This unidentified man wears the fashionable tall hat and simple tasseled collar of the 1650s. The idea of a “speaking likeness”, a common trope during this period, is suggested by the parted lips. Leveck heightened the sense of a conversation between portrait and viewer by placing the sitter close to the picture plane and rendering him in half-length. The application of paint in thick strokes references the manner of Rembrandt, with whom Leveck trained in 1653.