Elizabeth Dormer stands in three-quarter view, her gaze directed calmly outward, with her hands delicately folded at her waist. She wears a lustrous white satin gown with voluminous sleeves, the fabric rendered in sweeping, fluid brushstrokes that capture the play of light across its folds. A dark fur stole drapes over her shoulders, its soft texture contrasting with the sheen of her dress.

Her jewelry is prominent: a string of pearls encircles her neck, matching the large pearl earrings that frame her face, and a pearl bracelet encircles her right wrist. Her hair is parted in the center and falls in loose curls, adorned with a jeweled ornament on the left side. A black ribbon is tied at her waist, adding a subtle accent to the otherwise pale palette of her attire.

The background is a deep, muted brown, with a rich red drapery gathered to the right, providing a dramatic contrast to the sitter’s pale complexion and dress. Soft, even lighting illuminates her face and upper body, creating gentle shadows that model her features and hands. The composition is carefully balanced, with the figure placed slightly off-center and the red curtain introducing a sense of depth and richness.

The artist’s handling of paint is smooth and refined, especially in the depiction of skin and fabric, where transitions are subtle and brushwork is nearly invisible. Small details, such as the soft shadow beneath her chin and the gentle curve of her fingers, reveal a close attention to naturalistic effects. The lower left corner bears an inscription identifying the sitter as Elizabeth, Lady Herbert. This portrait was painted by Anthony van Dyck in 1635.

The Museo Nacional de Bellas Artes de Cuba lists the painting in its collection.