In its strict sense, 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. In Continental Europe, however, the taste for portraits small enough to be carried on the person was often met by artists working within very different artistic traditions. One type of ‘miniature’ (as all such small works are now known), produced more on the Continent than in Britain, was the oil miniature, usually painted on metal, although this example is on paper. Most of these oil miniatures are anonymous, since the art of painting small portraits in oil on metal was not one in which leading artists specialised. More often it was part of a repertoire of portrait styles offered by less well-known oil painters. This example is unusual, therefore, in being signed by an English artist, Francis Barlow. It is inscribed on the reverse ‘Vera effigies/Humfredi dove/Anno etatis suae/Quadragesimo/a Ffr’ Barlow/depicta’.

A painter, etcher and draughtsman, Francis Barlow was the first British-born artist to paint animal and bird subjects and is known as the father of British sporting art. Described by the diarist John Evelyn in 1656 as ‘the famous Paynter of fowle, Beasts & Birds’, Barlow illustrated country pursuits and some contemporary events, adapting his closely observed drawings to etching or oil painting. He is perhaps best known for his book illustrations, in particular his own edition of Aesop’s Fables, first published in London in 1666.

One problem with oil miniatures, which probably became apparent quite quickly, is that the varnish often discolours, which results in a darkened effect, as seen in this oil miniature.