This exquisite work is an accomplished example of the type of portrait in vogue in England during the third quarter of the 17th century. There was a large demand for paintings in England and the demand for portraits was greatest. Many artists worked in this lucrative field, even artists who initially trained in the more respected field of history painting, such as Peter Lely, turned their attention to portraiture to meet this demand. Moreover, it was not uncommon for the British, even for men, to present a gift of one�s portrait to a friend - portraits were first and foremost a memento. Woman at court often vied with one another in displays of rich and fashionable clothing. The drapery was either painted from the customer�s own clothes or was perhaps a creation using fabrics loosely tacked together in the studio. This was a common practice of Lely and his studio props included swathes of fabric and pieces of cloth. The sitter�s sumptuous attire and gauze scarf, fastened by a large diamond brooch, is of the finest material and is representative of wealth. Pearls were an obligatory accompaniment since at least the 1630s and they are worn in abundance � in her hair, on her attire, as a necklace, and as pear-shaped earrings called unions d�excellence, reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. Her hairstyle help date the painting to the early 1660�s.Peter Lely, the son of a Dutch military officer, was born in Germany at Soest in Westphalia in 1618. Though his family name was van der Faes, he assumed the name Lely after the lily that was carved on the gable of his father�s home in The Hague. He studied in Haarlem before moving to London in 1641 and in 1647 he became a freeman of the Painter-Stainers� Company. Initially, Lely painted a variety of subject matter including landscape, religious, and mythological scenes, however, he quickly recognized the strength of the ...