Numerous scholars have been consulted about the identity of the sitters – surely members of the Utrecht or Dutch aristocracy – but archival research has not yet yielded their names. The pair of paintings was almost certainly commissioned to commemorate the couple’s marriage, given the conventional three-quarter pendant format with the man at left, the elegant costumes of the sitters, and the gold ring on the woman’s left hand. The woman’s jewelry speaks to the wealth of the couple: she wears two pearl bracelets, a pearl necklace, a pearl-studded headdress, a double gold chain with brooch, a gold hairpin, and holds a feathered fan with a gold chain. Moreelse suggested marital harmony by balancing the sitter’s poses- as the man stands confidently with his gloves in his left hand, the woman holds her fan gracefully in her right hand, gesturing subtly toward her partner.
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