Catalogue Félix Buhot as an Illustrator - Sarah Sauvin Gallery - March 2023

SARAH SAUVIN

Félix Buhot asanIllustrator

Félix Buhot as an Illustrator

Exceptional and precious collection of four volumes containing several series of illustrations etched for three novels by Barbey d'Aurevilly: L'Ensorcelée, Le Chevalier Des Touches, Une vieille maîtresse, and for Alphonse Daudet's Lettres de mon moulin, with various trial impressions, some of which have been retouched and annotated, and a handwritten page by Félix Buhot specifying the print-runs for the different series.

No work by Barbey d'Aurevilly had yet been illustrated when the painter and violinist Armand Royer, a mutual friend of Félix Buhot and Barbey d'Aurevilly, brought the two artists together for the first time in 1871.

"Buhot and Barbey then met again, in Paris as well as in Valognes, and it was the writer who introduced the young artist to the publisher of the Parnassians, Alphonse Lemerre (1838-1912), in February 1877. The latter entrusted him with the production of six plates for the illustrated reprint of a historical and fantastic novel by Barbey d'Aurevilly published in 1852, L'Ensorcelée, initially entitled La Messe de la Croix-Jugan. (Gilles Soubigou, Félix Buhot, 2016, p. 24, translated by us).

Barbey d'Aurevilly having greatly appreciated the work of Buhot, who, he said, "[dreamed] with a head identical to [his]" (quoted by Jean-Luc Dufresne, p. 112, translated by us) Alphonse Lemerre commissioned him to illustrate his two other novels: Le Chevalier Des Touches and Une vieille maîtresse, as well as Alphonse Daudet's Lettres de mon moulin. Projects to illustrate other works remained unfulfilled, notably Barbey d'Aurevilly's Un prêtre marié, Victor Hugo's poetry and Hoffmann's Contes fantastiques. Buhot also engraved three vignettes for Jacques Cazotte's Diable amoureux, published in 1878 by Albert Quantin (see G. Soubigou, p. 25).

Jean-Luc Dufresne observes that Buhot "chooses in the novels [of Barbey d'Aurevilly] the scenes where violence and contrast are expressed, which he knows how to transpose into chiaroscuro oppositions" (J.L. Dufresne, p. 112, translated by us). Buhot, he says, "was deeply marked by this work which helped him to reveal certain deep tendencies in his imagination. The encounter with subjects dear to this author was an opportunity for him to synthesise his Norman sketches into compositions in which the symphonic margin appears to serve the artist's fantasies." (J.-L. Dufresne, p. 120, translated by us).

Buhot was not satisfied with Lemerre's commissions. He also made several etchings and drawings inspired by Barbey d'Aurevilly's novels. Let us mention in particular La Malgaigne (BG 79) which illustrates an episode of Le Prêtre marié, the Idée du premier frontispice pour L’Ensorcelée (BG 114), the Ex-libris pour l’Ensorcelée (BG 116), the Deuxième idée de frontispice pour L’Ensorcelée (BG 115), La Maison maudite (BG 117) inspired by L’Ensorcelée, a vignette for Le Chevalier Destouches (BG 118) and three vignettes for Une Vieille Maîtresse (BG 119 à 121).

These drawings and etchings not only show his interest in Barbey d'Aurevilly's texts but also the role that illustration had in the development of his work. Buhot did not see illustration as a mere accompaniment to the text, as he explained in relation to the etchings made by Manet in 1874 for Charles Cros' Le Fleuve:

The sketches that a painter sows in a text, when it is a purely poetic work, must not be compositions, but transpositions. The drawing then becomes the accompaniment of the main theme of which the rhymed or simply rhythmic word becomes the instrument... Either the draughtsman seeks to explain or complete the poet's thought; or he limits himself to awakening, by different means, an analogous sensation, in order to produce a harmonic accompaniment; or, finally, he wants to strike the reader's mind by a contrast which will better bring out the descriptive effect, by virtue of the laws of antithesis and of dissonance. In all cases, the accompaniment should not drown out the song, and the drawing should only come in the background, to support the written thing and not to detract from it. The sketch will flow naturally from the text as if it had come from the writer's pen, modified by another creative genius. It will be a simple complement, stopping certain contours, fixing certain lines and setting limits between which the poet leads the imagination. (remarks quoted by André Fontaine, p. 76, translated by us).

Although the texts of Barbey d'Aurevilly or Alphonse

Daudet are not poems but prose fictions, Buhot's words apply perfectly to his own illustrations, especially in their state proofs decorated with symphonic margins. Jean-Luc Dufresne emphasises the special relationship that the drawings in the margins have with the text. In this regard, he recalls that the young Buhot himself wrote literary stories that he illustrated with drawings and attributes the invention of the symphonic margins to this practice:

"Félix Buhot had strong literary tastes and his taste for writing led him to compose literary fantasies, often illustrated with sketches, in his teens. It is in these illustrated literary essays that the source of the symphonic margin is to be found [...]". (J.-L. Dufresne, p. 112, translated by us).

With their sketches and funny scenes, their essays and repentances, the symphonic margins, referring to both the text and the scene they surround, "accompany" the "main theme" as Buhot wanted, "explain" it, "complete" it, "awaken" sensations, "strike the mind of the reader". It would therefore be wrong to imagine that they have only a secondary, anecdotal, or even ornamental role: they represent that space of the imagination where, on the margins of the writer's creations, "another creative genius" operates.

The central image of the first plate illustrating Le Chevalier Destouches: Le bruit de deux sabots trainants (The sound of two dragging hooves), refers explicitly to the incipit of the text. It shows the bell tower of the church in Valognes (where Félix Buhot was born and where Barbey d'Aurevilly spent part of his childhood), its square and its monumental calvary flanked by a life-size Christ, the abbé de Percy struggling against the wind and the rain in the dark night... The symphonic margins repeat the elements of this central image with its gloomy atmosphere: the figure of the abbot holding his umbrella is multiplied in the upper margin into a frieze of figures also struggling with the rain and wind; the lantern he holds in his hand is echoed in three lanterns sketched in the margins: One hangs with an umbrella on the nail of a house, waiting to be used or having just been used, another is held by a woman seen from the front, unlike the abbot who was seen from the back, and finally a town lantern hangs at the top of the upper margin. All these elements, like a "harmonic accompaniment", echo the central image, creating complementary images. Some elements, however, are not in the central image but refer to the text: for example, the little dogs in the lower margin refer to the dogs that start howling behind the walls of the Hôtel de Mesnilhouseau when they hear the clattering of the abbot's hooves on the cobbles. These dogs are frequently found in Buhot's etchings, especially in rain scenes (among many plates, let us mention Une rue à Valognes (BG 34) or Les Voisins de campagne (BG 148)).

Buhot often lets his point escape from the narrow frame of the illustrated scene. While some of the details are in keeping with the theme of the gloomy night, such as the two women lighting the way with their lanterns, protected by their large cloaks and umbrellas, the little dogs and the frieze of characters add Buhot's own touch of humour, creating that "contrast which will better bring out the descriptive effect, by virtue of the laws of antithesis and dissonance”.

As the symphonic margins were not intended for the illustration of the novel, only the central images were kept. The impressions showing the successive states of the margins, however, show Buhot's great interest in them. Very few copies of these impressions with the symphonic margins were printed and suites were sold to a very limited circle of enthusiasts.

References: André Fontaine : Félix Buhot, peintre-graveur, 1847-1898, 1982 ; Jean-Luc Dufresne, Valérie Sueur-Hermel, Alison McQueen, Félix Buhot, peintre graveur entre Romantisme et Impressionnisme, 1998 ; Félix Buhot, 1847-1898 : peintre d’atmosphères, 2016.

We present an exceptional set of four bound volumes containing Buhot's illustrations for the texts of Jules Barbey d'Aurevilly and Alphonse Daudet. The three volumes devoted to Barbey d'Aurevilly belonged to Léon Schück (1857-1930), who had assembled a very important collection around this author. They were included in the sale of his library in June 1931, under catalogue numbers 37, 42 and 57. (The volume devoted to Daudet does not appear in the catalogue of Léon Schück's sale. The binding was done by another bookbinder, Alfred Farez, who was active until 1930.) Two of these three volumes were later filled with additional proofs of illustrations for these novels. The volume of L'Ensorcelée also contains a handwritten note by Buhot which specifies the print run of the different sets of illustrations. We transcribe this note here:

Les 2 premières séries (Ensorcelée - et Chevalier Destouches) - dans cet étatc’est-à-dire - état terminé avec marges symphoniques - sont de la plus grande rareté. - De la première, il n’y a eu, si je me souviens bien, que six collections ou huit au plus - y compris les 2, une à l’auteur et une à l’éditeur - parmi lesquelles trois seulement sur Japonmêmes observations pour le Chevalier Destouches.

- les 2 autres séries (Vieille maîtresse et Lettres) ont fourni avant l’effaçage des marges 35 épreuves - dont 25 à l’Editeur.

La présente collection avait été arrangée par l’artiste pour sa propre bibliothèque - Il n’en reste qu’une seule collection de cet état de l’Ensorcelée et du Chevalier.

[The first 2 series (Ensorcelée - and Chevalier Destouches) - in this state - that is - finished state with symphonic margins - are of the greatest rarity. - Of the first, there were, if I remember correctly, only six collections or eight at most - including the 2, one to the author and one to the publisher - of which only three on Japan papersame observations for the Chevalier Destouches. - the 2 other series (Vieille maîtresse and Lettres) provided before the erasure of the margins 35 impressions - of which 25 to the Editor.

___

The present collection had been arranged by the artist for his own library - only one collection of this state of l’Ensorcelée and Le Chevalier remains.]

Volume 1 : L’Ensorcelée

"In the cache du vuüs probytère (path of the old presbytery), Jeanne LE HARDOUEY meets the shepherd who is going to cast a spell on her to take revenge for the harshness of her husband.

Like a ghost, the Abbot of the Cross-Jugan, masked and hooded, gallops across the Lessay moor on his black horse. We then see Jeanne at the Clotte's house, then on the moor the shepherd-sorcerers in front of whom Thomas LE HARDOUEY has stopped, threatening. To the rich farmer they will show, in their magic mirror, his own heart which is cooking on a spit.

The last scene is the burial of La Clotte, victim of the bruises.”

(Pierre Leberruyer, Le Peintre graveur aquafortiste Félix Buhot (1847-1898), 1979, translated by us).

In an album in-4 (garnet half morocco, gilt head, binding signed by Noulhac) bearing the bookplates of Léon Schück (1857-1930) and Marcel Lecomte (1914-1996).

This volume contains:

- a handwritten note by Buhot in pen and ink

- a portrait of Jules Barbey d'Aurevilly by Paul Adolphe

Rajon

- an impression of Idée du premier frontispice pour l’Ensorcelée (B/G 114, undescribed state)

- an impression of Ex-libris pour l’Ensorcelée (B/G 116, 2nd state (of 4)) retouched in pencil

- an impression of Ex-libris pour l’Ensorcelée (B/G 116, 4th state (of 4))

- an impression combining Ex-libris pour l’Ensorcelée (B/G 116, 2nd state (of 4)) and La Maison Maudite B/G 117, 2nd state (of 3)), with white gouache highlights

- an impression of La Maison maudite (B/G 117, 2nd state (of 3))

- a complete series of illustrations for L’Ensorcelée (B/G 85 to 90, 3rd state (of 5)), from the Georges Alfred Barrion’s collection (1842-1903)

- a complete series of illustrations for L’Ensorcelée (B/G 85 to 90, 2nd or 3rd state (of 5))

Detailed content:

- Handwritten note by Buhot in pen and ink on a sheet of CANSON watermarked laid paper bearing Buhot's red stamp in the upper left-hand corner (Lugt 977). See above the transcription of this note.

- Jules Barbey d'Aurevilly by Paul Adolphe Rajon: very nice impression printed on Japan laid paper. Full margins.

- Idée du premier frontispice pour l’Ensorcelée (B/G 114)

Impression of an undescribed state: with added drypoint scratches and two horizontal lines around the title cartouche.

Very fine impression printed on laid paper, inscribed in pencil Premier état avant la planche coupée (first state before reduction of the plate) and signed Félix Buhot. Soiling in the right margin, otherwise in very good condition. Unidentified collector's mark in the lower left corner (fivepetal flower, Lugt undescribed). Very rare.

- Ex-libris pour l’Ensorcelée (B/G 116).

Impression of the 2nd state (of 4 according to Bourcard), before the drypoint scratches on the head in the left margin and before the text printed in the title block.

Very fine impression printed on fine wove paper, annotated in pencil in the cartel Ex libris pour une édition à grandes marges ancienne de l’Ensorcelée [Ex libris for an early wide-margined edition of the Ensorcelée] and at the bottom Contre-épreuve du premier état d’un Croquis à l’Eau-forte fait comme Ex Libris d’une Edition de Bibliophile de l’Ensorcelée [Counterproof of the first state of an Etching Sketch made as an Ex Libris for a Bibliophile Edition of the Ensorcelée].

The head of a man appearing in the upper left margin has been reworked by Buhot in pencil to give it the features of the author of L'Ensorcelée, Barbey d'Aurevilly.

Very rare.

A proof kept in the New York Public Library bears this note by Buhot, who specifies his intention: "I had wished that the publisher would make a more complete suite of illustrations for this magnificent novel. I had created some compositions that had not been published before. As I was

hampered in my interpretation by the too small format, I tried some slightly larger illustrations for my own pleasure. In this composition I tried to sum up the general impression of this romantic book”. (translated by us)

- Ex-librispourl’Ensorcelée(B/G 116).

Impression of the 4th state (of 4) with the sketches in the margins and the text added in the cartel.

Superb impression printed on wove paper, covered with drypoint barbs, annotated 2e Etat avant l’ébarbement [2nd state before trimming] and signed Félix Buhot. Unidentified collector's mark in the lower left corner (five-petal flower, Lugt not described). Very good condition.

- Ex-librispourl’Ensorcelée (B/G 116) and La Maison maudite (B/G 117)

A very curious and unique impression obtained by printing two plates successively on the same sheet: Buhot first printed an impression of the 2nd state (of 3) of La Maison maudite with a cover revealing only the top and the right and left edges of the plate, then printed in this space left blank an impression of the 2nd state (of 4) of the Ex-libris pour l'Ensorcelée.

Superb impression printed on wove paper soaked with turpentine, enhanced with white gouache and annotated essais de marges sur le premier état [test of margins on the first state] Very good condition.

- La Maison maudite (B/G 117). Impression of the 2nd state (of 3) before reduction of the plate. Superb impression printed on thin wove paper, inscribed Premier état avant la planche coupée [First state before the plate was cut down] and signed Félix Buhot. Unidentified collector's mark on the lower left (five-petalled flower, Lugt undescribed). Very good condition.

- Illustrations for L’Ensorcelée(B/G 85 to 90)

This series includes: The Shepherd, A Way of Perdition, She Was Coming Slowly, Thomas Le Hardouay, The Vision, The Burial. Etching and drypoint, approximately 175 x 115 mm each.

Complete series of six plates, from the 3rd state (of 5 according to Goodfriend), in a very rare edition with engraved annotations: 23 July 77 FB. According to Bourcard, these annotations are equivalent to a cancellation of the symphonic margins before they were erased in the 4th state. He indicates that he saw a set of six such impressions "in the hands of Madame Buhot". Goodfriend mentions this edition only for Le Pâtre [The Shepherd] (B/G 85), describing it as a 4th state (of 6). Our impressions can be considered as a 4th state (of 6) for the whole series.

Very nice impressions printed on Japan laid paper. Collector's mark of Georges Alfred Barrion (1842 - 1903) printed in violet in the lower left margin (Lugt 76). Very rare.

- Illustrations for L’Ensorcelée(B/G 85 to 90)

Complete unbound series of six plates in 2nd or 3rd state (out of 5 or 6) depending on the plate. Three plates are annotated in pencil 2e état corrected 3e état, 3e état and 3e état corrected to 4e état.

Very nice impressions printed on different kinds of laid paper (Japan laid paper, laid paper, PIERRE CAPERONI LPBT watermarked old laid paper), four plates bearing the red or pink stamp of Buhot (Lugt 977). Small margins to all plates, perfect condition. Rare.

Volume 2 : Le Chevalier Des Touches

”The first illustration shows the Abbé de Percy, wearing clogs and taking shelter under an umbrella, to whom the ghost of the knight appears in the Place du Calvaire in Valognes. The latter tells him about the Bourbons: "Aren't they ungrateful?” We then see a troop of Chouans on the twoarched bridge of the castle of Touffedelys, which they have made their hideout, then the market in Avranches, where the friends of des TOUCHES have set fire to the prison.

The last two etchings show Barbe de Percy disguised as a peasant woman, on her mount, and, attached to a wing of her burning mill, the miller who had betrayed des TOUCHES” (Pierre Leberruyer, Le Peintre graveur aquafortiste Félix Buhot (1847-1898), 1979, translated by us).

In an album in-4 (garnet half morocco, gilt head, binding signed by Noulhac). This volume contains:

- Jules Barbey d’Aurevilly by Paul Adolphe Rajon

- a complete series of the illustrations for Le Chevalier Des Touches (B/G 91 to 95, 2nd or 3rd state (of 5 or 6) depending on the plates)

- a complete series of the illustrations for Le Chevalier Des Touches (B/G 91 to 95, 3rd or 4th state (of 5 or 6) depending on the plates), from Armand Royer’s collection.

Detailed content:

- Jules Barbey d’Aurevilly by Paul Adolphe Rajon : very fine impression printed on Japan laid paper. Full margins.

- Illustrations for LeChevalierDesTouches(B/G 91 to 95)

Complete series of five plates in 2nd or 3rd state (of 5 or 6) depending on the plate: B/G 91 in 2nd state (of 5) before the drypoint additions in the margin; B/G 92 in 3rd state (of 5) with the frogs in the lower margin; B/G 93 in 3rd state (of 6), with the fireman's helmet but before additional marginal sketches; B/G 94 in 4th state (of 6), with the seated old woman; B/G 95 in 3rd state (of 5) with the new sketches.

Superb impressions, with much burr from the drypoint, printed on laid paper. Full untrimmed margins. In very good condition.

- Illustrations for LeChevalierDesTouches(B/G 91 to 95). Complete unbound series of five plates in 3rd or 4th state (of 5 or 6) depending on the plate: B/G 91 in 3rd state (of 5); B/G 92 in 3rd state (of 5); B/G 93 in 4th state (of 6); B/G 94 in 4th state (of 6); B/G 95 in 3rd state (of 5).

It should be noted that there are differences between the impressions in these two series and therefore also between these impressions and those described by Bourcard and Goodfriend in the catalogue raisonné. The impressions in these two series are certainly intermediate between the 2nd, 3rd and 4th states (out of 5 or 6) described in the catalogue raisonné, but these descriptions are not complete enough for us to be more precise. We have therefore chosen to indicate the closest states among those described in the catalogue raisonné.

Very fine impressions printed on laid paper. The first plate annotated in pencil in the subject à mon ami A. Royer [to my friend A. Royer] and signed with the initials FB. Armand Royer (1842-1910) was a violinist and painter. It was he who introduced Félix Buhot to Barbey d'Aurevilly in 1871. The prints are captioned in pencil in the lower margin: n°1.

L’abbé de Percy traversant la place des Capucins, 2 Les chouans déguisés traversant le pont levis du château de Touffedelys, 3. L’Incendie de la Prison d’Avranches, n°4 Le Marché de Coutances, n°5 Le Moulin Bleu - La Vengeance [n°1. The Abbé de Percy crossing the Place des Capucins, 2 The Chouans in disguise crossing the drawbridge of the Château de Touffedelys, 3 The Fire of the Avranches Prison, n°4 The Coutances Market, n°5 The Moulin Bleu - The Revenge].

"The first etching illustrates a dowager's tea party where the young and beautiful Hermangarde is ready to serve the Marquise de FLERS, her grandmother, and the Countess d'ARTELLES.

Ryno de MARIGNY, the darling of the salons, is then represented under the features of Barbey d'Aurevilly himself.

The third etching shows him holding VELLINI in his arms, and the fourth evokes a superstition from the shores of Cotentin, the story of the Criard.

We still see Ryno de MARIGNY at the Malagasy woman's house, sitting on a couch, and then there is the meeting in the woods, which will lead to the duel with Sir RÉGINALD.

Hermangarde, assimilated in a way to the White Caroline, leaves the manor to hear the frightening and premonitory stories of father GRIFFON, an old sailor of the country. Ryno is going to take her back on horseback to the Alcyon's Nest where the couple had come to hide their happiness.

But VELLINI has pursued her former lover to Carteret, who joins her in the village of Les Rivières, in Barneville, and poor Hermangarde recognises the horse tied up near there.

The bonds tied by some magic potion could not be broken, and it is in a crevice of the cape, the Devil's Tomb, that from now on Ryno and his old mistress are joined as if doomed to a cursed love in hell.”

(Pierre Leberruyer, Le Peintre graveur aquafortiste Félix Buhot (1847-1898), 1979, translated by us).

In an album in-4 (garnet half morocco, gilt head, binding signed by Noulhac). This volume contains:

Illustrations for UneVieillemaîtresse(B/G 99 to 108) :

Complete series of 10 plates in 3rd, 4th or 5th state (out of 5, 6 or 7) according to the plates: B/G 99: 5th state/7, B/G

100: 3rd state/5, B/G 101: 3rd state/5, B/G 102: 4th state/6, B/G 103: 4th state/6, B/G 104: 3rd state/6, B/G

105: 4th state/6, B/G 106: 4th state/6, B/G 107: 4th state/6, B/G 108: 4th state/6

Very nice impressions printed on laid paper. All plates bear Buhot's red stamp in the lower margin (Lugt 977) as well as an unidentified collector's mark in the lower left corner (five-petalled flower, Lugt not described). The first plate is also signed Félix Buhot in pencil.

Volume 4 : Alphonse Daudet

Lettresdemonmoulin

In an album in-4 (garnet half morocco, gilt head, binding signed by Alfred Farez and with the date 1881). This volume contains:

- handwritten title page, in pink and brown ink

- handwritten contents of the volume, in pink ink

- two portraits of Alphonse Daudet by Martinez

- a complete series of the illustrations for Lettres de mon moulin (B/G 109 to 113, 2nd state (of 6)

- a complete series of the illustrations for Lettres de mon moulin (B/G 109 to 113, 4th state (of 6)

- a complete series of the illustrations for Lettres de mon moulin (B/G 109 to 113, 5th state (of 6)

Detailed content:

- Handwritten title page, in pink and brown ink: Lettres de Mon Moulin / Composition et Gravure / de Félix Buhot / - / Lemerre / Editeur / 1881 [Lettres de Mon Moulin / Composition and etching / by Félix Buhot / - / Lemerre / Editor / 1881]

- Handwritten contents of the volume, in pink ink: 1 -

Portrait d’Alph. Daudet / 2 - Titre / 3 - La diligence de Beaucaire / 4 - Le secret de Maître Cornille / 5 - Le Curé de Cucugnan / 6Les vieux [1 - Portrait of Alph. Daudet / 2 - Title / 3 - The Beaucaire coach / 4 - The secret of Maître Cornille / 5The priest of Cucugnan / 6 - The old]

- two portraits of Alphonse Daudet by Martinez, one on Japan laid paper, the other on Whatman watermarked wove paper

- Illustrations for Lettresdemonmoulin(B/G 109 to 113).

This series includes: Titre : Lettres de mon moulin, La Diligence de Beaucaire, Le Secret du Maître Cornille, Le Curé de Cucugnan, Les Vieux. [Title: Lettres de mon moulin, The Beaucaire coach, The secret of Maître Cornille, The priest of Cucugnan, The old].

Complete series of five plates in 2nd state (of 6) before any marginal sketches for B/G 110 to 113 and before the sketches in the lower left corner for B/G 109. Very nice impressions printed on laid paper. Full margins, a few light stains in the margins otherwise in very good condition.

- Illustrations for Lettresdemonmoulin(B/G 109 to 113).

Complete series of 5 plates, impressions of the 4th state (of 6) before the deletion of the symphonic margins. Superb impressions printed on Japan laid paper. In perfect condition.

- Illustrations for Lettresdemonmoulin(B/G 109 to 113).

Complete series of 5 plates, impressions of the 5th state (of 6), the margins erased but before the letter and reduction of the copperplate. Very fine impression printed on watermarked wove paper (Whatman). In perfect condition.