(Etching ) Wilkie's Burial at Sea After Turner by Alfred Louis Brunet-Debaines ( 1845-1939 )

Etching,

Etching, SIGNED IN PENCIL BY BOTH ARTISTS, laid down, time stain, small scratch in sky, a little spotting on surround,

Paris: Gazette des Beaux-Arts, 1875. Etching, 12.5 x 14.5 cm. image size. Matted. Catalogued in "Les Estampes de la Gazette des Beaux-Arts, 1859-1933 by Pierre Sanchez and Xavier Seydoux, no. 1875-20.

London: Seeley & Co, 1880. Etching and engraving on watermarked WBW Portfolio cream laid paper, 10 1/8 x 7 inches (255 x 175 mm), full margins. Minor mat tone and with the tip of the lower right corner missing, otherwise in very good condition. From The Portfolio, vol. 11, edited by P. G. Hamerton. An impression of this work may be found in the permanent collection of the Metropolitan Museum of Art. Well known as an etcher of lively street scenes and architecture, Alfred-Louis Brunet-Debaines began his studies at the École des Beaux-Arts in Paris, in 1863. He learned etching techniques under the tutelage of masters such as Maxime Lalanne and Jules Jacquemart. Brunet-Debaines proved to be a gifted printmaker, and exhibited his first prints at the Paris Salon of 1866. Several years later he was invited to England by the influential writer and critic, Philip Gilbert Hamerton, who commissioned him to contribute original etchings to a number of his publications, including "The Portfolio," and "Etching… Read More

Dimensions : 468 x 345 mm.. Jolie eau-forte avec remarque figurant une scne pastorale gravŽe d'Aprs Jean-Baptiste Corot par Alfred-Louis Brunet Debaines (signatures respectives dans la plaque). Signature ˆ la mine de plomb de Brunet Debaine en marge infŽrieure. ''Natif du Havre en 1845, Brunet-Debaines fut l'Žlve de Normand, Lalanne et Pils. Il a dŽbutŽ au Salon de 1866. Mais c'est surtout en sa qualitŽ d'aquafortiste qu'il a pris une place distinguŽe parmi les modernes''. (in BŽnŽzit). ''Il se consacre trs jeune ˆ l'Žtude de la gravure et s'y intŽresse rŽellement gr‰ce ˆ la SociŽtŽ des Aquafortistes dont il devient membre en 1865. Il perfectionne alors ses connaissances auprs de LŽon Gacherel, Maxime Lalanne et surtout Jules Jacquemart qui semble l'avoir particulirement influencŽ. Nous savons qu'outre des planches relatives ˆ sa province natale, Brunet-Debaines Žtait aussi graveur de reproductions ; en fait, planches de reproductions ou originales… Read More

London: Seeley & Co, 1882. Etching and engraving on watermarked WBW Portfolio cream laid paper, 10 1/4 x 7 1/2 inches (260 x 190 mm), full margins. Minor mat tone, and moisture staining at the top corner-tips (well outside of image area), scattered minor adhesive residue in the lower sheet edge, also well outside of image area. From The Portfolio, vol. 1e, edited by P. G. Hamerton. An impression of this work may be found in the permanent collection of the Metropolitan Museum of Art. Well known as an etcher of lively street scenes and architecture, Alfred-Louis Brunet-Debaines began his studies at the École des Beaux-Arts in Paris, in 1863. He learned etching techniques under the tutelage of masters such as Maxime Lalanne and Jules Jacquemart. Brunet-Debaines proved to be a gifted printmaker, and exhibited his first prints at the Paris Salon of 1866. Several years later he was invited to England by the influential writer and critic, Philip Gilbert Hamerton, who commissioned him to contribute original… Read More

London: J.S. Virtue & Co. Limited, 1880. Etching with engraving on buff wove paper, 8 12 x 6 inches (215 x 150 mm), full margins. Signed in the image, lower left. In very good condition with an unrecognizable ink stamp in purple on the verso. An attractive etched Victorian image of London's The Strand and its architecture. Well known as an etcher of lively street scenes and architecture, Alfred-Louis Brunet-Debaines began his studies at the École des Beaux-Arts in Paris, in 1863. He learned etching techniques under the tutelage of masters such as Maxime Lalanne and Jules Jacquemart. Brunet-Debaines proved to be a gifted printmaker, and exhibited his first prints at the Paris Salon of 1866. Several years later he was invited to England by the influential writer and critic, Philip Gilbert Hamerton, who commissioned him to contribute original etchings to a number of his publications, including "The Portfolio," and "Etching and Etchers." Brunet-Debaines spent a large portion of his career working and… Read More

ca. 1890.. Etching. 15 x 21 cm. image on wide margined rag paper. Signed in the plate. With a letterpress description on two other leaves. Brunet-Debaines, Alfred Louis (1845-1939).

London: Seelay, Jackson, and Halliday, 1883. Fine. Seelay, Jackson, and Halliday, London 1883, Pet. in-Folio (25x35,5cm), 71pp., relié. - Edition originale illustrée de 11 magnifiques eaux-fortes et une en manière de lavis par Brunet-Debaines et H. Toussaint tirées sur velin d'arches. 33 figures in-texte (plans, détails, vues...). Texte sur double colonne. Alfred-Louis Brunet-Debaines (1845-1939) est un peintre, dessinateur et graveur français qui fit carrière en Angleterre. Ses réalisations pour l'ouvrage sont de réelles créations saisissantes et furent saluées comme telles. Envoi de la reine des Belges, Marie-Henriette d'Autriche, archiduchesse, à Louis D'Orléans : ""Pour le Duc de Nemours de la part de la reine. Noel 1883"". Ironie du sort, Louis d'Orléans, Duc de Nemours et fils puîné du roi Louis-Philippe, fut élu par le congrès belge roi des Belges en 1831, mais les Anglais ne voulaient pas d'un roi français sur le trône de… Read More

William R. Gillis. Goldrush Days with Mark Twain (H. Glintenkamp woodcuts). Copyright 1930. Albert & Charles Boni, NY. With an into by Cyril Clemens. RARE H. Glintenkamp WOODCUTS 6 woodcut illustrations included, Twain frontis (Three old friends), and 5 other historic and realistic woodcut illustrations. MEMOIRS. HISTORY OF NEVADA GOLDRUSH. Summary: Mr. Gillis was a friend of American author/humorist Mark Twain and was with him at Virginia, Nevada in the Goldrush days. In 1859 placer miners in the Great Basin discovered the largest gold and silver strike that had happened in the United States up until that time. RARE H. Glintenkamp WOODCUTS. Used. Good- Condition. 264 pages. Used. Good condition. First few pages are loose. Frontis is still affixed to binding. Green cloth boards gold titling. No titles left on spine. Spine is sunned.

1 leaf, verso blank. Sydm. Edwards del.; Pub. S. Curtis Walworth, July 1, 1801, Vol. 15. F. Sansom Sc. No 1472. A hand-colored engraving of Sagittaria rigida Pursh, commonly known Canadian Arrowhead.

1 leaf, verso blank. Pub. by W. Curtis St. Geo. Crescent. Mar. 1, 1792. No 186. A hand-colored engraving of Selago ovata as described by Aiton, W., Hortus Kewensis, vol. 2 (1789).

1 leaf, verso blank. Publish'd. by W. Curtis, Botanic Garden, Lambeth Marsh. No 42. A hand-colored engraving of Calceolaria pinnata L., known as Feather Calceolaria in English.

1 leaf, verso blank. Sydm. Edwards del. Pub. June 1 1791 by W. Curtis. No 159. A hand-colored engraving of Uvularia grandiflora, family: Liliaceae; subfamily: Colchicoideae

1 leaf, verso blank. Sydm. Edwards fecit Pub. June 1 1791 by W. Curtis. No 159. A hand-colored engraving of Aurinia saxatilis, commonly known as Gold dust, Golden Alison (alyssum saxatile).

1 leaf, verso blank. Sydm. Edward del. Pub. by S. Curtis Walworth. Dec. 1, 1814. No 1688. F. Sansom Sculpsit. A hand-colored engraving of Sesamum indicum, Sesame plant

1 leaf, verso blank. Sydm. Edwards del.; Pub. S. Curtis Walworth, July 1, 1812. F. Sansom Sc. No 1472. A hand-colored engraving of the herb Syringa inodora, or Philadelphus inodora, in the Hydrangea family.

1 leaf, verso blank. Sydm. Edwards del.; Pub. S. Curtis Walworth, July 1, 1801, Vol. 15. F. Sansom Sc. No 1472. A hand-colored engraving of Micranthus tubulosus (Burm.f.) N.E. Br., a member of the Iris family.

1650. Etching cream wove paper, 2 9/16 x 2 1/4 inches (65 x 57mm), with narrow margins. A very good impression with light scattered surface soiling consistent with age. Second state (of 2), a 19th century impression. [Hollstein 12].