The Virgin of the Immacualte Conception
Statuette
ca. 1720 - ca. 1750 (made)
ca. 1720 - ca. 1750 (made)
Artist/Maker | |
Place of origin |
This ivory statuette of the Virgin of the Immaculate Conception is made in Goa in about 1720-1750. It was formerly identified as Portuguese, but Indo-Portuguese figures from Goa exhibit similar features, and the edging of the drapery, the cherubim, and the acanthus on the base imply a Goan origin for the present piece.
Ivory carving had a long tradition on the Indian subcontinent, and elaborate works of art were made, particularly as diplomatic gifts, often presented to Western rulers. From the sixteenth century onwards, the four main missionary Orders, the Augustinians, Jesuits, Dominicans and Franciscans, built churches and aimed to convert the inhabitants of India. The ivories would assist in the presentation of Christian imagery, as well as being exported back to churches, convents and private collectors in Europe.
Ivory carving had a long tradition on the Indian subcontinent, and elaborate works of art were made, particularly as diplomatic gifts, often presented to Western rulers. From the sixteenth century onwards, the four main missionary Orders, the Augustinians, Jesuits, Dominicans and Franciscans, built churches and aimed to convert the inhabitants of India. The ivories would assist in the presentation of Christian imagery, as well as being exported back to churches, convents and private collectors in Europe.
Object details
Categories | |
Object type | |
Title | The Virgin of the Immacualte Conception (generic title) |
Materials and techniques | Ivory, partly coulored and gilt |
Brief description | Statuette, ivory, 'The Virgin of the Immaculate Conception', Portuguese or Indo-Portuguese (Goa), ca. 1720-1750 |
Physical description | The Virgin is shown standing with a flowing dress and veil with clasped hands upon the crescent moon, surrounded by a serpent, and clouds with seven cherubim. The statuette is on a carved pedestal decorated with three fleshy acanthus leaves. The back of the figure is fully carved; the long hair of the Virgin is visible beneath her veil. The figure has been dowelled into the separate socle, the underside of which is roughly worked. |
Dimensions |
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Object history | The figure was bought as Valencian, and linked stylistically by John Beckwith, Keeper of Architecture and Sculpture, to an ivory crucifix figure, cat. no. 375 (Museum records). The crucifix is now however thought to be Indo-Portuguese. Estella Marcos identifies the present piece as Portuguese (Mafra). But Indo-Portuguese figures from Goa exhibit similar features, and the edging of the drapery, the cherubim, and the acanthus on the base imply a Goan origin for the present piece. |
Historical context | The Virgin of the Immaculate Conception was popularly represented in Spain and Portugal and their colonies during the 17th and 18th centuries. |
Production | portuguese or indo-portuguese (GOA) |
Subjects depicted | |
Summary | This ivory statuette of the Virgin of the Immaculate Conception is made in Goa in about 1720-1750. It was formerly identified as Portuguese, but Indo-Portuguese figures from Goa exhibit similar features, and the edging of the drapery, the cherubim, and the acanthus on the base imply a Goan origin for the present piece. Ivory carving had a long tradition on the Indian subcontinent, and elaborate works of art were made, particularly as diplomatic gifts, often presented to Western rulers. From the sixteenth century onwards, the four main missionary Orders, the Augustinians, Jesuits, Dominicans and Franciscans, built churches and aimed to convert the inhabitants of India. The ivories would assist in the presentation of Christian imagery, as well as being exported back to churches, convents and private collectors in Europe. |
Bibliographic references |
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Collection | |
Accession number | 183-1864 |
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Record created | October 30, 2008 |
Record URL |
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