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Félix Hilaire BuhotL’Hiver a Paris ou La Neige a Paris1879
1879
About the Item
Felix Buhot (1847-1898), L’Hiver a Paris ou La Neige a Paris, 1879, etching, aquatint, drypoint, roulette. [signed and dated in the plate Felix Buhot Paris 1879]. Reference: Bourcard/Goodfriend 5th state (of 9). In excellent condition, on a cream laid Van Gelder Zonen paper (with the watermark), the full sheet, 9 3/8 x 13 5/8, the sheet 14 7/8 x 19 1/4 inches.
A fine impression; a published state before additional work was done primarily involving the dogs in the foreground.
Bourcard’s description of the states for this print are clarified by Goodfriend, who describes 9 states (Bourcard had only 5). Goodfriend notes that in the fourth state the aquatint in the lower skating scene and elsewhere is solid, but in the fifth state it is streaked; it is streaked in this impression. In addition the shading lines in the buildings at the top are extended beyond the borderline in this state.
- Creator:Félix Hilaire Buhot (1847 - 1898, French)
- Creation Year:1879
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531460953
Félix Hilaire Buhot
Buhot’s prints were made at a time of renewed interest in original printmaking (especially etching), which was rapidly becoming more popular than reproductive engraving. His etchings were singled out for praise as early as 1874 by the preeminent critic Philippe Burty, who admired the artist’s belles épreuves (beautiful proofs)— a term Burty promoted to denote rare, superbly inked impressions printed by the artist himself. By the 1880s Buhot had become one of the best-known and most collected printmakers of his day. Buhot’s renown extended well beyond his own country, and he also enjoyed critical acclaim and strong support for his prints in the United States. In 1888 the New York print dealer Frederick Keppel (1845-1912) gave Buhot his first one-man exhibition, which was quite successful. In addition to Keppel, Buhot became friends with two prominent late nineteenth-century American collectors who amassed large numbers of the artist’s prints: Samuel P. Avery (1822-1904) of New York collected over 300 prints and George A. Lucas (1824-1909) of Baltimore owned some 200 prints. Beginning in 1911, another large collection was formed by Albert H. Wiggin (1868-1951) of Boston, who bought over 150 impressions. Today, these collections can be found in, respectively, the New York Public Library, the Baltimore Museum of Art, and the Boston Public Library.
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