Create your own bespoke print of Swabian’s Portrait of a Woman of the Hofer Family from our collection. About this painting Portrait of a Woman of the Hofer Family, about 1470 © The National Gallery, London This painting joined our collection in 1863 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. ...

Hals pays great attention to detail in the portrayal of this woman's elegant attire, which is characteristic of the period around 1640, when this picture was probably painted. She wears a large, flat three-tiered collar, silver bow & wide lace-trimmed c ...

The beads worn by the unidentified lady are ornamented with the emblems of the Passion. One of them is inscribed 'SAP'. The costume suggests that this painting can be dated to the early years of the 16th century. It resembles costumes in frescoes in the P ...

This half-length portrait of an unidentified sitter has in the past been catalogued as 'A Young Widow', but because she has no veil this seems unlikely. The costume is probably from soon after 1580. The painter was perhaps not French but Anglo-Flemish, an ...

The young woman wears a richly embroidered, fur-trimmed dress typical of southern Germany. The coats of arms at the upper right corner, which were revealed when the painting was cleaned in 1968, identify the sitter as Susanna Stefan (died 1594), wife of Wolff Furter (1538?
- 1594) of Nuremberg. Her glance suggests that a companion portrait of her husband may once have existed.
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This is a half-length depiction of an unidentified youth; the reverse of the support is marbled. This painting is almost certainly a forgery, made in Italy in the second half of the 19th century, of an Italian painting of the late 15th century. When bequea ...

The sitter holds a heart-shaped devotional book & his glance suggests that another picture, possibly an image of the Virgin & Child, was joined to this, to make a diptych. On the ledge are an inkpot & pencase. In the background is the church of Notr ...

The costume of the sitter suggests the approximate dating of this picture. Basaiti produced several impressive altarpieces for Venice, & was a far more famous artist at the end of the last century than he is today. Giovanni Bellini's ' Madonna of the Mea ...

This painting has in the past been described as a portrait of Raphael & the sitter does indeed resemble him. Recent examination suggests that the picture is an old one but the face is entirely repainted & the painting seems artificially aged. It also a ...

Rosso was one of the most talented & unconventional Florentine artists of the early 16th century. He assimilated the innovations of Leonardo, Michelangelo & Raphael but went on to experiment with brilliant colours, a freer technique & more abstract forms. This is the earliest of very few known portraits by Rosso. It was produced in Florence, while the artist was active in the workshop of Andrea del Sarto. It reveals something of his eccentricity, particularly in the strange spiky fingers, the curiously abstract style & the characteristically swift way of working the paint. Although it is not signed, the distinctive manner in which it is painted is as good as a signature. The features of the face all but dissolve when viewed close up, but the sketchy brushstrokes blend into a powerfully convincing & memorable likeness when seen from a distance. The sitter, as yet unidentified, glances up from a letter dated 22 June 1518. The letter bears further traces of writing which may yield clues to his identity. His gaze is at once dreamy yet also penetrating. This sense of psychological realism & immediacy was only just beginning to find a place in portraiture at the time the work was painted, appealing to the rising class of wealthy & intellectual patrons. ...