This miniature is only 38 mm x 32 mm, and in terms of size is typical of British miniatures painted from the 1730s to the 1760s. These miniatures have long been called ‘Modest School’ miniatures, because all the artists seemed to work to this small scale, and the portraits also have a simple and restrained style, due both to the technique and to the modesty of dress and adornment of the sitters. This compares notably with the large miniatures of the late 18th century, and the flamboyant dress that came into fashion in the 1780s. But Hone is typical also of the ‘large miniature’ painters in that he would not have identified himself as a miniature painter, let alone as part of a group or ‘school’.

Hone left Ireland to work in England as an itinerant portrait painter, predominantly in oils. But miniature painting was a popular art form in England, and it was relatively easy for an artist to add the practice to his portfolio. Hone, however, had great ambitions. He studied in Rome from 1750 to 1752, and exhibited oil paintings in London at the Society of Artists from its foundation in 1760. He was a founder member of London’s Royal Academy of Arts in 1768. Few miniatures by Hone date from after 1760, the year he began to concentrate once more on oil painting.

Scratched on the back of the miniature is the inscription 'Harry Earle Junr aet.s. 15'. This was acquired by the V&A with a second miniature by Hone and dated 1760 (Museum no. P.5-1958) which is inscribed on the back '[...] Earle/aet.s.17'. This could be the same sitter, two years later and two years older. The maiden name of Nathaniel Hone's first wife was 'Earle'. It is possible that this boy was related to Hone's wife.