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  E. A. Seguy, “Papillons” portfolio c. 1925

  E. A. SEGUY (1890-1985) France

  “Papillons” portfolio c. 1925

  Twenty pochoir over photogravure plates (hand painted collotypes) in paper portfolio with cotton ties
  Pochoir is process by which rich color is applied layer by layer by hand with the aid of stencils, resulting in intense hues similar to those in stained glass windows.
  Published by Editions Duchartre et Van Buggenhoudt, Paris, France

  Dimensions:
  Book: H: 18” x W: 13 1/8” x D: 1 ½”
  Custom leather box: H: 20” x W: 14 5/8” x D: 1 ¾”

  Brilliantly and boldly colored butterflies from around the world are shown in interesting arrangements in pochoir prints from a set of 20 by the French designer and author E.A. Seguy. Plates 1 to 16 show large specimens in colorful arrangements, often overlapping, emphasizing colors, and patterns and shapes of wings and wing veins. Plates 17 through 20 are composite uses of butterfly patterns, in geometric boxes, like fabric or wallpaper designs.

  In his foreword to Papillons, Seguy describes the prints as “un monde somptueux de formes et de couleurs” — a world of sumptuous forms and colors. He explains that they are intended to provide a record of rare, exotic specimens from museums and private collections, within an aesthetic context, thereby making them more widely accessible as inspiration for decorative arts designers. Nonetheless, Seguy based his images of butterflies and insects on illustrations in scientific publications, thereby maintaining scientific accuracy. They were enlarged up to 10 to 15 times to reveal intricacies of their design not visible without magnification. Also included with the set was a Table Des Noms Scientifiques [Table of Scientific Names], providing the technical species and genus names as well as the countries or regions of habitat for the species shown in Plates 1 through 16.

  Eugene Alain Seguy produced eleven albums of illustrations and designs from the turn of the century to the 1930s, and his style reflected the influences of both Art Nouveau and Art Deco. His various color portfolios of visual ideas for artists and designers often featured motifs based on the natural world, including flowers, foliage, crystals and animals. Although his compositions were design oriented, he made the depictions scientifically accurate. His later works showed an increased interest in geometric and cubist designs. The prints in the portfolios were produced using the pochoir technique characterized by rich, intense color. This printing process, utilized in the early 20th century for high quality prints, involved applying colors to each plate with a number of stencils. Seguy’s works include Les Fleurs et Leurs Applications Decoratives (1900), Samarkande – 20 Compositions en Couleurs dans le Style Oriental (1914), Floreal (1920), Papillons (1924), Insectes (1924), Primavera –Dessins et Coloris Nouveaux (1929), Suggestions (1930), and Prismes – 40 Planches de Dessins et Coloris Nouveaux (1931).

  Collections of prints like those produced by Seguy provided source material for designers of fabrics, wallpaper, ceramics, book illustrations, posters, and advertisements, and were popular in the late 19th and early 20th century. The leading Victorian publication of this type was Owen Jones’s Grammar of Ornament, first issued in a folio edition in London in 1856. Other trendsetting styles in art, design, decoration and fashion in the second half of the 19th century, and early 20th century, came from Paris, Austria, and Germany, and many such print collections were published there, including designs by Emile Belet, Armand Guérinet, Ernst Haeckel, Arsène Herbinier, and Anton Seder. To search our site for more Art Nouveau designs by such artists please type “Art Nouveau” into our search engine.

  Editions Duchartre et Van Buggenhoudt was a publisher located at 15 Rue Ernest-Cresson, Paris. The series also was published by Tolmer Editeur, 13 Quai d’Danjou, Paris.

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  Archibald Knox / Liberty & Co. Important and Rare Tudric Clock 1902

  ARCHIBALD KNOX (1864-1933) UK
  LIBERTY & CO. London

  Extremely rare and important grand clock by Archibald Knox for Liberty & Co. This is the largest of all of the Tudric models designed and is inset with abalone shell on the sides, the front corners and on the hands of the clock.

  Marks: TUDRIC, 098

  Illustrated: The Designs of Archibald Knox for Liberty & Co., A..J. Tilbrook (London: Ornament Press Ltd., 1976) pg. 88; The Liberty Style, (Japan: Hida Takayama Museum of Arts, 1999) fig. 168, p 114; Archibald Knox, ed. by Stephen A. Martin (London: Academy Editions, 1995) p. 88.

  H: 15″ x W: 7″ x D: 5″

  ***This is the largest clock designed by Archibald Knox for
  Liberty & Co. and one of only three models known.

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  Laure Albin-Guillot, “Micrographie Decorative” 1931

  LAURE ALBIN-GUILLOT (1879-1962) France
  Micrographie Decorative 1931
  Preface by M. Paul Leon, 20 photogravure plates in a variety of inks and papers, including silver and gold foil, all tipped-in and matted, text in French, limited to 300 numbered copies, folio, spiral-bound bds.
  Published by Draeger Freres, Paris.

  Micrographie Décorative was created as a tribute to Laure's husband after his death.

  Dimensions:
  Book: H: 16 ¾” x W: 15” x D: 1 3/8”
  Custom leather box 2008: H: 19” x W: 16 5/8” x D: 2 5/8”
  Custom silk slipcase: H: 20 1/8” x W: 17 ¼” x D: 4”

  Albin-Guillot, Laure (née Meffredi; 1879-1962), French photographer who became interested in photography soon after her marriage in 1897 to the physician/scientist Dr Albin Guillot. At first, her husband's circle of friends, which included architects, writers, and politicians, provided her with portrait subjects. During the 1920s and 1930s she was engaged by the design precepts of the New Vision, and produced more sharply focused close-ups of objects for clients like Bon Marché and Renault. At the same time, she continued to create soft-focus pictorialist nudes that appeared in artistic photography journals and as illustrations in volumes of poetry. Many of her images were exhibited during the 1920s and reproduced in Arts et métiers graphiques.

At a time when many photographers were indifferent to the quality of prints intended for reproduction, Albin-Guillot sought to invest hers with artistry and individuality. Engrossed by her husband's lifelong research in micrography, in 1931, in collaboration with Pierre Fresson, she published in his memory a volume of 24 photomicrographs of crystals, exquisitely printed on various coloured and metallic papers. Later, she and Fresson also collaborated on similar works, which were used as decoration on the liner Normandie.

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  Paul Colin, “Le Tumulte Noir” portfolio 1929

  PAUL COLIN (1892-1985) France

  “Le Tumulte Noir” portfolio 1929

  Color lithographs, limited edition of 500, in original wraps
  Published by Éditions d’art, Succès: Paris, 1929

  Dimensions:
  Book: H: 19 11/16” x W: 13 1/16”
  Custom leather box: H: 21” x W: 14 3/8” x D: 1 5/16”
  Custom silk slipcase: H: 21 ¼” x W: 14 1/16” x D: 1 11/16”