Le Manach Prints

News01/10/2013

To the great delight of the connoisseurs of Le Manach prints, Pierre Frey has reissued the classics from the collection which made it successful. The first prints date back to 1894, when Démonté and Poirier, former owners of this fine factory, decided to diversify their offer. Using the traditional technique of block printing, they revived textiles drawn from the family heritage or gleaned from their travels. New prints are constantly being designed, always with a concern for quality and beauty. Today these fabrics are screen-printed by hand and come in a range of very different styles suited to both classic and contemporary interiors.

Here is a selection, some exists in other colorways :

GALAGAI : This fabric is a printed version of an early 20th century Uzbek ikat preserved in the Le Manach archives.Ikat is one of the oldest methods of resist-dyeing. The term ikat comes from the Malay-Indonesian verb “mengikat” which means to tie. The yarn is tied and immersed in a dye bath. The areas that have been tied are protected from the dye and, when woven, create variations in tone and blurred effects.Used as curtains or for making dresses, ikats come in a wide variety of linear designs and combinations of primary and secondary colours.

LES POMMES DE PINS : The original document is a valoise. Mentioned in the corporate by-laws from 1669, this is a fine silk fabric which was very much in vogue in the late 17th and early 18th centuries, with an extraordinary sheen and embellished with diverse motifs, particularly flowers. This one dates from the first half of the 18th century. Le Manach initially reproduced it in lampas before making it one of the iconic prints of its collection.
MIKADO : This pattern is loosely based on a fabric design called “The Chinese Acrobats”, which was printed at the Senn, Bidermann & Cie factory in Wesserling in 1790. The designer used several works by Pillement.
CONCINI : This fabric is a printed version of an ikat design. The pattern is typical of 17th century productions, with a central motif of a stylised flower flanked by contrasting stripes.
BATIK : This printed cloth has a pattern of sinuous flower stems decorated with a floral border. This motif was used for an older Indian sari. André Malraux’s companion, Louise de Vilmorin, was photographed many times in her drawing room which is decorated with this fabric.
VICTOR HUGO : Victor Hugo was thought to have owned the document that inspired this fabric. Typical of the works of the second half of the 17th century, it features a stylised floral pattern bordered by a vertical band around which is entwined a garland of leaves. This motif is also produced in Toile de Tours.
MORTEFONTAINE : Like Palmyra, Mortefontaine evokes the charm of the Second Empire period, when naturalistic flowers in full bloom reigned supreme. Bunches of peonies, roses and other flowers conjure up a sense of abundance. Designers liked to vary the effects by the use of background stripes.
LES ELEPHANTS : This fabric sits perfectly within the Orientalist trend of the second half of the 19th century. Writers such as Lamartine in 1835 and Gérard de Nerval in 1851 contributed significantly to the development of this interest in the Orient. The decorative arts bore witness to this fervour in the profusion of designs alluding to this theme. This tiger hunt scene decorated a bedspread in a house owned by the Le Manach family.
GREUZE : Composed of wavy bands decorated with flowers, this motif evokes the floral ribbons of the second half of the 18th century. This kind of decoration, characteristic of the style of Louis XVI, was particularly valued for elegant ladies’ dresses.
LES RAISINS : The delicacy of this fabric reflects the refinement of the block-printing technique in the second half of the 18th century. In typical Louis XVI style, scattered naturalistic flowers are set off with a neoclassical floral border.
SCENES INDIENNES : This print reproduces an Indian block-printed pattern dating from the 18th century.
MALMAISON Rayure : This is the stripe used for Napoleon’s campaign tent. The motif is displayed in the entrance hall of the Chateau de Malmaison.

MUSICIENS CHINOIS : This print reproduces an 18th-century chinoiserie design. The era of chinoiserie began when European manufacturers attempted to reproduce objects or patterns brought from China during the period 1720-1730.Objects made in France “in the Chinese style” were often quite far removed from the Chinese originals. They were evocative of Chinese products without imitating them, because the designers had never been to China. It was the China of their imagination. The decorative artists of the period, Boucher and Pillement,
designed many Chinese motifs which were compiled and published in collections. These
circulated among all the factories making fabrics, porcelain and so on…
PILLEMENT : Like Mikado and Chinese Musicians, this is a reproduction of an 18th century chinoiserie design which can be attributed to Pillement.
BATIK RAISINS : This print reproduces an early 20th century batik. Originally batiks were used almost exclusively for clothing and ceremonies. Batik is created using a tool known as a canting to apply wax in the areas to be left blank before dyeing.
PALMYRE : This fabric has a pattern of sinuous flower stems. The Schwartz & Huguenin factory in Mulhouse-Dornach was recognised for this type of design, examples of which were block-printed around 1860. Portraits by Ingres also reflect the taste for these fabrics, richly decorated with multi-coloured bouquets.
INDHIRA : This fabric reproduces the pattern used for an early 20th century Indian sari. With an all-over motif of stylised flowers, it evokes the timeless charm of block-printed designs.
PLUMETTES : This all-over design with small stylised motifs creating an animal skin effect is guaranteed to make an impression.
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