A fine impression, rich with drypoint burr and with the distant details strong and sharp, on chin collé, laid down on a second sheet of paper, and which bears Buhot’s large red owl stamp (Lugt L977) just below the image. Buhot gradually transformed the image through a variety of printmaking techniques. The first state was a pure, and extremely rich drypoint. Subsequent embellishments from the second state (present print) included aquatint, roulette, and additional drypoint with a general reworking of the sky. That Buhot printed a number of proofs of each state as he progressed to a definitive state testifies to his belief that the intermediate stages of the creative process produce valid artistic statements. The most important aspect of the changes made to this plate is the manner in which Buhot has suggested varying climatic effects, especially rain, a quintessential characteristic of his imagery.
A pier in England
etching, drypoint and roulette on chine collé [thin japan paper with a warm tone] laid down on a larger sheet of paper
ii of 8 states
29.6 x 20.0 cm platemark
Signature & date
Signed l.c. below image, pencil "...Felix Buhot". Signed l.r. within image, [incised plate], "FB". Signed and dated l.l. within image, [incised plate, printed in reverse, illeg] "...1879 Félix Buhot".
Gift of Iphy Kallinikos 2017
Not on display
Annandale Galleries, 1989, Sydney/New South Wales/Australia, Anne Gregory bought the print in auction, Drouot Paris in Sept-Nov 1989 and sold it to the present owner soon after.
Referenced in 3 publications
Henri Béraldi, Les graveurs du XIXe siècle, Paris, 1885-1892, vol 4 (1886), p 32, no 132.
Gustave Bourcard and James Goodfriend, Félix Buhot. Catalogue descriptif de son oeuvre grave, 1979, pp 82–83, no 132.
Jay McKean Fisher, Colles Baxter and Jean-Luc Dufresne, Félix Buhot peintre-graveur, prints, drawings, and paintings, Baltimore, 1983, pp 102–04, no 62b.