(Paris: Aux Editions de l'Ibis, 1925). 328 x 256 mm. (12 7/8 x 10 1/8"). 4 p.l., iii-xxiv, [ii], 74 pp.,  leaves.With introductory notes by Antoine Bourdelle and Lucien Descaves. No. 431 OF 500 COPIES, SIGNED BY SAUDÉ.
Loose as issued in publisher's blue-gray paper portfolio backed with matching cloth, upper cover with printed gilt titling and onlaid brightly colored pochoir color print, lower cover with onlaid pochoir roundel, pochoir endpapers. Without the publisher's slipcase. With title page vignette, headpieces and tailpieces, and numerous illustrations in the text (all colored using the pochoir technique), 14 engraved figures demonstrating the steps in the pochoir process, and 30 RICHLY COLORED POCHOIR PLATES, comprised of a full-page sample of the Chapuis-designed endpaper, and 29 other plates depicting 20 subjects, four of these in multiple states, as called for, many with tissue guards. Fry "Art Deco Designs in Color," p. 2. The fragile paper boards somewhat soiled, rubbed, and marked, with a bit of wear along joints, but entirely solid; one plate with minor crease to fore margin and a couple of small closed tears to same, otherwise a fine copy internally, clean and fresh, with vibrant colors.
This is the definitive work on the pochoir technique, in which stencils are used to create a fine colored print. Centered in Paris, the process rose to prominence in the 1890s and was particularly popular in the first 30 years of the 20th century, the method being widely used in Art Nouveau and Art Deco prints. It was employed by such artists as Picasso, Matisse, and Miró to produce prints of their works, and most of the iconic color illustrations and posters of the period were products of pochoir. Jean Saudé was the undisputed master of this technique, training with André Marty before establishing his own atelier, Ibis, in 1900. In the present work, Saudé explains each step of the painstaking process, which is both time-consuming and labor-intensive. Stencils are cut by the decoupeur and the pigments are applied by colorists; the plates shown here in multiple states demonstrate the various stages of coloring before the print is complete. Pochoir coloring is still considered hand coloring, as no part of the process is mechanized. The brilliantly colored illustrations here include works by prominent artists of the day, including Benedictus, Chapuis, Lepape, Madelaine, Morisset, Rodin, and Sem. (ST12683-281)
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PJP Catalog: CA18BF.049