This lavish portrait, painted circa 1695, is an exquisite example of the type of portrait in vogue during the last quarter of the seventeenth century. It is evident that the artist was influenced by the Dutch and French schools of painting. The sitter has been depicted wearing an abundance of expensive silk drapery; she is almost enveloped in it, and this emphasises the fact that this lady was a paragon of the wealthy and privileged society that she belonged to. A remarkable care is exercised, for example, in rendering of the flesh and the treatment of the drapery, notably the lace surrounding the neckline. The beautiful colour combination of white, russet, and blue has a strong visual impact, there was no need for the use of excessive props and jewellery bar a simple (but large) diamond arm band and brooch. The clear fresh palette, bright eyes, and beautiful rendering is exquisite. Held in a period gilded frame.Herman Verelst was an accomplished artist who painted history, fruit and flowers, and portraits, and was part of a large family of painters spanning several generations. Like the vast majority of painter emigres to London during the period, his work is somewhat little-known today, even though he was a highly skilled and successful artist and well-known at the time. Born in 1641, it is thought in Dordrecht, he was a son of Pieter Hermansz. Verelst, who was a portrait painter, and Adriana Simonsz. van Gesel. His brothers Simon Verelst (1644-1710) and Johannes Verelst (born 1648) were also painters. The family moved to the Hague in 1643 and he is known to have been working from 1660. In 1663 he became a member of Confrerie Pictura there, along with his brother Simon.He married Cecilia Fend (from Venice) in Amsterdam on 18 November 1667 and the couple had at least five children: Lodewijck (Lewis) (1668-1704), Petrus (Peter) (b.1669), and Maria (1680-1744), who became quite a successful portrait painter. Other children were possibly Adriana...