This painting belonged to the Hope family, famous English merchants based in Amsterdam, who claimed that they had acquired it from another Amsterdam family, called Pancras. The painting was described in George IV’s inventory of 1819 as Rembrandt’s portrait of ‘Burgomaster Pancras and his Lady’ painted in 1634 and valued at 800 guineas. More recently it has been suggested that the author must be one of Rembrandt’s pupils, perhaps Bol, but that the couple in the painting might be Rembrandt and his wife, Saskia. It relates closely to Rembrandt's 'Young Woman at her Mirror' (Hermitage) recently dated to c. 1638.

It was common in seventeenth century Holland for portraits, including self-portraits, to have some element of fancy dress or historical impersonation (see for example Jan de Bray’s family portrait, CW 31, 404756). Rembrandt depicted himself in c. 1635 with Saskia as the Prodigal Son making merry (Dresden). It is not impossible that he allowed his pupils to use his own and his wife’s image for a ‘themed’ double portrait. But what is the theme? This remains an open question. Saskia (if it is her) is shown gazing at her reflection in a wooden-framed mirror resting with a jewel casket and a book on a table beside her; Rembrandt stands behind the table, holding a pearl necklace.