Graphic Arts holds 10 albums of original pochoir (hand-screened) prints by the French designer Eugene Alain Seguy (1889-1985). We are missing one, since he is known to have published 11 books offering Art Deco patterns. His final volume, released in 1930, is seen here. These patterns, meant for textiles, carpets, drapery, etc., were published by Armand Guérinet and A Calavas under the imprint “Libraire d’Art Décoratif”. Both editors were themselves artists and, certainly in the case of Calavas, photographers who collaborated with many of the French designers of that period.
Pochoir was a time-consuming process but resulted in deep, rich colors. The geometric designs of Art Deco were ideal for stenciling and the technique became something of a fad with French fashion publishers. Photography was often used to print the primary outline and then, the colors added with a brush through zinc or aluminum stencils.
Seguy’s books at Princeton:
Samarkande: 20 compositions en couleurs dans le style oriental, 1900. GAX NK8667.S43 S25f
Fleurs et leurs applications décoratives, 1902. GAX 2004-0019E
Document du décorateur, 1908. GAX 2003-0012E
Floréal dessins & coloris nouveaux, 1910. GAX NK8667.S43 F56e
Papillons: vingt planches en phototypie coloriées au patron donnant 81 papillons et 16 compositions décoratives, 1920. GAX Oversize NK8667.S43 P36f
Laques du Coromandel, 192?. GAX 2004-0032F
Primavera: dessins & coloris nouveaux, 192?. GAX 2004-0031E
Suggestions pour étoffes et tapis; 60 motifs en couleur, 1923. GAX 2006-0060E
Insectes: vingt planches en phototypie coloriées au patron donnant quatre-vingts insectes et seize compositions décoratives, 1929. GAX 2003-0044F
Prismes: 40 planches de dessins et coloris nouveaux, 1930. GAX 2004-0676Q
Read more: Sarah Schleuning, Moderne: Fashioning the French Interior (Miami Beach, Fla.: Wolfsonian-Florida International University; New York: Princeton Architectural Press, 2008) Graphic Arts Collection (GA), Oversize 2007-0759Q
Jean Saude in "Traité d'enluminure d'art au pochoir" (1925) suggests heliogravure or lithography for the outline, with heliogravure more appropriate when the print consisted of one single colour tone such as black. He also states zinc or copper metal for the stensils. I haven't found a source about aluminum but i guess it must have been used later.
It is very interesting that these early photographers collaborated with the designers, it shows the creativity of experimenting with different types of media such as printing and photography while creating popular art forms such as design and fashion.