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across top: ALS MEN.SCRIEF.1542.OVT SIINDE.48.IAER.OP.DAT.PAS / WAERT.DAT.IC.AELMOESENNIER.VA.ANVERPE.WAS (In 1542 when I was 48, I was then almoner of Antwerp)


(Galerie Charles Sedelmeyer, Paris); Mr. Einstein;[1] his son, Lewis Einstein [1877-1967], Paris; gift 1956 to NGA.

Exhibition History
Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, Virginia, 1972, no cat.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 50, as Flemish School, Goosen van Bonhuysen.
European Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965). Washington, 1968: 42, no. 1447, repro., as Flemish School, Goosen van Bonhuysen.
Voet, Leon. Antwerp. The Golden Age. Antwerp, 1973: 99, repro. 98.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 128, repro., as Goosen van Bonhuysen.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 32, repro.
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 14, repro. 13.
Technical Summary

The picture is constructed of two boards joined vertically at the center. The lower left corner of the left board has been repaired with fills and added pieces. An old check extends appx. 41 cm down from the top edge and appx. 11 cm in from the left. There are numerous areas of loss and subsequent repaint which have discolored in some instances. This is especially apparent in the hands; the proper left hand in particular is very damaged and its original shape altered. Examination with infrared reflectography reveals changes in the hat and neckline. The thick varnish has discolored considerably.