egon and joan teichert



Felix Buhot

Buhot created prints notable for their inventiveness in reproducing the effects of weather, such as rain, snow, mist and fog. He was able to create these atmospheric effects by combining etching ,drypoint, and aquatint with different inks and paper. He used various papers and different types, such as antiquarian and Japanese, laid and wove, sometimes treating his paper with turpentine or kerosene, at other times, placing the paper in tea or coffee before the printing process. His obsession with paper led him to booksellers-stalls and shops in Paris, where he would rummage through the books, cut out the blank pages, pay the bookseller's price, and then return the book to the seller as a gift. Buhot was not a one-state etcher, constantly changing the details of the subject, adding or subtracting lines, and using different inking and wiping of his impressions. In many of his city prints of Paris and London he depicts the public square and streets, relishing the margins of each image with an abundance of remarques or sketches. These extra marginal images, which Buhot called "symphonic images," are regarded as some of his most important aesthetic achievements. Felix Buhot is recognized as one of the most innovative and accomplished artists in the field of French etching. Reference: Felix Buhot Catalogue, Bourcard, Gustave and Goodfriend, James, 1979, (Introduction).



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Felix Buhot

French (1847-1898)
La Place Pigalle en 1878
9-3/8 x 13-1/2 in.

Soft-ground etching, drypoint, aquatint, and roulette, 1878. Bourcard/Goodfriend 129. Annotated in pencil, lower right, “proof of state 5, 4 proofs.” Signed in pencil, lower right. Printed on medium weight Japan paper.


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La Place Pigalle en 1878



Felix Buhot

French (1847-1898)
L’Hiver a Paris or La Neige a Paris
9-1/4 x 13-1/2 in.

Etching and drypoint with aquatint and roulette work, 1879, (state, IV/IX). Bourcard/Goodfriend 128. Signed, dated, and titled in the plate. Printed on laid paper with a watermark, Van Gelder Zonen. Full margins with deckle edges on all (4) sides. From the first published edition, L’Art, 1881.


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L’Hiver a Paris or La Neige a Paris



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