When Anthony van Dyck painted George Villiers, 2nd Duke of Buckingham, and Lord Francis Villiers in 1635, he was capturing not just two young noblemen, but the heirs of one of England’s most powerful—and controversial—families. The Villiers brothers were the sons of George Villiers, 1st Duke of Buckingham, the favourite and intimate of King James I, whose assassination in 1628 sent shockwaves through the court. Their mother, Katherine Manners, commissioned the portrait as a testament to her sons’ status and future, at a moment when their fortunes seemed poised for restoration.

The painting stands as a rare visual document of a family at the heart of English political drama, just years before the Civil War would sweep away their world. Van Dyck chooses to show the brothers in the full bloom of youth, poised in elegant attire, their gazes steady and assured. George, the elder, stands protectively beside Francis, his hand resting on the hilt of a sword—a subtle nod to their aristocratic duty and the expectation of military valor. The luxurious fabrics, the glint of armor, and the classical column behind them all speak to their noble lineage and aspirations.

Light falls gently across their faces, highlighting the contrast between George’s calm maturity and Francis’s youthful energy. Unlike the more introspective sibling portraits by Rembrandt, Van Dyck’s composition is about public identity, projecting confidence and unity at a time when their family’s reputation was under scrutiny. The painting’s subsequent history is less well-documented than its illustrious sitters. It remained with the Villiers family for generations, surviving the upheavals of the English Civil War, in which both brothers played tragic roles—Francis was killed at the Battle of Kingston in 1648, while George endured exile and intrigue.

Over time, the portrait passed through various collections, its attribution to Van Dyck never seriously questioned, thanks to the artist’s distinctive brushwork and the elegance of his figures. Today, George Villiers, 2nd Duke of Buckingham, and Lord Francis Villiers is recognized as a prime example of Van Dyck’s English period, a testament to his ability to blend psychological insight with the grandeur expected of court portraiture.