Christian Friedrich Zincke (c.1684-1767)
At the time this portrait was executed, Zincke at the height of his powers and busy with court sittings, having completed a set of family portraits for George II and Queen Caroline...
Although the sitter in this enamel has not been identified, his pose follows very closely an enamel by Zincke in the Royal Collection of a Nobleman wearing the Order of the Bath [ RCIN 421959] and datable to circa 1725-30. The distinctive stippling is characteristic of Zincke, who also followed his master in painting the lips of his sitters in distinctive scarlet and orange lip tones.
The portrait slightly predates Zincke’s appointment as Cabinet Painter to Frederick Prince of Wales (1732), but would have been made when Zincke was approaching the height of his powers as an enamellist. His dominance of the market for portrait enamels was secured when his master, Charles Boit, was forced to flee England to avoid imprisonment for debt in 1714. By the 1720s, Zincke was busy working for the Royal family, his affable nature thawing even George II’s aversion to portraiture. The king also admired Zincke’s remarkable craftsmanship, commenting that his portraits were both ‘beautiful and like’.
At the time this portrait was executed, Zincke was busy with court sittings, having completed a set of family portraits for George II and Queen Caroline. This set of enamel portraits, now part of the Royal Collection, include likenesses of the King and Queen, Princesses Mary, Amelia, Anne and Caroline and even William IV, Prince of Orange who married Princess Anne in 1734. Zincke had a relatively short career as his eyesight deteriorated rapidly in the 1740s and was forced to retire.