A kneeling angel in flowing pale robes appears at the right, holding a tall stem of lilies and raising one hand in greeting. Opposite, the Virgin Mary sits at a slanted lectern, her head bowed and hands crossed over her chest, her expression gentle and contemplative. An open book rests on the lectern, its pages catching the soft light that falls from above.

At Mary's feet, a basket overflows with white cloth, its folds rendered with loose, textured brushwork. The background is filled with swirling clouds, painted in muted greys and ochres, which part at the top to reveal a glowing burst of light. At the very center of this radiance, a white dove hovers, its wings outstretched, symbolizing the Holy Spirit.

The composition draws the two figures together through their gestures and the diagonal sweep of the angel's wing, creating a sense of intimate communication. Warm reds and soft pinks dominate the garments, while the background recedes into shadow, heightening the drama of the encounter. The paint is applied with visible, energetic strokes, especially in the clouds and drapery, giving the scene a sense of immediacy and movement.

Small details, such as the delicate petals of the lilies and the careful modeling of hands and faces, reveal the artist's attention to both narrative and emotion. The angel's large white wings curve upward and outward, their feathers loosely defined with soft, sweeping strokes. In the lower left corner, a pair of pink slippers rests on the floor near the basket, partially covered by the draped fabric.

The floor beneath the figures is painted in muted earth tones, with gentle shading suggesting a shallow space receding into shadow. The upper left and right corners of the painting are densely filled with swirling, smoky clouds, creating a dramatic contrast with the central burst of light. Light falls most strongly on the faces and hands of both figures, leaving the background and the lower edges of their garments in deeper shadow. Annunciation to the Virgin is attributed to Bartolomé Estebán Murillo and dates from between 1700 and 1800.