Paul Sérusier (1864-1927) Landscape, the end of the day. 1893. Lithograph. 295 x 230. Stein et Karshan 80. color print. Proof on canary yellow vellum, signed and numbered in pencil. Scattered light foxing. Two long irregular tears in upper margin, one reaching the trees in the subject. Long vertical crease in left margin. Tiny snags or short tears restored at edges of folio. Full margins. Edition of 100 proofs. Dry stamp: L'Estampe originale (Lugt 819 - with tiny reinforcement of japon pelure on verso). Stamp R. T. This print was featured in the exhibition Cent ans d'estampes en Bretagne, Le Faouët, 1998 (reproduced in the catalog under no. 173). "A Breton farmer has finished turning over his field at sunset. He puts his spade down in front of him and puts on his jacket. Lost in the landscape, yet connected to it, he symbolizes human solitude in the face of nature, a theme dear to the Symbolists. Sérusier, like all theosophists, also believed that man is an integral part of nature and participates in the Great Whole. The preparatory drawing, in reverse of the engraving, was sold in 1984. A trial proof of this zinc print exists in the S. Josefowitz collection. Josefowitz collection. This is the print order, bearing numerous annotations in the artist's hand concerning the colors: "vermilion, madder, golden blue, black, white/green, yellow/ lighter green". It shows that Sérusier closely followed the printer's work. The final proof published in the second volume of L'Estampe originale (April 1893) by André Marty was printed in an edition of one hundred copies by Edward Ancourt, the printer of Paul Gauguin's zincographs for the Volpini exhibition, whose canary yellow paper is used here." (M. Grivel, ed., Gauguin et l'École de Pont-Aven, exhibition catalog, Paris, Bibliothèque nationale, 1989, p. 62).