Yep. This is called the oil transfer process, introduced by Demachy in
1911. Along the same subject, a previous post indicated the use of chrome
alum as a hardener. This is certainly effective but not immediately and the
paper will continue hardening gradually for months, so expect having to
make ink and soaking adjustments along the way.
The way I feel about bromoil vs. oil is the way I feel about carbro vs.
carbon. The bromide paper is a continuous source of problem, as we have
seen on this list, and is expensive. A bromide paper that works for one
worker does not work for another one. And rest assured that by the time you
find a good one it won't be available in the size or contrast grade you
need next month.
An enlarged neg and home made gelatin coatings are not that hard to make
and once you have learned the skills you have them forever.
I am also of the opinion that oil/bromoil processes (and transfer
variations) are the most difficult of the monochrome processes. The skills
required are perhaps ten times more difficult than platinum. This is why
pigment printing is so little used and it is unfortunate. Galleries are
being saturated with Pt/Pd prints and would be more interested in anything
that is much less common.
Luis Nadeau