A man and a woman sit side by side, their bodies angled slightly toward each other, with their hands gently clasped at the center of the composition. The woman, positioned on the left, wears a voluminous gown with a low, square neckline and delicate lace at the cuffs, her bodice laced with a decorative pattern. Her hair is parted in the center and falls in tight ringlets, adorned with pearls that echo the necklace around her neck and the earrings that frame her face.

She gazes calmly outward, her left hand resting in her lap and holding a small bouquet of flowers, while her right hand is extended to meet the man's grasp. The man, seated to the right, wears a dark, richly textured garment with a broad white lace collar and cuffs, his attire marked by the subtle sheen of the painted fabric. His hair is long and loose, and his mustache and slight beard are carefully rendered; his expression is composed, with his gaze directed outward.

He leans back in his seat, his left arm bent and resting on the chair, while his right hand reaches forward to hold the woman's hand, creating a sense of connection between the two figures. Behind them, a heavy dark drapery sweeps diagonally across the background, its folds painted with broad, soft brushstrokes that contrast with the more precise rendering of the faces and hands. A glimpse of a light-colored wall or sky appears in the upper left, providing a subtle contrast to the deep shadows cast by the drapery.

The light in the scene falls from the left, illuminating the faces and hands of both sitters, and catching the lustre of the woman's pearls and the sheen of their garments. The overall palette is restrained, dominated by dark fabrics and pale flesh tones, with the small bouquet of flowers introducing a delicate note of color. The brushwork varies from the smooth, careful modeling of the faces to the looser, more expressive handling of the drapery and clothing, revealing the artist's control over texture and detail.

The composition is balanced and intimate, with the joined hands at the center emphasizing the relationship between the sitters. Anthony van Dyck paints this double portrait in 1637, as stated in the collection's record.