ANNE WANNER'S Textiles in History   /  exhibitions

Musée de l'Impression sur Etoffes
14, rue Jean-Jacques Henner
BP 1468-
F- 68072 MULHOUSE cedex
  Tél : ++33 (0)3 89 46 83 00 -
Fax :++ 03 89 46 83 10
E-mail :

Guided tours must be booked in English, German, Italian and Spanish.

Printing courses:
The museum organizes some printing courses from 10 am to 4 pm in french, german and english. You can create your own table-cloth or other textile products in wood block printing by hand. Maximum number of persons is limited to 5. Also, if you want to print with your friends, don't hesitate any more!

Cost of a day: 45 euros per person (includeed lunch). If you need more informations, please call 00 33 (0)6 69 10 95 24.

  opening hours:
daily 10 am to 12 pm and 2 to 6 pm except Monday
Closed: the 1st of May, 25th December, and the 1st of January.

entrance fees:
Full price : 6 euros, Half price : 3 euros , Students, the disabled and the unemployed 12 to 18 yrs, 2 euros
Free for children up to 12 yrs
Groups (min 10 pers) : 4,5 euros
Guided Tours (25 adults max) : 45 euros
Guided Tours (30 children max) : 45 euros (For groups of children under 12 yrs, a Guided Tour is obligatory.)

Ticket coupled with the Wallpaper Museum of Rixheim's :
Full price:
10 euros, Reduced price : 8 euros

Black and White
on printed fabrics of the 18th to 21 century

 from 8th March to 5th October 2008

  Press release:
The printing museum is known for its extensive collection of printed fabrics and for the variety and the freshness of their colours. This time, however, the museum would like to show black-and-white printed fabrics. To this day the technical, historical and plastically aspects of these black-and-white printed fabrics are often misjudged, however, compared to the different other colours they also are very various.
This exhibition is an occasion to present  rare old fabrics and contemporary fabrics together. These fabrics could be collected during the last 40 years thanks to donations of European editors of  furniture fabrics.

From tiny samples of the middle of the 19th century to the large panels of furnishing fabrics made by  contemporary designers, the exhibition is presented in form of a fresco of an extraordinary diversity. This variety is consolidated by the origin of the fabrics coming from France, Germany,  Switzerland, but also from Scandinavia, the Netherlands and Japan.
The exhibition is also an occasion to underline the work of the artists, who often are sacrificed by the production process. They help art to enter in the everyday life with textiles which represent an essential element of the decorative art. These black-and-white printings sometimes also are means to transmit messages, like for example the message of  tolerance registered in the work of the artist, Clara Halter, by the word peace which is translated into different languages. Black and white give special emphasis to various printing supports  and  can be combined in infinite alliances. They play with printed and empty surfaces, draw calligraphies, suggest or describe landscapes, cities and geometrical forms.
Also fauna and flora are represented considerably in the museum. In partnership with the Zoological garden of Mulhouse, the exhibition presents animal skins printed on textiles, pictures of animals and big flowers to renew the glance of the visitors on nature.
The combination of black and white makes us discover a particular world with lot of details.
Black (absence of any colour) gives all its deepness and power to a white, which is subjected to the black but nevertheless reacts with its own arguments. Linen and voile show their modernity, their transparency and their elegance by smart plays with the light.

Drafts, prints, engravings, lithographies, fabrics for dresses or furniture, some of them signed by Raoul Dufy, Piero Fornasetti or Sonia Delaunay, face exhibits of the daily life, which offers the visitors an exhibition with lot of surprises. From the entrance hall to machine hall, the museum gets dressed in black and white, and offers to the public a colourful visit.

The technical part is very complex. Can we really speak of  colours when we evoke these two tints?
How can we obtain a satisfying white on which we can  print? With what kind of formula do we print in black? These questions arise, even though these "colours" are already used in the Middle Ages for fabric printing. They can also be found since the 17th century on Indian calicoes, and on almost all contemporary textiles.

Furthermore black and white affect the process of the textile creation. Drafts for industry mostly begin with a concept made with a  pencil or with  Indian ink, before they are developed to precise layouts. The engravers test their drafts for copper plates or wood blocks on white paper, usually with black ink.

home content Last revised June 25st, 2008