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The Gatteville Lighthouse in the Evening
This little painting, unsigned and of unknown date but authenticated by the artist’s son Jean, is a clear example that Buhot could paint in an Impressionist style. Not that he frequently did, but he could. Buhot’s paintings are rather remarkable…
The Little Funeral
The appearance of funeral scenes in Buhot’s work may be attributed to his melancholic disposition, but there is another source as well. Buhot’s Paris studio was on the Boulevard de Clichy, and one side of that street was lined with houses…
The Little Hunter
Buhot remembered the image of his Autumn Morning and decided, many years later, to return to the subject, but now in lithography. In contrast to the much smaller and earlier etching, the lithograph presents the appearance of a crayon drawing, far…
The Little Hunter
Buhot remembered the image of his Autumn Morning and decided, many years later, to return to the subject, but now in lithography. In contrast to the much smaller and earlier etching, the lithograph presents the appearance of a crayon drawing, far…
The Owl
Le Hibou marks something of a summary and culmination of Buhot’s graphic work, even though it is not his last print, nor his last etching. Many of the elements that fascinated him through the years—cabs, ships, lanterns, umbrellas, village…
The Owls' Castle and Bookplate of Léon Lerey
The imagery for this print was begun in 1877 on the right side of the composition as a bookplate for the bookseller Leon Lerey and was never completed. A few impressions were printed, and the plate was then put aside. Ten years later, Buhot retrieved…
The Place des Martyrs and the Jailhouse Tavern
The Place des Martyrs was a popular nighttime gathering place just down the street from Buhot’s studio on the Boulevard de Clichy. The Jailhouse Tavern, owned by a former convict who served time in a French penal colony, presented, as one might…
The Place Pigalle in 1878
Buhot made two oil paintings of the Place Pigalle: one in 1878, a summer image; the second in 1879, showing almost the identical scene in the snow. The etching is taken from the former. Buhot chose not to surround the image with full or even partial…
The Port of Seagulls
The view is of the harbor of Saint-Malo, apparently looking across the estuary toward the town of Dinard, distantly seen between the masts of the ships. With its symphonic margins focusing on the same elements as the principal subject—sailing…
The Return of the Artists to the Champs-Elysées
The scene depicts the return of the artists to the Champs-Elysées on the evening of the final day for sending paintings to the 1877 Salon, either on March 20, at 6 PM, according to the inscription in the image, or on March 21, according to a second…
Thomas le Hardouay, Plate 4 from Bewitched and study
The etching is one of many illustrations Buhot made for fantastic novels by Jules Barbey d’Aurevilly. Even though the plate would eventually be cut down to feature just the main subject for the book, we can see that Buhot could not resist the…
Winter in Paris or The Snow in Paris
Over the last fifty years, this has become the most widely collected Buhot print in the United States, in part because of the wide availability of the published editions. This impression, however, is one of the rare, exceptionally brilliant proof…
Winter in Paris or The Snow in Paris
This enlarged and colored depiction of the principal scene of the etching was made a few years after the print. The painting, in the artist’s estate at the time of his death, essentially disappeared—only to come to light again a hundred years…
Winter Morning on the Quai de l’Hotel-Dieu
Familiarly known as “The Cab Stand,” this was Buhot’s most famous image for many years, reproduced in virtually every book on nineteenth-century etching. It went through many states and numerous printings as well as a counterfeit reproduction.…
Woman amid Swans
Impressions of this print in its final state are not common, but those of the first (as here) and second states appear to be of the greatest rarity. Etched into the final state of the plate is the inscription “Souvenir de (“memory of”) Barham…
Woman Reading by Lamplight
Principally preoccupied with the depiction of weather conditions, Buhot rarely etched an interior scene (except for book illustrations). But Woman Reading by Lamplight, with its direct and reflected lights and subtle intermediate tones, is a…
Butterfly and DragonflyPublished in the portfolio Japonisme in 1883
This impression, in black, was intended as a design for the back cover of the portfolio Buhot published in 1883 under the title Japonisme. It consisted of ten etchings after Japanese art objects from the collection of Philippe Burty, the French…
Winter Morning on the Quai de l’Hôtel-Dieu
There are several known preliminary drawings for “The Cab Stand.” This one is uncatalogued and has not been seen for many years, likely because it was purchased early on and remained in an American private collection until recently. While the…
First vignette for The Devil in Love by Cazotte
Jacques Cazotte’s novel The Devil in Love, written in 1772, was the precursor of all modern fantastic stories. It tells of a young Spanish nobleman with whom the devil falls in love and tries to seduce in the guise of a beautiful woman, and blends…
Preliminary drawing for Spleen and Ideal or The Cab with Cupids
The drawing appears to be one of several studies for the painting on which the related print is based. This is typical of Buhot’s constant movement of compositional ideas from one medium to another with accompanying changes of format and detail. It…
Second vignette for The Devil in Love by Cazotte
Jacques Cazotte’s novel The Devil in Love, written in 1772, was the precursor of all modern fantastic stories. It tells of a young Spanish nobleman with whom the devil falls in love and tries to seduce in the guise of a beautiful woman, and blends…