id: 171078 accession number: 2013.51 share license status: CC0 url: https://clevelandart.org/art/2013.51 updated: 2023-03-22 03:04:59.559000 Bacchus and Ariadne, 1808–11. Henry Bone (British, 1755–1834), after Titian (Italian, c. 1488–1576). Enamel, in original gilt-wood and gesso carved frame; unframed: 40.5 x 46 cm (15 15/16 x 18 1/8 in.). The Cleveland Museum of Art, Severance and Greta Millikin Trust 2013.51 title: Bacchus and Ariadne title in original language: series: series in original language: creation date: 1808–11 creation date earliest: 1808 creation date latest: 1811 current location: 203B British Painting and Decorative Arts creditline: Severance and Greta Millikin Trust copyright: --- culture: England, 19th century technique: enamel, in original gilt-wood and gesso carved frame department: Modern European Painting and Sculpture collection: Mod Euro - Painting 1800-1960 type: Miniature find spot: catalogue raisonne: --- CREATORS * Henry Bone (British, 1755–1834) - artist * Titian (Italian, c. 1488–1576) - artist Tiziano Vecellio, called Titian, was the greatest Italian painter of 16th-century Venice, known for his expressive brushwork, brilliant color, and hazy atmospheric effects. He was born in Pieve di Cadore, a small town on the Venetian side of the Alps around 1490. He moved to Venice when he was ten years old, and started his artistic training under the mosaicist Sebastiano Zuccato. He later joined Gentile's and Giovanni's Bellini workshops, and started a collaboration with the painter Giorgione on the frescoes of the Fondaco dei tedeschi in 1508. Titian's "Assumption of the Virgin" (1516-1518) for the church's high altar became the masterwork that helped establish him as one of the leading painters in the Venetian area. Over his career, Titian created paintings for prestigious commissioners, such as Pope Paul III, king Philip II of Spain, and Charles V. In his later years, Titian mainly focused on religious and mythological subjects. he died of plague on August 27, 1576 in Venice. Titian's artistic oeuvre had a great impact on later generations of painters, such as Rembrandt, Diego Velàzquez, Anton van Dyck and Peter Paul Rubens. --- measurements: Unframed: 40.5 x 46 cm (15 15/16 x 18 1/8 in.) state of the work: edition of the work: support materials: inscriptions: inscription: Signed and dated H Bone, 1811 on the recto (on the urn, lower left), inscribed on frame mat at bottom right: ENAMEL HBONE, and signed, dated and inscribed in full on the counter-enamel "painted by Henry Bone R.A. Enamel painter in Ordinary to His Majesty and Enamel painter to His Royal Highness the Prince of Wales, after the Original by Titian in the Collection of the Rt: Honble: Lord Kinnaird &c &c &c.____ This Picture the most celebrated amongst the Bacchanalian Subjects of Titian (when patronis'd by Alphonso Duke of Ferrara) was ultimately brought to this Country from the Villa Aldobrandini in Rome in 1806, from whence it was imported by Willm. Buchanan Esq.____ Size of the Original 6 feet 2 inches, by 5 ---- 10 ---- This Enamel picture w[as] began July 30th 1808 and finish'd March 1811. ___ (HB. Elected a Royal Academician Feby. 11th 1811)" translation: remark: --- CURRENT EXHIBITIONS title: British Gallery Reinstallation (June 2020) opening date: 2020-06-30T04:00:00 British Gallery Reinstallation (June 2020). The Cleveland Museum of Art (organizer). --- LEGACY EXHIBITIONS --- PROVENANCE --- fun fact: Henry Bone was known for his enamel paintings created through a laborious process of fusing painted glass to copper and firing at controlled temperatures. digital description: wall description:
Henry Bone devoted three years to creating this work, a tremendous technical achievement and the largest enamel on copper that had ever been made. The painstaking process required each application of color to be fired at a different temperature in the kiln. The enamel exactly reproduces Titian’s Bacchus and Ariadne (now in the National Gallery, London), an early sixteenth-century Italian masterpiece that had recently come into an English collection. The elaborate carved and gilded wood frame was specially designed for the work, an indication of the cultural value placed on great enamel reproductions of famous paintings.

Bone was unable to show his masterwork at the annual Royal Academy exhibition in 1811 because the Prince of Wales had asked to see it. When the prince decided not to purchase it, Bone issued more than 4,000 tickets for visitors to view the work in his studio. --- RELATED WORKS --- CITATIONS Neale, John Preston. Jones' Views of the Seats, Mansions, Castles, &C. of Noblemen and Gentlemen in England, Wales, Scotland and Ireland, and Other Picturesque Scenery: Accompanied with Historical Descriptions of the Mansions, Lists of Pictures, Statues, &C. and Genealogical Sketches of the Families and Their Possessors : Forming Part of the General Series of Jones' Great Britain Illustrated. London, United Kingdom: Jones & Co, 1829. page number: url: The Annual Biography and Obituary for the Year 1934-1835 XX (1836): 40-49. page number: Mentioned: p. 45 url: Essex, Alfred. "Some Account of the Art of Painting in Enamel." The London and Edinburgh Philosophical Magazine and Journal of Science X (1837): 442-453. page number: Mentioned: p. 453 url: Rogers, J. Jope. "Notice of Henry Bone, RA, and His Works, Together with Those of His Son, Henry Pierce Bone, and Other Members of the Family." Journal of the Royal Institution of Cornwall VI, no. XXII (1880): 287-318. page number: Mentioned: p. 292 url: Propert, John Lumsden. A History of Miniature Art. With Notes on Collectors and Collections. London, United Kingdom: Macmillan and Co, 1887. page number: Reproduced: p. 121 url: Williamson, George Charles, and Howard Coppuck Levis. Portrait Miniatures: From the Time of Holbein 1531 to That of Sir William Ross 1860 : a Handbook for Collectors. London, United Kingdom: G. Bell, 1897. page number: Reproduced: p. 112 url: Foster, J. J., and Howard Coppuck Levis. British Miniature Painters and Their Works. London: S. Low, Marston & Company, Limited, 1898. page number: Mentioned: p. 63 url: Heath, Dudley, and Howard Coppuck Levis. Miniatures. London: Methuen and Co, 1905. page number: Mentioned: p. 289 url: Clouzot, Henri. Dictionnaire des miniaturistes sur émail. Paris, France: A. Morancé, 1924. page number: Mentioned: p. 30 url: Hand, Sidney. Signed Miniatures. London, United Kingdom: S. Hand, 1924. page number: Mentioned: p. 13 url: Foster, J. J., and Ethel M. Foster. A Dictionary of Painters of Miniatures (1525-1850) With Some Account of Exhibitions, Collections, Sales, Etc., Pertaining to Them. London, United Kingdom: P. Allan, 1926. page number: Reproduced: p. 27-28 url: Long, Basil S. British Miniaturists. London, United Kingdom: Geoffrey Bles, 1929. page number: Reproduced: p. 37 url: Reynolds, Graham. English Portrait Miniatures. London, United Kingdom: A. & C. Black, 1952. page number: Reproduced: p. 151 url: Schidlof, Leo R. The Miniature in Europe in the 16th, 17th, 18th, and 19th Centuries. Graz, Austria: Akademische Druck- u. Verlagsanstalt, 1964. page number: Reproduced: p. 93, vol. 1 url: Foskett, Daphne. A Dictionary of British Miniature Painters. London, United Kingdom: Faber and Faber, 1972. page number: Reproduced: p. 171, vol. 1 url: Farington, Joseph, Kenneth Garlick, Angus D. Macintyre, and Kathryn Cave. The Diary of Joseph Farington. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 1978. page number: Mentioned: vol. XI, 3854, 3922, 3932 url: Foskett, Daphne. Miniatures: Dictionary and Guide. Woodbridge, Suffolk, United Kingdom: Antique Collectors' Club, 1987. page number: Reproduced: p. 195 url: Speel, Erika. Dictionary of Enamelling. Aldershot, Hants, United Kingdom: Ashgate, 1998. page number: Reproduced: p. 13 url: Walker, Richard. "Henry Bone's Pencil Drawings in the National Portrait Gallery." The Volume of the Walpole Society 61 (1999): 305-67. page number: Mentioned: p. 306, 359; reproduced: fig. 188 url: http://www.jstor.org/stable/41829634. Coffin, Sara, and Bodo Hofstetter. Portrait Miniatures in Enamel. London, United Kingdom: Philip Wilson Publishers in association with the Gilbert Collection, 2000. page number: Reproduced: p. 9 url: Mazzocca, Fernando, and Sergio Rebora. Capolavori in smalto e avorio: Pietro Bagatti Valsecchi e la miniatura d'après. Cinisello Balsamo, Milano, Italy: Silvana, 2004. page number: Reproduced: p. 33 url: Speel, Erika. Painted Enamels: An Illustrated Survey 1500-1920. Aldershot, Hampshire, United Kingdom: Lund Humphries, 2008. page number: Reproduced: p. 114, fig. 28 url: Williams, Haydn, and Julia Clarke. Enamels of the World, 1700-2000: The Khalili Collections. London, United Kingdom: Khalili Family Trust, 2009. page number: Reproduced: p. 272 url: Arturi Phillips, Carmela, and Roger Arturi Phillips. The Arturi Phillips Collection: A Catalogue of Portrait Miniatures Dating from 1588 to 2004. [Place of publication not identified]: Portrait Miniature Club, 2010. page number: Reproduced: p. 272 url: Duffy, Stephen, and Christoph Martin Vogtherr. Miniatures in the Wallace Collection. London, United Kingdom: Wallace Collection, 2010. page number: Reproduced: p. 158 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/2013.51/2013.51_web.jpg print: https://openaccess-cdn.clevelandart.org/2013.51/2013.51_print.jpg full: https://openaccess-cdn.clevelandart.org/2013.51/2013.51_full.tif