Bernard Buffet, ‘Don Quixote recontre avec les muletiers (Don Quixote with the Mule Drivers); Don Quixote dans la bibliotheque II (Don Quixote in Library II); and Don Quixote et les moutons (Don Quixote and the Sheep)’, 1989, Phillips

Two images: 26 1/4 x 19 3/4 in. (66.7 x 50.2 cm)
One image: 25 3/4 x 19 3/4 in. (65.4 x 50.2 cm)
All sheets: 30 x 22 3/4 in. (76.2 x 57.8 cm)

All signed, les muletiers annotated 'Epreuve de L'Atelier Mourlot' (by another hand), la bibliotheque annotated 'H.C.', and les moutons annotated 'C' in pencil (an hors commerce and two proofs, aside from the edition of 200), published by Editions Mourlot, Paris, all unframed.

Atelier Mourlot Collection and Archive, Paris (inkstamp on the reverse and accompanying certificate #7199, #7197, and #7202)
Private Collection

About Bernard Buffet

Embodying Jean-Paul Sartre’s Existentialism and Albert Camus’s Absurdism, Bernard Buffet’s painting conveyed the anxiety that permeated France during the Nazi occupation and came to dominate the post-war figurative art scene. A member of a group called L’Homme Témoin (The Witness) along with Bernard Lorjout and André Minaux, Buffet developed a realist style infused with social criticism, featuring a restrained palette and black outlines. He is best known for his grim “Horror of War” series and myriad streetscapes and interior scenes populated by angular, emotionless figures. Self-portraits, religious scenes, still lifes also figure among his oeuvre, which extends to lithography, engraving, and sculpture. While Buffet continued to enjoy success as a commercial artist until a debilitating illness prompted him to commit suicide, his work fell out of favor among critics in the 1960s and remains relatively unknown.

French, 1928-1999, Paris, France, based in Paris, France