Félix Buhot’s etching and drypoint, “The Cab Stand”, 1876

This is a fascinating print and the number of documented states in its evolution is remarkable. Initially, there were only four states proposed in Gustave Bourcard’s original 1899 catalogue raisonné: “Félix Buhot: Catalogue Descriptif de son Oeuvre Gravé.” This number doubled to eight states in 1938 in J H Bemder’s description of the plate in “Print Collector’s Quarterly”, Vol. 25, No. 2, with a tentative proposal that there may be nine states. The number of states then increased to an amazing fifteen states documented in James Goodfriend’s 1979 revised supplement to Bourcard’s catalogue, with (again) an acknowledgement that there may be still more states. From my standpoint, this number of states draws attention to Buhot’s desire to refine his plate to perfection and, no doubt, to refresh the plate in the later state as it wore from repeated printing due to its popularity—mindful that this is an important print in Buhot’s oeuvre.

This impression is from an early state (state v) where Buhot was making subtle changes to the image and the publication details. Note for example that he has added four extra chimneys (and they are VERY small) to the distant buildings above the closer cab and the plate number (“19”) of the previous state has been erased (see the previous state [state iv] held by the British Museum: https://www.britishmuseum.org/collection/object/P_1879-1011-571).  

Félix Buhot (aka Félix Hilaire Buhot; Tohub [Buhot, in reverse]) (1847–1898)

“The Cab Stand” (aka “Une Matinée d'Hiver au Quai de l'Hôtel-Dieu”; “Winter Morning on the Quai de l'Hôtel-Dieu”), 1876, published and printed by Veuve A. Cadart (1875-1882) (Alfred Cadart’s [1828–1875] firm continued by his widow after his death) in Paris. This impression was published in the “Album Cadart” and “Album Boëtzel”.

Etching, drypoint and dot roulette with pale plate tone on buff chine collé on wove paper with full margins (as published).

Size: (sheet) 29.8 x 44 cm; (plate) 23.8 x 32 cm: (image borderline) 21.6 x 31.2 cm.

Inscribed within the image borderline: (lower left corner) “Felix Buhot/ pinx^t et sc.”

Lettered below the image borderline: (left) “Félix Buhot, pinx.et sculp.”; (centre) “UNE MATINÉE D'HIVER AU QUAI DE L'HÔTEL-DIEU.”; (right) V^ve A.Cadart,Edit Imp.56,B^ard Haussmann,Paris.”

State v (of xv)

Bourcard/Goodfriend 123 (Gustave Bourcard & James Goodfriend 1979, “Félix Buhot: Catalogue Descriptif de son Oeuvre Gravé”, New York, Martin Gordon Inc., pp. 71–73, cat. no. 123 [see also unpaginated supplement]); IFF  87 (Jean Laran 1930, “Inventaire du fonds français: graveurs du dix-huitième siècle”, Bibliothèque nationale de France, vol. 3, p. 508, cat. no. 87).

The British Museum offers the following description of this print: “Rainy street scene with row of four horse-drawn carriages, and three passers-by on the right; also known as 'The Cab stand'; published state, with engraved inscription. 1876 Etching and drypoint” (BM inv. no. 1879,1011.571). 

Condition: a strong and well-printed impression with margins as published. Beyond light age-toning on the edges, the sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this major print in the oeuvre of one of the most creatively inventive printmakers of the etching revival period, for the total cost of AU$524 (currently US$350.43/EUR323.62/GBP284.67 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this very beautiful etching executed around the time of the second Impressionist exhibition (1876), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.