Original Antique French Pochoir Fashion Plate
This elegant fashion plate from Costumes Parisien Magazine, 1914 ,depicts a stylish woman standing outside. She is dressed in the fashion of the early 1900’s. Her striped skirt is ankle length and the French translation at the bottom of the plates translates as “Terry blouse with embroidered belt”.
Journal des Dames et des Modes Costumes Parisiens was published in Paris by Vaugirard between June 1, 1912 and August 1, 1914. It appealed to ‘the curious lovers of rare traditions who valued fashion journals featuring limited editions with carefully executed fashion illustrations that could be equated to the works of art’.
Each issue of the journal was made up of several texts including poems, commentaries and narratives of life in Paris. The fashion plates featured hand-coloured engravings (pochoir prints), executed in vivid colours and drawn by the leading artists of the time. 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.
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.
This 1914 fashion plate is coming up for 110 years of age, which situates it at around the beginning of the First World War. This beauty deserves an appropriately gorgeous frame so that it can be truly appreciated for oits artistic value as well as its historical significance. It has been produced on quality card grade apaer and is currently presented in a light card jacket. The original plate measures 16 cms by 25 cms.
This elegant fashion plate from Costumes Parisien Magazine, 1914 ,depicts a stylish woman standing outside. She is dressed in the fashion of the early 1900’s. Her striped skirt is ankle length and the French translation at the bottom of the plates translates as “Terry blouse with embroidered belt”.
Journal des Dames et des Modes Costumes Parisiens was published in Paris by Vaugirard between June 1, 1912 and August 1, 1914. It appealed to ‘the curious lovers of rare traditions who valued fashion journals featuring limited editions with carefully executed fashion illustrations that could be equated to the works of art’.
Each issue of the journal was made up of several texts including poems, commentaries and narratives of life in Paris. The fashion plates featured hand-coloured engravings (pochoir prints), executed in vivid colours and drawn by the leading artists of the time. 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.
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.
This 1914 fashion plate is coming up for 110 years of age, which situates it at around the beginning of the First World War. This beauty deserves an appropriately gorgeous frame so that it can be truly appreciated for oits artistic value as well as its historical significance. It has been produced on quality card grade apaer and is currently presented in a light card jacket. The original plate measures 16 cms by 25 cms.
This elegant fashion plate from Costumes Parisien Magazine, 1914 ,depicts a stylish woman standing outside. She is dressed in the fashion of the early 1900’s. Her striped skirt is ankle length and the French translation at the bottom of the plates translates as “Terry blouse with embroidered belt”.
Journal des Dames et des Modes Costumes Parisiens was published in Paris by Vaugirard between June 1, 1912 and August 1, 1914. It appealed to ‘the curious lovers of rare traditions who valued fashion journals featuring limited editions with carefully executed fashion illustrations that could be equated to the works of art’.
Each issue of the journal was made up of several texts including poems, commentaries and narratives of life in Paris. The fashion plates featured hand-coloured engravings (pochoir prints), executed in vivid colours and drawn by the leading artists of the time. 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.
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.
This 1914 fashion plate is coming up for 110 years of age, which situates it at around the beginning of the First World War. This beauty deserves an appropriately gorgeous frame so that it can be truly appreciated for oits artistic value as well as its historical significance. It has been produced on quality card grade apaer and is currently presented in a light card jacket. The original plate measures 16 cms by 25 cms.
Due to aging, there is some slight discolouration around outer edge of the paper. This would be unseen once framed.
