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Henry Bone - Full-length portrait of Henry-Philip Hope

Full-length portrait of Henry-Philip Hope (1802)

Henry Bone (English, 1755-1834)
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License: All public domain files can be freely used for personal and commercial projects.
Why is this image in the public domain?
The Artist died in 1834 so this work is in the public domain in its country of origin and other countries where the copyright term is the Artist's life plus 70 years or fewer.
Henry Bone

Henry Bone RA was an English enamel painter who was officially employed in that capacity by three successive monarchs, George III, George IV and William IV. In his early career he worked as a porcelain and jewelry painter. He was elected a Royal Academician and produced the largest enamel paintings ever seen up to that time.

Henry Bone was born in Truro, Cornwall. His father was a cabinet maker and carver of unusual skill. In 1767, Bone's family moved to Plymouth in neighbouring Devon, where Henry was apprenticed, in 1771, to William Cookworthy, the founder of the Plymouth porcelain works, and the first manufacturer of Hard-paste porcelain in England. In 1772, Bone moved, with his master, to the Bristol china works, where he remained for six years, working from 6 a.m. to 6 p.m., and studying drawing at night. His china decoration is of high merit, and is said to have been marked with the figure "1" in addition to the factory-mark, a small cross.

On the failure of the Bristol works in 1778, Bone came to London with one guinea of his own in his pocket, and five pounds borrowed from a friend. He first found employment enameling watches and fans, and afterwards in making enamel and watercolour portraits. He became a friend of John Wolcot, and, on his advice, made professional tours in Cornwall. On 24 January 1780, he married Elizabeth Vandermeulen, a descendant of the distinguished battle-painter Adam Frans van der Meulen. The couple went on to have twelve children, ten of whom survived. In the same year he exhibited his first picture at the Royal Academy, a portrait of his wife, an unusually large enamel for the period. He then gave himself up entirely to enamel-painting, and continued frequently to exhibit at the Academy, initialing most of his works.

In 1789, he exhibited "A Muse and Cupid", the largest enamel painting ever executed up to that time. In 1800 he was appointed enamel painter to the Prince of Wales; in 1801 he was made an associate of the Royal Academy (ARA) and enamel painter to George III, continuing to hold the appointment during the reigns of George IV and William IV. On 15 April 1811 he was elected a royal academician (RA), and shortly afterwards produced a still larger enamel (eighteen inches by sixteen), after Titian's Bacchus and Ariadne. More than 4000 people saw the work at Bone's house. The picture was sold to Mr. G. Bowles of Cavendish Square for 2,200 guineas, the sum of which was paid (either wholly or partly) by a cheque drawn on Fauntleroy's Bank. Bone cashed the cheque on his way home, just in time, as the next day financial difficulties caused the bank to suspend payments!

In the preparation and firing of his large plates, he was assisted by Edward Wedlake Brayley, who was by then already a distinguished antiquary, but had trained as an enameller.

Bone's next great works were a series of historical portraits from the time of Elizabeth I, a series of "Cavaliers distinguished in the Civil War", and a series of portraits of the Russell family. The Elizabethan series did not prove a financial success; they were exhibited at his house at 15 Berners Street. In 1831 his eyesight failed, and after having lived successively at Spa Fields, 195 High Holborn, Little Russell Street, Hanover Street, and Berners Street, he moved in that year to Somers Town, and reluctantly received the Royal Academy pension.

He died on 17 December 1834, not without complaining of the neglect with which he had latterly been treated. He is said to have been "a man of unaffected modesty and generosity; friendship and integrity adorned his private life". Francis Chantrey carved a bust of him, and John Opie, John Jackson, and George Harlow all painted his portrait. Richard Dagley was a friend.

More Artworks by Henry Bone (View all 15 Artworks)

The duchess of Kent with her daughter, the future queen Victoria

The duchess of Kent with her daughter, the future queen Victoria (1824)

Henry Bone (English, 1755-1834)
Incantation Scene

Incantation Scene

Henry Bone (English, 1755-1834)
Robert Cathcart, Esq.

Robert Cathcart, Esq. (1798)

Henry Bone (English, 1755-1834)
Portrait of Samuel Lyons

Portrait of Samuel Lyons (1803)

Henry Bone (English, 1755-1834)
Portrait of lady Elizabeth Alicia Maria Herbert, later countess of Carnarvon and her son Charles Herbert

Portrait of lady Elizabeth Alicia Maria Herbert, later countess of Carnarvon and her son Charles Herbert (1801)

Henry Bone (English, 1755-1834)
Danaë, after Titian

Danaë, after Titian (1812)

Henry Bone (English, 1755-1834)
A Portrait of Thomas Hope in Turkish Costume

A Portrait of Thomas Hope in Turkish Costume

Henry Bone (English, 1755-1834)
Charles X (1757–1836), King of France

Charles X (1757–1836), King of France (1829)

Henry Bone (English, 1755-1834)
Sir Charles Blunt, 4th Baronet

Sir Charles Blunt, 4th Baronet (1799)

Henry Bone (English, 1755-1834)
Portrait of the Countess of Bedford, after Anthony Van Dyck

Portrait of the Countess of Bedford, after Anthony Van Dyck (1844)

Henry Bone (English, 1755-1834)
Bacchus and Ariadne

Bacchus and Ariadne (1808)

Henry Bone (English, 1755-1834)
Young Woman

Young Woman (ca. 1790)

Henry Bone (English, 1755-1834)
The Sleepwalking Scene in Macbeth

The Sleepwalking Scene in Macbeth

Henry Bone (English, 1755-1834)
Portrait of Antonio Canova

Portrait of Antonio Canova (1821)

Henry Bone (English, 1755-1834)
View all 15 Artworks

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