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Provenance: With H. Koetser, London, by 1930 (as Jan van Scorel);
With Asscher & Welker, London, about 1930 (as Jan van Scorel), by whom sold to Howard Young Galleries, New York;
With Howard Young Galleries, New York (as Jan van Scorel), from about 1930 until 1954;
Donated by Mr. Howard Young to the J. Paul Getty Museum in 1954, no. 54.PB.5.

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Literature: W.R. Valentiner, P. Wescher, The J. Paul Getty Museum Guidebook, Los Angeles 1956, p. 21 (as 'probably the work of a painter of Antwerp');
BB. Fredericksen, Handbook of the Paintings in the J. Paul Getty Museum, Malibu 1965, p. 12, reproduced plate 2 (as Flemish Painter, about 1525-1530);
B.B. Fredericksen, Catalogue of the Paintings in the J. Paul Getty Museum, Malibu 1972, p. 61, no. 75 (as Attributed to Dirck Jacobsz.);
P. Sutton, Dutch Art in America, Grand Rapids, MI 1986, p. 339 (as by Dirck Jacobsz.);
D. Jaffé, Summary Catalogue of European Paintings in the J. Paul Getty Museum, Los Angeles, 1997, p. 65, reproduced (as Attributed to Dirck Jacobsz., circa 1530s).

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Notes: Although this panel was attributed to Jan van Scorel until 1965, it has since been quite convincingly given to Dirck Jacobsz; compare, for example, with Jacobsz.' male donor on the left hand shutter of the altarpiece in the Stuttgart Museumυ1, which is signed and dated 1530. The costume corresponds closely with those worn by other sitters whose portraits Jacobsz. painted around this date, notably those worn by several of the sitters in his large group portrait of 1529 now in Amsterdam, Rijksmuseum, no. 1288υ2.

1. see M.J. Friedlander, Early Netherlandish Painting, vol. XIII, New York/Washington 1975, p. 106, cat. no. 412, reproduced plate 202;
2. op. cit., p. 106, cat. no. 408, reproduced plates 198,199.