Artwork

The Virgin of the Immaculate Conception (Tota Pulchra); with St John the Baptist, St Francis of Assisi, St John the Evangelist and St Anthony of Padua

The Virgin of the Immaculate Conception (Tota Pulchra); with St John the Baptist, St Francis of Assisi, St John the Evangelist and St Anthony of Padua, by Unknown, 1600
The Virgin of the Immaculate Conception (Tota Pulchra); with St John the Baptist, St Francis of Assisi, St John the Evangelist and St Anthony of Padua, by Unknown, 1600

The Virgin of the Immaculate Conception (Tota Pulchra); with St John the Baptist, St Francis of Assisi, St John the Evangelist and St Anthony of Padua is a work on paper by the Baroque artist Unknown. It dates from 1600 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

This small ivory triptych, titled *The Virgin of the Immaculate Conception (Tota Pulchra)*, presents a central relief of the Virgin Mary flanked by two hinged wings. The work is portable, designed for private devotion, and incorporates a distinctive Chinese frame that encloses the delicate carvings.

Subject & Meaning

The central panel depicts the Virgin standing on a crescent moon, a traditional iconography of the Immaculate Conception known as “Tota Pulchra.” The surrounding saints—John the Baptist and John the Evangelist on the upper wing, Francis of Assisi and Anthony of Padua on the lower—reinforce the devotional focus on purity and intercession.

Technique & Style

Carved from ivory, the relief showcases the fine, intricate modeling characteristic of German and Netherlandish ivory work, while the framing reflects Chinese craftsmanship typical of Cantonese and Philippine workshops that supplied the Spanish market in the early modern period.

History & Provenance

Ivory devotional objects were widely exported from Spanish and Portuguese colonies such as the Philippines, Mexico, and Goa during the 17th–18th centuries. Comparable “Tota Pulchra” panels were found aboard the Manila galleon *Santa Margarita* (wrecked 1601), indicating that this format was in production around the turn of the 17th century, which helps date the present piece.

Context

Portable altars like this triptych were intended for personal prayer in homes or chapels, the hinged wings allowing the reliefs to be protected when not in use. Their small size and elaborate detail made them suitable for travel or display on a wall.

Artist & collection

Artist

Unknown

entity whose identity is not known