CHARLES MARTIN French, 1848-1934
Petrole Hahn from Les Feuillets d'Art, 1920
Original Hand coloured Pochoir on vellum paper
32.6 x 23.5 cm / 12.8 x 9.2 in
This work is a hand coloured pochoir by the artist Charles Martin.
It was realised in a limited edition in 1919/1920 for the Parisian fashion publication "Les Feuillets d'Art" as an ad for the shampoo Petrole Hahn.
Note: One of the foremost consumers of the pochoir genre in the early 20th century was the fashion industry.
Lucien Vogel, taking full advantage of the pochoir technique in 1912, launched the lavishly illustrated monthly fashion magazine, La Gazette
du Bon Ton. Vogel employed some of the greatest illustrators of the day to bring to life the newest creations of the Parisian couturiers.
The success of La Gazette du Bon Ton fueled the public's desire for chic, colourful "journaux du gout" and gave birth to such publications as the elegant Journal des Dames, the trendy Art, Goût, Beauté, and Vogel's sequel to La Gazette, the superb but short-lived, Les Feuillets d'Art.
The 6 issues of Les Feuillets d'Art were published in Paris by Vogel between May 1919 and July 1920.
Les Feuillets was issued in limited edition portfolio form. Each issue contained 5 feuillets, or leaves, on the subjects of literature, theatre, arts and design, music, and fashion
(issues 3 through 6 have a sixth leaf, les feuillets de la publicité.)
Vogel intended for Les Feuillets to be a fashion-savvy review in which he professed a dedication to "finding in the taste of the moment all that is traditional and durable."1 To accomplish his goal Vogel brought together the crème de la crème of the literary, artistic and musical worlds of 1920's Paris. Amazingly there is poetry by Paul Claudel, the
younger brother of sculptor Camille Claudel, the first publication of a composition by Maurice Ravel, and original woodblock prints by Raoul Dufy, Odilon Redon, and John Storrs.
The undisputed gems of the publication are its hand painted pochoir prints.
They are unaccompanied by text ("hors texte") and are inserted for their beauty alone.
The pochoirs can be found in the last two leaves of each volume, as fashion plates in les feuillets de la mode and as advertisements in les feuillets de la publicité. These subtle,
charismatic designs were produced by some of the greatest artist/illustrators of the day, Georges Lepape, George Barbier, Edouard Halouze and Charles Martin, to name just a few.
All of the pochoirs reflect the geometric modernist style of the Art Deco period.
Condition: Good Condition. Light discolouration of the paper due to a previous frame. The print is attached to a mount.
It was realised in a limited edition in 1919/1920 for the Parisian fashion publication "Les Feuillets d'Art" as an ad for the shampoo Petrole Hahn.
Note: One of the foremost consumers of the pochoir genre in the early 20th century was the fashion industry.
Lucien Vogel, taking full advantage of the pochoir technique in 1912, launched the lavishly illustrated monthly fashion magazine, La Gazette
du Bon Ton. Vogel employed some of the greatest illustrators of the day to bring to life the newest creations of the Parisian couturiers.
The success of La Gazette du Bon Ton fueled the public's desire for chic, colourful "journaux du gout" and gave birth to such publications as the elegant Journal des Dames, the trendy Art, Goût, Beauté, and Vogel's sequel to La Gazette, the superb but short-lived, Les Feuillets d'Art.
The 6 issues of Les Feuillets d'Art were published in Paris by Vogel between May 1919 and July 1920.
Les Feuillets was issued in limited edition portfolio form. Each issue contained 5 feuillets, or leaves, on the subjects of literature, theatre, arts and design, music, and fashion
(issues 3 through 6 have a sixth leaf, les feuillets de la publicité.)
Vogel intended for Les Feuillets to be a fashion-savvy review in which he professed a dedication to "finding in the taste of the moment all that is traditional and durable."1 To accomplish his goal Vogel brought together the crème de la crème of the literary, artistic and musical worlds of 1920's Paris. Amazingly there is poetry by Paul Claudel, the
younger brother of sculptor Camille Claudel, the first publication of a composition by Maurice Ravel, and original woodblock prints by Raoul Dufy, Odilon Redon, and John Storrs.
The undisputed gems of the publication are its hand painted pochoir prints.
They are unaccompanied by text ("hors texte") and are inserted for their beauty alone.
The pochoirs can be found in the last two leaves of each volume, as fashion plates in les feuillets de la mode and as advertisements in les feuillets de la publicité. These subtle,
charismatic designs were produced by some of the greatest artist/illustrators of the day, Georges Lepape, George Barbier, Edouard Halouze and Charles Martin, to name just a few.
All of the pochoirs reflect the geometric modernist style of the Art Deco period.
Condition: Good Condition. Light discolouration of the paper due to a previous frame. The print is attached to a mount.
$ 250.00
Further images
One of the foremost consumers of the pochoir genre in the early 20th century was the fashion industry. Lucien Vogel, taking full advantage of the pochoir technique in 1912, launched...
One of the foremost consumers of the pochoir genre in the early 20th century was the fashion industry.
Lucien Vogel, taking full advantage of the pochoir technique in 1912, launched the lavishly illustrated monthly fashion magazine, La Gazette
du Bon Ton. Vogel employed some of the greatest illustrators of the day to bring to life the newest creations of the Parisian couturiers.
The success of La Gazette du Bon Ton fueled the public's desire for chic, colourful "journaux du gout" and gave birth to such publications as the elegant Journal des Dames, the trendy Art, Goût, Beauté, and Vogel's sequel to La Gazette, the superb but short-lived, Les Feuillets d'Art.
The 6 issues of Les Feuillets d'Art were published in Paris by Vogel between May 1919 and July 1920.
Les Feuillets was issued in limited edition portfolio form. Each issue contained 5 feuillets, or leaves, on the subjects of literature, theatre, arts and design, music, and fashion
(issues 3 through 6 have a sixth leaf, les feuillets de la publicité.)
Vogel intended for Les Feuillets to be a fashion-savvy review in which he professed a dedication to "finding in the taste of the moment all that is traditional and durable."1 To accomplish his goal Vogel brought together the crème de la crème of the literary, artistic and musical worlds of 1920's Paris. Amazingly there is poetry by Paul Claudel, the
younger brother of sculptor Camille Claudel, the first publication of a composition by Maurice Ravel, and original woodblock prints by Raoul Dufy, Odilon Redon, and John Storrs.
The undisputed gems of the publication are its hand painted pochoir prints.
They are unaccompanied by text ("hors texte") and are inserted for their beauty alone.
The pochoirs can be found in the last two leaves of each volume, as fashion plates in les feuillets de la mode and as advertisements in les feuillets de la publicité. These subtle,
charismatic designs were produced by some of the greatest artist/illustrators of the day, Georges Lepape, George Barbier, Edouard Halouze and Charles Martin, to name just a few.
All of the pochoirs reflect the geometric modernist style of the Art Deco period.
Lucien Vogel, taking full advantage of the pochoir technique in 1912, launched the lavishly illustrated monthly fashion magazine, La Gazette
du Bon Ton. Vogel employed some of the greatest illustrators of the day to bring to life the newest creations of the Parisian couturiers.
The success of La Gazette du Bon Ton fueled the public's desire for chic, colourful "journaux du gout" and gave birth to such publications as the elegant Journal des Dames, the trendy Art, Goût, Beauté, and Vogel's sequel to La Gazette, the superb but short-lived, Les Feuillets d'Art.
The 6 issues of Les Feuillets d'Art were published in Paris by Vogel between May 1919 and July 1920.
Les Feuillets was issued in limited edition portfolio form. Each issue contained 5 feuillets, or leaves, on the subjects of literature, theatre, arts and design, music, and fashion
(issues 3 through 6 have a sixth leaf, les feuillets de la publicité.)
Vogel intended for Les Feuillets to be a fashion-savvy review in which he professed a dedication to "finding in the taste of the moment all that is traditional and durable."1 To accomplish his goal Vogel brought together the crème de la crème of the literary, artistic and musical worlds of 1920's Paris. Amazingly there is poetry by Paul Claudel, the
younger brother of sculptor Camille Claudel, the first publication of a composition by Maurice Ravel, and original woodblock prints by Raoul Dufy, Odilon Redon, and John Storrs.
The undisputed gems of the publication are its hand painted pochoir prints.
They are unaccompanied by text ("hors texte") and are inserted for their beauty alone.
The pochoirs can be found in the last two leaves of each volume, as fashion plates in les feuillets de la mode and as advertisements in les feuillets de la publicité. These subtle,
charismatic designs were produced by some of the greatest artist/illustrators of the day, Georges Lepape, George Barbier, Edouard Halouze and Charles Martin, to name just a few.
All of the pochoirs reflect the geometric modernist style of the Art Deco period.
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