Leather and textiles, another source of interest to Art nouveau

At the new Salon de la Société nationale des Beaux-Arts in Paris in 1893, Nancy's bookbinding made a sensational entrance. The creations of Victor Prouvé, Camille Martin and René Wiener  left critics far from indifferent. Opinions were divided, some praising these modern works and others criticising them. Indeed, the techniques used - leather mosaic and pyrography in particular - and the principles of the book’s composition – the development of an image on both covers - made a radical break with tradition. These "poster" bindings revolutionised this age-old art form. The museum has preserved and exhibits some of these specimens: the binding for Flaubert's Salammbô, the most accomplished work in this radical quest for modernity, the two volumes for Louis Gonse's L'Art Japonais and the portfolio for L'Estampe originale.

An ancient technique practised in Lorraine since the 18th century, embroidery underwent a real renewal around 1900, under the impetus of the École de Nancy and Victor Prouvé in particular. The son of a fine linen -maker and an embroidery designer, Prouvé became aware of textiles at an early age and established them as a discipline in their own right. Thus, in collaboration with Fernand Courteix, he created a true work of art with his  Bord de rivière au printemps dress. Succeeding Émile Gallé as president of the École de Nancy in 1904  - until the association was dissolved in 1914 - he inaugurated a series of competitions around 1905-1906, in partnership with several local companies, including some of which  focused on textiles. Their aim was to encourage links between young decorators and industrialists in Lorraine, by  inviting the latter to produce new designs. Albert Horel won first prize with his tablecloth La vigne et le blé which was published by Heymann in Nancy.

Velvet, with its unique  qualities highly appreciated by Nancy artists, was used for interior decoration (wall hangings, carpets, etc.) as well as for furniture (screens, seats, etc.).  Charles Fridrich's art fabric factory was the largest of its kind at the time. He offered his customers a wide range of textiles that could be embellished with embroidery, appliqués (Ombelles hangings) or stencil decorations. The decorations on his faded hangings are drawn from the plant repertoire of the École de Nancy (Tenture à décor de paysage avec clair de lune) and may be the result of collaborations with Nancy artists such as Victor Prouvé, Henri Bergé or Louis Hestaux (Tenture à décor de chardons ).

Leather and textiles are fragile works that require special display conditions. As a result, they are regularly presented as part of temporary exhibitions.