Florence canvas is in relatively poor condition: retouching has largely removed Dürer's top layer of brushwork and left the paint hard and dry. Barbara's panel underwent a restoration in 1974, when the surface was cleaned and partially revarnished, with repairs to damage on the reverse sustained from woodboring. The reverse of Albrecht's panel contains a rendition of the allied Dürer and Holper families' coats of arms, which are shown beneath a winged Moor wearing a red dress. The Dürer family are represented by a crest showing an open door, a pun on the word Dürer (Thürer meaning 'doormaker'). Albrecht the Elder was born in the Hungarian village of Ajtó. Ajtos is Hungarian for "door"—when his parents moved to Germany their name changed from Tür to Düre. The Holper crest features a stag, but its significance is lost. The back of Barbara's panel contains imagery of a dragon in a lightning storm set against a rocky landscape or cliff. Provenance and attribution After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573 to 1574, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after a mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre". In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme, and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of