Lambrecht Hopfer’s etching, “Christ before Caiphas”, c1530, after Dürer

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

“Christ before Caiphas” (TIB title) (aka “Jésus Christ Caiphe”; “Christus voor Kajafas”), c1530 (BM: 1520–1550), 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 1512 (see https://www.metmuseum.org/art/collection/search/391356), with Hopfer’s monogram and with the Funck number, 177, 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 partial watermark.

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

Inscribed in plate with the artist’s monogram on tablet at upper centre and the Funck number, “177”, at lower left-of-centre.

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

TIB 17 (8).5 (527) (Walter L Strauss & Robert A Koch [Eds.] 1981, “The Illustrated Bartsch”, vol. 17, p. 275, cat. no. 5 [527]); Hollstein 6.II (Tilman Falk [Ed.] 1986, “German engravings, etchings and woodcuts c.1400–1700: Lambert Hopfer to Sebastian Jenet”, vol. 15A, Blaricum, A.L. van Gendt, p. 14, cat. no. 5).

The British Museum offers the following description of this print: “Christ before Caiaphas; after Dürer (Meder 6); Christ surrounded by soldiers at left; standing in front of Caiaphas seated at right; from a series of fifteen etchings after Dürer's Small Passion. Etching” (https://www.britishmuseum.org/collection/object/P_1845-0809-1508\ ).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.125367.

Condition: a strong and well-printed impression with good margins (approx. 2 cm) in superb (museum quality) condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this remarkable etching from the early 1500s from the son of the acclaimed first printmaker to create an etching (Daniel Hopfer) showing Caiphas tearing his clothes in the trial of Christ, for a total cost of AU$498 (currently US$336.21/EUR322.53/GBP278.28 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

Lambrecht Hopfer’s etching, “Christ before Pilate”, c1530, after Dürer

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

“Christ before Pilate” (TIB title) (aka “Jésus Christ amené à Pilate”), c1530 (BM: 1520–1550), 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 1512 (see https://www.metmuseum.org/art/collection/search/391367), with Hopfer’s monogram and with the Funck number, 196, 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 partial watermark and faded (almost illegible) ink annotations from a previous collector in the lower margin.

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

Inscribed in plate with the artist’s monogram at lower right corner and the Funck number, “196”, at lower right of centre.

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

TIB 17 (8).6 (527) (Walter L Strauss & Robert A Koch [Eds.] 1981, “The Illustrated Bartsch”, vol. 17, p. 276, cat. no. 6 [527]); Hollstein 6.II (Tilman Falk [Ed.] 1986, “German engravings, etchings and woodcuts c.1400–1700: Lambert Hopfer to Sebastian Jenet”, vol. 15, Blaricum, A.L. van Gendt, p. 15, cat. no. 6); Bartsch VIII.527.6 (Adam Bartsch 1803, “Le Peintre graveur”, vol. 8, Vienna, cat. no. 527.6).

The British Museum offers the following description of this print: “Christ before Pilate; after Dürer (Meder 7); Christ standing in a passage way at left surrounded by soldiers; Pilate at right next to a column; from a series of fifteen etchings after Dürer's Small Passion. Etching” (https://www.britishmuseum.org/collection/object/P_1845-0809-1507).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.125368.

Condition: a strong and well-printed impression with good margins (approx. 2 cm) in superb (museum quality) condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this remarkable etching from the early 1500s from the son of the acclaimed first printmaker to create an etching (Daniel Hopfer), for a total cost of AU$498 (currently US$325.32/EUR335.63/GBP299.65 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 

 

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 

Lambrecht Hopfer’s etching, “The Descent from the Cross”, c1530, after Dürer

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

“The Descent from the Cross” (TIB title) (aka “La descente de Croix”; “The Lamentation”), 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, 183, inscribed by the publisher, David Funck (fl.1682–1709), at the lower right corner.

Etching from an iron plate with pale plate tone on laid paper with the Funk number (183) and small margins.

Size: (sheet) 18 x 12 cm; (plate) 13.7 x 18.5 cm.

Inscribed in plate with the artist’s monogram on a tablet at lower left and the Funck number, “183”, at lower right.

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

TIB 17(8).13(527) (Walter L Strauss & Robert A Koch [Eds.] 1981, “The Illustrated Bartsch”, vol. 17, p. 284, cat. no. 15 [527]); Hollstein 13.II (Hollstein, F W H, “German engravings, etchings and woodcuts c.1400-1700”, Amsterdam, 1954); Bartsch VIII.527.13 (Bartsch, Adam, “Le Peintre graveur”, 21 vols, Vienna, 1803).

The British Museum offers the following description of this print: “The Lamentation; after Dürer (Meder 14); St John placing the body of Christ on the ground; the Virgin kneeling at right, weeping; Mary Magdalene standing behind the Virgin with her arms raised; at far right Nicodemus and Joseph of Arimathaea approaching with ointment jars; from a series of fifteen etchings after Dürer's Small Passion. Etching” (https://www.britishmuseum.org/collection/object/P_1845-0809-1515).

Condition: a strong and well-printed impression with small margins (approx. 1.7 cm) in superb (museum quality) condition with no tears, holes, folds, abrasions, stains, 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$453 (currently US$321.49/EUR281.08/GBP237.52 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 (near pristine) 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

Lambrecht Hopfer’s etching, “Bearing of the Cross”, c.1530, after Durer

Lambrecht Hopfer (aka Lambert Hopfer) (active c.1525–50)

“The Bearing of the Cross”, c.1530 (BM c.1520–50), plate 9 after Albrecht Dürer’s (1471–1528) engraving from the “Small Passion” series (Meder 12; Schoch/Mende/Scherbaum 54)

Etching on laid paper with Funk number (181)

Size: (sheet) 16.1 x 10 cm; (plate) 15.1 x 8.6 cm

Incised with the Funck number “181” (certifying that this was from the early 17th century David Funck, Nuremberg, edition) at the lower left and with the artist’s monogram on a tablet at the upper right corner.

The British Museum offers the following description of this print:

“Christ carrying the cross; after Dürer (Meder 12); Christ at centre; a henchman urging him on by pulling his cloak; soldiers in background; Simon of Cyrene kneeling in left foreground and the Virgin and St Veronica following the Cross at left; from a series of fifteen etchings after Dürer's Small Passion.” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1521072&partId=1&searchText=hopfer++cross&page=1)

TIB 17(8).11(527) (Walter L Strauss & Robert A Koch [Eds.] 1981, “The Illustrated Bartsch”, vol. 17, p. 282); Hollstein 11.I (Hollstein, F W H, “German engravings, etchings and woodcuts c.1400-1700”, Amsterdam, 1954); Bartsch VIII.527.11 (Bartsch, Adam, “Le Peintre graveur”, 21 vols, Vienna, 1803)

Condition: good impression from a slightly worn iron etching plate with small margins. The sheet is in good condition (i.e. there are no tears, holes, abrasions, stains, folds or foxing) with remnants of mounting (verso).

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$319 (currently US$240.65/EUR214.50/GBP189.55 at the time of this listing) including postage and handling to anywhere in the world.

If you wish to purchase this rare print 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

Lambrecht Hopfer’s etching after Albrecht Dürer, “The Flagellation”

Lambrecht Hopfer (aka Lambert Hopfer) (active c.1525–50)

“The Flagellation”, c.1530 (BM c.1520–50), after Albrecht Dürer (1471–1528) engraving from the “Small Passion” series

Etching on fine laid paper printed in a brown-black ink with small margins and stamped (verso) with the collector’s mark “Graphischen Sammlung Muchen’ (Lugt 1614)

Size: (sheet) 15 x 9.8 cm; (plate) 13.9 x 8.8 cm

Incised with the Funck number “197” (certifying that this was from the early 17^th century David Funck, Nuremberg, edition) at the lower left and with the artist’s monogram on a tablet at the upper right corner.

The British Museum offers the following description of this print:

“The Flagellation; after Dürer (Meder 8); Christ tied to the column at centre, facing left; two henchmen armed with a scourge and bundle of twigs at left and r; from a series of fifteen etchings after Dürer's Small Passion.” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1521076&partId=1&searchText=Hopfer&page=3)

Hollstein 7.I (Hollstein, F W H, “German engravings, etchings and woodcuts c.1400-1700”, Amsterdam, 1954); Bartsch VIII.527.7 (Bartsch, Adam, “Le Peintre graveur”, 21 vols, Vienna, 1803)

Condition: a superb, richly inked and crisp impression with small margins. This is a print of the utmost rarity and in near faultless condition (i.e. there are no tears, holes, abrasions, stains, folds or foxing). There is a collector’s stamp “Graphischen Sammlung Muchen’ (Lugt 1614) and other collectors’ notations (verso).

I am selling this remarkable print from the son of the acclaimed first printmaker to create an etching (Daniel Hopfer), for a total cost of AU$676 (currently US$501.48/EUR472.05/GBP403.57 at the time of this listing) including postage and handling to anywhere in the world.

If you wish to purchase this stunningly beautiful and rare print 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

Seldom do rare prints like this one come onto the market.

Even rarer is to find an impression that is virtually faultless, in terms having no stains, abrasions, tears, losses, worm holes, folds, or foxing. Even more outstanding is that the line work in this impression is crisp with very little wear. This crispness to the line work is surprising when considering that this print is from an iron plate and that iron plates rust and this corrosion will feature in later prints.

Beyond the superbly fresh condition of this impression, what makes the print rare from a historical standpoint is that it is one of the first etchings ever made—mindful that Lambrecht is the son of Daniel Hopfer who history accredits with having made the first iron etching. What is also fascinating is that it reproduces a fellow contemporary printmaker’s engraving from the time: the grand master, Albrecht Dürer.