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The old man represented in this portrait, seated a chair in front of a curtain that has been pulled to the side, has not been identified. He is wearing a 'tabbaard', which is a long black gown that is lined with fur. This together with the book he is holding suggests that he may be scholar. There is also another portrait by Maes of the same sitter, dated 1665, which was formerly in the Johnson collection in Washington, DC. ...
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The painting may be the work of a Flemish artist, but there seem to be some stylistic connections with the work of the Middleburg artist, Pieter Borsseler (active 1665
- 1687). The costume is of the latter part of the 17th century. The sitter has not bee
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The sitter has not been identified. The dress suggests a date in the early 16th century. In the past it has been attributed to Giovanni Bellini, Gentile Bellini, School of Gentile Bellini, Titian, Giorgione, & Domenico Morone (?). ...
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The sitter holds a book but looks out to engage the viwer's attention. He is well-dressed, wearing a fur-lined coat with a deep collar. The precise identity of the man in this arresting portrait is uncertain, however, the arms on his ring are those of the ...
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Anna Maria van Schurman (1607
- 1678), was a Dutch poet & scholar. She was born in Cologne, but early in life moved to Utrecht
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On the left are the Correr (Corraro) coat of arms. Despite the indications in the inscriptions, it is difficult to identify the sitter with any known Antonio Correr, son of Vittore Correr. Their wording has probably been repainted wrongly. The sitter coul ...
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Fernando de Valdés y Llanos was from the family of the Counts of Toreno. He was appointed Bishop of Tereul in 1625, Bishop Elect of León in 1632, & in 1633 Archbishop of Granada & President of the Council of Castille, a post comparable to that of Lord Chancellor which prevented him from leaving Madrid. He died in 1639. It is probable that this is a posthumous portrait, a work of the early 1640s. ...
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This is a portrait of the artist's brother, Arm&, wearing the uniform of his polytechnic school. A full-length portrait of this sitter by Gerome (whereabouts unknown) was shown in the Paris Salon in 1848. ...
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The existence of an 18th-century print after this painting, inscribed with the sitter's name, confirms the cardinal's identity. Marco Gallo was born in Como. After several postings in the papal civil service he was appointed, in 1659, Bishop of Rimini. He ...
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Create your own bespoke print of Sir Thomas Lawrence’s Portrait of Charles William Lambton (‘ The Red Boy’) from our collection. About this painting Portrait of Charles William Lambton (‘ The Red Boy’), 1825 © The National Gallery, London This painting joined our collection in 2021 With our custom print service, you can order your own fully customised reproduction from the National Gallery Collection & exhibitions. Choose your own size, print material & frames & have your masterpiece delivered straight to your door. ...
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Portrait Of Anna Westerbaen Print

This simple, direct portrait shows the artist’s mother, Anna Westerbaen. The features of the woman resemble her likeness in other paintings (see for example the posthumous double portrait with her husband in the National Gallery of Art, Washington) and her age – 52 in 1657 – conforms precisely with the painting’s inscription. The daughter of a rope maker from The Hague, Anna Westerbaen was the sister of the physician and poet Jacob Westerbaen and the portrait painter Jan Westerbaen. She married the painter, architect and poet Salomon de Bray in 1625 in The Hague and later moved to Haarlem, where she gave birth to at least ten children. Anna’s eldest son Jan depicted his mother a number of times in his paintings, but this is the only formal portrait. It possibly once had a
pendant showing her husband Salomon. The portrait of her husband is now lost, but a drawing by Jan (Staatliche Museen zu Berlin, Kupferstichkabinett), bearing the same date of 1657 and similar inscription stating the sitter’s age, seems to record the companion piece.
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Product Description

This simple, direct portrait shows the artist’s mother, Anna Westerbaen. The features of the woman resemble her likeness in other paintings (see for example the posthumous double portrait with her husband in the National Gallery of Art, Washington) & her age – 52 in 1657 – conforms precisely with the painting’s inscription. The daughter of a rope maker from The Hague, Anna Westerbaen was the sister of the physician & poet Jacob Westerbaen & the portrait painter Jan Westerbaen. She married the painter, architect & poet Salomon de Bray in 1625 in The Hague & later moved to Haarlem, where she gave birth to at least ten children. Anna’s eldest son Jan depicted his mother a number of times in his paintings, but this is the only formal portrait. It possibly once had a pendant showing her husband Salomon. The portrait of her husband is now lost, but a drawing by Jan (Staatliche Museen zu Berlin, Kupferstichkabinett), bearing the same date of 1657 & similar inscription stating the sitter’s age, seems to record the companion piece.

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Jargon Buster

Date - A day on a calendar
Date - A social activity whith a current or potential partner
Simple - Basic, easy no difficulty in understanding.
Formal - When something is carried out with high standards if etiquette.
Children - A young life form within the early stages of physical development,
Print - A mechanical process of putting text onto paper. It can also relate to a pattern on an item.

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