Painted in 1911 at Spurveskjul, the house outside Copenhagen where Vilhelm Hammershøi spent his final years, this self-portrait shares the muted, tonally restrained palette of his interior scenes, applied here to his own likeness with the same reserve he brought to empty rooms and solitary figures. The subdued handling and averted, indirect gaze withhold rather than declare the sitter's presence, consistent with Hammershøi's broader resistance to overt expression. Oil on canvas, the work entered the collection comparatively recently, through a gift from Charles Hack and the Hearn Family Trust in 2020, made in honor of curator Keith Christiansen and the Museum's anniversary. Scion notes that recent, well-documented gifts of this kind establish provenance with a clarity that rivals far older acquisitions.