Original 1912 French Pochoir Fashion Plate
This beautiful fashion plate from the 1912 edition of Gazette du Bon Ton is titled ‘Penelope’. It depicticts a lady fashionably dressed, working on her tapestry. The vividly coloured pochoir print has been signed in the bottom right hand corner.
Pochoir is one of the oldest art printing techniques and dates back to the stone age. In French, pochoir means stencil. It is a highly refined technique of making fine limited editions of stencil prints. No printing press was used in the production of pochoir. Each print can be termed a ‘one off’ and is unique rather than uniform. It was made by the artist’s hand, using hand cut stencils, often made from sheets of copper or zinc. A separate stencil was made for each colour component. Layers of colour and texture were built up by hand using paint or gauche. This was applied to the stencil using a brush called a ‘pom pom’. The artist had total control. Skilled printers could create incredibly subtle details using graduation, stippling, spattering or by drawing additional details using a small brush on the final layer. Sometimes, as many as 100 stencils were used to create a single image. This resulted in rich, detailed images. The paint would sit on the surface, rather than soaking in, (as is the case with ink), creating the vivid colours that we see in pochoir.
Gazette du Bon Ton was a small yet influential French fashion magazine from 1912 to 1925. It was founded by Lucien Vogel and it reflected the latest in fashion, lifestyle and beauty. The title of the magazine was derived from the French concept of ‘bon ton’, meaning timeless good taste and refinement. It strove to present an elitist image in order to distinguish itself from mainstream competitors of the day, such as Vogue and Harpers Bazaar. It was available by subscription only and it was very exclusive. Gazette du Bon Ton was published on fine paper and it was signed up with many of Paris’ top couture houses to produce luxurious pochoir prints of the designers’ latest creations. Some of the most notable artists of the time were, Umbert Brunelleschii, Leon Bakst, J. van Brock, Etienne Drian, Pierre Legrain, Victor Lheur, Antione Vallee and Georges Barbier.
This elegant pochoir plate deserves an equally beautiful frame. There are some small age spots on the plate, however, considering it is 112 years old, it is in fine condition. The plate itself measures 24.5 cms by 19 cms. It has been created on quality card grade paper and it is currently housed in a cardboard jacket.
This beautiful fashion plate from the 1912 edition of Gazette du Bon Ton is titled ‘Penelope’. It depicticts a lady fashionably dressed, working on her tapestry. The vividly coloured pochoir print has been signed in the bottom right hand corner.
Pochoir is one of the oldest art printing techniques and dates back to the stone age. In French, pochoir means stencil. It is a highly refined technique of making fine limited editions of stencil prints. No printing press was used in the production of pochoir. Each print can be termed a ‘one off’ and is unique rather than uniform. It was made by the artist’s hand, using hand cut stencils, often made from sheets of copper or zinc. A separate stencil was made for each colour component. Layers of colour and texture were built up by hand using paint or gauche. This was applied to the stencil using a brush called a ‘pom pom’. The artist had total control. Skilled printers could create incredibly subtle details using graduation, stippling, spattering or by drawing additional details using a small brush on the final layer. Sometimes, as many as 100 stencils were used to create a single image. This resulted in rich, detailed images. The paint would sit on the surface, rather than soaking in, (as is the case with ink), creating the vivid colours that we see in pochoir.
Gazette du Bon Ton was a small yet influential French fashion magazine from 1912 to 1925. It was founded by Lucien Vogel and it reflected the latest in fashion, lifestyle and beauty. The title of the magazine was derived from the French concept of ‘bon ton’, meaning timeless good taste and refinement. It strove to present an elitist image in order to distinguish itself from mainstream competitors of the day, such as Vogue and Harpers Bazaar. It was available by subscription only and it was very exclusive. Gazette du Bon Ton was published on fine paper and it was signed up with many of Paris’ top couture houses to produce luxurious pochoir prints of the designers’ latest creations. Some of the most notable artists of the time were, Umbert Brunelleschii, Leon Bakst, J. van Brock, Etienne Drian, Pierre Legrain, Victor Lheur, Antione Vallee and Georges Barbier.
This elegant pochoir plate deserves an equally beautiful frame. There are some small age spots on the plate, however, considering it is 112 years old, it is in fine condition. The plate itself measures 24.5 cms by 19 cms. It has been created on quality card grade paper and it is currently housed in a cardboard jacket.
This beautiful fashion plate from the 1912 edition of Gazette du Bon Ton is titled ‘Penelope’. It depicticts a lady fashionably dressed, working on her tapestry. The vividly coloured pochoir print has been signed in the bottom right hand corner.
Pochoir is one of the oldest art printing techniques and dates back to the stone age. In French, pochoir means stencil. It is a highly refined technique of making fine limited editions of stencil prints. No printing press was used in the production of pochoir. Each print can be termed a ‘one off’ and is unique rather than uniform. It was made by the artist’s hand, using hand cut stencils, often made from sheets of copper or zinc. A separate stencil was made for each colour component. Layers of colour and texture were built up by hand using paint or gauche. This was applied to the stencil using a brush called a ‘pom pom’. The artist had total control. Skilled printers could create incredibly subtle details using graduation, stippling, spattering or by drawing additional details using a small brush on the final layer. Sometimes, as many as 100 stencils were used to create a single image. This resulted in rich, detailed images. The paint would sit on the surface, rather than soaking in, (as is the case with ink), creating the vivid colours that we see in pochoir.
Gazette du Bon Ton was a small yet influential French fashion magazine from 1912 to 1925. It was founded by Lucien Vogel and it reflected the latest in fashion, lifestyle and beauty. The title of the magazine was derived from the French concept of ‘bon ton’, meaning timeless good taste and refinement. It strove to present an elitist image in order to distinguish itself from mainstream competitors of the day, such as Vogue and Harpers Bazaar. It was available by subscription only and it was very exclusive. Gazette du Bon Ton was published on fine paper and it was signed up with many of Paris’ top couture houses to produce luxurious pochoir prints of the designers’ latest creations. Some of the most notable artists of the time were, Umbert Brunelleschii, Leon Bakst, J. van Brock, Etienne Drian, Pierre Legrain, Victor Lheur, Antione Vallee and Georges Barbier.
This elegant pochoir plate deserves an equally beautiful frame. There are some small age spots on the plate, however, considering it is 112 years old, it is in fine condition. The plate itself measures 24.5 cms by 19 cms. It has been created on quality card grade paper and it is currently housed in a cardboard jacket.
I was very excited to find this pochoir plate in a complete original copy of the 1912 Gazette du Bon Ton magazine. If you would like to do so, go to the Smithsonian Libraries website and search under Gazette du Bon Ton 1912.
