A nineteenth-century portrait study executed in chalk and watercolour, capturing the likeness of Engelbert Michael Engelberts with precise, controlled shading.

This portrait by Willem Jodocus Mattheus Engelberts depicts Engelbert Michael Engelberts with a focus on naturalistic observation. The artist employs a combination of chalk and watercolour, a technique common in nineteenth-century portraiture for achieving soft transitions in skin tone while maintaining structural definition in the clothing. The subject is presented in a three-quarter view, typical of the period, with his gaze directed toward the viewer.

The handling of the medium demonstrates a controlled approach to shading. The artist uses fine, parallel hatching to define the folds of the coat, while the facial features are rendered with subtle washes of colour. The hair is executed with quick, light strokes, providing a sense of texture that contrasts with the smoother application of pigment on the face. The background remains largely unworked, which directs attention to the subject and provides a sense of immediacy to the sketch.

Engelberts, a Dutch artist active during the mid-nineteenth century, often produced works that captured the likenesses of his contemporaries with precision. This piece reflects the conventions of the era, where portraiture functioned as a record of personal identity. The muted palette, dominated by greys, browns, and soft flesh tones, aligns with the aesthetic preferences of the time. The work remains an example of the technical proficiency required for portrait drawing before the widespread adoption of photography. The signature in the lower right corner confirms the authorship, placing this work within the artist's documented output of portrait studies.