Debucourt, Philibert-LouisBiblio.com
128 résultats
réf. 2086239Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1799. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2086240Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1799. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 1816297Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1787. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 1816299Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1787. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 1816296Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1787. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 1816298Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1787. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1787réf. 015884Paris 1787. Early Printing . Single Sheet. Very Good. 25 1/2" x 18. Color Engraving. Laid Paper. Printed In Color Not With Later Coloring. Complete With Full Margins As Issued With Title In English And French Below The Image Which Is Approximately 21" X 11". This State Of The Plates Has The Third Large Female Figure From The Left In A Grey Dress With A Pink Waist. Philibert-Louis Debucourt 1755 - 1832 Was A French Painter And Engraver. Debucourt Was Born In Paris In 1755 And Became A Pupil Of Vien. He Executed A Few Plates In Mezzotint Such As The Heureuse Famille The Benediction De La Mariée And The Cruche Cassée After His Own Designs. Most Of His Work Was However In Aquatint. He Became The Leading Maker Of Multi-Plate Colour Prints Combining Washes Of Aquatint With Line-Engraving.2 He Used A Number Of Different Techniques But Most Involved Three Colour Plates And A Fourth Key Plate Outlining The Design In Black. Debucourt's Father-In-Law Was The Sculptor Louis-Philippe Mouchy. In The Marriage Contract Mouchy Generously Offered To Provide A Three-Room Apartment At The Louvre Where Debucourt Lived For Twelve And A Half Years. The Address Of This Apartment Is Often Given On His Prints. Some Of His Work Was Satirical Such As La Promenade Publique An Aquatint Of 1792 Showing A Crowd In The Gardens The Palais-Royal. As Well As Work From His Own Designs He Made Aquatints After Carle Vernet Including The Horse Frightened By A Lion The Horse Frightened By Lightning And The Strayed Huntsman. Debucourt Was Assisted For Some Years By His Pupil And Nephew Jean-Pierre-Marie Jazet. unknown
1787réf. 015885Paris 1787. Early Printing . Single Sheet. Very Good. 25 1/2" x 18. Color Engraving. Laid Paper. Printed In Color Not Colored Later. Complete With Full Margins As Issued With Title In English And French Below The Image Which Is Approximately 21" X 11". This State Of The Plates Has The Third Large Female Figure From The Left In A Greenish-Blue Dress With A Blue Waist. Philibert-Louis Debucourt 1755 - 1832 Was A French Painter And Engraver. Debucourt Was Born In Paris In 1755 And Became A Pupil Of Vien. He Executed A Few Plates In Mezzotint Such As The Heureuse Famille The Benediction De La Mariée And The Cruche Cassée After His Own Designs. Most Of His Work Was However In Aquatint. He Became The Leading Maker Of Multi-Plate Colour Prints Combining Washes Of Aquatint With Line-Engraving.2 He Used A Number Of Different Techniques But Most Involved Three Colour Plates And A Fourth Key Plate Outlining The Design In Black. Debucourt's Father-In-Law Was The Sculptor Louis-Philippe Mouchy. In The Marriage Contract Mouchy Generously Offered To Provide A Three-Room Apartment At The Louvre Where Debucourt Lived For Twelve And A Half Years. The Address Of This Apartment Is Often Given On His Prints. Some Of His Work Was Satirical Such As La Promenade Publique An Aquatint Of 1792 Showing A Crowd In The Gardens The Palais-Royal. As Well As Work From His Own Designs He Made Aquatints After Carle Vernet Including The Horse Frightened By A Lion The Horse Frightened By Lightning And The Strayed Huntsman. Debucourt Was Assisted For Some Years By His Pupil And Nephew Jean-Pierre-Marie Jazet. unknown
réf. 2187942Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1817. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2187940Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1817. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2187941Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1817. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2187943Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1817. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 1865408Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1789. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 1865409Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1789. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 1865410Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1789. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 1865411Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1789. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1820réf. 902872AGParis, [um 1820]. Aquatinta mit Punktierstich 29,5 x 23 cm (hoch), Blattgröße 32,5 x 24,5 cm.
1800réf. 12763Paris: Charles Bance & Aumont 1800. Aquatint engraving printed in colour à la poupée on wove paper. Very good condition apart from some overall light soiling and minor foxing. Trimmed close to plate mark on all sides. A striking beautifully coloured engraving after the renowned 16th-century Venetian Mannerist Tintoretto. A representation of the Italian painter's enigmatic mistress this plate is part of a series of three aquatints Debucourt completed after paintings by Tintoretto Rubens and Raphael depicting their respective mistresses. This print is a stunning example of the single plate colour printing technique used in France beginning in the 18th century. The effect is achieved by inking a single plate with several different colours by using a rag stump a process known as à la poupée. The outcome achieved by this laborious method of inking has a wonderful painterly effect and creates a delicacy of image which is charming to behold. Although a painter by training Philibert-Louis Debucourt is primarily renowned as one of the most innovative colour printmakers of the eighteenth century. Born in 1781 he studied with Joseph Marie Vien at the French Academy. After several years of exhibiting his paintings at the Salon he turned to printmaking in 1781. During the mid 1780s he began experimenting with the complicated multiple-plate colour printing process a technique that was refined and revolutionized by Jean-François Janinet. Debucourt found success with his colour intaglio prints of Parisian high society and he quickly earned a reputation as a skilled and prolific engraver. The bulk of his prints however were based on paintings by other artists and completed after the turn of the century. Despite his intense focus on printmaking he continued to exhibit his paintings alongside his engravings at the Salon throughout his life. Cf. Benezit Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs vol. 4 p. 323; cf. Regency to Empire: French Printmaking 1715-1814 p. 346; Fenaille L'oeuvre gravé de P.-L. Debucourt 1755-1832 pp. 257-8. Charles Bance & Aumont unknown books
1800réf. 12765Paris: Charles Bance & Aumont 1800. Aquatint engraving printed in colour à la poupée on wove paper. Very good condition apart from some overall light soiling minor foxing and a skillfully repaired small loss in the left margin. Trimmed close to plate mark on all sides. A striking beautifully coloured engraving after the renowned 17th-century Flemish painter Peter Paul Rubens. A representation of Rubens' sister-in-law Susanna Lunden this plate is part of a series of three aquatints Debucourt completed after paintings by Tintoretto Rubens and Raphael. Susan Lunden was the daughter of the Antwerp silk merchant Daniel Fourment and the sister of Rubens' second wife Helena. Originally titled 'Le Chapeau de Paille' The Straw Hat the painting after which this plate is engraved dates from around 1622-25 and may have been a marriage portrait intended for Lunden's second husband Arnold. This print is a stunning example of the single plate colour printing technique used in France beginning in the 18th century. The effect is achieved by inking a single plate with several different colours by using a rag stump a process known as à la poupée. The outcome achieved by this laborious method of inking has a wonderful painterly effect and creates a delicacy of image which is charming to behold. Although a painter by training Philibert-Louis Debucourt is primarily renowned as one of the most innovative colour printmakers of the eighteenth century. Born in 1781 he studied with Joseph Marie Vien at the French Academy. After several years of exhibiting his paintings at the Salon he turned to printmaking in 1781. During the mid 1780s he began experimenting with the complicated multiple-plate colour printing process a technique that was refined and revolutionized by Jean-François Janinet. Debucourt found success with his colour intaglio prints of Parisian high society and he quickly earned a reputation as a skilled and prolific engraver. The bulk of his prints however were based on paintings by other artists and completed after the turn of the century. Despite his intense focus on printmaking he continued to exhibit his paintings alongside his engravings at the Salon throughout his life. Cf. Benezit Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs vol. 4 p. 323; cf. Regency to Empire: French Printmaking 1715-1814 p. 346; Fenaille L'oeuvre gravé de P.-L. Debucourt 1755-1832 pp. 257-8. Charles Bance & Aumont unknown books
1800réf. 21178Paris presumed 1800. Near Fine. A handsome and scarce hand-colored aquatint from the Age of Enlightenment as a boy and girl essay a duet he on the violin she a lute as a cat skulks under the music table. The hallmarks of the Enlightenment are the globe and telescope in the background but also the idealized presentation of childhood we think. N.d. circa early 19th century. The frame measures about 35 by 39 cm. The print itself including the visible portion of the margin is 16.5 by 19.5 cm. The frame and matting are attractive and we thus think virtually any buyer would be happy to retain it. The frame is gilt and green and some red speckling and it has an Rococo band or Rinceaux ornate but in no way upstaging the picture. The matting has width with ruled lines adjacent to the print itself and drawing us in as well as picking up the framing ruled line of the print itself. Debucourt 1755-1835 was a versatile painter and engraver. Mallet 1759-1835 too was both a painter and engraver who collaborated with Debucourt often we believe. The Latin credits at the base of the picture tell us that Debucourt did the original piece of artwork upon which the print was based and Mallet took care of the printing. We should think though that there was some blurring of the roles of the two artists. We note that this isn't the only print the two collaborated on with the title of "La Musique". We haven't been able to locate another copy of this one though. The print has a few faint stains virtually unnoticeable unless one looks very closely. unknown books
1899réf. 4519Tirage à 315 exemplaires : un des 300 sur papier vélin à la forme. Superbe ouvrage. 1/2 chagrin violet, dos à nerfs orné, filets dorés sur les mors, covertures conservées. Reliure Seigneur Paris Morgand 1899 1 volume grand in-4°
réf. 51-4752Paris: Imprimerie royale 1819. Large folio. New full calf by the artisan bookbinder Sasha Mosalov. Part of original spine and front cover title preserved Complete with 80 plates.Colas 1089; Brunet II 1337; not in OCLC.Nicolas Nicolaides: Baron Louis Nicolas Philippe Auguste de Forbin later count de Forbin la Roque-d'Anthéron 1777 – ΠαÏίσι 1841 was a French painter author and antiquarian. He was also a pupil of painter Jacques-Louis David. During the Bourbon restauration Forbin served as general director of the Louvre Museum and other museums of France.Inspired by the travels of François-René de Chateaubriand Forbin sailed out from Toulon on 22 August 1817 to tour the eastern Mediterranean. Like Chateaubriand Forbin travelled on his own initiative without an order from the French government; however since the aim of his journey was to discover Greek and Roman antiquities and to draw landscapes of the places he would visit he was able to travel on the ships of the French fleet of the Levant Flotte du Levant.In his venture Forbin was accompanied by painters Pierre Prevost and Léon Matthieu Cochereau also a pupil of David and a nephew of Prévost as well as architect Jean-Nicolas Huyot. Abbé de Forbin-Janson later bishop of Nancy was also a member of the company for the first part of the journey while Huyot had to retire when he fractured his leg on Milos island. In addition twenty-four year old Cochereau died of dysentery off the coast of Cythera and was replaced by Linant de Bellefonds who at the time was a mate on "Cleopatra" the mission's ship. De Bellefonds resigned from his position on the ship and participated in the expedition as a painter and chartographer. When the expedition ended in December of 1817 de Bellefonds decided to stay on in Egypt and explored its territory as member of several missions. From 1831 to 1869 he served the kingdom of Egypt as chief engineer of several public works including the Suez Canal.The expedition sailed to Acre Galilee and thenceforth travelled by land. While in Palestine the travellers visited the Dead Sea and Jordan river reached Cairo and sailed the Nile down to Upper Egypt. The main places they visited includde Milos island Athens Constantinople Ephesus Acre Jerusalem Gaza Damietta Cairo Luxor Thebes Rosetta and Alexandria. When the expedition returned to France in April 1818 Forbin had spent approximately 28.000 francs on the purchase and transportation of antiquities some of which ended up in the Louvre collections at the time Royal Museum of France. Prevost drew panoramic views of Jerusalem and Athens but succumbed to pneumonia in 1823 without completing his panorama of Constantinople.The descriptions of Forbin show him to be a mature observer in possession of deep humanistic culture. Forbin also travelled to Sicily in 1820 and published his travel account as he had done with his expedition of 1817.Moyen-Orient - FORBIN Claude Comte de. Voyage dans le Levant. Paris Imprimerie Royale 1819.Atlas seul in-folio 74 x 55 cm ; demi-maroquin rouge à coins dos lisse orné. 3 ff. 110 pp. 1 f. pp. 111-132 80 planches numérotées 1-78 dont 70 lithographies par Baltard Bourgeois Fragonard Lecomte Vernet… d’après Forbin Vernet Isabey et Fragonard 8 aquatintes par Debucourt et 2 plans in fine.L'atlas in-folio qui accompagne l'édition originale du Voyage dans le Levant en 1817 et 1818 de Forbin ne fut tiré qu'à 325 exemplaires.Peintre et archéologue élève de David le Comte de Forbin fut nommé par Louis XVIII directeur du Musée du Louvre. Il entreprit ce voyage en Grèce en Asie Mineure en Palestine et en Égypte en 1817 et 1818 sur une frégate de l'escadre du Levant. Sa mission était d'acheter des antiquités pour le Louvre.De la bibliothèque Paul Lagrave avec son ex-libris au contreplat et de la bibliothèque du Comte François Chandon de Briailles 1892-1953 descendant des fondateurs de la fameuse maison de Champagne avec son ex-libris sur la première garde. Paris: Imprimerie royale, 1819. unknown
réf. 51-3962Paris: Imprimerie royale 1819. Large folio. 67 x 50 cm. New half Sakora goatskin with marbled boards preserving the original label by the artisan binder Sasha Mosalov. Plate volume only with 71 of 80 plates lacking plates 3 15 17 25 40 52 55 73. Lacking the title page. Some stains in the margins. Very good.Colas 1089; Brunet II 1337; not in OCLC.Written by Nicolas Nicolaides: Baron Louis Nicolas Philippe Auguste de Forbin later count de Forbin la Roque-d'Anthéron 1777 – ΠαÏίσι 1841 was a French painter author and antiquarian. He was also a pupil of painter Jacques-Louis David. During the Bourbon restauration Forbin served as general director of the Louvre Museum and other museums of France.Inspired by the travels of François-René de Chateaubriand Forbin sailed out from Toulon on 22 August 1817 to tour the eastern Mediterranean. Like Chateaubriand Forbin travelled on his own initiative without an order from the French government; however since the aim of his journey was to discover Greek and Roman antiquities and to draw landscapes of the places he would visit he was able to travel on the ships of the French fleet of the Levant Flotte du Levant.In his venture Forbin was accompanied by painters Pierre Prevost and Léon Matthieu Cochereau also a pupil of David and a nephew of Prévost as well as architect Jean-Nicolas Huyot. Abbé de Forbin-Janson later bishop of Nancy was also a member of the company for the first part of the journey while Huyot had to retire when he fractured his leg on Milos island. In addition twenty-four year old Cochereau died of dysentery off the coast of Cythera and was replaced by Linant de Bellefonds who at the time was a mate on "Cleopatra" the mission's ship. De Bellefonds resigned from his position on the ship and participated in the expedition as a painter and chartographer. When the expedition ended in December of 1817 de Bellefonds decided to stay on in Egypt and explored its territory as member of several missions. From 1831 to 1869 he served the kingdom of Egypt as chief engineer of several public works including the Suez Canal. The expedition sailed to Acre Galilee and thenceforth travelled by land. While in Palestine the travellers visited the Dead Sea and Jordan river reached Cairo and sailed the Nile down to Upper Egypt. The main places they visited includde Milos island Athens Constantinople Ephesus Acre Jerusalem Gaza Damietta Cairo Luxor Thebes Rosetta and Alexandria. When the expedition returned to France in April 1818 Forbin had spent approximately 28.000 francs on the purchase and transportation of antiquities some of which ended up in the Louvre collections at the time Royal Museum of France. Prevost drew panoramic views of Jerusalem and Athens but succumbed to pneumonia in 1823 without completing his panorama of Constantinople.The descriptions of Forbin show him to be a mature observer in possession of deep humanistic culture. His style sometimes resembles a clumsy imitation of Chateaubriand's "Journey to the Holy Land" 1806. However as Forbin was not a professional author but a painter his descriptions are way more exact than those of Chateaubriand.Forbin also travelled to Sicily in 1820 and published his travel account as he had done with his expedition of 1817. Paris: Imprimerie royale, 1819. hardcover
réf. 4503Editions de la R.M.N., Paris, 1985. In-8, broché sous couverture illustrée en noir, 126 pp. Préface - Introduction - Cochin le Fils - Les Saint-Aubin - Les Moreau - Janinet - Descourtis - Debucourt - Index des graveurs - Index des architectes, sculpteurs, peintres et dessinateurs - Dessins et peinture sur porcelaine du cabinet des ...
réf. 16-4572Paris: E. Bernard et Cie 1896. Folio. 53 x 41cm. Original boards worn. Title page with loss; most pages with marginal tears. Sheets loose as issued. 94 plates are called for and they are out of order in this copy; likely not complete and priced accordingly. Sold as a collection of prints.Grand in-folio en feuilles portefeuille de l'éditeur. Première édition de cet album de 94 planches reproduisant des dessins et des plans inédits du Paris révolutionnaire. Mareuse n° 719.- Barroux n° 177. Paris: E. Bernard et Cie, 1896 hardcover
