Create your own bespoke print of Carlo Crivelli’s The Annunciation, with Saint Emidius from our collection. About this painting The Annunciation, with Saint Emidius, 1486 © The National Gallery, London This painting joined our collection in 1864 With our custom print service, you can order your own fully customised reproduction from the National Gallery Collection & exhibitions. Choose your own size, print material & frames & have your masterpiece delivered straight to your door. ...

Create your own bespoke print of Gaudenzio Ferrari’s The Annunciation: The Angel Gabriel from our collection. About this painting The Annunciation: The Angel Gabriel, 1508-9 © The National Gallery, London This painting joined our collection in 1916 With our custom print service, you can order your own fully customised reproduction from the National Gallery Collection & exhibitions. Choose your own size, print material & frames & have your masterpiece delivered straight to your door. ...

The Angel Gabriel announces to the Virgin Mary that she will bear the son of God (Luke 1: 26-8). His words, ' Hail Mary full of Grace, the Lord be with you', appear in abbreviated form in Latin on the scroll. The Virgin, interrupted from her reading, raise ...

This altarpiece shows the Virgin on a high throne, with Saint John the Baptist on the left, & Saint Nicholas of Bari to the right. It is dated 1505 on the basis of the inscription on the Virgin's mantle. It is known as ' The Ansidei Madonna' because it was commissioned by Bernardino Ansidei for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo, Perugia. Part of the predella, the lower section of the altarpiece, showing ' Saint John the Baptist preaching' is also in the Collection. The internal architecture is not in fact entirely logical. The throne has no arms, & the steps are too steep to be practicable. They do, however, beautifully reflect the arches above & give the sense of a humble approach to the throne., p> The Perugian patron probably wanted something in the tradition of the city's famous artist Perugino. On employing Raphael, influenced by Perugino, he got this & more. Raphael visited Florence in 1504. The influence of Donatello's sculpture is visible in the figure of Saint Nicholas. He would also have studied the sculptural approach of painters like Masaccio. ...

In the left panel the Virgin is shown in a pose of adoration. The central panel represents Christ of the Apocalypse as described in the New Testament (Revelation 1: 13). He has a golden girdle; his head & hair are 'as white as snow'; in his right hand he holds the seven stars & in his left the keys of death & hell. Originally he may have held a two-edged sword in his mouth. On the right, John the Baptist holds a scroll with an inscription from the Old Testament (Isaiah 7: 14) ' Ecce virgo co (n)cipiet' (Behold a Virgin shall conceive). The scroll originally read ' Ecce agnus dei' (Behold the Lamb of God), the words usually associated with the Baptist. ...

On the wings, the donor & donatrix have unidentified coats of arms, partly rubbed out, with the letters W B associated with the donor. In the background of the wings: left, the Way to Calvary, right the Resurrection. ...

This altarpiece comes from a chapel in the Certosa di Pavia, a Carthusian monastery near Milan. The central Virgin & Child are flanked by the Archangel Saint Michael on the left, standing on Satan. Raphael & the young Tobias are on the right. The Virgin's robe is ultramarine of exceptional quality. The church was consecrated in May 1497. In 1499 Ludovico il Moro, ruler of Milan & the Certosa's most important supporter, applied pressure to get it completed. The Certosa had a large number of chapels. The original altarpiece had an upper tier with God the Father flanked by the Virgin Annunciate & the Archangel Gabriel. The two top side-panels were supplied by another Florentine artist, Albertinelli, after Perugino had failed to paint them. Originally these three panels formed the lower tier of a six-panel altarpiece. They have been cut down at the bottom. Central panel 113.7 x 63.8 cm; Wings each approx. 113 x 56 cm. ...

This altarpiece comes from a chapel in the Certosa di Pavia, a Carthusian monastery near Milan. The central Virgin & Child are flanked by the Archangel Saint Michael on the left, standing on Satan. Raphael & the young Tobias are on the right. The Virgin's robe is ultramarine of exceptional quality. The church was consecrated in May 1497. In 1499 Ludovico il Moro, ruler of Milan & the Certosa's most important supporter, applied pressure to get it completed. The Certosa had a large number of chapels. The original altarpiece had an upper tier with God the Father flanked by the Virgin Annunciate & the Archangel Gabriel. The two top side-panels were supplied by another Florentine artist, Albertinelli, after Perugino had failed to paint them. Originally these three panels formed the lower tier of a six-panel altarpiece. They have been cut down at the bottom. Central panel 113.7 x 63.8 cm; Wings each approx. 113 x 56 cm. ...

Create your own bespoke print of Sir Henry Raeburn’s The Archers from our collection. About this painting Robert Ferguson of Raith 1770-1840 & Lieutenant-General Sir Ronald Ferguson 1773-1841 (' The Archers'), about 1789-90 © The National Gallery, London This painting joined our collection in 2001 With our custom print service, you can order your own fully customised reproduction from the National Gallery Collection & exhibitions. Choose your own size, print material & frames & have your masterpiece delivered straight to your door. ...

Create your own bespoke print of Jan van Eyck's The Arnolfini Portrait from our collection. About this painting The Arnolfini Portrait, 1434 © The National Gallery, London This painting joined our collection in 1842 With our custom print service, you can order your own fully customised reproduction from the National Gallery Collection & exhibitions. Choose your own size, print material & frames & have your masterpiece delivered straight to your door. ...