Pair Of Twentieth Century Patinated Bronze Recumbent Lions

A very impressive pair of twentieth century European patinated bronze recumbent lions after the original marbles carved by Antonio Canova for the tomb of Pope Clement III in St. Peter’s in Rome, both lions with pronounced manes, lying down with one awake and the other sleeping, the latter with eyes shut and resting his head on his front paws, of which one slightly crosses the other, the other lion with eyes open lifts his head slightly and places both paws out directly in front of him, both lions on a rectangular plinth
Europe, either Paris or Rome, date circa 1900-50
Length 160 cm, width 50 cm, height 63 cm and 60 cm.
These magnificent bronze lions are excellent casts after the monumental pair carved from marble by the celebrated sculptor Antonio Canova (1757-1822) for the tomb of Pope Clement XIII (1693-1769) in the left transept of St. Peter’s Basilica in Rome. Lying at the foot of the tomb, Canova’s two lions, one sleeping and the other vigilant, are not only symbols of the Papal authority and eternal vigilance but are also widely celebrated as masterpieces of Neoclassical sculpture. Commissioned as part of the tomb for Pope Clement XIII, the project spanned nearly a decade from 1783 to 1792, showcasing Canova’s evolving mastery of marble and his ability to infuse emotion and life into stone.
The tomb itself was commissioned by Senator Abbondio Rezzonico, the nephew of the late pontiff. Antonio Canova, a young Venetian sculptor beginning to establish his reputation in Rome, was entrusted with the task. At the time, Canova had already made a name for himself with his elegant funerary monuments and allegorical works, and this commission provided an opportunity to further demonstrate his talent. Canova conceived the tomb as a balanced and harmonious composition that would not merely glorify the deceased pontiff but evoke a solemn mood of reflection and timeless dignity. The design features the seated figure of Clement III in prayer above the sarcophagus, supported by figures representing Religion and the Spirit of Death. While the latter elements were carved in white Carrara marble, the two recumbent lions at its base were sculpted from travertine marble. Exhibiting naturalism and technical finesse, the sleeping lion with its eyes closed, conveys serenity and rest, while the other remains alert, his head raised slightly as if on guard. Together, they encapsulate the duality of peace and vigilance—death and eternal life.
The creation of these lions marked a pivotal moment in Canova’s career. Working with marble on such a grand scale required not only technical prowess but also a deep understanding of anatomy and expression. Canova is said to have studied both live and dead lions to understand their muscular structure and posture. His commitment to realism was profound, but it was not mere imitation of nature. Through subtle adjustments in proportion and pose, he imbued the lions with a symbolic quality, aligning them with the spiritual and moral themes of the monument.
So great was Canova’s art, that he set a standard and fashion which all aspired and subsequently copied. Born in Possagno, near Venice he initially worked with his grandfather who was a sculptor and then served an apprenticeship with another local sculptor. By 1779 he was converted to Neoclassical theory which was confirmed by his visits to see the antiquities at Rome and Naples in 1780. He settled in Rome in 1782 and from then on won the admiration of all the most important patrons throughout Europe, Russia, and America including a number of popes, the Emperor Napoleon, George III of England, Catherine the Great of Russia and others. The world’s finest collections are proud to own his work; they include the Hermitage St Petersburg, the British Royal Collection, the Victoria and Albert Museum in London, the Louvre in Paris and many other museums in Venice, Padua, Naples, Munich, Vienna and elsewhere. Canova’s official appointments were numerous; he became President of the Accademia di San Luca, he was appointed a Cavaliere by the Pope and received a knighthood from the Emperor of Austria. He was also invited to settle in Russia by Catherine the Great, in Paris by Napoleon and in Vienna by Francis II, but maintained that he could only work in Rome.
Over the centuries sculptors have made copies of the greatest antique marbles. Included are Canova’s lions. Some were carved marble, including a small nineteenth century version in serpentine marble now at Berrington Hall, UK. Others were reproduced in alabaster, limestone, brass or were cast in bronze, either from moulds taken from the original bronzes or as reduced copies that were perfectly suited as souvenirs to be sold to visitors to Rome during their Grand Tour of Europe.
In 1823, the year after Canova’s death, his patron, the 6th Duke of Devonshire was in Rome, where he commissioned a pair of the lions to be carved in marble for Chatsworth House, the Devonshire family seat. The sleeping lion was carved by Rinaldo Rinaldi, while its waking companion was the work of Francesco Benaglia; each weighed 3.5 tonnes. They were completed and set up in the sculpture gallery at Chatsworth ten years later as a memorial to Canova, with busts of the sculptor and the Duke himself set in niches above them.
During the nineteenth century a number of full-scale copies of the lions were cast in bronze, of which one pair now act as guardians to the Corcoran Gallery in Washington D.C. They were cast from moulds taken from the original lions, of which plaster casts are now in the Gallerie dell’Accademia in Venice. The Corcoran Gallery bronze lions were purchased in Rome in 1860 by Benjamin Holladay, a Washington businessman. In 1888 they were offered at auction, where they were purchased by the Corcoran and placed at the entrance to the gallery in Pennsylvania Avenue and Seventeenth Street. They then moved with the gallery to its new location at Seventeenth Street and New York Avenue. Other renditions of the lions were cast in bronze by the Val d’Osne foundry near Paris and in silvered bronze by the French fondeur Léopald Oudry (1854-82). In addition, the Parisian foundry established by Antoine Durenne (1822-97) created several full-size casts of the two lions, of which one pair can be seen guarding the Town Hall in the Market Square in Aylesbury, Berkshire. They were donated by Baron Ferdinand de Rothschild in 1888 to mark Queen Victoria’s Golden Jubilee the previous year and were apparently hauled from his home at Waddesdon to nearby Aylesbury on steam wagons.