Madonna and Child, polychrome wood, gilded, Central Europe, 18th/19th century
2750,00 zł
Polychrome and gilded wooden sculpture depicting the Immaculate Madonna with the Child Jesus. The figure stands on a globe entwined by a serpent – a classic motif symbolizing Mary’s victory over sin and evil. The Madonna, in a richly folded cloak covered with gilding, holds the Child on her left side. The sculpture is colorful, full of expression and dynamism.
1 in stock
Immaculate Madonna with Child.
The figure depicts the Immaculate Madonna trampling the serpent entwining the globe, constituting a classic motif of Baroque Catholic art, which symbolizes Mary's triumph over original sin. The Child Jesus in a gesture of blessing reinforces the spiritual message of this unique composition.
The serpent in this iconography symbolizes original sin and the corruption of the world after the fall of the first humans. Mary is depicted as New Eve – she who, through her obedience to God, participates in the work of humanity's salvation. The sculpture carries a deep spiritual charge, expressed through precise religious symbols.
This is an excellent and well-preserved example of Baroque religious sculpture with a Marian motif.
Historical context
Baroque sculptures of the Immaculate Mary with Child experienced a peak in popularity in the second half of the 18th century and early 19th century, especially in Southern European countries. They could be found in monasteries, churches, and private chapels of the faithful.
Sculptors from regions such as Tyrol, Styria, and Northern Italy often drew inspiration from Marian iconography from Loreto. Depictions of the Madonna on the globe with a serpent became a characteristic element of 18th-century European sacred art. Sculptors from Southern Germany, Styria, and Tyrol copied the characteristic stylization of the Madonna on the sphere, adapting it to local woodcarving traditions.
Collector's and Artistic Value
This sculpture combines the dynamism of Italian Baroque with details characteristic of the Austrian woodcarving school. The deep folds of the robes, the realistic facial expressions of the figures, and the contrast between dark green and gold create a composition with a strong visual impact.
Baroque sculpture depicting the Immaculate Madonna with Child in very good condition, with original gilding, is a true rarity in the sacred antiques market. Its Southern European origin and preserved style make it a unique work of Catholic art.
Application
Such a sculpture would be ideal as a home decor element, for a private chapel, or a space for prayer and reflection. It would also look excellent in a library, museum, or as a decoration in a classical or historical interior with sacred elements.
Mariology and Symbolism
The motif of the globe and the serpent directly refers to the Apocalypse of St. John and the biblical prophecy from the Book of Genesis, which speaks of a woman crushing the serpent's head. Over time, this figure was identified with Mary in Christian art, which found particularly strong expression in Baroque sculpture with a Marian theme.
Although the dogma of the Immaculate Conception was officially proclaimed in the mid-19th century, figures of the Madonna trampling the serpent already expressed deeply rooted popular piety and the spiritual need for the symbolic overcoming of evil. Such sacred wooden figures with the motif of Mary on the globe had immense aesthetic and religious significance.
Are You Looking for an Original Marian Sculpture from the Baroque Era?
this Authentic 18th-Century Figure of the Immaculate Madonna with Child is an Excellent Choice for Lovers of Sacred Art, Collectors, and those who Appreciate the Depth of Religious Symbolism. Add it to your Collection or Spiritual Space Today.
Are You Interested in more Works of Sacred Art?
| Weight | 2,2 kg |
|---|---|
| Dimensions | 47 × 20 × 12 cm |
| Type |
Sacred sculpture / Marian figure |
| Form |
Immaculate Madonna with Child on a globe with a serpent |
| State of preservation |
Very good for its age. |
You may also like…
Stepping lion, gilt silver, Western Europe, 17th-18th century.
Related products
Cabinet Reliquary with Relic of the True Cross and 26 Saints, wood, textiles, Central Europe, 18th century
An 18th-century Baroque cabinet reliquary, a freestanding wooden display case of trapezoidal form, containing a total of 27 relics. The side walls and top are chamfered, widening toward the front. The interior is lined with burgundy velvet, trimmed with decorative borders of gold bullion thread.
At the center, set slightly forward from the back, is a raised textile reliquary in the form of a monstrance, embroidered with gold thread and richly adorned with bullion, filigree, miniature beads, and multicolored glass imitating precious stones. On the base and shaft are placed six relics, identified by inscriptions painted in gold on dark blue banderoles.
Within the central repository is a reliquary capsule with a convex glass cover, containing two fragments of the True Cross, surrounded by a radiant glory.
Above the “monstrance” is an oval image with an indistinct representation, encircled by 20 additional relics interspersed with decorative elements of bullion, beads, gold thread embroidery, and colored glass. At the level of the nodus are two larger relics (Ex Ossibus) of Saint Vincent and Saint Fortunatus, uniquely labeled on white banderoles.
A distinction should be made between a reliquary and a reliquary cabinet: a reliquary is a vessel that directly contains relics, whereas a cabinet reliquary serves as a structure housing and presenting them. This object is therefore not a typical example, as—besides the central textile reliquary in the form of a monstrance containing fragments of the Cross on which Jesus Christ died—it also incorporates an additional 26 relics of various saints placed directly within the composition, without individual containers.
Their preservation is ensured either by a fine mesh covering or solely by labeled banderoles. The relic of the True Cross is the only one enclosed within a glazed, and undoubtedly sealed, capsule.
The interior of the case, measuring 37.3 × 26.5 × 10 cm, is lined with burgundy velvet, trimmed with gold bullion thread.
Christ Crucified, wood, Spain (Pyrenees?), 12th-13th century.
The sculpture impresses with the pronounced rigidity of the body, typical of early Roman depictions. The calm yet poignant expression of Christ's face is emphasized by huge, forward-facing eyes set in deep eye sockets.
His gaze, however, is slightly lowered, emphasized by a prominent nose and large, spreading ears that frame his face. His hair falls symmetrically on his shoulders; a peculiar hairstyle draws attention - the hair, separated by a parting on top of the head, is arranged in rollers covered with densely diagonal cuts. Very similarly arranged hair, resembling braids, has the famous statue of Christ of Mig Aran, located in the church of Sant Miquèu de Vielha (Val d'Aran valley). The beard and mustache end in artificial, volute curls.
Gallo-Roman male portrait head, marble, Roman Empire, Province of Gaul (area of modern France), 1st-3rd century after Chr.
Head of an angel (?), sandstone, France, ca. 1300
Rama, marble, India, 19th century.
A sculpture depicting Rama, one of the most important deities of Hinduism, considered the seventh avatar of Vishnu. The object was hand-carved in white marble in India, probably in the 19th century.
The figure is depicted standing, facing forward. The face has a gentle expression with a soft smile and slightly closed eyes. The head is crowned with a decorative crown, and long necklaces are visible on the chest.
The figure is dressed in a draped robe with clearly marked folds. On its back is a quiver with arrows, characteristic of Rama's depictions.
The hands of the sculpture are not preserved, originally in one of them the figure held a bow - a characteristic element of representations of this deity. Further about these cavities do not write that they are consistent.
Rama is the hero of the epic Ramayana and in the Hindu tradition symbolizes righteousness and fidelity to the principle of dharma. His images occupy an important place in Indian sacred art, although full-figure marble sculptures of this scale are less common.
The object is preserved in good condition, with clear legibility of form and detail.
Singa Barong, polychrome wood, Indonesia, 19th century.
Skull (Memento Mori), marble, Italy, 18th-19th century
Elegant, decorative skull made of natural gray marble, maintained in a realistic style: the eye sockets, cranial seam lines and zygomatic arches are clearly formed. The faded dentition alludes to the concept of Vanitas.
The characteristic feature of the stone used for the sculpture is irregular veining in shades of beige, cream and gray, which gives it a unique character. The surface is polished, with natural discolorations and small marks due to the properties of the material, which emphasizes the authenticity and nobility of the marble. The skull is provided with a lead pin underneath, set on a minimalist, contemporary base in black, which exposes the sculpture and gives it a museum-like character.
The object is ideal for collectors of curiosities, lovers of the art of Vanitas - Memento Mori, cabinets of curiosities and as an expressive element of interior design in classical, industrial or eclectic style. An object with a strong aesthetic and symbolic expression, which is difficult to pass by indifferently.
Vajrabhairava in Tantric Union (Yab-Yum) with Vajravetali, gilt and polychromed bronze, Tibet (?), 19th century
The sculpture depicts Vajrabhajrava, or more specifically, his Tantric form. The deity has three heads with angry expressions, crowned with a crown of skulls, symbolizing the direct destruction of illusion. Inside the crown, flames burst forth, a fire of wisdom burning away ignorance. Emerging from them is the head of a gentle animal - it belongs to Vajrabhajrava himself (his higher aspect).
The figure has six arms, symbolizing the multifaceted activity of the enlightened mind, and holds ritual attributes. The outstretched wings are a rarer but significant feature, representing a transcendental aspect and the overcoming of samsaric limitations. Vajrabhairava stands in a dynamic pose on a lotus base, trampling a male and female figure. These figures symbolize ignorance (avidya), attachment, anger, ego, and the illusion of duality.
