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The Cliff-Bay of Saint-Malo
The basis of this print is a heliogravure after a watercolor by Buhot’s father-in-law, Henry Johnston. Heliogravure, a photomechanical reproductive technique, was only the beginning. Through a myriad of techniques employed over several states,…
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 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 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…
Spirits of Dead Cities
Victor Hugo was Buhot’s favorite poet, and this fantastic image was originally intended to be an illustration for an edition of Hugo’s Les Voix intérieures, les rayons et les ombres. The work is, however, more an evocation of Hugo’s poetry and…
Funeral Procession on the Boulevard de Clichy
Two impressions of Funeral Procession, ostensibly in the same state, are included because they are so distinct from one another. The difference is due to the choice of paper and the style of printing. The other impression is almost stark in its…
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…
Country Neighbors
The image is often described as Buhot’s most charming print, a portrayal of the archetypical French couple heading home in a rainstorm under a single umbrella. Buhot added detailed margins to the left, reflecting what might be found within the…
Marine Painter
The lonely painter, laden with his gear and trudging along the sand by the wave-encrusted sea, provides a melancholic but straightforward subject. It is transformed, however, into a fantastic image as creatures of the sea and air appear as…
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…
A Pier in England
In this print Buhot essentially repeated the composition of A Landing in England in reverse, ostensibly because he had more to say about the subject. This first state of the print, almost pure drypoint, was printed in eighteen impressions, which vary…
A Landing in England
The location of this scene is Folkestone, long an important port in Kent on the English Channel. The weather is stormy, as it often is in Buhot’s prints, and as it often is in England. This impression is from the final state, after the illustrated…
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…
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…
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…
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.…
A Storm at Trouville
The subject matter presented here is typical of the French nineteenth-century landscape painter Eugène Boudin, whose work Buhot admired. However, this image is not based on any Boudin painting or sketch; it is Buhot’s original conception. The…
Third 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…
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…
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…
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…
Spleen and Ideal or The Cab with Cupids
The first part of the title refers to a section of poems in Charles Baudelaire’s Les Fleurs du mal; the second part is simply descriptive. The etching is based on a painting of 1876 and is realized in reverse. The cab is engulfed in darkness, and…
An Autumn Morning or The Morning Huntsman
Buhot rarely made prints of generic landscape, generally preferring to etch and interpret actual scenes known to him. This print stands out in his work for its anonymity of place and its execution, in which detail is largely obscured in the depth of…
Night Patrol
This scene is in Quinéville, a coastal village in Normandy near Buhot’s hometown of Valognes, where there was a fort that required regular patrol by a watchman. Buhot did a related oil painting of the subject in the same year, of much greater…