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.

Anders Zorn, “Lavards Anders”, 1919

Anders Zorn (also known as Anders Leonard Zorn) (1860–1920)

“Lavards Anders” (also known as “Dalecarlian Peasant [Lavards Anders])”— portrait of a peasant from Dalecarlia, Zorn's native provincial region in Sweden, 1919

Commentary on the Subject:

The Museum of New Zealand (Te Papa Tongarewa) offers a compelling insight into this portrait: “This small but powerful etching is both a portrait and a 'type': meet Lavards Anders, a peasant of Delacarlia, the provincial region of Sweden where Anders Zorn grew up - in poverty - and returned to - in triumph and fame. The peasant is elderly; we sense that he has seen much and has suffered not a little. In another guise or mood, his splendid mutton-chop whiskers and fur hat would look endearing, even comical. Not so here: he stares balefully straight at Zorn - and at us. Zorn is depicting death. Within a year, he himself would die prematurely, overweight, and allegedly alcoholic and syphilitic. The considerably older peasant will outlive him, and he knows it. There is no room for symbolist ethereality, charm or beauty in this etching, which shows no diminution in Zorn's powers” (https://collections.tepapa.govt.nz/object/36798).

Technical Details & Condition:

An etching printed on fine buff-coloured laid paper, signed in pencil by the artist at the lower right. The impression is strong, crisp, and evenly printed. Aside from minor toning around the image, the sheet remains in excellent condition—free of tears, holes, abrasions, or significant stains.

Dimensions:

• Sheet: 37.5 x 26.2 cm
• Platemark: 15.4 x 11.4 cm

In-Plate Lettering:

• Upper-left: “LAV[A]RDS ANDERS”
• Lower-left: [Artist’s monogram] “Zorn”

References:

• Asplund 283; Hjert & Hjert 168; Lidbeck ZG 283
• Museum of New Zealand (Te Papa Tongarewa): Registration Number 1952-0003-182
• Art Institute of Chicago: Reference Number 1971.908 (https://www.artic.edu/artworks/37857/dalecarlian-peasant-lavards-anders)

Price & Shipping:

AU$662 (approx. US$459.05 / €402.45 / £343.03), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this rare pencil-signed etching, 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

Théophile Chauvel, “À Samois près Valvins”, 1874

Théophile Chauvel (aka Théophile Narcisse Chauvel) (1831–1909)

Authorship Discrepancies:

Note that Henri Beraldi (1886), in his catalogue raisonné of Chauvel’s prints, lists this print as by Théophile Chauvel (see p. 148, cat. no. 33). In the lettered and published state of this print, the artist is shown as Théophile Chauvel. The British Museum catalogues this print as by C. Chauvel (1875–1907; active 1882–1907 according to Engen) and describes it as: “Plate 7: landscape with trees against hedgerow(?), shepherdess seen with sheep in a field to the right; from a volume of four years of 'L'Eau-Forte'. c.1875” (https://www.britishmuseum.org/collection/object/P_1915-0105-14-38).

“À Samois près Valvins” (In Samois near Valvins), 1874

Commentary on the Title & Subject:

Beraldi (1886) provides an amusing anecdote regarding the title (translated): “Here, it's obvious the reader will raise an objection. Samois, they'll say, is located near the Fontainebleau Forest. Now, it's generally accepted that olive trees don't grow in the Fontainebleau Forest! Answer: This landscape is a view of the area around Montpellier. But a landscape worthy of respect could only have been painted in the Fontainebleau Forest or other such locations, which Montpellier is not. That's why Cadart insisted on naming this print: ‘At Samois near Valvins’.” (p. 148)

Technical Details & Condition:

Etching with drypoint on fine Japanese washi paper, professionally mounted to a secondary support sheet. This is an early proof state before the addition of lettering, in the fifth and final published state by Alfred Cadart’s widow (Vve Cadart), in “L'Eau-Forte en 1875” as plate number 7.

Archive.org provides access to this publication, which features the context of this print and Philippe Burty’s accompanying discussion: https://gallica.bnf.fr/ark:/12148/btv1b8527610g/f23.item.

The impression is strong, crisp, and evenly printed—a faultless artist’s proof. The sheet remains in near-pristine condition, free of tears, holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet: 25.4 x 20.2 cm
• Platemark: 22 x 15.8 cm
• Image borderline: 20.4 x 14.8 cm

In-Plate Lettering:

• Lower-left corner: “Ch. Chauvel 74”— interestingly, Beraldi (1886) only records the inscription as “Chauvel 74,” omitting the “Ch.” prefix.

References:

• Beraldi 33 (Henri Beraldi, “Les Graveurs Du Xixe Siecle:  Brascassat–Chéret”, vol. 4, 1886, Paris, Librairie L. Conquet, p. 148, cat. no. 33)
• IFF 28 (Jean Adhémar “Inventaire du Fonds Français après 1800: CABANE–CICÉRI”, vol. 4, 1949, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 421, cat. no. 28)
• British Museum: Museum Number 1915,0105.14.38

Price & Shipping:

AU$243 (approx. US$169.01 / €148 / £126.11), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this exceptionally fine proof impression of a poetically beautiful scene—depicting silhouetted trees, a shepherdess, and her flock in the distance—please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.