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Possibly Don Gaspar Méndez de Haro y Guzmán, 7th Marquis del Carpio e Heliche and 5th Conde Duque de Olivares [d. 1687], Madrid, 1651.[1] Count Ferdinand Bonaventura Harrach [1636-1706], Vienna, by 1697;[2] by inheritance to his son, Count Alois Thomas Raymund Harrach [1669-1742], Viceroy of Naples from 1728 until 1731; remained in the Galerie Harrach, Vienna, until 1930, when Count Otto Harrach[3] sold it to (Duveen Brothers, Inc., London and New York); purchased 15 December 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[4] gift 1937 to NGA.

Pazaurek, Gustav E. Carl Skreta (1610-1674). Ein Beitrag zur Kunstgeschichte des XVII. Jahrhunderts. Prague, 1889: 91, no. 162.
Bredius, Abraham. "Ein vergessener Velázquez." Zeitschrift für bildende Kunst 13 (1902): 110, repro. 111.
Gensel, Walther. Velázquez. Des Meisters Gemälde. Klassiker der Kunst. Stuttgart and Leipzig, 1905: 127, repro.
Thieme, Ulrich, and Felix Becker, eds. Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. 37 vols. Leipzig, 1907-1950: 24(1930):301, s.v. "Mazo".
Gensel, Walter, and Valerian von Loga. Velázquez. Klassiker der Kunst. Stuttgart and Berlin, 1914: 239, repro.
Gensel, Walter, and Juan Allende-Salazar. Velázquez. Des Meisters Gemälde. Klassiker der Kunst. Berlin and Leipzig, 1925: 265, repro. 288.
Ritschl, Hermann. Katalog der erlaucht Gräflich Harrachschen Gemälde-Galerie in Wien. Vienna, 1926: 129-130, no. 333.
Mayer, August L. Velázquez: A Catalogue Raisonné of the Pictures and Drawings. London, 1936: 389, pl. 131.
Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 228, repro., as by Diego Velázquez.
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 208, no. 82, as by Diego Velázquez de Silva.
Book of Illustrations. National Gallery of Art, Washington, 1942: 240, repro. 216, as by Diego de Silva y Velázquez
Lafuente Ferrari, Enrique. Paintings and Drawings of Velázquez. Complete Edition. London and New York, 1943: appendix O, pl. 68.
Cook 1945, 79-80, fig. 8.
Soria, Martin S. Review of The Paintings and Drawings of Velázquez by Enrique Lafuente Ferrari. In The Art Bulletin 27 (September, 1945): 214.
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 45, repro., as by Velázquez.
Pita Andrade, José M. "Los cuadros de Velázquez y Mazo que poseyó el séptimo Marqués del Carpio." Archivo Español de Arte y Arqueologia 25 (1952): 227.
Pantorba, Bernardino de [José López Jiménez]. La vida y la obra de Velázquez; estudio biográfico y crítico. Madrid, 1955: 226, no. 157.
Kubler, George, and Martin Soria. Art and Architecture in Spain and Portugal and Their American Dominions, 1500-1800. Baltimore, 1959: 338, n. 10.
Temboury Alvarez, Juan. "Alonso Cano y Velázquez." In Varia Velázqueña. 2 vols. Madrid, 1960: 1:433-434, pl. 626.
López-Rey, José. Velázquez: A Catalogue Raisonné of His Oeuvre. London, 1963: 316, pl. 386.
Camón Aznar, José. Velázquez. 2 vols. Madrid, 1964: 1:435-437, repro. 436.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 134, as by Velázquez.
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 121, repro., as by Velázquez.
Asturias, M.A., and P.M. Bardi. L'opera completa di Velázquez. Milan, 1969: 111, no. 145, repro.
Gudiol y Ricart, José. Velázquez: 1599-1660. Translated by Kenneth Lyons. London, 1974: 150, 332, no. 89.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 360, repro., as Circle of Velazquez.
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 247, no. 315, color repro., as by Circle of Velázquez.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 419, repro.
Brown, Jonathan, and Richard G. Mann. Spanish Paintings of the Fifteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1990: 120-122, repro. 121.
Technical Summary

The support consists of a single piece of coarse, open, plain-weave fabric attached to a lining of comparable material. There are irregular holes and punctures in the fabric. The tacking margin has been removed. The top and sides appear to have been folded over the width of the stretcher bar, while the bottom edge may have been enlarged. The paint is very thinly applied over a rough red-brown ground. The picture is solvent abraded, especially in the thinly painted dark areas. There are scattered losses in the background, and retouching is heavily applied along the right and bottom edges. A minor loss is located in the sitter's forehead and another at the crown of his head.