A man in polished black body armor stands upright, his left hand resting on the head of a large white dog that gazes up at him. His right hand holds a slender baton, angled downward, and his gaze meets the viewer directly with a composed, steady expression. The armor gleams under a strong, focused light that catches the metallic surfaces and highlights the intricate rivets and joints, while the shadows deepen around his arms and legs.

A white collar with sharply pointed ends emerges above the breastplate, framing his face and accentuating his mustache and short, dark hair. The background is largely shadowed, with a muted brown and ochre wall that recedes into darkness, placing emphasis on the figure and his companion. The dog, wearing a decorated collar, stands alert and close, its smooth coat rendered with soft, blended brushwork that contrasts with the crisp, reflective armor.

The man's cream-colored boots reach to his knees, their supple texture and subtle folds carefully modeled with light and shadow. The composition centers the figure, with the vertical lines of his stance and the plinth behind him lending a sense of stability and authority. Paint is applied with precision in the armor and facial features, while broader, looser strokes define the background and the dog's body, creating a vivid contrast between subject and setting. Anthony van Dyck paints this portrait of Thomas Wentworth, 1st Earl of Strafford, in 1632.

The painting depicts Thomas Wentworth in body armor, accompanied by a dog, as described in the collection's documentation. The trustees of Olive, Countess Fitzwilliam's Chattels Settlement are listed as a source for the painting's provenance.