Charles Boit was the leading portrait enamellist at work in Europe during the closing decade of the seventeenth century and this is one of the largest and most accomplished surviving works by him. Boit, who was born in Sweden, probably leant the art of enamel painting from Pierre Signac (c. 1624-84?) at the Swedish court. He came to England in 1687 and was made Court Enamellist to William III in 1696. He continued to work for Queen Anne until financial difficulties forced him to leave England for France in 1714.

Boit's usual practice was to copy in miniature full-length oil portraits by artists such as Sir Godfrey Kneller and Michael Dahl, but in this instance he appears to have worked from life. Large-scale enamel plaques such as this one presented considerable technical difficulties for an artist. They were prone to warp on firing, leading to cracking. Here only minor cracks, probably occuring before the final firing, are evident in the top left corner. Boit's characteristic stipple technique is evident, but the most successful quality of the enamel is the strong, rich colouring, which particularly appealed to Boit's patrons.

Inscribed by the artist in the enamel on the back: Anna D:G: Angl: Scot: Franc: & Hiber: Regina &ct & his Royal Highness George Prince of Denmark C. Boit pinx: Anno 1706