PARIS, 1769-1770, MAÎTRE-ORFÈVRE PARTIELLEMENT LISIBLE PEUT-ÊTRE HBG; LA MINIATURE PAR CHRISTIAN FRIEDRICH ZINCKE (1683-1767)

Circulaire, émaillée en vert à l'imitation du jaspe sanguin dans des montures en or ciselées d'un ruban tors et sur le couvercle ajouré d'une frise de bourgeons, le couvercle appliqué au centre d'une miniature sur émail figurant une femme dans une robe bleue, les cheveux châtain clairs sur l'épaule, sous verre, dans un écrin postérieur estampillé Cartier, poinçons sur la gorge: lettre-date (f), maître-orfèvre et décharge
D.: 7,6 cm. (3 in.)
Poids brut: 230 gr. (7 oz. 7 dwt.)

Vente Phillips, Londres, 7 novembre 1997, lot 160.

A LOUIS XV GOLD-MOUNTED ENAMELLED BONBONNIERE SET WITH A MINIATURE
PARIS, 1769-1770, MAKER'S MARK PARTLY LEGIBLE, POSSIBLY HBG; THE MINIATURE BY CHRISTIAN FRIEDRICH ZINCKE, (1683-1767)
Circular enamelled in green with red inclusions to simulate bloodstone, the mounts with pierced foliate border on cover and base, and ovolo bands to sides, the cover set with an enamel portrait miniature of a lady with light brown hair hanging over the shoulder and a low cut blue dress, in later red leather case stamped Cartier, marked on flange: date-letter (f), maker's mark and décharge

Christian Frederick Zincke (1683-1767), born in Dresden, was the son of a goldsmith. He moved to England in 1706 and studied enamel painting with Charles Boit (1662-1727). He began by copying portraits by Peter Lely (1618-1680) and Godfrey Kneller (1646-1723) which established his reputation. Well introduced at the court of George II who described his portraits as "beautiful and amiable", in 1732 he was appointed painter to the cabinet of Frederick, Prince of Wales, the eldest son of George II. However, an onset of blindness forced him to retire in 1752.
This miniature, by its composition, seems to be after a portrait by Godfrey Kneller in the style of his serie of eight portraits called "The Beauties of Hampton Court" commissioned by Queen Mary II in response to the "Belles of Windsor" painted by Lely and which depicted the most prominent women at the court of William II. Like Kneller, the sitter takes a lascivious pose, with her low-cut dress and her open and welcoming face that Zincke succeeds in transcribing in this miniature using the dotted technique very characteristic of his style but also the range of flesh tones which make his talent.