The young man depicted in this elegant portrait has not been identified. The date of the picture, 1657, is confirmed by the sitter's fashionable attire. Very little is known about the painter. He was probably living in the Dutch town of 's-Hertogenbosch when this portrait was painted. ...

The painting, which is in exceptionally good condition, probably dates from the 1480s. By then the three-quarter view had replaced the profile as the most popular type of portrait in Florentine painting. This development, & still more the use of landscap ...

An unidentified young man dressed plainly in black meets the viewer's gaze. He sits upright & motionless while behind him clouds race across the sky. The composition has been carefully centred so that a vertical line could be drawn straight down the bridge of his nose & through the fastening of his jacket. The painting has been attributed to Catena for stylistic reasons since 1897. It may be identical with a portrait recorded as the artist's work in 1643. A probable date of about 1510 has been suggested. ...

There is no documented portrait of Dujardin, but the face in this painting is similar to that in a drawing by Dujardin of 1658 (London, British Museum) that has traditionally been identified as a self portrait. X-ray photographs show that there have been alterations to the collar, & that the portrait is painted over another figure facing in the opposite direction, & analysis of the paint layers reveals a third head, apparently between these two. ...

Create your own bespoke print of Sandro Botticelli’s Portrait of a Young Man from our collection. About this painting Portrait of a Young Man, probably about 1480-5 © The National Gallery, London This painting joined our collection in 1859 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 identity of the young male sitter is not known. A former attribution linked the picture to the Florentine workshop of Domenico Ghirlandaio. His pose is certainly related to those of Ghirlandaio's portraits of men. However the painter has set the figure against the sky (rather than a landscape or interior setting) in a manner more akin to the Pollaiuolo brothers. ...

The sitter has not been identified. Ter Borch specialised in small full-length portraits of Dutch burghers. The portrait has been dated on the basis of style & costume to around 1663-4. It was probably painted as the pair to a ' Portrait of a Young Woman' (Clevel&, Museum of Art). ...

The man stands before a formal garden at the right & rests his arm on a pedestal decorated with a relief of a cupid overcoming Pan. The sitter was formerly identified as ' Admiral Lord Berkeley' but none of the admirals who were members of the Berkeley family was of the age of this sitter in 1679, the date inscribed on the portrait. If he is one of the earls of Berkeley the only reasonable candidate is Charles, the 2nd Earl (1649
- 1671), who was envoy to the States of Holland (1689-94). However, the only portrait which claims to represent Charles shows a different man. In the past this painting has been attributed to Caspar Netscher, while he was a student of Gerard ter Borch, but it is now considered to be a studio replica of a painting (Amsterdam, Rijksmuseum) dated 1678. The signature & date are not in Netscher's hand & were presumably added later.
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The sitter has not been identified, but may be a Danish merchant. The background view is probably intended to show Copenhagen. This painting provides the last known date for Heimbach's first visit to Copenhagen. ...

The costume of the unidentified sitter has been dated to about 1518. In the past this painting has been attributed to Raphael, to the Milanese School & (less appropriately) to Bartolommeo Veneto. ...