Marine Eugène Boudin produced a single etching as an engraver: a sea view, exhibited here together with two drawings. He was a great admirer of Jongkind, who had sincere appreciation for him and had considerable influence on him. Even before they met, Boudin had begun following the advice of Troyon and Millet in his painting. Later on, the art of the Dutch landscape painters studied at the Louvre and the art of Jongkind ended up enrapturing him. He was thus very excited to meet Jongkind in 1862. He had come to Trouville to find his master Isabey and stayed all summer in Le Havre. It was Monet who introduced Jongkind to Boudin. Both fans of seascapes, they immediately liked and respected each other. Boudin decided to come to Paris for a certain period. He returned there in 1864, still little known to the public. It was the great engraver Cadart who sensed his talent as a draughtsman and as a painter of seascapes. Cadart, in discussions within the Société des Aquafortistes, considered the possibility of making his drawings into etchings. He made the proposal to Boudin, who showed great interest. The following summer, while traveling to the Normandy coast, he made some sketches with a view to making etchings of them in Paris. However, the artist that Corot, with deep admiration, called "The King of Skies" ended up leaving behind only one etched plate. The depiction he chose was a seascape with a large sailing ship and boats around it. It isn’t possible to assess the skill of an engraver from just one work, but it can still be said that a very interesting treatment shines through, even if the strokes are still being defined. This makes us think that the artist, if he had continued with the use of this technique, would have probably made beautiful impressionistic etchings. His approach was definitely an Impressionist one, and with Monet, Renoir, Pissarro and 26 other painters he took part in the first exhibition of the current, organized by Nadar in 1874.