The panel is held in the frame with a backboard and pins around all sides, so there is no access to view the back or edges of the panel. The panel is held under tension and has assumed a gull-wing profile. The panel consists of three boards; the left join is open and out of plane, and the left board is curved and protrudes forward of the sight of the frame. On the right side there are two lines of loss/damage - and it appears the one is a join and is currently closed but restoration suggests it has been opened in the past, and to the right a split that is staggered and runs down the lenght of the painting. There are old restored losses, and a few small newer unrestored losses down the lenghts of the joins and splits. There are futher splits top and bottom (five each are apparent), possibly still mobile, and all covered with restoration.

There are passages of uneven texture on the torso of the sitter, appears to be losses from flaking, covered in restoration. Further minor scattered losses, restored.

There has been fairly extensive abrasion to the dark passages of paint, and delicate glazes, which is not uncommon in paintings of this era. This has been fairly heavily suppressed by several campaigns of restoration. Older overpaint sits under an old varnish layer, and there is a more modern layer of restoration that included the use of a spray gun which has left a spattered effect visible under magnification, and there are also two larger passages of a matt overpaint in the top left quadrant. There has been careful but widespread touches of overpaint in the face.

Partially cleaned in the past, with old varnish left on in the darker passages. A fairly even and glossy upper varnish layer, not appreciably yellowed, with some small matt retouchings and white scuffs in places along the top edge.