This is one of only four signed paintings by van der Plas. The sitter, whose pilgrim's staff stands on the left & whose face looks up towards a vision of the resurrected Christ, has not been identified. The scroll below the sitter's hand may well have once carried an inscription which explained the commission. ...

Antonello's ' Portrait of a Man' is probably a relatively late work. It is likely that there was originally a parapet at the base bearing the painter's signature, but this has been removed. The picture is often thought to be a self portrait, because the direct gaze, as if painted looking in a mirror, is typical of self portraits. X-ray photographs reveal that the eyes were originally turned the other way, which may call this idea into question. Antonello was one of the first of the Italian artists to learn from Netherlandish art. The attention to detail & intensity of expression in the ' Portrait of a Man' are comparable to Netherlandish portraits. It is Antonello's mastery of oil paint which enables him to achieve these effects. ...

Create your own bespoke print of Jan van Eyck’s Portrait of a Man from our collection. About this painting Portrait of a Man, 1433 © The National Gallery, London This painting joined our collection in 1851 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. ...

The sitter has not been identified. The costume seems to be of the late 1640s or of the 1650s. This painting has been categorised in the past as being Dutch, but is probably Flemish, & may be associated with the work of Lucas Franchoijs the Younger. ...

The sitter holds a sword & is elegantly dressed. The painting is inscribed top right as the work of Catharina, the daughter of the painter Jan van Hemessen, who worked at Antwerp, the leading centre of artistic activity in the Low Countries at this period. The small size format of the painting is characteristic of her work. ...

Possibly a copy, perhaps after a work by a painter of the Amsterdam School. The costume is probably datable to about 1640-45. ...

This soberly-clad man gazes out at us. His dress is typical of the mid-16th century, but the painting is poorly preserved, which makes identification of the sitter & artist difficult. ...

This unidentified sitter is wearing chain-mail sleeves & a tunic of a type worn under a breast plate. This is an example of the intimate portraits of small format which Moroni made from male sitters. ...

In the background is a landscape tapestry. The painted landscape over the fireplace is in the style of the Haarlem School of the 1630s. The door in the left background leads to a room with contains a chair & a bed. Pieter Codde, who worked in Amsterdam, ...

At the upper left & right are two coats of arms, signed under the left-hand shield with Cranach's device. Inscriptions on the reverse of the panel identify the sitter as Franz von Sickingen or, alternatively, a member of the Luther family. The left-hand coat of arms, however, is that of Johann Feige, Chancellor of Hesse (1482?
- 1543). As the sitter seems to be older than 45 years which biographical information suggests, another member of the Feige family may be shown.
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