The son of the sculptor Charles-Jean-Baptiste Duchesne, Jean-Baptiste may have trained initially as a sculptor with his father, but his first work as a miniaturist dates to 1794, In Paris he received instruction from F.-A. Vincent and from J.-B.-J. Augustin, in the techniques of painting on ivory and enamel, and soon became very successful, exhibiting at the Salon 1802 – 42, and being appointed Chevalier de la Légion d’honneur in 1814. His most influential patron at this period was Marie Caroline, duchesse de Berry (1798 – 1870), In 1840 Duchesne de Gisors was invited to continue the series of enamels in the Louvre by Jean Petitot. It was at this late stage in his career that he was first recommended to Queen Victoria in September 1841 by her aunt, Queen Louise of the Belgians. He produced a number of enamels for Queen Victoria during the following decade, until his advancing age brought his work for her to a close. Duchesne's enamel is a copy after a miniature by a German School artist dating from c.1830 in the Royal Collection (420580). Marie, daughter of Alexander I, Duke of Württemberg, and Antoinette, daughter of Francis Anthony, Duke of Saxe-Coburg-Saalfeld, married, in 1832, as his second wife, her uncle Ernest I, Duke of Saxe-Coburg-Gotha, and became Prince Albert’s stepmother. In discussions with Lord Melbourne regarding the guests to be invited to her wedding, Queen Victoria ‘talked of Aunt Mary’s being so odd and therefore it was better she should not come; Lord M. said he was sure one could find equally odd people here &c.’ (RA QVJ: 14 December 1839). Signed along the left-hand edge in black paint: Duchesne