Who painted Coat of Arms of Lorenz Staiber?

Coat of Arms of Lorenz Staiber was painted by Albrecht Dürer in 1520.

Where can I see Coat of Arms of Lorenz Staiber?

Coat of Arms of Lorenz Staiber is held by National Gallery of Art.

What movement is Coat of Arms of Lorenz Staiber?

Coat of Arms of Lorenz Staiber is associated with Northern Renaissance.

Artwork

Coat of Arms of Lorenz Staiber

Albrecht Dürer , 1520

Coat of Arms of Lorenz Staiber is an ink print by the Northern Renaissance artist Albrecht Dürer. It dates from 1520 and is held in the collection of the National Gallery of Art.

About this work

Overview

Albrecht Dürer’s woodcut titled “Coat of Arms of Lorenz Stauda” dates from around 1520. Executed as a black‑and‑white print, it presents a heraldic composition that combines ornamental motifs with a central shield bearing animal figures. The work exemplifies Dürer’s engagement with graphic design for civic and private commissions during the early sixteenth century.

Subject & Meaning

The central shield displays a lion and a dog, traditional symbols of courage and loyalty in heraldry. Above the shield, a stylised lion’s head crowns the design, reinforcing the theme of noble authority. The surrounding scrollwork and decorative swirls frame the arms, underscoring the formal nature of the emblem as a representation of Lorenz Stauda’s familial identity.

Technique & Style

Created with the woodcut method, Dürer incised the image onto a wooden block, allowing for crisp linear contrasts that define the animal figures and ornamental details. The composition reflects the Northern Renaissance’s precise draftsmanship, with a balanced arrangement of negative space and intricate line work that conveys both clarity and decorative richness.

History & Provenance

The print was produced for the Stauda family, a German lineage active in the early 1500s. Although the original block no longer survives, surviving impressions are held in several European print collections, documenting Dürer’s role as a designer of personal heraldic devices as well as his more widely known religious and mythological subjects.

Context

Heraldic prints were common in the Renaissance, serving both as markers of status and as portable representations of lineage. Dürer’s involvement in such a commission illustrates the period’s blending of fine art and practical graphic work, where master artists supplied designs for legal, ceremonial, and decorative purposes.