How did Anthony van Dyck portray wealthy people in his early Antwerp portraits?

In his early portraits of Belgian patricians in Antwerp, Anthony van Dyck typically rendered his subjects in bust- or knee-length poses. He depicted these wealthy models as calm and dignified figures, though their expressions were often guarded rather than warm.1

While his earliest works featured neutral backgrounds, he soon began incorporating props, such as columns, to enrich the setting under the influence of Peter Paul Rubens. Van Dyck demonstrated consummate skill in the detailed rendering of costumes and decor, ensuring that his portraits remained convincing likenesses while maintaining an impeccable formality. In these compositions, the sitters were often shown holding gloves or other articles, or with their hands resting idly on the back or arm of a chair.12