Unlike the king, Frederick was a knowledgeable amateur of painting, who patronised immigrant artists like Jacopo Amigoni and Jean-Baptiste van Loo, who painted the portraits of the prince and his consort for Frederick's champion William Pulteney, 1st Earl of Bath. The list of other artists he employed—Philippe Mercier, John Wootton, George Knapton and the engraver Joseph Goupy—represents some of the principal painterly figures of the English Rococo. The Prince was also crucially important for furthering the popularity of the Rococo style in the decorative arts, with a clear predilection for French Huguenot craftsmen, patronising silversmiths such as Nicolas Sprimont (1713–1771), "toyshop" owners like Paul Bertrand and carver and gilders, the most notable being Paul Petit (1729–c. 1756) who first worked for the prince on William Kent's neo-Palladian state barge of 1732, which is still preserved in the National Maritime Museum. Petit worked on a handful of magnificent trophy frames in the Rococo style for Frederick that are among the most significant remaining testaments to his patronage of the decorative arts. One frame made for his namesake cousin in 1748, Frederick the Great of Prussia, was especially lavish and represented the esteem in which the Prince held his cousin, suggesting the Prince identified with Frederick the Great's style of enlightened rule, over that of his own father George II. Petit's frame contained a portrait of Frederick the Great painted by Antoine Pense, and remains today in the British Royal Collection.