Bartolomé Esteban Murillo (Seville 1618-1682)
Bartolomé Esteban Murillo (Seville 1618-1682)

The Madonna and Child

Bartolomé Esteban Murillo (Seville 1618-1682)
The Madonna and Child
signed 'Bartolome Murillo f.t.' (in the lower border)
traces of black chalk, pen and brown ink, brown wash, pen and brown ink border lines, unframed
6 5/8 x 5 5/8 in. (16.8 x 14.2 cm.)
Franz Koenigs, Haarlem, and by descent to
Mrs C. van der Waals-Koenigs, and thence by descent in the family; Sotheby's, New York, 23 January 2001, lot 1.
A. Hyatt Mayor, 'Review: Jonathan Brown, Murillo and His Drawings', Master Drawings, Summer 1977, p. 185.
D.A. Iñiquez, 'Exposición de Dibujos de Murillo en Princeton', Archivo Español de Arte, 1977, p. 338 (as studio of Murillo).
P. Cherry, 'Murillo's Drawing Academy', in S.L. Stratton-Pruitt, Bartolomé Esteban Murillo (1617-1682): Paintings from American Collections, exhib. cat., Fort Worth and Los Angeles, 2002, p. 194, note 81.
Princeton, Art Museum, Murillo and His Drawings, catalogue by Jonathan Brown, 1976-7, no. 75.

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Lot Essay

Only around a hundred drawings by Murillo are now known, although he certainly executed many more. Most of the surviving sheets are compositional studies in pen, ink and wash. In the present drawing, Murillo first drew the figures in pen and then enlivened them with fluid touches of wash, which gives it the feel of a monochromatic painting. The technique allows the drawing to be dated to the 1670s, yet in its composition Murillo returned to a motif he had previously used in a painting of the Madonna and Child in the 1650s (Pasadena, Norton Simon Museum; Fig. 1), itself heavily influenced by Raphael's Madonna della Sedia (Florence, Palazzo Pitti).

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