Bernard Buffet, ‘Printemps (Springtime); and Eté (Summer), from Jeux de dames (Checkers Game)’, 1970, Phillips

Printemps image: 23 x 19 in. (58.4 x 48.3 cm)
Printemps sheet: 29 x 22 in. (73.7 x 55.9 cm)
Eté image: 23 x 19 in. (58.4 x 48.3 cm)
Eté sheet: 29 x 21 1/2 in. (73.7 x 54.6 cm)

Both signed and annotated 'Bon à Tirer' in pencil, Eté additionally annotated 'noir après' (after black) in ball-point ink (good-to-print proofs, the edition was 250, there were also 30 hors commerce), published by André Sauret, les Editions du Livre, Monte-Carlo, both unframed.

Charles Sorlier 212 and 214

Atelier Mourlot Collection and Archive, Paris (inkstamp on the reverse and accompanying certificate #7186 and #7187)
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