Daniel Hopfer’s etching, “The Blind Leading Fools to Swear by the Gold of the Temple”, c1520

Daniel Hopfer (1471–1536)

“The Blind Leading Fools to Swear by the Gold of the Temple”, c1520, fourth panel (upper-right) of eight panels, from the large composite etching, “The Seven Woes” (aka “Matthew 23.13ff” (aka “Les vices que Jésus Christ reproche aux scribes et aux pharisiens …” [The vices that Jesus Christ reproaches the scribes and the Pharisees …]), c1520, published by David Funck (fl.1682–1709) in Nuremberg in “Opera Hopferiana.”

Although this panel is one of the eight panels of the composite etching “seven woes” (i.e. vices) that Christ reproached the “scribes and the Pharisees” in his teachings, the inconsistency between the number of panels in the composite etching (8) and the numbers of woes (7) may be explained by variation in the number of woes cited in the Gospels (viz. Matthew has eight woes—Mathew 23, verses 13 to 16, 23, 25, 27 and 29—and these are illustrated in the composite print, whereas Luke has only six woes).

Regarding the publication of the Hopfer’s etchings, Robert A Koch (1981) in vol., 7 of TIB advises in his editor’s note: “In the 17th century a Nuremberg publisher named David Funck numbered 230 of [… Hopfer’s] plates and issued a volume entitled ‘Opera Hopferiana.’ In 1802 a publisher named C. Wilhelm Silberberg in Frankfurt-am-Main reissued 92 plates with the Funck numbers in a volume which he also entitled ‘Opera Hopferiana.’ These plates were printed on unnumbered pages of a heavy wove paper.” Mindful of the two editions, as this impression is on early laid paper it is from Funck's 17th century edition.

Regarding the collector’s stamp, this mark is presumably from the important sale of Schultze’s collection in Munich (7-15 February, 1901), as detailed by Frits Lugt (2002), including (transl.) “a Cranach, Dürer (‘Saint Jerome in his Cell’ 1200 M., ‘The Triumphal Chariot of Maximilian’ 1600 M.), van Meckenen (‘The Virgin and Child, Saint Bernard and Saint Catherine’ 1750 M.), Master E. S., ‘Christ on the Cross’ 4650 M. (highest price of the sale, at the Berlin Cabinet), Schongauer (‘The Man of Sorrows’ 2200 M.), Zwott (‘The Adoration of the Kings’, 2000 M.) …” (p. 159).

Iron etching on laid paper trimmed with a small margin around the borderline and stamped in violet ink verso with the monogram of Ed. Schultze (Lugt 906 [violet]).

Size: (sheet) 13.9 x 9.7 cm; (image borderline) 12.8 x 9.1 cm.

Inscribed in plate at upper centre with the passage from Matthew 23:16–17 (NIV transl.) “Woe to you, blind guides! You say, ‘If anyone swears by the temple, it means nothing; but anyone who swears by the gold of the temple is bound by that oath.’ You blind fools! Which is greater: the gold, or the temple that makes the gold sacred?” (https://www.biblegateway.com/passage/?search=Matthew%2023%3A16-17&version=NIV )

TIB 17.31 (481) (Robert A. Koch 1981, “The Illustrated Bartsch: Early German Masters”, vol., 17, New York, Abaris Books, p. 109, cat. no. 31 [181]); Hollstein 34.1; Bartsch VIII.481.

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_E-1-336.  

See also the following description by the British Museum of the composite print in which this panel features: “The seven woes; eight illustrations to Mathew 23, 13–31; with Christ showing the apostles the misdeeds of the [P]harisees, scribes and contemporary clerics” (https://www.britishmuseum.org/collection/object/P_1845-0809-1317).

Condition: a richly inked and well-printed impression trimmed with a small margin around the image borderline. There is a collector’s ink stamp and pencil notations of previous collectors (verso), otherwise the sheet is in an excellent (near pristine) condition for its considerable age.

I am selling this panel from a larger composite etching of eight panels by the first artist to use etching for prints on paper, for the total cost of AU$374 (currently US$259.15/EUR253.57/GBP215.99 at the time of this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this important old-master print, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Lambrecht Hopfer’s etching, “The Crucifixion”, c1530, after Dürer

Lambrecht Hopfer (aka Lambert Hopfer) (fl.c1525–1550)

“The Crucifixion” (TIB title) (aka “Jésus Christ attaché à la Croix”), c1530, from the series of fifteen plates, “Passion of Christ”, after Albrecht Dürer’s (aka Albrecht Duerer) (1471–1528) engraving in the same direction executed in 1507, with Hopfer’s monogram and with the Funck number, 182, inscribed by the publisher, David Funck (fl.1682–1709), at the lower centre.

Etching from an iron plate with pale plate tone on laid paper with watermark and small margins.

Size: (sheet) 18.2 x 13 cm; (plate) 13.8 x 9 cm.

Inscribed in plate with the artist’s monogram on tablet at lower right and the Funck number, “182”, at lower centre.

State ii (of ii) with the addition of the Funck number.

TIB 17(8).12(527) (Walter L Strauss & Robert A Koch [Eds.] 1981, “The Illustrated Bartsch”, vol. 17, p. 283, cat. no. 12 [527]); Hollstein 12.II (Hollstein, F W H, “German engravings, etchings and woodcuts c.1400-1700”, Amsterdam, 1954); Bartsch VIII.527.12 (Bartsch, Adam, “Le Peintre graveur”, 21 vols, Vienna, 1803).

The British Museum offers the following description of this print: “The Crucifixion; after Dürer (Meder 13); Christ on the cross at centre; the Virgin at left, two Maries behind her; St John standing at left, a soldier behind him; from a series of fifteen etchings after Dürer's Small Passion. Etching” (https://www.britishmuseum.org/collection/object/P_1845-0809-1514).

Condition: a strong and well-printed impression with small margins (approx. 2 cm) in superb (museum quality) condition with no tears, holes, folds, abrasions, significant stains (there is a pale mark on upper margin), foxing or signs of handling.

I am selling this remarkably strong image from the son of the acclaimed first printmaker to create an etching (Daniel Hopfer), for a total cost of AU$498 (currently US$335.17/EUR334.30/GBP283.47 at the time of this listing) including postage and handling to anywhere in the world.

If you wish to purchase this rare print in superb condition from the Renaissance era, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold 

Daniel Hopfer’s etching, “The Pharisees Blocking the Entrance to the Kingdom of Heaven”, c1520

Daniel Hopfer (1471–1536)

“The Pharisees Blocking the Entrance to the Kingdom of Heaven”, c1520, first panel (upper-left) of eight panels, from the large composite etching, “The Seven Woes” (aka “Matthew 23.13ff” (aka “Les vices que Jésus Christ reproche aux scribes et aux pharisiens …” [The vices that Jesus Christ reproaches the scribes and the Pharisees …]), c1520, published by David Funck (fl.1682–1709) in Nuremberg in “Opera Hopferiana.”

Although this panel is one of the eight panels of the composite etching “seven woes” (i.e. vices) that Christ reproached the “scribes and the Pharisees” in his teachings, the inconsistency between the number of panels in the composite etching (8) and the numbers of woes (7) may be explained by variation in the number of woes cited in the Gospels (viz. Matthew has eight woes—Mathew 23, verses 13 to 16, 23, 25, 27 and 29—and these are illustrated in the composite print, whereas Luke has only six woes).

Regarding the publication of the Hopfer’s etchings, Robert A Koch (1981) in vol., 7 of TIB advises in his editor’s note: “In the 17th century a Nuremberg publisher named David Funck numbered 230 of [… Hopfer’s] plates and issued a volume entitled ‘Opera Hopferiana.’ In 1802 a publisher named C. Wilhelm Silberberg in Frankfurt-am-Main reissued 92 plates with the Funck numbers in a volume which he also entitled ‘Opera Hopferiana.’ These plates were printed on unnumbered pages of a heavy wove paper.” Mindful of the two editions, as this impression is on early laid paper it is from Funck's 17th century edition.

Iron etching on laid paper trimmed with a small margin around the borderline and stamped in violet ink verso with the monogram of Ed. Schultze (Lugt 906 [violet]).

Regarding the collector’s stamp, this mark is presumably from the important sale of Schultze’s collection in Munich (7-15 February, 1901), as detailed by Frits Lugt (2002), including (transl.) “a Cranach, Dürer (‘Saint Jerome in his Cell’ 1200 M., ‘The Triumphal Chariot of Maximilian’ 1600 M.), van Meckenen (‘The Virgin and Child, Saint Bernard and Saint Catherine’ 1750 M.), Master E. S., ‘Christ on the Cross’ 4650 M. (highest price of the sale, at the Berlin Cabinet), Schongauer (‘The Man of Sorrows’ 2200 M.), Zwott (‘The Adoration of the Kings’, 2000 M.) …” (p. 159).

Size: (sheet) 13.4 x 10.6 cm; (image borderline) 12.6 x 9.8 cm.

Inscribed in plate at upper centre with the passage from Matthew 23:13 (NIV transl.) “Woe to you, teachers of the law and Pharisees, you hypocrites! You shut the door of the kingdom of heaven in people’s faces. You yourselves do not enter, nor will you let those enter who are trying to.” (https://www.biblegateway.com/passage/?search=Matthew%2023%3A13-31&version=NIV)

TIB 17.31 (481) (Robert A. Koch 1981, “The Illustrated Bartsch: Early German Masters”, vol., 17, New York, Abaris Books, p. 109, cat. no. 31 [181]); Hollstein 34.1; Bartsch VIII.481.

The British Museum offers the following description of this print: “The pharisees blocking the entrance to the kingdom of heaven; first scene only of eight illustrations to Mathew 23, 13-31./ Etching” (https://www.britishmuseum.org/collection/object/P_E-1-333).

The British Museum offers the following description of the composite print in which this panel features:

“The seven woes; eight illustrations to Mathew 23, 13-31; with Christ showing the apostles the misdeeds of the pharisees, scribes and contemporary clerics” (https://www.britishmuseum.org/collection/object/P_1845-0809-1317).

Condition: a richly inked, strong and well-printed impression trimmed with a small margin around the image borderline. There are minor surface marks, pin holes at upper left, a collector’s ink stamp and pencil notations of previous collectors (verso), otherwise the sheet is in a very good condition for its considerable age.

I am selling this panel from a larger composite etching of eight panels by the first artist to use etching for prints on paper, for the total cost of AU$374 (currently US$276.69/EUR255.83/GBP211.82 at the time of this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this important old-master print, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Daniel Hopfer’s etching, “The Pharisees Eating the Houses of Widows”, c1520

Daniel Hopfer (1471–1536)

“The Pharisees Eating the Houses of Widows” (British Museum’s descriptive title, see BM inv. no. E,1.335), c1520, second panel (upper-left of centre) of eight panels, from the large composite etching, “The Seven Woes” or “Matthew 23.13ff” (Bartsch title) (aka “Les vices que Jésus Christ reproche aux scribes et aux pharisiens …” [The vices that Jesus Christ reproaches the scribes and the Pharisees …]), c1520, published by David Funck (fl.1682–1709) in Nuremberg in “Opera Hopferiana.”

Although this panel is one of the eight panels of the composite etching “seven woes” (i.e. vices) that Christ reproached the “scribes and the Pharisees” in his teachings, the inconsistency between the number of panels in the composite etching (8) and the numbers of woes (7) may be explained by variation in the number of woes cited in the Gospels (viz. Matthew has eight woes—Mathew 23, verses 13 to 16, 23, 25, 27 and 29—and these are illustrated in the composite print, whereas Luke has only six woes).

Regarding the publication of the Hopfer’s etchings, Robert A Koch (1981) in Vol. 7 of TIB advises in his editor’s note: “In the 17th century a Nuremberg publisher named David Funck numbered 230 of [… Hopfer’s] plates and issued a volume entitled ‘Opera Hopferiana.’ In 1802 a publisher named C. Wilhelm Silberberg in Frankfurt-am-Main reissued 92 plates with the Funck numbers in a volume which he also entitled ‘Opera Hopferiana.’ These plates were printed on unnumbered pages of a heavy wove paper.” Mindful of the two editions, as this impression is on early laid paper it is from Funck's 17th century edition.

Iron etching on laid paper trimmed with a small margin around the borderline (retaining a portion of the letter “D” [for Daniel Hopfer] at lower right corner) and stamped in ink verso with a collector’s monogram.

Size: (sheet) 13.4 x 9.4 cm; (image borderline) 12.5 x 8.8 cm

Signed on plate below image borderline with a partially trimmed monogram at lower right and inscribed within the image borderline with the corresponding passage from Matthew 23.

I understand the second “woe”, illustrated in this panel, aligns with verse 14 which is often deleted (see for example NIV Matthew 23:14 [https://www.biblegateway.com/passage/?search=Matthew%2023%3A13-31&version=NIV]). Bible Hub offers the following explanation: “Ye devour widows' houses.--The avarice thus described may have attained its end either (1) by using the advantages which they possessed, as the jurists and notaries of the time, to press unjust claims against wealthy widows, or to become their heirs, or (2) by leading devout women, under the show of piety, to bestow on them their estates or houses (see Ellicott's Commentary for English Readers  https://biblehub.com/matthew/23-14.htm).

Hollstein 34.I; Bartsch (1803) VIII.481.31; TIB (1981) 17.31; Eyssen 32.

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_E-1-335.

The British Museum offers the following description of the composite print in which this panel features:

“The seven woes; eight illustrations to Mathew 23, 13-31; with Christ showing the apostles the misdeeds of the pharisees, scribes and contemporary clerics”

(https://www.britishmuseum.org/collection/object/P_1845-0809-1317).

Condition: richly inked, strong and well-printed impression trimmed with a small margin around the image borderline. There is an ink stamp and pencil notations of previous collectors (verso) otherwise the sheet is in an excellent/near faultless condition for its considerable age.

I am selling this panel from a larger composite etching of eight panels by the first artist to use etching for prints on paper, for the total cost of AU$374 (currently US$272.39/EUR234.17/GBP200.28 at the time of this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this important old-master print, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Daniel Hopfer’s etching, “The blind cleaning the outside of the dish”, c.1520

Daniel Hopfer (1471–1536)

“The blind cleaning the outside of the dish” (British Museum’s descriptive title, see BM no. E,1.334), c.1520, sixth panel (lower-left of centre) of eight panels, from the large composite etching, “The Seven Woes” or “Matthew 23.13ff” (Bartsch title) (aka “Les vices que Jésus Christ reproche aux scribes et aux pharisiens …” [The vices that Jesus Christ reproaches the scribes and the Pharisees …]), c.1520, published by David Funck (fl.1682–1709) in Nuremberg in “Opera Hopferiana.”

Although this panel is one of the eight panels of the composite etching “seven woes” (i.e. vices) that Christ reproached the “scribes and the Pharisees” in his teachings, the inconsistency between the number of panels in the composite etching (8) and the numbers of woes (7) may be explained by variation in the number of woes cited in the Gospels (viz. Matthew has eight woes—Mathew 23, verses 13 to 16, 23, 25, 27 and 29—and these are illustrated in the composite print, whereas Luke has only six woes).

Regarding this particular woe, Matt. 23:25–26 gives the following explanation:

“They presented an appearance of being ‘clean’ (self-restrained, not involved in carnal matters), yet they were dirty inside: they seethed with hidden worldly desires, carnality. They were full of greed and self-indulgence.”

Regarding the publication of the Hopfer’s etchings, Robert A Koch (1981) in Vol. 7 of TIB advises in his editor’s note: “In the 17th century a Nuremberg publisher named David Funck numbered 230 of [… Hopfer’s] plates and issued a volume entitled ‘Opera Hopferiana.’ In 1802 a publisher named C. Wilhelm Silberberg in Frankfurt-am-Main reissued 92 plates with the Funck numbers in a volume which he also entitled ‘Opera Hopferiana.’ These plates were printed on unnumbered pages of a heavy wove paper.” Mindful of the two editions, as this impression is on early laid paper it is from Funck's 17th century edition.

Iron etching on laid paper trimmed with a small margin around the borderline (retaining a portion of the letter “D” [for Daniel Hopfer] at upper left corner) and stamped in ink verso with a collector’s monogram.

Size: (sheet) 14 x 9.6 cm; (image borderline) 13.2 x 9 cm

Signed on plate below image borderline with a partially trimmed monogram at upper left and inscribed within the image borderline with the corresponding passage from Matthew 23.

Hollstein 34.I; Bartsch (1803) VIII.481.31; TIB (1981) 17.31; Eyssen 32.

The British Museum offers a description of this print:

https://www.britishmuseum.org/collection/object/P_E-1-334.

The British Museum offers the following description of the composite print in which this panel features:

“The seven woes; eight illustrations to Mathew 23, 13-31; with Christ showing the apostles the misdeeds of the pharisees, scribes and contemporary clerics”

(https://www.britishmuseum.org/collection/object/P_1845-0809-1317).

Condition: richly inked and crisp impression trimmed with a small margin around the image borderline. There is a pencilled “6” on the lower right corner (recto), an ink stamp of a previous collector and remnants of mounting (verso) otherwise the sheet is in an excellent/near faultless condition for its considerable age.

I am selling this panel from a larger composite etching of eight panels by the first artist to use etching for prints on paper, for the total cost of AU$374 (currently US$240.08/EUR221.96/GBP198.01 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this important old-master print, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold