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Provenance

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.

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