Miss Ada Gossett, circa 1673, half-length in a landscape at dusk, wearing an amber silk gown adorned with a gold trimmed gauze shawl and fine jewels, wearing a pearl necklace, her fair hair worn down in the fashionable curled ringlet style of the period.

The Gossett family were French Huguenots originaly from Normandy who moved to Bagot Manor, St Saviour in Jersey in 1685 to escape persecution. Although little is known about the sitter, artists such as Peter Lely and Allan Ramsay used a court frame maker named Isaac Gossett (1713-1799) to frame their portraits and it is likely that Ada might have been related to Isaac Gossett in some way, placing her in Lely's circle of acquaintances and associates.

 Peter Lely, a Baroque portrait painter of Dutch origin, was born as Pieter van der Faes in Westphalia, Germany. Renowned for his evocative portrayals of the mid-17th-century English aristocracy, his work was significantly influenced by the styles of Anthony van Dyck.

His formal art education took place in Haarlem, where he is believed to have been apprentice to Pieter de Grebber, a painter and embroiderer. His skills were recognised early in his career when he became a master of the Guild of Saint Luke in Haarlem in 1637.

Lely's artistic career predominantly unfolded in England, where he relocated around 1643. Initially, his repertoire included Biblical and mythological scenes; however, his profound legacy was cemented through portrait painting. Lely's remarkable talent captured the attention of the court, making him the premier portraitist for Charles I. Remarkably, his career seamlessly transitioned through the tumultuous periods of the English Civil War, serving both Oliver Cromwell and Richard Cromwell.

With the Restoration of the monarchy in 1660, Charles II appointed Lely as the Principal Painter in Ordinary, a prestigious role that further solidified his influence in English art. In 1661, Lely became a naturalised British subject and was knighted in 1679, reflecting both his contribution to the arts and his integration into British society. His studio, known for its prolific output, was in constant demand, marking him as the preeminent painter in England.

Lely's work during the Commonwealth era (1649-1660) took on a more severe and puritanical tone. Conversely, his Restoration portraits, particularly of women, are celebrated for their subtle colouring and the sensuous languor they evoke. His series The Windsor Beauties, portraying court ladies of the 1660s, exemplifies his ability to blend skilful rendering of textiles with an intimate portrayal of his subjects.

His portrait of Miss Ada Gossett serves as a prime example of Lely's mastery in capturing the essence of his patrons. The depicted sense of intimacy, combined with the luxurious detailing of pearls and brocade, illustrates the subject's status and personality with elegance and subtlety.

Beyond his painting, Lely was a noted connoisseur of art, amassing an impressive collection of Old Master drawings. His collection was sold posthumously, further testament to his enduring influence and refined taste in art.