Browse Items (10 total)

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…

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…

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…

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…

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 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…

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…

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 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…

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.…