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Tobias and the Angel
c. 1475–1480 · oil and tempera on poplar panel · National Gallery of Art, Washington
Sizes
image 14.2×20 in on a 16×20 in sheet
What is dpi?
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.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
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All editionsAbout this painting
A boy holds a fish in one hand and an angel's hand in the other, and does not know whose hand it is. In the Book of Tobit, Raphael walks with Tobias unrecognised, calling himself Azariah, and Filippino Lippi paints the not-knowing. The National Gallery of Art's essay on moving pictures watches the pair totter midstride down a gentle slope, weight on the downhill leg, heads partly inclined toward each other as if their eyes will meet. George Goldner, writing for the Met, names this early work for Filippino's animated line and naturalistic landscape. A small white dog trots behind them. The look has not met yet.
Sources: National Gallery of Art / Oxford University Press, Italian Renaissance Learning Resources, 'Moving Pictures', read 2026-09-24 · George R. Goldner, 'Filippino Lippi (ca. 1457–1504)', Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, read 2026-09-24 · USCCB, New American Bible (Revised Edition), Tobit 5, read 2026-09-24 · National Gallery of Art, Washington, 1939.1.229, read 2026-09-24 · Samuel H. Kress Foundation, Kress Collection record K418, read 2026-09-24
And not knowing that he was an angel of God, he saluted him, and said: From whence art thou, good young man?
Tobias 5:6 · Douay-Rheims (Challoner)