Delaunay, Sonia. (1885–1979). Flowers and Leaves - Fabric Printing Mold. Cut and engraved hardwood block used for fabric printing, ca. 1924–1926, with remains of blue pigment on the surface. Part of a series of patterns Delaunay made in collaboration with the engravers and printers of Ferret fabric factory in Saint-Denis, who specialized in the printing of fabrics and silks for clothing and furniture. Three vertical slits, some wormholes, else fine. 16.75 w x 17.25 h x 1.52 d inches (42.5 x 43.8 x 3.3 cm.).
"When, in 1924, Sonia Delaunay's textile business took on an industrial dimension, the artist turned to the Manufacture Ferret Frères et Cie, located at 5 and 7 impasse Choisel in Saint-Denis. This collaboration continued for a few years to produce these totally new fabrics designed by the artist, with printing techniques inherited from the know-how of the manufacturer: on the stretched fabric, fixed to a frame by pins, the maker carefully poses its engraved plate, previously coated with color, following the markers. Once this color is dry, other colors can be applied. We use one board per color. The dyes are then permanently fixed by heating or by steam. The sluggish printing, due to the drying of the various successive colors, was only used for this type of high-end fabric." (Paul Éluard Museum of Art and History, Saint-Denis, website)
Delaunay, Sonia. (1885–1979). Flowers and Leaves - Fabric Printing Mold. Cut and engraved hardwood block used for fabric printing, ca. 1924–1926, with remains of blue pigment on the surface. Part of a series of patterns Delaunay made in collaboration with the engravers and printers of Ferret fabric factory in Saint-Denis, who specialized in the printing of fabrics and silks for clothing and furniture. Three vertical slits, some wormholes, else fine. 16.75 w x 17.25 h x 1.52 d inches (42.5 x 43.8 x 3.3 cm.).
"When, in 1924, Sonia Delaunay's textile business took on an industrial dimension, the artist turned to the Manufacture Ferret Frères et Cie, located at 5 and 7 impasse Choisel in Saint-Denis. This collaboration continued for a few years to produce these totally new fabrics designed by the artist, with printing techniques inherited from the know-how of the manufacturer: on the stretched fabric, fixed to a frame by pins, the maker carefully poses its engraved plate, previously coated with color, following the markers. Once this color is dry, other colors can be applied. We use one board per color. The dyes are then permanently fixed by heating or by steam. The sluggish printing, due to the drying of the various successive colors, was only used for this type of high-end fabric." (Paul Éluard Museum of Art and History, Saint-Denis, website)