Portrait of an unknown woman, perhaps of the Howe family
Enamel Miniature
4th quarter 17th century (painted)
4th quarter 17th century (painted)
Artist/Maker | |
Place of origin |
This portrait is painted in enamel on metal. The advantage of enamel over traditional miniature painting (watercolour painted on vellum or, from about 1700, on ivory) is that it does not fade when exposed to light. The process of painting with enamels is, however, less free than the miniature technique and is fraught with risk. The first colours to be laid on the metal support have to be those needing the highest temperature when firing. More colour is added and the enamel refired, the process ending with the colours needing the lowest temperature. Such labour meant that it was an expensive option.
Enamel was first practised in England in the 1630s by the Swiss goldsmith Jean Petitot at the court of Charles I. It was reintroduced around 1680 by a Swede, Charles Boit, but had remained an enormously popular and fashionable medium in mainland Europe. The unknown artist who painted this enamel, probably around the 1680s, signed it ‘E.D.’ and also added ‘Coventry’.
Enamel was first practised in England in the 1630s by the Swiss goldsmith Jean Petitot at the court of Charles I. It was reintroduced around 1680 by a Swede, Charles Boit, but had remained an enormously popular and fashionable medium in mainland Europe. The unknown artist who painted this enamel, probably around the 1680s, signed it ‘E.D.’ and also added ‘Coventry’.
Object details
Categories | |
Object type | |
Title | Portrait of an unknown woman, perhaps of the Howe family (popular title) |
Materials and techniques | Enamel on metal |
Brief description | Portrait enamel of an unknown woman, perhaps of the Howe family, enamel on metal, painted by "E.D." of Coventry (fl. late 17th century). |
Physical description | Portrait enamel of an unknown woman, perhaps of the Howe family, enamel on metal. |
Dimensions |
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Credit line | Purchased with funds from the Stephenson Bequest |
Subject depicted | |
Summary | This portrait is painted in enamel on metal. The advantage of enamel over traditional miniature painting (watercolour painted on vellum or, from about 1700, on ivory) is that it does not fade when exposed to light. The process of painting with enamels is, however, less free than the miniature technique and is fraught with risk. The first colours to be laid on the metal support have to be those needing the highest temperature when firing. More colour is added and the enamel refired, the process ending with the colours needing the lowest temperature. Such labour meant that it was an expensive option. Enamel was first practised in England in the 1630s by the Swiss goldsmith Jean Petitot at the court of Charles I. It was reintroduced around 1680 by a Swede, Charles Boit, but had remained an enormously popular and fashionable medium in mainland Europe. The unknown artist who painted this enamel, probably around the 1680s, signed it ‘E.D.’ and also added ‘Coventry’. |
Bibliographic reference | Victoria & Albert Museum Department of Prints and Drawings and Department of Paintings, Accessions 1932. London: HMSO, 1933. |
Collection | |
Accession number | P.13-1932 |
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Record created | July 11, 2003 |
Record URL |
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