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198:, and erected a furnace, and built convenient rooms adjoining to work in. He made several essays before he could even lay the enameled ground, the heat necessary being so intense that it must calcine as much as in a few hours, as furnaces in glasshouses do in twenty-four hours. In these attempts he wasted seven or eight hundred pounds. In the meantime, the prince, who had often visited the operation, died. This put a stop to the work for some time; Boit, however, began to lay colours on the plate; but demanded and obtained 700
113:
162:." "If this appears enormous", writes Walpole, introducing his next example of Boit's extraordinary prices, "what will the reader think of the following anecdote?" This enamel, which was to be even larger than the one of the Imperial family, concerned a commission on which he worked for many years on behalf of
282:, but lived the rest of his life in Paris. He died there on 6 February 1727, a widower and again deeply in debt, survived by his three children from his second marriage. By the time of his death, he appears to have converted to the Catholic Church and was interred at the
235:
According to Vertue, Boit "liv'd at large". At some point in 1714 or 1715, after the death of Queen Anne, his failed project for her caught up with him; asked to return the money he had been advanced, he fled to France to avoid imprisonment in the
147:
Boit returned to
England in 1704, and was to continue in his path of success for a few more years. Walpole (who does not mention the excursion to the continent) remarks that Boit's prices "are not to be believed". He is said to have been paid 30
202:
more. This made considerable noise, during which happened the revolution at court, extending itself even to Boit's work. The graces of
Marlborough were to be displaced even in the enamel, and her majesty ordered Boit to introduce Peace and
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20:
207:, instead of Victory and Churchill. These alterations were made in the sketch, which had not been in the fire, and remained so in Peterson's hands, when he related the story to Vertue.
101:, Boit remained in confinement for two years. Once free, he was able to establish himself as an enameller in London, aided by his countryman, the popular Swedish-born portrait painter
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85:
He first travelled to
England in 1687. Lack of means forced Boit to take a position as a drawing master for children in the country; according to a story retold in the
105:, to whom he probably owed a large part of his immediate and considerable success as a painter of miniature portraits. Boit was appointed court enameller to
186:; France and Bavaria prostrate on the ground; standards, arms, trophies. The size of the plate to be from 24 to 22 inches high, by 16 to 18 inches wide.
97:, he "engaged one of the scholars, a gentleman's daughter, to marry him, but the affair being discovered, Boit was thrown into prison". According to the
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and his family (1703) for which he is said to have received 6,000 ducats or 20,000 florins. The painting, 38 x 46 cm in size and now in the
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Oil and enamel portraits of Boit are mentioned in the inventory made after the death of his wife, but none is known to exist today, only an
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He was to paint a large plate of the queen, Prince George, the principal officers and ladies of the court, and
Victory introducing the
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627:
617:
584:, collected by .. George Vertue, digested and published from his original mss by Horace Walpole, with additions by the Rev.
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at a royal reception, thus giving him the opportunity to present the young monarch with an enamel portrait he had painted.
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studied enamel painting with Boit in Paris in 1717 and later became a successful painter to the imperial court in Vienna.
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actually painted the design for it in oil. Prince George, who earnestly patronized the work, procured an advance of 1,000
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642:
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Another large enamel, showing Queen Anne sitting and Prince George standing, is mentioned by
Walpole and is in the
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248:, the French ambassador to London, dressed in a suit of armour borrowed for the occasion from the collections of
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622:
156:'s portrait of Colonel John Seymour, "for a lady's head, not larger, double that sum, and for a few plates 500
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and getting married. According to
Swedish art historian Gunnar W. Lundberg, he probably studied in Sweden with
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137:
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240:. He had cultivated his French contacts in the previous years and had painted a portrait (now in the
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In 1699 Boit left
England for Holland and DĂĽsseldorf, where he produced work for the family of the
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591:
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305:
259:, to whom he gave lessons in enamel painting. Despite being a Protestant, he was elected an
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8:
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Colonel John
Seymour was the second son of Sir Edward Seymour, Bart., of Bury Pomeroy.
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144:(Vienna), is said to have cracked after one of the Imperial princes sat down on it.
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in 1682, he went to Paris for three months before returning to Sweden, settling in
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family in
Stockholm, the son of a merchant who was also master of the royal
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This copperplate engraving by
Alexander Bannerman, printed in Walpole's
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on 6 February 1717. In August 1717, the duc d'Aumont presented him to
136:, and continued to Vienna. He painted a very large enamel portrait of
353:, Boit learnt enamel painting during these two years of imprisonment.
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Lundberg, p. 34. Cf. the contrasting claim from Vertue/Walpole below.
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In Paris, Boit came under the protection of Aumont and the Regent,
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Lundberg, Gunnar W.: "Emaljmålaren Charles Boit, 1662–1727",
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66:'s apprentice at the age of fifteen. After qualifying as a
27:, is the only known portrait of the portrait painter Boit.
124:, painted by Boit in 1700 during his stay in DĂĽsseldorf (
576:, Oxford University Press, 2004 (accessed 5 July 2009)
533:
Görel Cavalli-Björkman, "van Meytens, Martin", p. 504
452:Vertue's original notes, quoted by Lundberg, p. 37
304:Boit's students in England included John Milward,
46:who mostly worked in England, Austria and France.
599:
552:Cavalli-Björkman, Görel, "van Meytens, Martin",
331:Pierre Signac (born after 1623-died after 1684).
590:New edition, revised, with additional notes by
274:He spent some time in 1719-1720 working for
215:Queen Anne and Prince George, 1706 (in the
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18:
574:Oxford Dictionary of National Biography
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594:, vol. II, London: Henry G. Bohn, 1849
194:to Boit, who took a spot of ground in
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14:
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633:18th-century Swedish male artists
582:Anecdotes of Painting in England…
556:, 25 (1985–87), pp. 502–504.
515:Lundberg, p. 39; Walpole, p. 633.
545:Asplund, Karl: "Boit, Charles",
118:Johann Wilhelm, Elector Palatine
87:Anecdotes of Painting in England
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628:18th-century Swedish painters
618:17th-century Swedish painters
549:, 5 (1925), pp. 264–266.
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554:Svenskt biografiskt lexikon
547:Svenskt biografiskt lexikon
122:Anna Maria Luisa de' Medici
42:) was a Swedish painter in
16:Swedish painter (1662–1727)
10:
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565:2:1 (1933), pp. 33–50
524:Asplund, p. 265; Remington
310:Christian Friedrich Zincke
126:Bayerisches Nationalmuseum
570:Boit, Charles (1662–1727)
562:Konsthistorisk tidskrift
319:
142:Kunsthistorisches Museum
116:A pair of miniatures of
93:, based on the notes of
648:18th-century enamellers
643:17th-century enamellers
170:, an allegory over the
592:Ralph Nicholson Wornum
220:
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120:and his second spouse
38:– 6 February 1727, in
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623:Swedish male painters
306:Otto Fredrik Peterson
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34:(10 August 1662, in
295:Alexander Bannerman
180:Duke of Marlborough
172:victory at Blenheim
60:indoor tennis court
54:Boit was born in a
638:Swedish enamellers
314:Martin van Meytens
276:Augustus of Saxony
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579:Walpole, Horace:
479:Lundberg, p. 37 f
257:Philip of Orléans
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109:in March 1696.
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103:Michael Dahl
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32:Charles Boit
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613:1727 deaths
608:1662 births
107:William III
602:Categories
540:References
286:cemetery.
238:Marshalsea
164:Queen Anne
72:Gothenburg
68:journeyman
351:Anecdotes
299:Anecdotes
291:engraving
250:the Tower
244:) of the
219:, London)
128:, Munich)
99:Anecdotes
64:goldsmith
50:Biography
36:Stockholm
25:Anecdotes
269:Louis XV
196:May-Fair
188:Laguerre
56:Huguenot
280:Dresden
263:of the
150:guineas
242:Louvre
205:Ormond
320:Notes
261:agrée
40:Paris
308:and
182:and
166:and
572:",
293:by
278:in
89:of
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