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Zoomable Image of Portrait enamel of a Lady, wearing pink gown with white underslip, a pearl bar brooch at her corsage c.1730

Portrait enamel of a Lady, wearing pink gown with white underslip, a pearl bar brooch at her corsage c.1730

Christian Friedrich Zincke (c.1684-1767)

Portrait enamel of a Lady, wearing pink gown with white underslip, a pearl bar brooch at her corsage c.1730

Christian Friedrich Zincke (c.1684-1767)

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Price:

£4,500

Materials:

Enamel on metal

Dimensions:

Oval, 1 13/16 in (46 mm) high

Provenance:

Bonhams, London, 24 June 2004, lot 9 (as by Charles Boit)

Frame:

Gold frame with reeded edge

By the time this portrait was painted, the royal family were regularly commissioning Zincke to paint their portraits...

This portrait by Zincke was enamelled at the height of his career, just prior to his creation as Cabinet Painter to Frederick, Prince of Wales in 1732. The sitter’s pink dress is strikingly unusual and comparable to a portrait of a ‘Mrs Sarah Tyssen’ in the collection of the Victoria and Albert Museum [P.54-1929], painted around the same date.

Zincke settled in England in 1706, following an invitation from Charles Boit (1662-1727), enamellist to William III, who needed assistance completing a large scale enamel commemorating the victory at the Battle of Blenheim.[1] Zincke studied under Boit for several years before establishing his own studio, and his earliest known signed enamel miniature is – most appropriately – a portrait of Sarah Churchill, Duchess of Marlborough [Royal Collection], 1711, which derives from a head and shoulders portrait by Godfrey Kneller (1646-1723) painted years earlier, in 1691.

By the late 1720s, the royal family were regularly commissioning Zincke to paint their portraits. He was well-liked by his patrons: George II, who disliked sitting for portraits, enjoyed Zincke’s company and greatly admired his craftsmanship. The fact that he got on well with both George II and his son Frederick (with whom George had a volatile relationship) is testament to Zincke’s amiable temperament.

Due to deteriorating eyesight, Zincke’s career ended prematurely in the 1740s, although he had established himself as one of the most prolific and successful portrait enamellists of the eighteenth century. His work is held in a number of major national collections, including the Ashmolean Museum, the Royal Collection and the Victoria and Albert Museum.



[1] D. Foskett, Miniatures: Dictionary and Guide (Woodbridge, 1987), p.682

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