A woman and a young girl stand together before a dramatic sweep of red drapery, the older figure towering protectively beside the child. The woman, identified as Geronima Sale Brignole, is dressed in a sober black gown with a high lace ruff and cuffs, her pale face framed by softly curling hair and her gaze directed outward with a composed, almost reserved expression. Her right hand points downward, while her left holds a closed fan at her waist, the gesture both elegant and deliberate.

To her left stands her daughter, Maria Aurelia Brignole Sale, whose smaller figure is adorned in a shimmering silver dress with gold stripes and a matching sash, the fabric catching the light in crisp, reflective folds. The girl’s dark hair is pulled back and decorated with a delicate ornament, and she holds a pink rose in her left hand, her right arm bent gently at her side. Both figures are set against a deep, shadowy background, their forms illuminated by a strong, clear light that emphasizes the textures of their garments and the subtle modeling of their faces.

Behind them, a massive architectural column rises at the right edge of the canvas, lending a sense of grandeur and stability to the composition. The vivid red drapery billows above and between the sitters, its folds painted with energetic, fluid brushstrokes that contrast with the precise rendering of lace and silk. The floor beneath their feet is rendered in warm brown tones, anchoring the figures within the space and enhancing the sense of depth.

Fine, meticulous brushwork defines the intricate lace at the collars and cuffs, while broader, more expressive strokes shape the voluminous fabrics and the dramatic curtain. Anthony van Dyck painted this double portrait in 1627, depicting Geronima Sale Brignole and her daughter Maria Aurelia Brignole Sale.