The word ‘miniature’ describes a technique of painting in watercolour rather than the size of a painting. Miniature painting developed as a separate art in the 16th century and in Britain it became predominantly a portrait art.
This miniature was formerly thought to be of Louise de Keroualle, Duchess of Portsmouth and one of Charles II’s mistresses. Although not Louise, she must be a lady of the court. Nicholas Dixon was at the height of his fortunes at this time having succeeded Samuel Cooper to the coveted post of King’s limner in 1672. The bold and unusually elaborate execution is indicative of the way his style adapted to his clientele at court. The use in particular of gold in rendering the gold of the earring was unusual in late 17th-century miniatures when yellow paint was generally used to simulate the desired effect. The whole effect, extravagant in its colour and palpably sensuous in its appeal surely indicates that the sitter was special, perhaps one of the ladies close to the monarch.

In the 1670s flesh was in fashion and Dixon was clearly influenced by Peter Lely’s round faced figurative style and his almond shaped, elongated eyes, half-closed, which according to one commentator ‘convey languorous lasciviousness’. These mannerisms were particularly noticeable in Lely’s portraits of the Beauties of Charles II’s court, painted 1666–8. At this time, however, it was Charles II’s mistresses who led the way at court in terms of fashion, and not the Queen as had been true in Charles I’s day. This miniature is a particularly arch example of this tendency.