Toile façonnée named in honour of the National Museum of the Renaissance
Renaissance - Louis XIII style
Reproduced from a document dated 1873, imitating an embroidery style Louis XIII.
Rich decor evocating the magnificence of the Renaissance period, and which could shine on seats with quite a bit of volume or a design with high windows.
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Point de Hongrie - Renaissance - Louis XIII Style
Name of the butterfly on which the design on its wings reminds us of this embroidery stitch. A design that has been completely modernized by the use of one colour as a contrast point. It would shine superbly on straight-line chairs or would stand out well on its own within a bohemian decor.
Download file.Toile faconnee - Moderne style
A creation inspired by John Everest Millais’ painting (19th century) in which Shakespeare’s hero evolves in an aquatic universe. Drawn by abstraction, the design reminds us of the glint of water and the vertical movement of the hydrophytes.
The subtlety of this waving atmosphere, to which a touch of light is added, brings an elegance to this modern decor and allows the renewal of more ancient furniture.
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Napoleon III – Style Lampas Reproduced from our archive dated 1860.
Name of the famous Shinto temple in Japan.
Document inspired by the wave of “japonisme” known in France between 1860 and 1890, letting appear an idealised version of a garden, similar to Ise.
This “oriental” article allows for a gentle décor to create a sophisticated atmosphere, without necessarily being mannered. It would be in perfect harmony with Napoleon III furniture in its black colour.
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Archival brocatelle dated 1680
A double metamorphosis in toile façonnée referencing Louis XIV's hunting lodge, the now beloved district of the Rive gauche.
Originally woven as a Brocatelle dated 1675.
This unusual pattern with feminine curves and meandering ribbons, is the perfect incarnation of one of the most famous mistresses during the reign of Louis XIV.
After our pattern 9335 from the document of Sanssouci Park’s Chinese Folly.
Inspired by the main courtyard of the Palais Royal in Paris with its columned sculpture by artist Daniel Buren, the stripes of this fabric are both radical and timeless. The Rivoli Stripe is adapted to any style.
Archival pattern 4233 dated 1845
Louis-Philippe or Napoleon III style; the forms of this pattern evoke the architectural as well as stage decoration designs found in the Parisian district of Châtelet.
Multiplication of pattern, rearrangement of space; manipulating the repetition until it resembles the so-called "river" patterns of the 18th century. The alliance of tradition with modernity finds its full meaning thanks to a creative autonomy. The test becomes convincing; Furry is now an design in its own right.
After a lithograph from a collection of drawings by A.BRAUN dated 1842 for the textile industry.
Under the reference 69667, Furry is proposed :
Initially woven with gold bullion and silk yarns, this pattern is a favorite. The original repeat has been retained, the balance of the design respected: bringing new color interpretation to this charming document. Contrasts; interlacing curves offer the possibility of lightness, armed with a strength and delicacy of design.
Reproduced from our archive II33142 dated 1750 : a Louis XV style worked in the colorations that nods to Napoleon III.
Under the reference 69670, Giustinia is proposed :
Originally produced in canvas, this fresco, with its large, generous motifs remind us of ancient bas-reliefs. Worked here in silk chenille; Kérylos also evokes the ochers of Provence. The whiteness of the chenille winks to the color of the crushed gypsum used to plaster interiors from the Middle Ages until the French Revolution. Its hand, smooth and textured – comfortable visually as well as tactilely.
Taken from our archive II34277 dated 1930/1940: Art Deco style.
Under the reference 69413, Kerylos is proposed :
Probably originally derived from the great family of 'Aqiq; architectural in principle and reminiscent of the ceilings in sacred places of North Africa from the 9th century as well as Yemen, Iran and India.
Created from a drawing by our client Carl Paris, from his sketch named Marrakech: Ethnic Design.
Under the reference 68581, Moucharabieh is proposed :
Timeless though dating from the Deco period; with fine and elegant lines, evocative in contemporary as well as classical interiors. Its verticality used in curtains or wall upholstery lengthens and refines the volume, enlarging a space by playing on the effect of the ceiling’s height. In seating, the lines can accentuate an Art Deco décor. The pattern receives color from another time and era.
Reproduced from our pattern EL11415; drawing dated 1930.
Under the reference 69005, Les Echos is proposed :
Woven in damas and taken from the original design LES REFLETS; reminiscent of tree bark, mineral erosion, a shadow on arid soil, or reflections on the water. The colorations invite the user to interpret the pattern according to whim and free to associate it with many moods.
After our pattern 9504.
Under the reference 89668, Reflets is proposed :
Inspired by abstract cubicist works
From to our document JT6234, dated 1930.
Under the reference 69669, Composition N° 1 is proposed :
A reproduction of one of our eighteenth century archives, this reproduction in large width is sold by the repeat. It alludes to the French presence in the Indian territory of "Puducherry" in the seventeenth century.
The originality of the iconography in this drawing sets the tone of the design, combining French classicism and Orientalist splendor.
Under the reference 99651, Lampas Pondichéry is proposed:
Danguin produced this delicate floral design in 1838 very early in his career with the workshop; titled "Dessin à mauves".
In addition to the high quality of the weave, the originality of his creation also resides in the construction. To achieve the scale of the design a “jump repeat” is used.
Under the reference 89650, Damas Danguin is proposed:
Inspired by our Venetian document JT 3654 dated 1900; this design belongs to the family of "Bizarre" from the period of Louis the XIV. Its sumptuous, deep colors evoke the magnificence of Italian design in the seventeenth century.
Under the reference 69652, Satin liseré Vénitien is proposed:
Reproduced from our archival document LG4971 dated 1868; this design is characterized by the use of its motives (wreaths, garlands, ribbons) referencing the style of Louis XVI.
This beautifully drawn, refinement of spring, is enhanced by the effects of shadows in the background of the damassé.
Under the reference 64971, Jardins du Luxembourg is proposed:
Reproduced from an archive of the early nineteenth century; this pattern is named Juliette for Juliette Récamier of Lyon, a muse to many artists of the period.
Her Parisian salon flourished from Directoire through the Monarchie de Juillet periods, where she entertained the most notable political, literary and artistic community of the time.
Its very large decorative pattern is suited for the seating, draperies, wall panels, and screens, ..
Under the reference 69646, Satin liseré Juliette is proposed:
This design for this pattern, by Henry, a specialist in Liturgical textiles, uses accents of gold and silver as in the original design. The motif references the patterns found in Cordoue Leather much in vogue in the early period of Louis XIV.
The name Brocart Argent Lully, is a tribute to the brilliant director of music at court, known for his grand and exuberant theatrical and musical performances. This fabric preserves the spirit and essence of the original creation though the use of silver yarns.
Under the reference 69639, Brocart argent Lully is proposed:
In 1536 Barthelemy Naris and Etienne Turquet Piedmont traders attach to Lyon, to build factories for the production of precious fabrics. Francis I, by letters patent, agrees to give them the same privileges as the city of Tours, and so installs the guild of workers in "cloth of gold, silver and silk." Naris and his workers are declared free from any taxes, any service of custody or militia, provided they work in the city and not outside.
This Renaissance-inspired design evokes the "tulipomania" raging in Europe in the seventeenth century.
Under the reference 69641, Satin Façonné Naris is proposed:
This motif pays tribute to travel to the heart of the Silk Road.
Altai in Mongolian means the golden mountains boundary between East and West.
Under the reference 89645, Damas Altaï is proposed:
Inspired by a 19th century Japanese Katagami from the archives of Prelle; this stencil on coconut leaf origianally for kimono, wallpaper or other ... was used as is without design modification before being adapted textile pattern.
In line with the prints of Hokusai (1760-1849), branches and cherry blossoms begin to honor Natsuki - Tree of summer.
Under the reference 69640, Natsuki is proposed:
The choice of the name is a reference to William Morris - a leader of the art and craft movement in vogue from 1880 to 1910 - the beginning of Modern style - Art Nouveau in France.
The design in 2 colors on tracing paper incorporates Renaissance inspired animals. Originally from the House Truchot (Henry - Truchot - Leduc) the document has been in the Archives of Manufacture Prelle since 1975.
No mise en carte or original sample have been found, suggesting this is the first weaving of this brocatelle.
The design effect created to have the look of age is created in both the warp (vertical) and weft (horizontal).
Under the reference 69638, William's dream is proposed:
This is a pure creation, it arises from a collaboration with Thierry Veron-Dentressangle: textile designer, it draws from our rich archives and is inspired by the many documents it contains: Japanese Katagami from XIX° century, high relief cut velvet, sketches from the thirties, ....
The mix of many motifs up to the baroque borrows from and assimilates many references as in the period of Napoléon III.
Reference 79632 Brocatelle Clé des Songes:
As a result of our collaboration with the designer Hoentschel, John Pierpont Morgan's friend, this damask created in August of 1912, is a reflection of the cultural exchanges between the United States and Europe.
Appreciated during the American Gilded Age, this design now joins our collection, with modern colorations.
Reference 87086 Damas Rochester:
Designed by Aimé Prelle in 1924, this tribal damask pattern embodies the influence of the ethnic design in France on the decorative art. With the desire to meet contemporary taste for ethnic designs and in a contemporary coloring, the African desert, Kalahari has become the obvious choice for the named.
Reference 87396, Damas Kalahari:
From a Second Empire document; quite deteriorated and discolored, our team was able to bring back the authenticity to this exception ciseled velvet.
A fabric originally intended for the Russian market, the name of Alekseï nods to its history.
Reference 29606 ciseled velvet Alekseï:
Taken from our archives, originally woven as a brocaded Lampas, designed by Joseph Benoît Guichard; a professor of painting at the Beaux-Arts de Lyon, woven by the Manufacture in March 1853.
The process of printing a warp-hand-print with 18 different color screens, with warps tied only with a few loose weft: then the manual removal of these weft and re-weaven with a new fresh weft - magnifies this patterns complexity, with generous flowers and foliage and vibrant colors.
Reference 49449 Guichard Impression sur chaîne:
Originally commissioned in 1964 for the Metropolitan Museum of Art, this jaspé fleuret uses codes of Italian velvet popular in the 15th century. The repertoire of colors are inspired by the landscapes of Scotland.
Reference 8241 Fleuret Marie Stuart:
Under item number 69615, Fleuret Ecorce, is 124cm wide, in a fibranne and wool mix. It is available in 12 colours:
To simulate the appearance of the original hand embroidery of these Textiles from Uzbekistan, careful design work focused on the irregularity of each form symbolizing the protective orb.
On the blue background in a traditional indigo, reference 99618, Toile Suzani is available in 126cm wide, quality: silk 54% fibranne 25% cotton and 21% in two colorations:
Damas Clair-Obscur was created from a renaissance design from our archive fund that we deconstructed with a positive negative backlash to create a checkerboard modern looking.
The weaving structure of damask "satin" and "taffeta" allows the desired contrast with the matt and glossy reflections. Its name comes from chiaroscuro technique of photography to play on the contrast of darkness and light.
Damas clair-Obscur, reference 89611, is woven in a cotton and silk quality, 128cm width, in 9 colors:
Lampas Ferrareccia is based on drawing number 6500 from our 19th century pattern books. Originally, it was a cut and loop pile velvet in gold and silver.
The document shows the direct influence of 16th century Spanish and Italian designs on 19th century French productions. The symmetrical motif consisting of pomegranates and foliage is a feature of the Renaissance. decor widely used during the 19th century, that was popularly called ironwork decoration.
Under item number 99603, the lampas Ferrareccia is 124cm wide, in a silk, fibranne and cotton mix. Sold by repeat only (0.96m), it is available in 4 colors:
