image: The Prints of Félix Buhot: Impressions of City of and Sea National Gallery of Art Home Page
Introduction
Biography of
Félix-Hilaire Buhot
Buhot’s Experimental Techniques
Landing in England
state iii/v
state iv/v
state v/v
A Pier in England
state i/viii
state ii/viii
state vii/viii
The Passage
state i/iv
state iii/iv
state iii/iv
Glossary
Exhibition Information
image: owl

Landing in England
(state iv/v)

Buhot's additions to this state include the aquatinted areas in the margin illustrations at left.

Buhot's inscription on the print calls it the fleur du planche (flower of the plate). Writing in a letter to Gustave Bourcard, an early cataloguer of the artist’s prints, Buhot considered this impression of the fourth state the best he ever made: “[It] is the proof that I had chosen as being the most beautiful, the most velvety, the richest in tone....If this amateur is not a true lover of original Etching and of the Belle Epreuve [beautiful proof], you must never pass this one on to him, no matter what the price. Because, rightly or wrongly, I consider this State of the plate as the most characteristic piece, the best that I ever made; it is in any case the most robust, the most painterly Etching.

Landing in England, 1879
etching, drypoint, aquatint, roulette, and spirit ground on laid paper, state iv/v.
National Gallery of Art, Washington, Promised Gift from the Helena Gunnarsson Buhot Collection

 

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