Acts featuring performing white rats, highly intelligent, social and trainable, were a regular feature of the circus and music halls in early twentieth-century London. Philpot made the first of several trips to Spain in July of 1906, when he visited Seville, Cordoba and Madrid, where he would have seen paintings by both Murillo and Velásquez, and also by Titian. Back in London, he painted The Little Spaniard in 1907 and began this picture in 1908, using the same model, an Italian circus boy named Luigi. On his return to London, Philpot converted to Catholicism (he had been brought up a Baptist) and took a studio in Cheyne Row, Chelsea, where he probably painted our picture. It was first exhibited in 1909, and again in 1910, and was very favourably and extensively reviewed:

'The Boy with the White Rat' (No. 17) is, with the exception of 'Manuelito' (not here), Mr Glyn Philpot's most successful completed picture. It has all the character which is the artist's forte, and is freer from youthful mannerisms.

(The Morning Post)

His subjects are simple, and simplicity, vigour, and directness mark his treatment of them. The 'Boy with White Rat' (17) and 'Girl at her Toilet' (16) are big, even masterly, in style. They, and Mr Philpot's paintings generally, are strong and harmonious in colour.

(The Westminster Gazette)

His pre-war pictures such as this were shown to great general acclaim and served to make his name. He was only 25. 'Thus were Glyn's great gifts first recognised as a colourist and designer of striking effects', wrote his biographer JGP Delaney (Glyn Philpot, His life and Art, 1999).