The Lady Riding and the Landsknecht - Albrecht Dürer
Archival giclée
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Description
A detailed engraving by Albrecht Dürer depicting a noblewoman on horseback and a foot soldier, showcasing the artist's mastery of line and texture.
Albrecht Dürer produced this engraving during the late 1490s, a period when his mastery of the burin allowed for unprecedented detail in printmaking. The composition depicts a mounted noblewoman in fashionable attire, complete with a plumed hat, accompanied by a foot soldier, or Landsknecht. The soldier, dressed in the slashed garments characteristic of his profession, carries a long halberd and gazes upward toward the rider. Their interaction remains ambiguous, suggesting a narrative of courtly encounter or social contrast.
Dürer employs a sophisticated system of hatching and cross-hatching to define the textures of the horse's coat, the metallic sheen of the soldier's armour, and the soft folds of the woman's dress. The background features a distant castle perched upon a hill, a common motif in Dürer's early work that provides a sense of spatial depth. The artist's monogram, AD, appears clearly at the bottom centre, confirming his authorship of this early print.
This work demonstrates the technical precision that defined Dürer's career. By manipulating the copper plate with extreme control, he achieved a range of tonal values that mimic the depth of a painting. The figures are rendered with anatomical accuracy, while the surrounding environment is constructed through precise line work. This engraving offers a glimpse into the social hierarchies of the late fifteenth century, captured through the lens of a German master. It remains a significant example of early print culture, showing how Dürer elevated the medium of engraving to a fine art form.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
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- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Lady Riding and the Landsknecht - Albrecht Dürer
Artist Biography
Albrecht Durer
He was born in Nuremberg, the son of a Hungarian goldsmith. He trained as a goldsmith himself before apprenticing with the painter and printmaker Michael Wolgemut. The metalwork training gave him the manual precision that made his prints extraordinary. Melencolia I, Knight, Death and the Devil, and Saint Jerome in His Study, all made between 1513 and 1514, are among the finest engravings ever produced. The density of cross-hatching, the control of tonal gradation, the rendering of fur, feathers, and stone: these are virtuoso performances in a medium that most artists treated as reproductive.
He drew a rhinoceros from a description and a sketch sent by letter. He had never seen one. Dürer's Rhinoceros (1515) is anatomically wrong in several respects (the animal has an extra horn and armour plating) but it remained the standard European image of a rhinoceros for three centuries.
He was one of the first artists to paint self-portraits as a primary subject. The Self-Portrait at Twenty-Eight (1500) shows him facing the viewer directly, with long hair and a fur coat, in a pose traditionally reserved for Christ. It was either an act of supreme confidence or deliberate blasphemy. Probably both.
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