FOLEY, John Henry (1818-1874), sculptor, R.A., was born at Dublin, May 24, 1818. Through a distant relative, a sculptor in the city, his attention was early directed to the profession which was to occupy his life, and at thirteen he began to study drawing and modelling at the schools of the Royal Dublin Society, where he took several first-class prizes. In 1834 he proceeded to London, and in 1835 was admitted a student in the schools of the Royal Academy. He first appeared as an exhibitor in 1839 with his Death of Abel and Innocence. Ino and Bacchus, exhibited in 1840, gave him immediate reputation, and the work itself was afterwards commissioned to be done in marble for the earl of Ellesmere. Conceived entirely without classical or other affectation, this work has the charm of rare simplicity and grace. Lear and Cordelia and Death of Lear were exhibited in 1841, Venus rescuing Aeneas and The Houseless Wanderer in 1842, Prospero and Miranda in 1843. In 1844 Foley sent to the exhibition at Westminster Hall his Youth at a Stream, and was, with Calder Marshall and John Bell, chosen by the commissioners to do work in sculpture for the decoration of the Houses of Parliament. Statues of John Hampden and Selden were executed for this purpose, and received liberal praise for the propriety, dignity, and proportion of their treatment. Commissions of all kinds now began to come rapidly, and without going out of his way to seek it, Foley had from this time until his death work sufficient to occupy not only the whole of his own time, but also that of the numerous assistants and pupils whom he trained. Fanciful works, busts, bas-reliefs, tablets, and monumental statues were in great numbers undertaken and executed by him with that steady equality of worthy treatment which is perhaps ...the next best thing to the inspiration of great genius. In 1849 he was made an associate and 1858 a member of the Royal Academy; but although until his death his name remained on the list of Royal Academicians, he, after 1861, owing, it is said to some misunderstanding with the hanging committee of that year, ceased not only to exhibit but also to hold any communication with the body of which he was a member. Among his numerous works the following may be noticed, besides those mentioned above :—The Mother; Egeria, for the Mansion House; The Elder Brother in Cornus, his diploma work; The Muse of Painting, the monument of James Ward, R. A.; Caractacus, for the Mansion House; Helen Faucit (Mrs Theodore Martin); Goldsmith and Burke, for Trinity College, Dublin; Faraday; Reynolds; Barry, for Westminster Palace Yard; John Stuart Mill, for the Thames embankment; O'Connell and Gough, for Dublin; Clyde, for Glasgow; Clive, for Shrewsbury; Hardinge, Canning, and Outram, for Calcutta; Hon. James Stewart, for Ceylon; the symbolical group Asia, as well as the statue of the prince himself, for the Albert Memorial in Hyde Park; and Stonewall Jackson, for South Carolina. The statue of Outram is probably his masterpiece, and certainly displays more imaginative fire than any other of his works, while well exhibiting that perfect sanity of conception as well as that full mastery of the means of his art by which all his works are characterized. Foley’s early fanciful works have some charming qualities; but he will probably be always best remembered for the workman-like and manly style of his monumental portraits. His life was entirely devoted to his art, and he seems to have addressed himself to it with all the workday docility of a craftsman, and at the same time with strong feelings of duty and responsibility. Of great modesty, and rather reserved in manner, he was open to all that influences a refined nature; in poetry and music he was not only a student and admirer, but a composer and performer. He died at Hampstead of a pleuritic effusion after a short illness, preceded by a long indisposition, August 27, 1874, and was on the 4th of September buried in St Paul’s Cathedral. He left his models to the Royal Dublin Society, his early school, while a great part of his property goes eventually to the Artists’ Benevolent Fund.
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