Based on Gian Lorenzo Bernini; Rome, 17th century.

Based on a work by GIAN LORENZO BERNINI (Naples, 1598 – Rome, 1680). Rome, early 17th century.
“Saint Bibiana.”
Patinated bronze.
Work previously auctioned at Sotheby’s.
Formerly attributed to Lorenzo Bernini.
Measurements: 48 x 20 x 14 cm.

The expressive power and extraordinary elegance of the Roman Baroque find one of their most unique interpretations in this sculpture. This is a bronze reduction of the famous Saint Bibiana, conceived by Gian Lorenzo Bernini for the Roman church dedicated to the saint and executed in marble between 1624 and 1626. This more intimate version captures in bronze the monumentality, dynamism, and spiritual intensity of the original, bringing one of the most significant works from the artist’s early mature period into the realm of collecting.

The saint stands upright on a circular base, clad in classically inspired garments whose folds, clinging to the body, reveal her anatomy and accentuate the elegance of her silhouette. Her right arm is raised while her hand delicately gathers the tunic, creating an upward movement that lends the figure grace and naturalness. The treatment of the drapery and the composition of the figure reflect Bernini’s interest in integrating movement, naturalism, and religious expressiveness into a unified sculptural conception. The original model was designed and modeled by Bernini himself, although its execution in marble was carried out under the direction of Giovanni Antonio Mari. Intended for the altar of the Church of Santa Bibiana in Rome, the sculpture marks an early milestone in the renewal of the Baroque style, transforming the image of the saint into a presence of intense immediacy, where the figure’s serenity coexists with the restrained emotion of martyrdom.

The bronze reductions of Bernini’s large-scale sculptural models are of particular interest due to their role in disseminating his compositions beyond monumental commissions. In this regard, the Saint Bibiana is a particularly unique example, as bronze versions of this iconography are less common than those derived from his famous and more widely disseminated mythological and religious compositions. The existence of documented examples on the international market allows this piece to be placed within a small group of known versions. Among them is a bronze of similar dimensions, auctioned at Christie’s New York on June 2, 1993 (lot 221), then cataloged as a work by Bernini himself, as well as another example approximately 48.5 cm tall, presented at Drouot, Paris, on December 9, 1994 (lot 52). This sculpture, previously auctioned at Sotheby’s, thus has a history of being exhibited on the international market for antique art.

Philippe Malgouyres’ studies on Bernini’s sculpture have highlighted the importance of terracotta models in the transmission of his compositions. In the case of Saint Bibiana, the existence of various clay versions is particularly significant, as it suggests that some of the bronze castings may have been derived from these intermediate prototypes, rather than coming directly from a mold made from the original marble.

The production of bronzes linked to Bernini’s creative universe also includes smaller versions of other famous compositions, such as the Blessed Ludovica Albertoni, Pluto and Proserpina, and Apollo. These works became widely circulated among European collectors, especially during the Grand Tour, when travelers added Italian sculptures and art objects to their private collections. A case in point is George Parker, the future Earl of Macclesfield, who acquired works of this nature during his travels through Italy between 1719 and 1722. This phenomenon highlights the role of bronze sculptural reductions as vehicles for disseminating the Baroque style and as objects of prestige within European collecting circles.