A man with long, wavy, light brown hair and a pointed beard stands against a dark, undefined background. His head is turned slightly to his left, and his gaze meets the viewer with a composed, thoughtful expression. He wears a white lace collar that spreads broadly over his shoulders, its intricate floral patterns rendered with delicate, precise brushwork.

A blue ribbon is tied at his neck, supporting a large, star-shaped medallion that hangs at the center of his chest. His doublet is a rich golden brown, with a subtle sheen that suggests a luxurious fabric, and the sleeves are slashed to reveal white linen beneath. The light falls from the left, illuminating his face and the folds of his clothing, while the right side of the picture recedes into shadow.

The background is a deep, nearly black tone, which sets off the sitter’s pale skin and ornate costume, focusing attention entirely on the figure. The brushwork in the face and hands is smooth and blended, while the lace and fabric show more visible, textured strokes, especially in the highlights and edges. There are no secondary figures or objects visible in the painting; the composition is entirely focused on the single sitter.

The background is a uniform, deep brownish-black, with no discernible details or scenery, and it becomes slightly lighter near the sitter’s left shoulder. The lower right corner of the canvas includes a faint, painted inscription. The left edge of the sitter’s lace collar extends nearly to the edge of the canvas, creating a sense of fullness in the composition.

The light source from the left accentuates the texture of the sitter’s golden doublet, creating bright highlights on the shoulder and chest, while the right sleeve and side are enveloped in shadow. Subtle blue-grey tones are visible in the shadows of the white linen and lace, adding depth to the folds. The paint handling on the doublet and collar features visible, confident strokes, especially where the highlights catch the raised embroidery and lacework, while the background is smoothly blended and almost textureless. Anthony van Dyck painted this portrait in 1638, during the 17th century.

The Sotheby’s catalogue identifies the work as a portrait of Philip Herbert, confirming both sitter and artist.