Benoît Audran I, “The Crucifixion (Consummatum Est)”, pub. c. 1815, after Poussin

Benoît Audran I (also known as Bened Audran) (1661–1721)

“The Crucifixion (Consummatum Est)” (or, as titled on the plate: “Consummatum est: C'est en ce jour que tout est consōmé” [It is finished: It is on this day that everything is consumed]), later printing published circa 1789 or around 1811–1820

Technical Details & Condition:

Engraving on heavy paper—possibly laid paper, as suggested by the faintly visible chain lines—slightly unevenly trimmed around the platemark and professionally mounted to a secondary support sheet of archival-quality washi paper.

This print was initially published unsigned by the artist, with the inscription: “a Paris chez Audran rue S. Iacques aux 2. Piliers d'or auec priuil du Roy.” See the Herzog Anton Ulrich Museum’s collection: https://www.europeana.eu/en/item/89/item_DDZ2SG4ZFHCRVH3FMMYH3GNLROFANKUK?lang=.  

This impression was published in Paris by Pierre Jean (active 1784–1820), at his firm’s established address: “rue Jean de Beauvais, No. 10”. The secularised spelling of the street name suggests a publication date in the later 1811–1820 period, during which Jean resumed publication after 1789.

The design is based on Nicolas Poussin’s (1594–1665) painting, “Crucifixion” (1645–46), formerly in the collection of Lord Dundas and now held at the Wadsworth Atheneum (Connecticut). It may also follow the 1674 etching titled “The Crucifixion” by Claudine Bouzonnet Stella (also known as Claudia Bouzonnet-Stella, 1636–1697). For details of this etching, see the Victoria and Albert (V&A) Museum: https://collections.vam.ac.uk/item/O1157068/the-crucifixion-print-stella-claudine/.

The impression is strong, crisp, and evenly printed. Aside from minor restored tears around the edges (some entering the image), the sheet remains in very good condition—free of holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet/Platemark: 28.4 x 37.7 cm
• Image: 25.6 x 35.7 cm

In-Plate Lettering below the image:

• Left: “Poussin pinxit”
• Centre: “Consummatum est: / St. Jean XIX. / C'est en ce jour que tout est consōmé.”
• Right of Centre: “A Paris chez Jean. rue Jean de Beauvais. N^o. 10.”

Price & Shipping:

AU$253 (approx. US$175.63 / €154.08 / £131.48), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this eerily dark and turbulent engraving capturing the final words of Christ’s agony on the cross, “Consummatum est” (It is finished), please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.

This print has been sold

Pierre-François Basan, “The Storm”, c.1780, after Joseph Vernet

Pierre-François Basan (1723–1797)

“The Storm” (aka “L’Orage”; “Thunderstorm” [Hermitage title]; “L'Orage Impétueux” [LeBlanc title]; “Le Coup de Vent”), c.1780 (1773–1788), after Joseph Vernet’s (aka Claude-Joseph Vernet) (1714–1789) painting executed in c1773 and in the collection of the Hermitage Museum, Saint Petersburg (see https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+paintings/37283), initially published in Paris by Basan et Poignant (Pierre-François Basan and his son Etienne-Léon Poignant [fl.1773–1791]). This impression was published in Paris by Pierre Jean (fl.1784–1820).

Etching on laid paper with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 27 x 29.9 cm; (platemark) 24.4 x 27.5 cm; (image borderline) 20 x 25.9 cm.

Lettered in plate below the image borderline: (left) “Jos. Vernet pinx.”; (centre) “L’ORAGE/ A Paris chez Jean rue Jean de Beauvais, no. 32.”

LeBlanc 487 (Charles Le Blanc 1854–88, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 1, Paris, Emile Bouillon, p. 191, cat. no. 487 [see https://archive.org/details/manueldelamateur01lebl/page/190/mode/2up]).

See also the description of this print offered by the Herzog Anton Ulrich-Museum: http://www.virtuelles-kupferstichkabinett.de/de/detail-view.

Condition: a well-printed impression with a small margin around the platemark (approx. 1 cm) and laid onto a support of archival (millennium quality) washi paper. The sheet is in a very good condition with no tears, holes, folds, abrasions, or significant stains.

I am selling this finely executed engraving of an approaching rainstorm from the late 1700s—note how the artist has changed the tone of the circling birds from black when they are silhouetted against the lighter areas of the sky to sparkling white when the birds are in stark contrast with the dark storm clouds—for the total cost of AU$240 (currently US$163.09/EUR146.27/GBP123.30 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$240) as this is my currency.

If you are interested in purchasing this curious scene of fisher folk that are seemingly unmoved and unhurried about a pending storm, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.