Sturla J. Gudlaugsson, Geraert ter Borch, 2 vols. (The Hague, 1959–60), 2:104–5, nos. 93 and 92 respectively. See Arthur K. Wheelock Jr. et al., Gerard ter Borch (Exh. cat. Washington D.C., National Gallery of Art; Detroit Institute of Arts) (Zwolle, 2005), 97–99 (Portrait of Jan van Goyen, no. 21) and 100–1 (Portrait of a Man, no. 22); additionally on Portrait of a Man, see P. C. Sutton, Dutch and Flemish Paintings: The Collection of Willem Baron van Dedem (London, 2002), 38–41.
See the Technical Summary prepared by Annette Rupprecht, June 2012. Viewed from the back, the panel has lighter-colored strips 3 to 5 centimeters wide along the top, left, and bottom edges (suggesting where the panel previously had been masked off), but none along the right (i. e., the left side of the panel viewed from the front). In addition, the cuts of the upper and left edges of the panel show a raised lip of unpainted wood along the front surface, suggesting that these edges have been modified.
Georges Mieg, “Un inspirateur du Musée Historique, Jean-George Mieg 1788–1864,” Bulletin du Musée Historique du Mulhouse 44 (1924): 239–56. On Georges Mieg, see L.-G. Werner, “Georges Mieg (1865–1924),” Bulletin du Musée Historique du Mulhouse 44 (1924): 386–88.
See N. Ehrsam, Livre d’or (Bürgerbuch) de la ville de Mulhouse, rev. ed. (Mulhouse, 1883), pl. 111.
The characterization of the wood is based on visual examination only. There may be narrow remnants of bevels along the left and lower edges.