M. Carlon Zen, Milan, 1911 (according to a label on the reverse).

Mostra del rittrato italiano, Palazzo Vecchio, Florence, 1911, no. 603.

The canvas is unlined, and loose on its stretcher. The canvas could be re-stretched and this would help the overall appearance. There are two tiny punctures to the canvas at lower right and lower left, as well as some minor bruising to the canvas in the sitter's headpiece. The surface is quite dirty, but UV confirms that there are no retouches and a light cleaning could benefit the picture and would not require major restorations. The surface is quite fresh. In a carved gilt wood frame.
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Salomon Adler was possibly a Jewish artist, and if so, would have been one of the earliest, and most successful Jewish painters in post-medieval Europe for which there is any documentation. Adler was active in Milan and Bergamo, where he became well respected as a portrait painter. His style suggests that he was a direct influence on Fra Galgario during his time in Bergamo, and in the immediate, highly realistic nature of his portraits this influence becomes evident. In fact, Fra Galgario painted a portrait of Adler late in life (Accademia Carrara, Bergamo). He executed a handful of self portraits during his career, and the present work appears to be an early example of such a work. A more mature example can be found in the Budapest Museum of Fine Arts. Adler executed a second version of this particular composition, painted circa 1660 (Musée Stefano Bardini, Bergamo) though the present work appears more polished and of higher quality.