A freestanding, winged angel with a halo is carved from white marble streaked with gray. In this view, the angel’s body faces us, and the head turns slightly to our left. Curls frame a round face with delicate features in front of a flat, plate-like halo. The angel’s long robe is pinned at the chest, tied around the waist, and falls in thick folds into puddles around the feet. The angel holds one hand up with the first two fingers raised and holds a scroll down by the hip with the other hand. One pointed shoe peeks from under the robe, which almost covers the round base on which the angel stands. The sculpture is photographed against a pale gray background.
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A freestanding, winged angel with a halo is carved from white marble streaked with gray. In this view, the angel’s body faces us, and the head turns slightly to our left. Curls frame a round face with delicate features in front of a flat, plate-like halo. The angel’s long robe is pinned at the chest, tied around the waist, and falls in thick folds into puddles around the feet. The angel holds one hand up with the first two fingers raised and holds a scroll down by the hip with the other hand. One pointed shoe peeks from under the robe, which almost covers the round base on which the angel stands. The sculpture is photographed against a pale gray background.

National Gallery of Art · Sculpture

Angel of the Annunciation

Venetian 14th Century

Date
c. 1340
Medium
marble
Dimensions
overall: 61.6 x 22.9 x 18.1 cm (24 1/4 x 9 x 7 1/8 in.)
Classification
Sculpture · Statuette
Accession number
1960.5.10
Credit line
Samuel H. Kress Collection
Time span
1300 to 1400
Department
CSD

Subjects and terms

  • Gothic
  • Venetian
  • European Sculpture 1300-1800
  • Annunciation
  • angels
  • religious
Provenance

Stefano Bardini [1836-1922], Florence.[1] Prince Johan II of Liechtenstein [1840-1929], Vienna, by 1896;[2] Prince Franz I of Liechtenstein [1853-1938]; Prince Franz Josef II of Liechtenstein [1906-1989]; acquired 2 April 1953 by (J. Seligmann & Co., New York);[3] purchased February 1954 by the Samuel H. Kress Foundation, New York;[4] gift 1960 to NGA. [1] See correspondence in NGA curatorial files between Alison Luchs and Fiorenza Scalia, director of the Museo Bardini, dated 27 February, 7 May, and 26 June 1991. [2] Bode, Wilhelm von, _Die Fürstlich Leichtensteinsche Gemäldegalerie_, Vienna, 1896: 130. [3] See letters addressed to Jacques Seligmann & Company from the Director of the Liechtenstein Collection, dated 2 April 1953, in the Jacques Seligmann & Co. Records, Archives of American Art, Smithsonian Institution, Washington: Box 244; copies in NGA curatorial files. [4] An agreement was made in September 1953 with Seligmann & Co. by the Kress Foundation to purchase this sculpture (and others) on 1 February 1954. The invoice bears this date, and payment was made shortly thereafter. Copies of the correspondence and invoice are in NGA curatorial files. Ulrich Middeldorf's entry that includes the sculpture contains an error: the year of the Kress Foundation's acquisition is incorrectly given as 1953 (_Sculptures from the Samuel H. Kress Collection: European Schools XIV-XIX Century_, London, 1976: 12).

NGA object ID 46018. Collection metadata is reproduced under CC0. This work is included because its NGA published-image record is marked open access; visitors should recheck the source record before substantial reuse.