1921 Gazette Du Bon Ton – "qu'est-ce qu'amour" – What is Love – Martin Pochoirs

1921 Gazette Du Bon Ton -

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A charming and original two-page extract from the famous Gazette Du Bon Ton magazine (see below) published in June, 1921. The title of the article is ”quest-ce qu’amour?” with text written by George Cecil and illustrations by Charles Martin – see below. Many of the famous Art-Deco artists of the day contributed illustrations to the magazine which were printed by using the hand-applied, color pochoir technique Good condition. Four pages with central fold as published. Page size 10 x 7.5 inches. See approximately 25 more of these in Seller’s Other Items offered at a fraction of dealer prices which can be combined for mailing at no extra costGazette du Bon TonFrom Wikipedia, the free encyclopediaJump to navigationJump to searchCover of a 1920 edition of La Gazette du bon ton.The Gazette du Bon Ton was a small but influential fashion magazine published in France from 1912 to 1925.[1][2] Founded by Lucien Vogel, the short-lived publication reflected the latest developments in fashion, lifestyle and beauty during a period of revolutionary change in art and society.[1] Distributed by Condé Nast, the magazine was issued as the Gazette du Bon Genre in the USA.[3] Both titles roughly translate as ”Journal of Good Taste”[4] or ”Journal of Good Style.”[3]Contents1Elitism and arts focus2Fashion illustrations3Footnotes4Works citedThe magazine strove to present an elitist image to distinguish itself from larger, mainstream competitors like Vogue and Harper’s Bazaar in America and Femina, Les Modes and L’Art et la Mode in France.[5] It was available only to subscribers and was priced at a steep 100 francs per year, or $425.61 in today’s money.[6]The magazine, published on fine paper,[2] signed exclusive contracts with seven of Paris’ top couture houses – Cheruit, Doeuillet, Doucet, Paquin, Poiret, Redfern, and Worth – to reproduce in luscious pochoir the designers’ latest creations.[6] After World War I, a select group of other design firms were added to the magazine’s repertoire, including the houses of Beer, Lanvin, Patou and Martial & Armand. However, the editors’ choice of designers was arbitrary, and a number of the era’s most prominent couturiers never contributed to the pages of the Gazette du Bon Ton, among them Chanel and Lucile. The magazine’s title was derived from the French concept of bon ton, or timeless good taste and refinement.[4]The Gazette du Bon Ton aimed to establish fashion as an art alongside painting, sculpture and drawing. According to the magazine’s first editorial: ”The clothing of a woman is a pleasure for the eye that cannot be judged inferior to the other arts.”[4]To elevate the Gazette’s literary status, the publication featured essays on fashion by established writers from other fields, including novelist Marcel Astruc, playwright Henri de Regnier, decorator Claude Roger-Marx, and art historian Jean-Louis Vaudoyer.[6] Their contributions ranged in tone from irreverent to ironic and mocking.[6] Pierre Mourgue was born in France, 1890. He was a regular contributor to the premiere French fashion magazine, La Gazette du Bon Ton. As such, the influential magazine was picked up by publishers, Condé Nast, who distributed it across American under the name, Gazette du Bon Genre. The magazine’s artwork was comprised of many talented French illustrators, including Paul Iribe, Pierre Brissaud, Georges Lepape. Condé Montrose Nast enlisted all of the La Gazette du Bon Ton artist for another one of his magazines, Vogue. Pierre Mourgue was based in Paris but made frequent trips to New York, as such, his illustrations were regularly on and inside the covers of Vogue magazine. His ink and gouache illustrations brought a Parisian flair to the American edition.Mourgue’s style updated with art movements. A lot of his early work has a strong Art Deco influence, with his 1940s and 1950s work resembling the American advertising illustrations that we regularly associate with that era. His illustrations often get compared to Pierre Brissaud’s, for their use of exaggerated figures and their disposition for pretty girl. Mourgue illustrated for fashion designers Nina Ricci, Christian Dior, and Marcel Rochas. Bringing their garments to life with his careful observation, and ability to infuse a sense of fun and coolness. Bianchini – Ferier – Founded in 1880, the Lyon silk firm Bianchini-Férier achieved widespread recognition after exhibiting at the Paris Exposition in 1889. They expanded their business with a factory in New York and showrooms around the world, and the brand became synonymous with high-quality silk brocades and velvets. Beginning in the early 20th century, the firm began soliciting designs from artists and illustrators, including Raoul Dufy, Georges Barbier, E.A. Seguy, Charles Martin, and Paul Iribe. The combination of avant-garde design and luxury fabrics made the company a favorite of the Paris couturiers: Charles Worth, Paul Poiret, Madeleine Vionnet, Jean Patou, and Jeanne Lanvin all purchased fabric from the firm. A willingness to experiment with rayon allowed the company to survive the war years, and their factory in Port Jervis, New York helped them to maintain their New York clients, when many other French firms failed. The company is still in existence today, no longer producing silks exclusively, but still producing textiles of great quality. Charles Martin (artist)From Wikipedia, the free encyclopediaJump to navigationJump to searchImage from Sports et Divertissements, 1914Charles Martin (1884–1934) was a French artist and illustrator.[1]His illustrated books include Les Modes en 1912, a hat collection; the erotic Mascarades et Amusettes and Sports et divertissements (published 1923), a collaboration with composer Erik Satie.References[edit]^ ”Charles Martin – Art Deco Illustrator Costume set Designer”. Archived from the original on 2018-07-31. Retrieved 2006-12-31.External links[edit]Welcome to Courtauld Images at www.courtauldimages.com §

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