Post under construction.
Christopher Hewetson, an Irish Sculptor in Rome (Part 4).
The Busts of Giovanni Vincenzo Antonio Ganganelli (1705 - 1774).
Pope Clement XIV. (1769 - 1774).
There appears to be another bust which is still at Gorhambury
House, St. Albans, Hertforshire, signed Christo.us Hewetson Fect. 1772. (this location to be confirmed).
Another marble version is in the Vatican Museums, Rome and inscribed CLEMENS. XIV. P. M. and signed Chrisf.Hewetson fec.it
Another version is in Musei Capitolini, Museo di Roma (MR5702), apparently not signed or dated.
There is a plaster
version Museo Civico, Bassano and is illustrated in E. Bassi, Canova, 1943, p.
16 and pl. 22 (wrongly attributed to Canova).
The Yale Centre for British Art white marble bust of Giovanni Vincenzo Antonio Ganganelli (1705 - 1774).
Pope Clement XIV. (1769 - 1774).
Height 80 cms.
https://collections.britishart.yale.edu/catalog/tms:4983
It is not signed or dated.
They do not provide a provenance.
It had entered the collection by 1977.
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The Victoria and Albert Museum Pope Clement XIV.
Provenance formerly at Margam Park, Glamorgan.
Signed and dated 1773.
Sold Christie’s, Margam Castle sale, 29 October, 1941, lot 461 (wrongly described as Pope Leo X) and now at the Victoria and Albert Museum, London, (A.22-1948).
Inscribed CLEMENS .
XIV . PONT . MAX and signed Christof. Hewetson Romae 1773.
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The Christie's, New York, Pope Clement XIV.
Christie's Lot 23, 1st May 2019.
Images from Christie's website
https://www.christies.com/en/lot/lot-6198692
This version below is illustrated in Papi in Posa: 500 Years of Papal Portraiture. Pub 2013.
79 cms.
Inscribed CLEMENS. XIV. P.M. and Chrisf Hewetson fecit
It seems that it was exhibited at the Maastricht TEFAF Fair in 2002. by Altomani and Sons.
The flaw in the marble the eared support should make it readily identifiable if it appears in the future.
79 cms.
Inscribed CLEMENS. XIV. P.M. and Chrisf Hewetson fecit.
It seems that it was exhibited at the Maastricht TEFAF Fair in 2002 by Altomani and Sons.
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The Beningborough Hall, Clement XIV.
This is the earliest of the known versions.
Beningborough Hall now with the National Trust.
Inscribed CLEMENS / XIV PON. M. / MDCCLXXI [1771] and illustrated in Country Life, LXII (1927), p. 775.
Images below from the Art UK website.
They say -
It was probably acquired by Giles and Margaret Earle – niece of John Bourchier who built Beningbrough Hall – in Italy in 1770 –1, possibly on the advice of Gavin Hamilton, a principal dealer in Italy (along with Thomas Jenkins).
They bought it after
the pregnant Mrs Earle received special papal permission to spend time in a
convent, on which subject her husband wrote that the Pope 'has shown us many
marks of the most condescending distinction'.
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Pope Clement XIV
Giovanni Vincenzo Antonio Ganganelli
The Paul Mellon Archive Photograph.
Giving the provenance as Lord Hylton of Ammerdown Park, Somerset
Sold Christies 11 December 1990.
Inscribed CHRISTOPHORUS HEWETSON FECT 1772.
Now with the National Galleries of Scotland.
The Nation Gallery of Scotland Bust of Clement XIV.
Marble Bust.
Christopher Hewetson.
70 cms
Purchased by the Patrons of the National Galleries of Scotland, 1990.
Accession number: NG 2525
No further information on the website!
One of a
series of 277 drawings commissioned by Brownlow, 9th Earl of Exeter
(1725-1793); head turned slightly to left
Black chalk.
Donated by:
Brownlow Cecil, 9th Earl of Exeter.
Acquisition
date
1779.
The socle does not follow that used on the busts illustrated above with the eared support on the socle.
Nicolaus Mosman - Draughtsman
and engraver. Born Haroué(Lorraine) 1727, died Rome 1787. 1757 moved to Rome
and worked as a Pontifical soldier. Lived together with C Unterberger.
Collaborated in the copper plates for Winckelmann 'monumenti antichi'.
The Vatican Museum Marble Bust.
79 cms.
Without any inscription. The sculpture comes from the collection of Count Gregorio Stroganoff and was published in the two-volume catalog of 1911, edited by Antonio Muñoz, with the attribution to Antonio Canova.
After the death of Count Stroganoff, in one of the sales that led to the dispersion of the collection, perhaps in the 1920s, the bust was purchased by Muñoz himself, and later sold by his widow to the Museum of Rome.
The sculpture, is similar to the autograph example in the Victoria and Albert Museum, dated 1773, but is almost certainly a copy from Hewetson's studio.
There are several variations from the autograph busts - the most obvious is the the position of the head facing left instead of right, hair falling
over the ears instead of raised backwards, differences in the cord of the stole
and in the number of buttons on the mozzetta.
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The Plaster Bust of Clement XIV in the Canova Possagno Plaster Cast Gallery.
A portrait
bust of the pontiff by Christopher Hewetson, a friend of Canova since 1780,
provided guidelines for Canova’s representation and the tomb’s completion was
celebrated at a party given by Hewetson in 1787.
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Museum of Rome.
The same bust as above - here below described as by Hewetson
https://www.bildindex.de/document/obj08116725?part=0&medium=bh800354
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Clement XIV
Antonio Canova. (1757 - 1822).
Collezione G. Stroganoff, Rome.
Image below from
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