in this collection are influenced by traditional Bhutanese patterns, various of our more recent fabrics introduce other schemes from around the world to the Bhutanese backstrap loom. Sonam is based on an 18th century Dutch apron.

farnese

Wool on Linen

This design is based on a 16th/17th century Italian cushion that originally used raspberry coloured threads. It is launched together with a less dense fabric of a similar style. Our embroideries are made to order, with preferred thread colour(s) specified.

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Silk on Cotton

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Rouen

Although the newest pattern in this selected offering is close to 200 years old we like to think that by recreating these patterns, using traditional methods and materials - we are giving the interior design world a chance to experience wallpapers life . . . not to mention introducing a uniquely rich and bespoke hand- crafted product to today’s designers.

Whether working from a few tattered fragments from Savannah, as was the case with the Berrien House Sprig or from several repeats worth of wallpaper shipped from an English manor house for Norton Conyers Diamond there is always an air of excitement at the shop when a recently discovered pattern is being developed. “How did they create that dark blue?” (Blue Hill Stripe).

“How did they keep all of those 39 blocks in registration? (Locust Grove Arabesque) Nothing is taken for granted.

In a sense, wallpaper is never really complete until it is installed and becomes an integral feature of the room for which it was chosen. Therefore, we are always eager to provide designers with the opportunity to create – with standard or custom colorways – the precise quiet of a guest room or a confidently welcoming foyer.

@adelphipaperhangings

locust grove arabesque

Paper

A

B

hedge house stripe

C

A Detail

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A late 18th Century, full scale French arabesque wallpaper. Not exactly what one imagines finding in the frontier town of Louisville, Kentucky. But there it was, in the second floor ballroom of the Georgian mansion. In 2009 Adelphi was commissioned to reproduce this pattern for the Historic Locust Grove. By combining information from the few existing on-site fragments with a pristine roll of the Reveillon Arabesque #600 at the Cooper-Hewitt Smithsonian Design Museum, upon which it was based, we have recreated this expansive yet intricate design. With 39 blocks required to print 17 colors it is one of our most involved patterns.

Paper

A

B

C

D

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The Hedge House Stripe, found in historic Hedge House, in Plymouth, Massachusetts, is a highly detailed, multi-color construction reminiscent of a textile trim, complete with a gimped-lace edge. By combining this with an ethereal single color vine the Hedge House Stripe produces a nearly palpable sense of depth. While a product of industrial printing, it does carry vestiges of the earlier block printing technologies. We've been to reverse interpret the design without sacrificing any of its 1860s elegance.

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hermitage Maple Leaf

Paper

A

C

B

Norton conyers diamond

D

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By embellishing the leaf motif with thin tone-on-tone diagonal lines a suggestion of silk is achieved in this design.

Another version of this pattern enhances this effect by printing the leaves atop a set of irisé, or rainbow colored stripes.

From the French firm of Jacquemart et Bernard, this pattern was among a group of French papers ordered in 1836 by President Andrew Jackson for the front parlor of his Nashville mansion, The Hermitage.

Paper

A 17

B

C

D

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While renovating the head housemaid’s room at Norton Conyers House, a 15th century manor in North Yorkshire, England the current owners uncovered sizable fragments of this expansive arrangement of diamonds & roses. Tax stamps date the paper between 1715 and 1786. By pairing the regular geometry of the diamonds - reminiscent of ribbons with the almost contemporary rendering of roses the design provides an air of casual spaciousness.

4Â

HERMITAGE MAPLE LEAF COLORWAY B

berrien house sprig

PaperÂ

A

C

B

blue hill stripe

D

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Simple sprig patterns have been a mainstay of English, French and American wallpaper manufacturers - and popular with the public, since the impulse to paste a bit of dĂŠcor to the walls began. The fragments for this late 18th century design were glued directly to the wood sheathing of the Berrien House, built for Revolutionary hero Major John Berrien in Savannah, Georgia.

PaperÂ

A 19

B

C

D

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Discovered in the parlor of an 1803 Federal house in Blue Hill, Maine this dramatic pattern is an excellent example of the melding of two motifs. One, a set of bold stripes lends itself to fitting a medium size public space; and the other, a dense, overall foliate is well suited for a more intimate setting. Simply put, an infinitely versatile design. The concise interplay between these two components, plus the bold use of color strongly suggest a French origin.

4Â LOCUST GROVE ARABESQUE COLORWAY A

john rosselli & Associates

New York Showroom 979 Third Avenue, Suite 1800 New York, NY 10022 Washington DC Showroom 1515 Wisconsin Avenue N.W. Washington, DC 20007 Dania Beach Showroom 1855 Griffin Road, Suite A-128 Dania Beach, FL 33004 Chicago Showroom 222 Merchandise Mart, Suite 6-158 Chicago, Illinois 60654

www.johnrosselli.com