Claudine Bouzonnet Stella, “The Denial of St Peter”, c. 1694

Claudine Bouzonnet Stella (also known as Claudia Bouzonnet-Stella) (1636–1697)
“The Denial of St Peter”, circa 1694 (1690–1697)

Technical Details & Condition:
Etching with engraving on heavy buff-coloured laid paper, with deckle edges on three sides and wide margins as issued. This is plate 7 from the series of 13—or arguably 14—plates (see BM no. U,7.37 for the British Museum curator’s comments), titled “Life and Passion of Christ” (La Vie et la Passion du Christ, or Het leven en lijden van Christus), published in Paris with privilege from Louis XIV. It is based on an intermediary design by Jacques Stella (1596–1657) and a painting of the same composition, previously attributed to Nicolas Poussin (1594–1665). G. K. Nagler (1847) notes that there are two states of the prints in this series, with the second state lettered, as is the case with this impression.

This is a richly inked, well-printed, and nearly faultless impression. Aside from minor handling marks consistent with the size and age of the print, the sheet remains in excellent condition—free of tears, holes, folds, or significant stains.

Dimensions:

• Sheet: 59.5 x 43.5 cm
• Platemark: 45.8 x 36.1 cm
• Image borderline: 42.8 x 34 cm

In-Plate Lettering (below the image border):

• Left: “N. Poussin Pinx.”
• Right: “Claudia Stella Sculp. / 7.”

References:

• British Museum: Museum Number U,7.43 — https://www.britishmuseum.org/collection/object/P_U-7-43
• Rijksmuseum: Object Number RP-P-1988-323 — https://id.rijksmuseum.nl/200259034
• British Museum Curator’s comments on the series: https://www.britishmuseum.org/collection/object/P_U-7-37
• Anthony Blunt, “Jacques Stella, the De Masso family and falsifications of Poussin,” Burlington Magazine, vol. CXVI, December 1974, pp. 744–749.
• LeBlanc 7 (Charles Le Blanc, “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations,” vol. 3, 1856, p. 589, cat. no. 7)
• Nagler 6 (G.K. Nagler, “Neues allgemeines Künstler-Lexicon,” vol. 17, 1847, p. 308, cat. no. 6)

Price & Shipping:

AU$314 (approximately US$220.37 / €192.95 / £164.64), including worldwide express shipping. Import duties and taxes are the buyer’s responsibility.

If you’re interested in acquiring this exceptional and large etching (with engraving)—created by one of the few historically documented female printmakers of the late Renaissance, exemplifying the period style of Mannerism—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

This print has been sold

Henri Lerolle, “Promenade”, 1895

Henri Lerolle (also known as Henry Lerolle) (1848–1929)
“Promenade” (also known as “Two Women Walk Past Church and Trees”, and “Église de Crémault, avec Deux Promeneuses” [Church of Crémault, with Two Women Strolling]), 1895

Description:

The church depicted in the background of this scene is the historic Église Saint-Pierre, located in the commune of Bonneuil-Matours in the Vienne department of France. The composition captures the Romanesque architecture of the building, which historically stood adjacent to the grounds of the 16th-century Château de Crémault, lending the print its alternative French title.

Technical Details & Condition:

Etching with plate tone printed in brown ink on buff-coloured laid paper with generously wide margins. This plate was published in Paris by Maurice Dumont in March 1895 as Plate 5 in an album of ten original prints, issued as a supplement to the avant-garde art journal L'Épreuve (Album 4, deluxe edition)—see details of this publication offered by the National Gallery of Art (Washington): https://www.nga.gov/artworks/103925-lepreuve-album-4-deluxe-edition.

The impression is strong, and evenly wiped—near faultless! Beyond a few minor dots in the margin, the sheet is in near pristine condition, free of tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 37.3 x 27.5 cm
• Platemark: 20.9 x 18.0 cm
• Image borderline: 19.9 x 17.0 cm

In-Plate Lettering:

• Lower-left corner: “h Lerolle”

References:

• IFF 3 (Jacques Lethève & Françoise Gardey, “Inventaire du Fonds Français après 1800: LEPAN–LYS”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 14, 1967, p. 103, cat. no. 3)— Available via Bibliothèque Nationale de France (Gallica): https://gallica.bnf.fr/ark:/12148/bpt6k5489453g/f115.item
• National Gallery of Art (Washington): Accession Number 1996.151.74—https://www.nga.gov/artworks/103937-promenade
• Rijksmuseum: Object Number RP-P-1967-1065— https://id.rijksmuseum.nl/200130996

Note that this is the second etching by Henri Lerolle that I have listed; see the earlier listing here: https://www.printsandprinciples.com/2025/03/henry-lerolle-peasant-woman-carrying.html.

Price & Shipping:

AU$304 (approximately US$212.75 / €186.48 / £158.98), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

If you’re interested in acquiring this delicately beautiful etching—so full of light and tonal nuance capturing the spirit of the Impressionist movement of the time—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Jean-François Renard, “N. D. de Fourvières”, c. 1846–50, after C. Charon

Jean-François Renard (active early-to-mid 1800s)

“N. D. de Fourvières” (Our Lady of Fourvière), circa 1846–1850

Dating Note:

The precise dating of this print to circa 1846–1850 is derived from the publishing history of Antoine-Joseph Langlumé. Following the dissolution of his partnership (Langlumé et Peltier) on January 29, 1846, he operated independently under his initial “J.” at the 11 Rue du Foin Saint-Jacques address.

Description & Iconography

This exceptional devotional print depicts the traditional, richly robed presentation of the Virgin Mary holding the Christ Child as venerated at the historic Fourvière sanctuary in Lyon, France. The crown-wearing sculpture, known as “Our Lady of Fourvière”, is the centrepiece of the high altar in the Virgin’s Chapel.

The composition portrays the monumental statue framed within a sacred niche, shown crowned under a heavenly canopy guarded by God the Father and adoring angels. This composition replicates the traditional textile coverings (habillage) and ex-voto jewellery typical of famous French pilgrimage statues. The Notre-Dame de Fourvière website offers a full historical account of the Virgin’s Chapel: https://www.fourviere.org/en/discover/notre-dame-de-fourviere/marys-chapel/.

Technical Details & Condition:

Stipple engraving with etching on heavy wove paper with full margins as issued.

The composition is after an original painting by C. Charon—highly likely to be an associate or from the close circle of the French historical, portrait, and religious painter Théophile Charon-Lémérillon (1807–1873). This print is Plate 21 from a devotional series published in Paris by Antoine-Joseph Langlumé (1801–1870) at his independent workshop.

A strong, crisp, and evenly inked impression. The sheet is in excellent condition for its large size, free of tears, holes, folds, abrasions, or significant staining.

Dimensions:

• Sheet: 46.3 x 34.6 cm
• Platemark (faint): 40? x 29.7? cm
• Image borderline: 30 x 22.9 cm

In-Plate Lettering (below the image):

• Left: “C. Charon pinx.”
• Centre: “N. D. DE FOURVIÈRES. / Paris, J. Langlumé éditeur, Rue du Foin St. Jacques 11. / Déposé.”
• Right “Renard sculp.”

Price & Shipping:

AU$228 (approximately US$160.10 / €140.12 / £119.05), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

If you’re interested in acquiring this exceptionally rare engraving—which does not appear in standard institutional museum or online repositories—exemplifying the artist’s dense stippling technique, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.