The panel is uncradled, made up of a single plank, is slightly bowed and stable. The paint surface is clean and the varnish is clear and even. There are visible retoucings scattered in his coat and throughout the background. Inspection under ultraviolet light reveals these, as well as extensive retouchings scattered in his neck, and some in his face and hat. The most notable of these are along vertical old cracks in the left third of the panel running down the background and his coat, and one starting to the left of his eye measuring circa 20cm. In overall fair condition. Offered in a parcel gilt frame in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Whilst the overall composition of the present lot is reminiscent of Northern European portraiture of the early 16th century, this panel is in fact likely to have been executed in Italy, as indicated by the poplar support. The author could certainly originally have been from Germany or the Netherlands, and indeed it was not unusual during this period for these Northern Europeans to travel south of the Alps to learn from the Italian Renaissance masters. We know, for example, that the German portraitist Georg Pencz (1500-50) was in Italy at least twice during the early 1520s and 30s.