In the second half of the 17th century in England there was a fashion for small black and white portraits drawn on vellum (fine animal skin). This medium is more durable than paper. Although these portraits were called 'plumbagos', meaning black lead, they were usually drawn in graphite and sometimes in ink. This portrait is done in graphite.

‘Plumbagos' developed in the Netherlands in the late 16th century within the print trade. They developed from the printmakers’ original drawings on paper, from which a print would have been engraved. 'Plumbagos' were introduced into England when the monarchy was restored in 1660, by printmakers who returned home from exile abroad. As the taste for 'plumbagos' became established, artists who were not printmakers also began to produce them. A few artists continued the art of the 'plumbago' into the early 18th century. Sometimes, as with this portrait, they worked on card rather than the more expensive vellum.

George White was the son and pupil of the engraver and 'plumbago' artist Robert White. He drew miniature portraits in plumbago on vellum and painted portraits in oil and in crayons. He also engraved about 60 portraits after oil painters such as Peter Lely and Godfrey Kneller, in line and also in mezzotint.