Design for an Ornament or Signet Ring with the Arms of Lazarus Spengler (1516)

Technique: Giclée quality print
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Welcome to our exhibition on the fascinating works of Albrecht Dürer, featuring the intriguing 1516 design: "Design for an Ornament or Signet Ring with the Arms of Lazarus Spengler." This delicate ink drawing, rendered with precision and grace, offers a glimpse into the personal commissions undertaken by Dürer, showcasing his skill beyond his more famous prints and paintings.The artwork displays a coat of arms encased within a circular border, suggesting its intended use as a signet ring design. At the center, the shield is ornately embellished with a stylized floral motif that contributes to the symbolic representation of Lazarus Spengler’s identity and his familial lineage. Above the shield, an elaborate helmet and mantling crown the design, adding a regal touch that was typical of heraldic art during the Renaissance period.Dürer’s mastery in creating intricate details is evident in the flowing lines and the precise decorations that surround the shield, enhancing the overall aesthetic while maintaining the clarity needed for a signet. This piece not only reflects the artistic trends of the 16th century but also serves as a personal marker of Spengler’s status and heritage.This drawing is an exquisite example of Albrecht Dürer's versatility and his ability to integrate artistry with functional objects.

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Christian paintings, woodcuts and landscapes by the German Renaissance master Albrecht Dürer (1471-1528). Dürer's pieces on Christian themes and allegory are considered to be the finest examples of the Northern Renaissance. One of Dürer's most famous works on Christ is his "Crucifixion" woodcut (1503). The piece demonstrates Dürer's mastery of the medium and deep understanding of Christian symbolism. The work depicts the crucifixion of Christ in a powerful and realistic manner, with an emphasis on the suffering and sacrifice of Christ. Dürer began his career as an apprentice in Nuremberg to the master craftsman Michael Wolgemut. He later became the founding member of the city's painters' guild and was an active member of humanist circles prominent in Nuremberg at the time.