A woman stands in three-quarter view, her body turned slightly to the left while her face looks forward, meeting the viewer's gaze directly. Her pale complexion is framed by tightly curled brown hair, with ringlets falling delicately onto her forehead and shoulders. She wears a pearl necklace and matching drop earrings, their lustre echoed in the soft light that falls across her chest and face.

A blue satin gown with voluminous sleeves and a shimmering surface dominates the composition, its folds painted with sweeping, fluid brushstrokes that catch the light. Translucent white fabric billows from her sleeves and is gathered at her elbows, adding a sense of movement and softness to the ensemble. A sheer, golden-brown shawl is draped loosely over her arms and shoulders, its edges rendered with feathery, almost transparent strokes.

A jeweled brooch with a gold ornament is pinned at her bodice, catching a glint of light. Behind her, a large stone urn stands to the right, partly obscured by a heavy dark drapery that frames the upper part of the scene. To the right of the urn, a cluster of roses and foliage emerges from the shadow, their forms softly blended into the muted background.

The sky above is overcast, with grey clouds painted in loose, atmospheric strokes that contrast with the crisp detail of the figure. The overall palette is cool and restrained, dominated by silvery blues, soft whites, and gentle earth tones, punctuated by the warmth of the sitter’s hair and the subtle blush in her cheeks. The composition is carefully balanced, with the figure placed slightly off-center and the background elements arranged to enhance her presence.

The surface of the painting reveals van Dyck’s characteristic handling of paint, with smooth transitions in the flesh tones and lively, visible brushwork in the textiles and foliage. Portrait of Anne Carr, Lady Russell is painted by Anthony van Dyck in 1638.