Henry Bone R.A.

Henry Bone's executor's sale, Christie's, London, 7 June 1836, lot 36;
Anonymous sale, Dorotheum, Vienna, 28 and 29 March 1928, lot 143;
The Hilde Frank Collection, Leipzig;
The Holzscheiter Collection, their sale in these Rooms, 28 March 1977, lot 63

London, Royal Academy, 1821, no. 474

Richard Walker, 'Henry Bone's Pencil Drawings in the National Portrait Gallery', The Walpole Society, vol. LXI,  (referred to on p.317)

The work remains in good condition. At the top right hand corner the enamel has cracked and it has been skilfully repaired. This corner has not become detached. A tiny part of the enamel has been lost at the bottom right corner of the work. However, this can only be seen when the work is not in its frame. Located in the dark folds of the sitter's left sleeve, there is evidence of some minor 'crazying'. This probably occurred during the firing of the work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Henry Bone was the leading enamellist of his day. In 1800 he achieved the title of enamel painter to His Royal Highness George, Prince of Wales, later George IV. The present large enamel was executed by Bone in 1821 after John Jackson's 1819 oil painting, which itself was commissioned by the sculptor Sir Francis Chantrey R.A. (1781-1841).

Canova, the leading neo-classical sculptor of his day, had struck up a friendship with Chantrey when he had travelled to London in 1817. The pair met again in 1819 in Rome, and it was then that Chantrey commissioned Jackson to take Canova likeness. The marble sculpture, seen behind the red curtain is a figure from Canova's celebrated Tomb of Maria Christina of Austria. The monument was commissioned for the Church of the Augustines, Vienna and was completed in 1805.