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This portrait of an unknown sitter is dateable c.1624–1625 and has an outdoor architectural setting similar to De Vos’s 1624 'Portrait of Antonia Caris' in the Thyssen-Bornemisza Collection, Madrid. It illustrates how De Vos, c.1624, began to open the backgrounds of his portraits to include distant views of scenery. In the same period he altered his technique, which became more fluent and transparent in order to speed up his working process to meet the growing demand for his portraits. Sir Richard Wallace bought the picture together with De Vos P22. At the time the portraits were thought to be pendants representing the artist’s brother, the animal painter Paul de Vos, and his wife, Isabella Waerbeke (see Van Dyck P16). They are, however, unrelated, being of differing dimensions, backgrounds and dates, with the sitters placed at different levels.