Portraits in ivory were fashionable in Europe in the 17th and 18th centuries, especially in France, Germany and Britain. Generally elephant ivory was used. Since the pieces were limited in size the portraits tended to be small, yet they could still be monumental in form. The grandeur and flamboyance of Louis XIV, the Sun King, can be seen even on this small scale. Here dynastic portraits are contained within the portrait of the king. The sun god Apollo in his chariot, with a bound captive behind, is shown on top of the helmet, while medallions on the helmet depict Louis's forebears, King Henri IV (his paternal grandfather) and King Louis XIII (his father). Over his ear is a medallion of Anne of Austria (his mother), and on the shoulder Marie de Médicis (his paternal grandmother). On a pendant around the king's neck is his wife, Queen Marie Thérèse. On the lower part of his chest are inscribed the initials L (for Louis), and M (for Marie Thérèse). Under the truncation of the shoulder is the signature. The ivory is likely to date from before 1683, when his wife Marie Thérèse died.

This signed ivory is thought to date from before Marie Thérèse's death in 1683. A related bronze plaquette was also produced, an example of which (probably a late cast) is in the Musée national de la Renaissance at Ecouen, inv.no. E.Cl. 17 344 C; see also Trésor numismatique, III, 1837, p.27, pl. XXX, no.1. Christian Theuerkauff comments on the stylistic similarities between the present ivory and the figure of the Virgin of the Immaculate Conception also by Mollart in the V&A's collection (inv.no. A.90-1970); see Theuerkauff 1985, p.50.