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

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

Claudine Bouzonnet Stella, “Abduction of Christ”, c. 1694

Claudine Bouzonnet Stella (also known as Claudia Bouzonnet-Stella) (1636–1697)
“Abduction of Christ”, c. 1694 (1690–1697)

Technical Details & Condition:
Engraving with etching on heavy buff laid paper, with deckle edges on three sides, and wide margins as issued. This is plate 10 from the series of 13—or arguably 14—plates (see BM inv. U,7.37), “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, after the intermediary design by Jacques Stella (1596–1657), and a painting of the same composition, previously attributed to Nicolas Poussin (1594–1665).

This is a richly inked, well-printed, and nearly faultless impression. Aside from minor marks and small tears along the edges, the sheet remains in excellent condition for its large size and age.

Dimensions:
• Sheet: 59.7 x 43.4 cm
• Platemark: 46.4 x 35.2 cm
• Image borderline: 43.8 x 34.5 cm

Lettering on Plate (below the image border):

• Left: “N. Poussin pinx.”
• Right: “Claudia Stella Sculp. / 10.”

References:

• British Museum: https://www.britishmuseum.org/collection/object/P_U-7-46
• Rijksmuseum: https://id.rijksmuseum.nl/200259037
• See the Curator of the British Museum’s comments about the series in which this print features: 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, 1856), “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations,” vol. 3, p. 589, cat. no. 7)
• Nagler 6 (G.K. Nagler, 1832–52), “Neues allgemeines Künstler-Lexicon,” vol. 17, p. 308, cat. no. 6)

Price & Shipping:
AU$314 (approximately US$220.99 / €189.36 / £164.94), including worldwide express shipping. Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this exceptional and large engraving with etching—created by one of the few historically documented female printmakers from 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