Spanish school (XIX) - Virgen Inmaculada Concepción






Specialised in 17th century Old Master paintings and drawings with auction house experience.
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Description from the seller
It is a devotional oil painting that fits perfectly with the iconography of the Immaculate Conception, that depiction in which Mary stands upright on a bed of clouds, surrounded by cherubs and, above all, treading on the serpent as a sign of victory over evil.
The crown, the deep blue mantle and the reddish tunic follow the traditional canon that solidified between the 17th and 19th centuries, and that continued to be reproduced in religious workshops throughout that period.
The presence of the Child in arms—something less common in strict Immaculates—also brings the work closer to the typology of the Virgin of the Heart or Queen Virgin with the Child, a variant widely spread in 19th-century popular and academic art, where Marian symbols are combined with maternal tenderness.
The Child, with the heart highlighted on the chest, reinforces that affective and devotional reading.
The workmanship of the painting, with soft brushwork, slightly blurred outlines and a palette of subdued tones, suggests a work from the nineteenth century or even earlier, perhaps from a regional workshop that followed late Baroque models.
The craquelure, the darkening of the varnishes and the small losses of pigment speak of the evident passage of time, that natural aging that only appears in oils with more than a century of life.
Insured shipping and careful packaging.
Seller's Story
It is a devotional oil painting that fits perfectly with the iconography of the Immaculate Conception, that depiction in which Mary stands upright on a bed of clouds, surrounded by cherubs and, above all, treading on the serpent as a sign of victory over evil.
The crown, the deep blue mantle and the reddish tunic follow the traditional canon that solidified between the 17th and 19th centuries, and that continued to be reproduced in religious workshops throughout that period.
The presence of the Child in arms—something less common in strict Immaculates—also brings the work closer to the typology of the Virgin of the Heart or Queen Virgin with the Child, a variant widely spread in 19th-century popular and academic art, where Marian symbols are combined with maternal tenderness.
The Child, with the heart highlighted on the chest, reinforces that affective and devotional reading.
The workmanship of the painting, with soft brushwork, slightly blurred outlines and a palette of subdued tones, suggests a work from the nineteenth century or even earlier, perhaps from a regional workshop that followed late Baroque models.
The craquelure, the darkening of the varnishes and the small losses of pigment speak of the evident passage of time, that natural aging that only appears in oils with more than a century of life.
Insured shipping and careful packaging.
