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A Neoclassical citrine intaglio depicting the head of a lion
Further images
The citrine reverse very finely carved to depict a lion face and paws, within a gold frame, most probably Italian, circa 1900. Dimensions (without pendant bail) : 3.4cm x 3.1...
The citrine reverse very finely carved to depict a lion face and paws, within a gold frame, most probably Italian, circa 1900. Dimensions (without pendant bail) : 3.4cm x 3.1 cm x 0.7cm
See The Louvre Collection item R334 for a similar lion intaglio pendant in rock crystal donated by Baron Salomon de Rothschild in 1922
When Antonio Canova completed his two great recumbent lions for the tomb of Pope Clement XIII in St Peter's Basilica in the early 1790s, he could not have known the creative legacy that would ripple outwards.
Notable inspirations include the 6th Duke of Devonshire's commission from Francesco Benaglia and Rinaldo Rinaldi... faithful marble copies that stand sentinel at the entrance to The Orangery at Chatsworth House - where they remain to this day (photographed above).
And it was almost certainly Canova's lions that inspired this little gem of a reverse intaglio pendant too, carved from warm golden citrine and set in a fine gold frame, circa 1900. The lion face and paws - worked in reverse into the back of the stone so the image glows through the gem itself - speak directly to that same neoclassical ideal of noble, serene power that Canova made immortal in marble.
This piece is not alone in its homage. The Louvre holds a strikingly similar lion intaglio pendant (ref. R334), carved in rock crystal, which entered their collection in 1922 as part of the celebrated bequest of Baron Salomon de Rothschild - one of the greatest connoisseur collectors of his age.
That two such pendants exist, of comparable quality and iconography, is a beautiful testimony to man's desire to harness beauty.
Oh to be talented enough look up at Canova's lions and have the ability to hold that vision, quite literally, in the palm of your hand. Thankfully this unknown Italian gem carver was, and now we can share in that feeling.
See The Louvre Collection item R334 for a similar lion intaglio pendant in rock crystal donated by Baron Salomon de Rothschild in 1922
When Antonio Canova completed his two great recumbent lions for the tomb of Pope Clement XIII in St Peter's Basilica in the early 1790s, he could not have known the creative legacy that would ripple outwards.
Notable inspirations include the 6th Duke of Devonshire's commission from Francesco Benaglia and Rinaldo Rinaldi... faithful marble copies that stand sentinel at the entrance to The Orangery at Chatsworth House - where they remain to this day (photographed above).
And it was almost certainly Canova's lions that inspired this little gem of a reverse intaglio pendant too, carved from warm golden citrine and set in a fine gold frame, circa 1900. The lion face and paws - worked in reverse into the back of the stone so the image glows through the gem itself - speak directly to that same neoclassical ideal of noble, serene power that Canova made immortal in marble.
This piece is not alone in its homage. The Louvre holds a strikingly similar lion intaglio pendant (ref. R334), carved in rock crystal, which entered their collection in 1922 as part of the celebrated bequest of Baron Salomon de Rothschild - one of the greatest connoisseur collectors of his age.
That two such pendants exist, of comparable quality and iconography, is a beautiful testimony to man's desire to harness beauty.
Oh to be talented enough look up at Canova's lions and have the ability to hold that vision, quite literally, in the palm of your hand. Thankfully this unknown Italian gem carver was, and now we can share in that feeling.
