Continental artists first introduced enamel painting to England in the 17th century, but it wasn't until the early 18th century that it became fashionable. The young German Christian Friedrich Zincke dominated the market for small portraiture in London. Most artists working in enamel were taught by an experienced enameller, and Zincke trained a number of English artists. It is not known who trained the maker of this portrait, Gervase Spencer, though before becoming a miniaturist, Spencer was employed as a gentleman's servant. He became a successful miniature painter on the newly fashionable base of ivory and later also produced work in enamel.

This portrait, and another in the Gilbert Collection (LOAN:GILBERT.284-2008) are examples of refitting and adapting family heirlooms to safeguard them for future generations, while sometimes inadvertently adding erroneous information. Although the two miniatures are by different artists and of different dates, the frames and their inscriptions are almost identical, reading 'Thomas Tilson Father of Lady Deane', and 'Mother of Charlot Tilson Lady Deane'. The two portraits were sold at auction in 1981 by Lord Muskerry, their direct descendant. The costume of Mrs Tilson can be dated to about 1720, but that of Mr Tilson dates to 15 years later, when he would have been in his 40s or 50s. However, he looks too young to be of that age. Instead, the sitter could be Mrs Tilson's son-in-law, Sir Robert Deane (c.1707-70), whom her daughter married in 1738. It is possible that the two miniatures were framed as a matching set and inscribed with the confused identification, possibly by Sir Robert's son, Robert Tilson Deane (1745-1818), who became the first Baron Muskerry in 1780.

Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.