Henry BONE (Truro, 1755 - Somers Town, 1835) Portrait of Henry-Philip Hope (1774-1839) in Oriental costume Round enamel on copper Signed 'HBone' on the left Diameter : 9.5 cm Chased and gilded bronze frame decorated with laurel friezes Inscribed 'H. P. Hope Esqre / London / April 1809 / Painted by Henry Bone ARA Enamel / painter to H.R.H. the Prince of / Wales after the Original by / T. Lawrence R A.' on reverse Portrait of Henry-Philip Hope (1774-1839), enamel on copper, signed, by H. Bone D. 3.74 in. Provenance: Anonymous sale; Paris, Hôtel Drouot, Beaussant-Lefevre, 8 April 2009, no. 44 (sold for €16,500); Pierre Jourdan-Barry Collection (1926-2016); Then by descent; Private collection, Belgium Bibliography: La Gazette Drouot, n° 15 of 17 April 2009, p.42 The brothers Thomas and Henry Philip Hope, wealthy heirs to the Dutch family bank Hope & Co, have remained famous for the excellence and novelty of their taste and the importance of their collections. Although Richard Walker ("Henry Bone's Pencil Drawings", The Walpole Society, 1999, p. 331, no. 274) mentions the preparatory drawing for the portrait of Henry Philip Hope after G. Head, 1802, in the style of Gainsborough, our enamel should rather be seen as a reinterpretation of the large full-length portrait by Thomas Lawrence1 (fig. 1), as the inscription on the reverse attests. The sitter is shown in Ottoman costume in front of a landscape with a glowing sky. Lawrence left the portrait unfinished, and it was completed by Martin Archer-Shee, the sitter's neighbour from 1799, when he took over the studio in Romney Cavendish Square2. 1 - Thomas Lawrence and Marten Archer-Shee, Henry Philip Hope, oil on canvas, 1805. Trustees of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (formerly Prince of Wales Museum) 2 - Thomas Hope, Regency Designer, cat exp. London, The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, 17 July 2008 - 16 November 2008, p. 204 Henry BONE (Truro, 1755 - Somers Town, 1835) The brothers Thomas and Henry Philip Hope, the wealthy heirs of the Dutch family bank Hope & Co, have remained famous for the excellence and novelty of their taste and the importance of their collections. Although Richard Walker ("Henry Bone's Pencil Drawings", The Walpole Society, 1999, p. 331, no. 274) mentions the preparatory drawing for the portrait of Henry Philip Hope after G. Head, 1802, in the style of Gainsborough, our enamel should rather be seen as a reinterpretation of the large full-length portrait by Thomas Lawrence1 (fig. 1), as the inscription on the reverse attests. The sitter is shown in Ottoman costume in front of a landscape with a glowing sky. Lawrence left the portrait unfinished, and it was completed by Martin Archer-Shee, the sitter's neighbour from 1799, when he took over the studio in Romney Cavendish Square2. 1 - Thomas Lawrence and Marten Archer-Shee, Henry Philip Hope, oil on canvas, 1805. Trustees of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (formerly Prince of Wales Museum) 2 - Thomas Hope, Regency Designer, cat exp. London, The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, 17 July 2008 - 16 November 2008, p. 204