Editions
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The Annunciation
c. 1423/1424 · tempera (and possibly oil glazes) on panel · National Gallery of Art, Washington
For the Annunciation · 25 March
Sizes
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Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
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All editionsAbout this painting
A ray of gold lines comes down from the ceiling toward Our Lady, and a small book lies open in her lap, her fingers across some of the words. The National Gallery of Art transcribed the page: virgo concipiet et pariet filium, a virgin shall conceive and bear a son. It is Isaiah, coming true under her hand. Gabriel kneels with his arms crossed. Mary's head is bowed, her other hand at her breast. Fifteenth-century viewers knew three stages in her answer, startled, reflecting, submitting, and the Web Gallery of Art reads this pose as the second. Masolino da Panicale sets a blue arch scattered with stars between them. "Who having heard, was troubled at his saying and thought with herself what manner of salutation this should be." Heaven waits on her thought.
Sources: National Gallery of Art, Washington, 'The Annunciation', accession 1937.1.16, inscription section, read 2026-08-31 and 2026-09-01. · Isaiah 7:14-15, Vulgate and Douay-Rheims (Challoner). · National Gallery of Art, Washington, provenance entity 'Hugo Richard Charteris, 11th earl of Wemyss', listing and image description for The Annunciation, read 2026-08-31 and 2026-09-01. · Web Gallery of Art, 'The Annunciation by MASOLINO da Panicale', commentary. · National Gallery of Art, Washington, artist page 'Masolino da Panicale'. · Google Arts & Culture, National Gallery of Art record 'The Annunciation', details and provenance fields. · National Gallery of Art, Washington, 'The Annunciation', legacy object page, bibliography, read 2026-09-01.
Who having heard, was troubled at his saying and thought with herself what manner of salutation this should be.
Luke 1:29 · Douay-Rheims (Challoner)
The Record
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
| Artist | Masolino da Panicale (Florentine, c. 1383–1435 or after) |
|---|---|
| Date | c. 1423/1424 |
| Museum | National Gallery of Art, Washington |
| Accession | 1937.1.16 |
| Medium | tempera (and possibly oil glazes) on panel |
| Dimensions | overall: 148.8 x 115.1 cm (58 9/16 x 45 5/16 in.); framed: 181 x 165.1 x 11.1 cm (71 1/4 x 65 x 4 3/8 in.) |
| Sheet sizes | 8×10 in, 11×14 in, 16×20 in, 18×24 in, 24×36 in, 32×48 in, 40×60 in |
| Held by | National Gallery of Art, Washington · 1937.1.16 the museum’s record |
|---|---|
| Source file | the National Gallery of Art’s own open-access file (IIIF) |
| Licence | public domain; the file released under CC0 |
| Master | 5,015 × 6,482 px, the file our printer receives |
| Chain | Taken from the National Gallery of Art’s own open-access file (IIIF) on 1 September 2026; held as our print master. |
The sheets
Printed on demand. Public-domain masterwork, reproduced from a 6,482 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.