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Jean Petitot the elder can be described as one of the pioneers of portrait enamellers, introducing a high level of detail and new range of subtle colours not previously employed in this medium. As an artist his career is often divided into two parts – the first part covering his time at the English court; the second part his time at the French court after the outbreak of Civil War in England. The dating of this enamel to circa 1645 places it in the first period, when Petitot was heavily influenced (and instructed) by Sir Anthony van Dyck and personally encouraged in his work by King Charles I. He was also assisted by the interest of the King's physician, Sir Theodore Turquet de Mayerne, whose portrait he painted [NPG 3066].

It is likely that Petitot ran a studio for his enamel painting – the number of repetitions, particularly later in his career, would have been too many for one artist to produce. Work attributed to him is also of varying quality and technique, with few pieces fully signed. This portrait is unusual as it does not appear to be a copy of an oil painting of the period (as so many of his enamel were) but holds a level of naturalism and detail in the sitter’s features quite unlike many of his portraits. This is enhanced by the elongated oval shape and the sitter’s position in the composition slightly to the side.[1]

Petitot’s career spanned seven decades and his output was prolific (most probably through the aide of a talented team of apprentices). He worked with great success in Paris until the Revocation of the Edict of Nantes (1685) when, as a devout Protestant, he fled to Geneva where he eventually died in 1691.

[1] The small black flecks on the surface of the enamel show how difficult it was to keep the kiln dust away during the firing of the portrait.