Debucourt, Philibert-LouisBiblio.com
132 résultats
réf. 2113817Contentum 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. 2113842Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1800. 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. 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
1798réf. 87502A Paris: Au Bureau du Journal des Dames Rue Montmartre N° 183 au coin du Boulevart 1798. Fine. Au Bureau du Journal des Dames Rue Montmartre N° 183 au coin du Boulevart A Paris s.d. 1798-1808 10.80 x 17.60 cm 52 planches en feuilles montées sous marie-louise en étui Set of 52 original plates etched and enhanced with watercolours at the time numbered 1 to 52 mounted in pairs under mats. Leaves in red half calf slipcase early 20th century red shagreen boards. The plates vary in size 10.8 x 17.6 cm to 28.1 x 18.8 cm and paper stock as was often the case with La Mésangère's publications. Unbound engraved title on a bifolium printed separately absent from most copies. It is replaced here by its identical reprint by Gosselin 1893-1903 on antique watermarked paper and bears the publisher's 'G' mark characteristic of this reprint a century later. All the plates however are in their first edition without the G mark added by Gosselin to the lower corners of the engravings in the figure or the bowl occasionally accompanied by a date. Some foxing a few rare engravings showing traces of pasted tabs on the reverse. Plate 42 restored without missing. A green stain in plate 11 probably due to the watercolour of the landscape. Twelve plates are trimmed to the plate mark: pl. 12 12.7 x 19.2 cm pl. 15 12.4 x 18.7 cm pl. 19 11.9 x 19.8 cm pl. 29 11.9 x 19 cm pl. 30 12.5 x 19 cm pl. 39 12.1 x 18.4 cm pl. 41 12.5 x 19.1 cm pl. 42 12.5 x 19.1 cm pl. 48 11.9 x 18.3 cm pl. 49 12.9 x 19.9 cm pl. 51 12.5 x 18.4 cm and pl. 52 12 x 18.1 cm. Plate 37 is trimmed around the black border 10.8 x 17.6 cm. More pronounced foxing in the margins of plates 4 28 30 31 35 44 45 and 47. A rare and precious complete suite of 52 original costume prints from the Directoire and First Empire periods. Deemed ""unfindable"" by Gaudriault in his study of women's fashion engravings in France this is the only complete set of first editions currently available. This series of elegant silhouettes was published on the initiative of the bookseller Sellèque and Pierre La Mésangère a clergyman who returned to the press after the turmoil of the Revolution. In 1800 La Mésangère took over the management of the renowned Journal des Dames et des Modes a pioneering publication in the history of the women's press and produced a few standalone series such as this one aimed at 'a category of connoisseurs with an interest in a more refined and luxurious interpretation of fashion than that offered by the plates in the newspapers' Philippe Séguy Histoire des modes sous l'Empire. The plates are the work of Philippe-Louis Debucourt a painter of French elegance since 1787 and a regular contributor to the Journal des Modes. The first 38 date from Year VIII the next 12 from Year IX and the last two from 1808. Through these 52 costumes unfolds a veritable grammar of dress a precious alphabet of the gown and hat - a language in which Parisian women were particularly well versed. Shepherdesses sultanas Etruscan princesses. the trend leaned towards exoticism even eroticism with the occasional bare breast. We find the fashions brought to the fore by the Merveilleuses following the Revolution inspired by Antiquity and mythology - gowns of iridescent muslin light and form-fitting alongside coats bandeau hairstyles and Grecian tunics. The captions accompanying the etchings often provide detailed descriptions of the attire hairstyles and headwear meticulously enhanced with watercolour. Some figures even double as biting social commentary verging on caricature featuring characters such as the ludicrously pretentious Turcaret a recurring theatrical figure since the early 18th century or genre scenes teeming with amorous intrigues. The significance of this series in the history of colour engraving is noteworthy albeit underappreciated by bibliographers. Some plates bear tiny black dots in the margins indicating the process of colour engraving by superimposing intaglio plates. These mark Au Bureau du Journal des Dames, Rue Montmartre, N° 183, au coin du Boulevart hardcover
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. 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
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. 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
1798réf. 5449Retirage par Goupil à la fin du XIXè de cette fameuse planche. Elle est coloriée aux pochoirs. (Fenaille ) Cadre moderne et passe-partout. 520 x 385 1798
1805réf. 015891Paris: Louis-Philibert Debucourt 1805. Early Printing . Single Sheet. Very Good . 22 3/4" x 15. Color Engraving. A Fine Engraving By Debucourt. Laid Paper. Complete With Full Margins As Issued With Lettering Below "Desine Et Grave Par P. L. D. B.Rt / Les Courses Du Matin / Ou / La Porte Dun Riche / Depose A La Bib.Que Nat.Ale Ventose An 13 1805. " Image Is Approximately 18" X 11". 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. Louis-Philibert Debucourt unknown
1820réf. 015887Paris Circa 1820 1820. Early Printing . Single Sheet. Near Fine. Color Engraving. Nineteenth Century Engraving 25 5/8" X 19 3/4" On Laid Paper Watermarked Mbm Produced In Color. Complete With Full Margins As Issued With Title In French Below The Image Which Is Approximately 39.5 X 30 Cm. The Engraver's Name Is Also Present At Lower Right. 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. 71-6692Paris: French Publisher circa 1815. Hand-colored etching. 30 x 40.5 cm sheet. Very Good minor surface soiling in the margins.Provenance: ancienne galerie Vandevoorde 22 rue Vignon Paris. Paris: French Publisher, circa 1815. unknown
réf. 2113791Contentum 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. 2113792Contentum 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. 2113804Contentum 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. 2113805Contentum 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. 2113790Contentum 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 Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2113806Contentum 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 Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2113803Contentum 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 Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 2113793Contentum 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 Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 71-5002Paris: Gazette des Beaux Arts circa 1889. . Heliogravure by Dujardin. 19 x 28 cm. sheet. Very Good. [Paris: Gazette des Beaux Arts, circa 1889]. unknown
réf. 51-4816Paris: Charles Bance Bance jeune 1818. Handcolored aquatint on laid paper 38 x 27.5 cm. sheet size. Subdued colors. Small tear in lower margin. Series: Series: Collection de costumes dessinés d'après nature.Bibliographic referencesFenaille 1899 / L'Oeuvre gravé de P.L. Debucourt 1755-1832 377IFF / Inventaire du Fonds Français: Bibliothèque Nationale Département des Estampes 67Dayot 1925 / Carle Vernet étude sur l'artiste suivie d'un catalogue de l'oeuvre gravé et lithographié et du catalogue de l'exposition rétrospective de 1925 81.1; Fenaille 381; Beraldi XII.288 [Paris: Charles Bance (Bance jeune), 1818] unknown
réf. 51-4814Paris: Charles Bance Bance jeune 1818. Handcolored aquatint on laid paper 37.5 x 28.3 cm. sheet size. Subdued colors. Small stains in left marge and slightly défraîchi. Series: Series: Collection de costumes dessinés d'après nature.Charbonnier se faisant raser la barbe.Description from the British Museum:Coalman seated on a chair and woman standing before him and shaving him.Bibliographic referencesFenaille 1899 / L'Oeuvre gravé de P.L. Debucourt 1755-1832 377IFF / Inventaire du Fonds Français: Bibliothèque Nationale Département des Estampes 67Dayot 1925 / Carle Vernet étude sur l'artiste suivie d'un catalogue de l'oeuvre gravé et lithographié et du catalogue de l'exposition rétrospective de 1925 81.1 [Paris: Charles Bance (Bance jeune), 1818] unknown
réf. 51-4813Paris: Charles Bance Bance jeune 1818. Handcolored aquatint on laid paper. 36.6 x 27.3 cm. sheet size. Bright colors. Series: Series: Collection de costumes dessinés d'après nature.Charbonnier se faisant raser la barbe.Description from the British Museum:Coalman seated on a chair and woman standing before him and shaving him.Bibliographic referencesFenaille 1899 / L'Oeuvre gravé de P.L. Debucourt 1755-1832 377IFF / Inventaire du Fonds Français: Bibliothèque Nationale Département des Estampes 67Dayot 1925 / Carle Vernet étude sur l'artiste suivie d'un catalogue de l'oeuvre gravé et lithographié et du catalogue de l'exposition rétrospective de 1925 81.1 [Paris: Charles Bance (Bance jeune), 1818] unknown
