Philibert Louis Debucourt, “Étude d'après Rembrandt”, 1813, after Rembrandt

Philibert Louis Debucourt (1755–1832)

“Étude d'après Rembrandt” (Study after Rembrandt) (aka “Bust of a Man with Plumed Cap”; “Tronie of a Man with a Feathered Beret [see https://rkd.nl/images/186430]), 1813.

I understand that the collector, writer and historian, Marcel Guérin (aka Marcel Louis Guérin) (1873–1948), was instrumental in the publication of this etching and the original Rembrandt painting that Debucourt translated into this print was held by the Musée-Napoléon (as inscribed in the plate), but it is now in the collection of the Mauritshuis art museum; see: https://www.mauritshuis.nl/en/our-collection/artworks/149-tronie-of-a-man-with-a-feathered-beret/.

Soft-ground etching with dot roulette in the crayon manner (possibly with aquatint as Maurice Fenaille’s 1899 catalogue of Debucourt’s work advises: “Aquatinte à la manière du crayon” [p. 173]), trimmed within the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 28.5 x 20.5 cm.

Lettered in plate below the image borderline: (left) “Dessiné et Gravé oar O,L.Debucourt.”; (centre) “Étude d'après Rembrandt,/ Tireé du Musée-Napoléon”.

State ii (of ii) with the addition of the title and publication details.

Fenaille 315 (Maurice Fenaille 1899, “L'œuvre gravé de P.-L. Debucourt (1755-1832)”, Paris, Morgand [E. Rahir et cie, succ.], p. 173, cat. no. 315 [see: https://archive.org/details/luvregravedeplde00fena/page/172/mode/2up]).

Condition: a very strong (near faultless) impression with no tears, holds, folds, abrasion or significant stains, trimmed within the platemark and laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this marvellous and eye-catching portrait study after Rembrandt that (to my eyes) is vibrant with life, for AU$227 in total (currently US$149.78/EUR138.09/GBP116.25 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$227) as this is my currency.

If you are interested in purchasing spectacularly fine etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Eléonore Lingée’s crayon manner etching, “Mouth Studies”, c1800

Eléonore Lingée (aka Thérèse Eléonore Lingée; Thérèse Eléonore Hémery; Eléonore Lefèvre) (1753–1820)—the “Catalogue of a collection of engravings, etchings and lithographs by women, exhibited at the Grolier Club, April 12 to 27, 1901”, page 61, offers the following information about this extraordinary artist:  

“Wife of the engraver C. L. Lingee, and sister of the engraver A. F. Hemery, was born in Paris about 1753. She was a member of the Royal Academy of Marseilles, and possessed an 'agreeable talent for engraving in the crayon manner.’" (https://archive.org/details/catalogueofcolle00grolier/page/60/mode/2up).

“Mouth Studies” (descriptive title only), 1790–1810, plate 1, from the what I assume is the first book of studies in the series, “Traits d'après Raphael” (Features after Raphael), designed as a two-stage model drawing for art students to copy and study, after the intermediary design by Jean Baptiste Regnault (1754–1829), possibly after Raphael (1483–1520), published in Paris by Vilquin (fl. 1790–1818).

Etching with dot-roulette handled in the crayon manner on heavy wove paper.

Size: (sheet) 41.5 x 29 cm; (plate) 32.4 x 25.9 cm.

Lettered in plate: (upper right) “1^er Cahier”; (upper right) “Pl. 1^re.”(lower left) “Regnault del”; (lower centre) “Se vend à Paris, chez Vilquin. M^d. d'Estampes, Grande cour du Palais du Tribunat. No. 20.”; (lower right) “T.H.Femme Lingée Sc.”

Condition: a strong and well-printed impression with small margins in excellent condition.

I am selling this crayon-manner dot-roulette etching, executed by a French female artist as an instructional model for art students to learn to draw a mouth, for a total cost of AU$186 (currently US$133.46/EUR117.84/GBP100.60 at the time of this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this finely executed two-stage progressive rendering of a mouth, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Gilles Antoine Demarteau's dot-roulette etching, “Téte d’Alexandre", 1781

Gilles Antoine Demarteau (1750–1802)—son of Antoine Gilles Demarteau (1722–1776).

Note that prints in Leopold de Leymarie’s (1896) catalogue raisonné for Antione Gilles Demarteau (the elder) with catalogue numbers above no. 561 (such as this print) are by Gilles Antoine Demarteau (the younger).

“Téte d’Alexandre” (Head of Alexander), 1781, after the design by Jean-Jacques Bachelier (1724–1806).

Mindful that the inscribed name of the draftsman of this composition is Jean-Jacques Bachelier, I propose that this engraving was designed as an instructional model for study (copying) by students attending the first free drawing school in Paris founded in 1766 by Bachelier, the École Royale Gratiuite de Dessin. I understand that prints such as this were locked in a glass frame set in the front of each desk for students to copy in their six-year drawing course. Interestingly, black and white engravings were described as “au chiffon” and red coloured ones (like this) were valued as more expensive “à la main.” Students could purchase the prints for home study but this was only optional. There were 632 plates focused on human figures, 843 plates dealing with architecture, 340 on animals, 348 on flowers and 486 on ornaments. Studies in this school were restricted (largely but not completely) to copying the engravings, whereas studies from life and plaster casts were addressed at the Académie Royale de Peinture et de Sculpture—which was not free. For more information about the history, curriculum and impact of this school, see the marvellous essay by Ulrich Leben & Susan Gillespie 1993, “New Light on the École Royale Gratuite de Dessin: The Years 1766–1815”, in “Studies in the Decorative Arts”, vol. 1, No. 1 (FALL 1993), University of Chicago Press, pp. 99–118.

Dot-roulette (stipple) etching (manière de crayon) printed in sanguine coloured ink on heavy laid paper backed with a support sheet.

Size: (sheet) 51.2 x 41 cm; (plate) 49.7 x 39.6 cm.

Lettered on plate below the image: (left) “Bachelier del. a 16 ans”; (left of centre) A Paris chez Demarteau Graveur, Cloître St. Benoit.”; (right of centre) “No. 609.”; (right) Demarteau sculp. 1781”.

De Leymairie 1896 906 (Leopold de Leymarie 1896, “L'oeuvre de Gilles DeMarteau l'aine graveur du Roi”, Paris, Georges Rapilly, p. 140. cat. no. 906: see https://archive.org/details/loeuvredegillesd00leym/page/140)

Condition: huge well-printed impression with small margins laid upon an archival support sheet of millennium quality washi paper. There are spots, chips, tears, signs of handling and a replenished loss to the left edge.

I am selling this magnificent example of a large classical head (Alexander the Great) originally designed for 18^th century art students to study, for a total cost of AU$384 (currently US$264.35/EUR237.09/GBP200.02 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this stunning and large classical study executed with a dot roulette to mimic the texture of a crayon drawing, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold