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Converted bracelet clasp frame with added brooch pin, inscribed: ‘John Bertram’.
Although little information can be found on the sitter, the inscription on the reverse is almost certainly contemporary to its original eighteenth century bracelet setting, and thus there is little reason to suggest it is erroneous.
This work shows Smart’s ability to convey on his young sitters a determined seriousness of purpose though their posture and fine attire, whilst also hinting gracefully at their youth through rosy complexions and soft features.

John Smart was one of the most distinguished portrait miniature painters of eighteenth century, Georgian society, renowned for his clarity of portrayal and delicacy of handling. In 1755, at the age of just thirteen, Smart began to enter pencil and chalk drawings for prizes at the Society of Arts. After coming second to Richard Cosway in the first competition he went on to secure first prize in the following three. Smart established his practice in 1760 from premises in Dean Street, Soho, and at this stage in his career was a rival to the equally young Richard Cosway but his miniatures are markedly different. His attention to detail and refusal to flatter meant his clientele came largely from the more conservative echelon of the affluent middle class. His practice appears to have been remarkably successful in a short time, with Smart securing a large numbers of sittings. His confidence and desire for recognition can be gauged by his initials appearing on even his earliest works.

Smart continued to gain much fame for his miniatures, moving to India in 1785 to secure new, wealthy clients. He came back to London in 1795 and quickly re-established himself as one of the most talented miniaturists in the country, exhibiting many works at the Royal Academy. He died after a short illness at his home in Russell Place, Fitzroy Square, London on the 1st May 1811.