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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…
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…
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…
A Pier in England
In one of the most drastic transformations in Buhot’s graphic work, the plate for A Pier in England, until then worked up in drypoint, roulette, and aquatint, was plunged into an acid bath—to become an etching. The airiness and brightness of the…
Marine Painter
With the addition of large, intimidating birds in the sky, a darkening of the image, and brightening of the highlights, the scene becomes a surreal phantasmagoria, tempting the viewer to regard the print as an allegory of life and its dangers. In…
Country Neighbors
This counterproof was made by laying a clean sheet atop a freshly printed impression and passing both through the press. It was created as a cul-de-lampe or tailpiece for an article on Buhot by Octave Uzanne, published in the journal Le Livre in…
Funeral Procession on the Boulevard de Clichy
Funeral Procession is the only one of Buhot’s etchings destined from the beginning to be a color print, even though a number of his plates were at times printed in various colors. The coloring here is meant less for lifelike representation than for…
Geese
Comparison of two impressions (the first and final state) reveals how completely distinct they are, as if two different artists, working side by side, interpreted the same scene. With the addition of etching and more detail, the final plate becomes a…
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 Cemetery at Valognes
When still in the possession of the artist’s widow, this unusual work was listed as a drawing. It is, however, a painting on canvas in an unusual technique, apparently invented by Edgar Degas, called peinture à l’essence, in which the oil is…
Evening, after Jean-Baptiste-Camille Corot
Buhot made a number of prints after paintings by others, usually for commercial ends—as images, for example, to be included in a book or catalogue. It was a way of making money for a young artist. This print, however, is not among them. It is,…
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…
My Little Town
Valognes is seen down its main street, the rue de Fantasie (now boulevard Félix Buhot), looking towards the Church of Saint-Malo. The streets are wet, the umbrellas are out, as are the dogs, and it is a typical day in a small Norman village. It is…
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…
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…
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…
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…
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…
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…
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…
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…
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.…
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…