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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 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 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 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,…
Geese
One can assume that the location in this image is Normandy, for Buhot returned many times to his hometown. Comparison of two impressions (the first and final state) reveals how completely distinct they are, as if two different artists, working side…
Baptism in the Japanese Style
The first thing one notices about the work is that it is printed in two colors, with the little portrait standing out from the complex composition. Not all impressions are printed in this manner, with the artist choosing instead to use a black or…
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…
A Street in Valognes
Numerous studies exist for an etching of the same title and composition, all realized, as might be expected, in reverse of the print. This drawing, executed in the same orientation as the etching, was thus likely completed by Buhot as an independent…
Night Patrol
In this second state (in the third state the plate is cancelled, signaling the end of its use by the artist), Buhot changes the image into a true night scene. The complex of techniques, particularly the stop-out (the use of varnish to prevent an area…
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…
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…
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…
Sunset in Barfleur
Like the painting Le Phare de Gatteville le soir, and presumably created around the same time, this is an impressionistic study of sky, water, and dark land masses, expressed in a sketchlike manner with no attempt at detail. Nevertheless, this is a…
