Although several attempts have been made to resolve the controversy surrounding the identity of the figure in this portrait, but until now without success. A 1923 sales catalogue gives the work the title of ‘Portrait of Anton Triest’, who is mentioned as being the Burgomaster of Ghent and is also referred to as Nicolas in old documents, a hypothesis that is not supported by the majority of experts. The absence of a sword seems to suggest that the sitter in question is a member of the bourgeoisie.

Controversy also surrounds the dating of the work, one line of thought sustaining that it may have been painted in Flanders sometime before 1621. This has been contested by some authors, however, who have proposed a later date corresponding to the time when Van Dyck was in Italy. The portrait displays the same technical maturity as other works by the artist that depict members of the Genoese aristocracy. However, the ‘Spanish’ chair, made with leather and nailwork, is a recurring element in Van Dyck’s first Antwerp period, as can be seen in the portrait of Frans Snyders (The Frick Collection, New York), a work painted around 1620 whose approach to the subject and treatment of the landscape is identical.