Prints, drawings, and museum records · c. 1470–1600
Dated images of Landsknechte and related military and civilian subjects, organized by artist or workshop.
Entries link directly to museum objects, digitized catalogue pages, or institutional collection records. Swiss Reisläufer, later copies, battle scenes, and civilian dress are labeled so they are not mistaken for direct Landsknecht evidence.
Albrecht Dürer archive
Search 408 images listed in Wikipedia's Dürer woodcut catalogue. Entries retain dates, series, catalogue numbers, attribution cautions, Wikimedia Commons records, original scans, and rights information.
Research names and catalogue terms
These are the principal named makers for Landsknecht, mercenary, Tross, and closely related military imagery represented in the Sourcebook. Each entry opens an institutional object, collection biography, or digitized catalogue page.
In sixteenth-century woodcuts, the artist who designed the image and the Formschneider who cut the block could be different people. Many cutters remain unrecorded, so “woodcut by” should not automatically be read as “block cut by.” “Kampfrau” is retained as a modern search term; individual records use the source’s more specific identification, such as wife, woman, sutler, or camp follower.
Painter, draughtsman, print designer, engraver
Dürer’s engravings, drawings, and woodcut designs established some of the best-known early images of Landsknechte, including soldiers paired with mounted women and with Death. Woodcuts bearing his designs were often cut by specialist Formschneider rather than by Dürer himself.
The Met: Knight on Horseback and LandsknechtPainter and designer of woodcuts
A leading Augsburg artist for Emperor Maximilian I. Burgkmair designed large imperial print projects and military scenes whose infantry, camps, banners, armour, and clothing provide unusually broad visual context for the Landsknecht period.
National Gallery of Art: The Battle of PaduaGoldsmith, draughtsman, printmaker, mercenary
Graf’s first-hand experience as a Swiss mercenary informs vigorous images of soldiers, women, violence, camp society, and moral disorder. His Swiss subjects are comparative Reisläufer evidence unless a record explicitly identifies a German Landsknecht.
National Gallery of Art: Two Mercenaries and a WomanPainter and designer of woodcuts
Schäufelein produced numerous standing Landsknechte, standard-bearers, and military figures. His strong silhouettes and carefully described dress make his prints central visual sources; surviving records sometimes identify the block cutter separately.
British Museum: Landsknecht standard-bearerArmour etcher and printmaker
Hopfer pioneered printed etching in Augsburg after working as an armour decorator. His etched soldier groups—technically not woodcuts—record weapons, postures, dress, and social performance with exceptional breadth.
Art Institute of Chicago: Five German SoldiersDraughtsman, etcher, and designer of woodcuts
Working later in the sixteenth century, Amman supplied prolific book and broadside designs. His soldiers, officers, occupations, and illustrations for military books are especially useful for later Landsknecht, camp, and institutional context.
British Museum: Fronsperger’s Kriegsbuch illustrationsPainter and designer of woodcuts
A major Nuremberg print designer whose single figures and marching series include named soldiers, officers, gunners, and Landsknecht formations. Older catalogues sometimes confused his designs with those of Peter Flötner.
Museums of Nuremberg: A Lansquenet LeaderPainter and designer of woodcuts
Stör’s long processions and figure sheets record musicians, standards, firearms, two-handed swords, halberds, officers, common troops, and women associated with soldiers. They are particularly valuable for studying the visual organization of the marching community.
Heidelberg: Ein Soldatenzug in GeisbergPainter and designer of woodcuts
Breu’s Augsburg workshop contributed to imperial books, religious prints, and a large series of standing Landsknechte. Museum records show that some of these designs were cut by Jost de Negker.
British Museum: Landsknecht cleaning his firearmPainter and print designer
The younger Breu continued the Augsburg family workshop and designed standing soldier prints. Modern catalogues distinguish several of his Landsknechte from works formerly assigned to his father.
British Museum: Landsknecht seen from behindPainter, engraver, and print designer
One of the Nuremberg ‘Little Masters,’ Beham made compact engravings and woodcut designs of soldiers, peasant festivities, and social disorder. His standing Landsknechte and military musicians are valuable for dress and weapons.
British Museum: Landsknecht holding a spearPainter and engraver
Barthel Beham’s finely engraved standing soldiers belong to the same Nuremberg print culture as Landsknecht figure series. They offer close evidence for weapons, stance, and fashionable military dress even when the museum title uses the broader term foot soldier.
National Gallery of Art: Foot Soldier in Front of a TreeDraughtsman, engraver, and designer of woodcuts
Solis produced extensive series of military figures, including Landsknechte and a female sutler with a boy. His work is among the clearest later-sixteenth-century visual evidence for people provisioning and accompanying troops.
Rijksmuseum: Female Sutler and Boy with a Dead RoosterPainter and printmaker
Cranach’s Saxon workshop ranged across portraits, court culture, paintings, and prints. His paired Landsknecht and fashionable woman connects soldier imagery with courtship, dress, and gendered social presentation.
British Museum: Lansquenet and Lady Holding DaisiesPainter and designer of woodcuts
Beck designed much of Maximilian I’s Theuerdank and contributed to the imperial Triumphal Procession. His battle scenes provide detailed context for infantry formations, baggage, artillery, fortified landscapes, and campaign storytelling.
Cleveland Museum of Art: Battle Against the Blue CompanyPainter and engraver
A Westphalian Little Master known for precise engravings. His armed foot soldiers and genre scenes are useful comparative evidence; older print catalogues sometimes call figures Landsknechte where modern museums use broader titles.
The Met: Foot-Soldier with Fire-Pan and BucketPainter, draughtsman, and designer of woodcuts
A leading Danube School artist whose landscapes and figure designs include marching Landsknechte. His work joins close soldier observation to the terrain through which troops moved.
Heidelberg: Three Landsknechte on the MarchPainter, draughtsman, and print designer
The Bernese artist continued a family tradition shaped by Swiss military service and civic art. Woodcuts after his designs include explicitly catalogued Landsknecht figures, useful with the usual caution that Swiss and German mercenary identities are not interchangeable.
Rijksmuseum: Landsknecht after Manuel DeutschSculptor, designer, and printmaker
Flötner worked across sculpture, ornament, prints, and book design in Nuremberg. His name is important in Landsknecht cataloguing because several soldier designs once attributed to him are now assigned to Erhard Schön or Sebald Beham; attribution history must remain visible.
British Museum: Peter Flötner collection biographyPainter and designer of woodcuts
The ‘Petrarch Master’ was one of the period’s most inventive book illustrators. His crowded social scenes, occupations, urban life, and Maximilian-era commissions broaden the comparative record around soldiers and camp society, even where no figure is explicitly catalogued as a Landsknecht.
British Museum: Hans Weiditz collection biographyPainter, printmaker, publisher, and designer
Vogtherr worked in Augsburg, Strasbourg, Zürich, and Vienna, producing woodcuts, pattern books, maps, and soldier designs. His career links court art, publishing, armour, and the wider visual vocabulary used to represent sixteenth-century troops.
British Museum: Heinrich Vogtherr I collection biographyFormschneider (specialist block cutter) and printer
De Negker translated designs by Schäufelein, Burgkmair, the Breus, and others into printable woodblocks. Signed and catalogued Landsknecht sheets demonstrate why the cutter’s skilled execution should be credited separately from the designer.
British Museum: Schäufelein standard-bearer cut by de NegkerFormschneider (specialist block cutter)
Lützelburger was one of the finest cutters of the German Renaissance. The British Museum explicitly credits him with cutting Urs Graf’s Two Mercenaries and a Woman, making his role directly relevant to mercenary and camp-life imagery.
British Museum: Urs Graf woodcut cut by LützelburgerFormschneider, printer, and publisher
Andreae supervised and cut blocks for monumental Dürer and Maximilian projects. These imperial programs supply essential military, heraldic, and ceremonial context, while museum cataloguing separates his cutting from the artists’ designs.
The Met: Arch of Honor, block cutter creditedArtist / workshop
1525–1580 · Woodcut and letterpress
A named Landsknecht carrying a firearm.
Artist / workshop
16th century · Print
Whole-length Landsknecht holding a staff, cataloged as after Sebald Beham.
1750–1800; after a 16th-century original · Colour woodcut from two blocks
A later colour reprint copied from a sixteenth-century original; useful for reception and print-history study.
Artist / workshop
1485–1528 · Pen and brown ink with wash
A mounted knight accompanied by a Landsknecht; the museum identifies both figures in the title.
1510 · Woodcut
Death presents an hourglass to a richly dressed soldier carrying a polearm.
c. 1497 · Engraving
A mounted noblewoman and an infantryman in a private farewell scene.
Artist / workshop
1500–1600 · Engraving
Standing soldier holding a staff and drinking flask.
Artist / workshop
1520–1560; later manuscript copy · Illustrated costume book
A long visual sequence of one Augsburg man’s clothing; civilian evidence that should not be treated automatically as soldier clothing.
Artist / workshop
Mid-16th century · Bronze candle-holder figures
Two German Landsknecht figures originally made to hold candles in their raised hands.
Artist / workshop
1524–1612 · Engraving and etching
Anonymous copy after a military figure by Virgilius Solis.
Artist / workshop
ca. 1515/1516 · Hand-colored single-sheet woodcut
A monumental Venetian print made soon after Marignano. It is direct campaign evidence, but the catalog does not identify every soldier by contingent, so the figures are not automatically labeled Landsknechte.
Artist / workshop
1535 · Woodcut in an illustrated book
The British Museum assigns fol. 143r to its group of 53 woodcuts attributed to Jörg Breu the Elder in Der Teütsch Cicero and the appended Memorial der Tugend.
Artist / workshop
1520 · Engraving
A standing armed foot soldier in contemporary German dress.
Artist / workshop
1505–1536 · Etching
Five armed German soldiers in varied poses and equipment.
Artist / workshop
1525–1542 · Woodcut and letterpress
Whole-length soldier from Unterwalden holding a lance; formerly attributed to Peter Flötner.
c. 1532 · Woodcut
The holding record identifies the design and execution as Erhard Schön and the subject as a Landsknecht leader.
Early 16th century · Single-leaf woodcut reproduced by Geisberg
Five halberdiers and five common soldiers from a marching Landsknecht army series.
Artist / workshop
1559 · Engraving
A bearded gunner beside a cannon, cannonballs, and a wooden chest.
Artist / workshop
Early 16th century · Drawing
A military encampment, troops, fortifications, and Padua.
Artist / workshop
Early 16th century · Pen and iron-gall ink
A public-domain drawing cataloged by the museum as a Landsknecht.
Early 16th century · Single-leaf woodcut reproduced by Geisberg
Two Landsknechte with spear and halberd; page-level link to Max Geisberg’s illustrated catalogue.
c. 1515 · Single-leaf woodcut reproduced by Geisberg
A standard-bearer between two Landsknechte; cataloged from the Erlangen University Library impression.
Artist / workshop
1529 · Engraving
The museum titles the figure a foot-soldier; historical print catalogues call the subject a Landsknecht with fire-pan.
1530 · Engraving
An armed soldier looks through a doorway at a monk and nun. This corrects a false link to British Museum 1848,0911.95, which is a Rembrandt etching rather than an Aldegrever impression.
Artist / workshop
16th century · Engravings; historical catalogue record
The 1925 Boerner catalogue records Landsknecht with Halberd and Death, Death and the Landsknecht, and Death Striking a Landsknecht. This is a discovery lead until a canonical museum object record is located.
Artist / workshop
c. 1525–1530 · Woodcut
Whole-length figure from a series of fifty Landsknecht woodcuts.
c. 1525–1530 · Woodcut
A working pose showing the soldier cleaning the barrel of his firearm.
c. 1525–1530; published c. 1580–1585 · Woodcut
Whole-length Landsknecht holding a hat and pole; cut by Jost de Negker.
Artist / workshop
1525–1547 · Woodcut
Rear-view figure holding a sword; formerly attributed to Jörg Breu I.
Artist / workshop
1580 · Woodcut
Anonymous printmaker after Amman’s design; also used in Kunstbüchlein, Frankfurt, 1580.
1573 · Woodcut title page
Military-book imagery printed by Martin Lechler and published by Sigmund Feierabend.
Artist / workshop
1512–1518 · Woodcut
A Weisskunig battle scene with infantry formations, pikes, banners, archers, and a fortified landscape.
Artist / workshop
1520 · Engraving
A dated German portrait providing clerical dress and portrait context from the classic Landsknecht period.
c. 1534–1537 · Oil on beech
A court portrait documenting elite male dress in Saxony.
c. 1504–1506 · Woodcut from two blocks on two sheets
Canonical museum record for Cranach’s paired Landsknecht and feathered lady; the soldier corresponds to Geisberg IX,27.
Artist / workshop
1533 · Oil on beech with letterpress labels
A posthumous Saxon electoral portrait with period court clothing and insignia.
Artist / workshop
1537 · Woodcut
A dated German male portrait woodcut useful for comparative clothing and headwear.
Artist / workshop
1547 · Woodcut
A public-domain woodcut explicitly cataloged as a Landsknecht.
Artist / workshop
c. 1520–1562 · Multi-sheet woodcut procession reproduced by Geisberg
A long soldier procession with musicians, a standard-bearer, gunners, common troops, a Feldwebel, two-handed swordsmen, and halberdiers.
Artist / workshop
16th century · Print
The museum record identifies the armed man as a Doppelsöldner and shows him with his wife.
Artist / workshop
c. 1525–1530; published c. 1580–1585 · Woodcut
Whole-length figure with spear, short sword, and wide feathered hat from the fifty-print series.
1520 · Etching
An armed German foot soldier in elaborate early-sixteenth-century dress.
Artist / workshop
1524 · Woodcut
Two armed mercenaries and a woman in a compact woodcut composition.
1521 · Woodcut
A Swiss standard-bearer; useful comparative Reisläufer evidence rather than an Imperial Landsknecht identification.
1521 · Woodcut
Swiss Confederation standard-bearers; comparative visual evidence for contemporary mercenary dress and insignia.
1513 or 1515 · Pen and black ink
The Morgan’s exhibition page connects Graf’s soldier imagery with his experience on military campaigns.
1524 · Woodcut
British Museum impression of Bartsch 16; the fallback image is the same design in the National Gallery of Art collection.
Artist / workshop
1524–1562 · Engraving and etching
One of eleven prints of military figures standing in landscapes.
1524–1562 · Engraving and etching
Part of a seven-print Landsknechte series.
1524–1562 · Engraving and etching
A second public-domain print from Solis’s seven-print Landsknechte series.
1524–1562 · Print
A market woman and boy from the military-figure series; evidence for the Tross and provisioning.
Artist / workshop
1515 · Single-leaf woodcut reproduced by Geisberg
Three Landsknechte on the march; Geisberg records the Basel public collection impression.
Reference catalogues
Max Geisberg was an art historian and cataloguer, not the original maker of the sixteenth-century woodcuts. His illustrated volumes remain standard references for artists, impressions, and holding collections.
Digitized illustrated catalogue of German single-leaf woodcuts; includes Hans Schäufelein’s Two Landsknechte.
Includes Schäufelein’s standard-bearer between two Landsknechte.
Begins Erhard Schön’s Landsknecht army-march series, including gunners and Doppelsöldner.
Includes Erhard Schön’s Landsknecht army-march series.
Part of the complete German single-leaf woodcut corpus.
Begins Niklas Stör’s extended soldier procession.
Continues Stör’s procession with gunners, a Feldwebel, Zweihänder, and halberdiers.
Includes Wolfgang Huber’s Three Landsknechte on the March.
Includes Albrecht Dürer’s Death and the Landsknecht.
Metropolitan Museum record for the 1930 Munich picture catalogue.
A broad museum subject node leading to additional Landsknecht and mercenary objects.
Collection search for individual British Museum object records; open each item’s image tab.