The painting on this small panel had a markedly yellowish appearance due to the oxidation of a thick layer of varnish. The support showed several vertical cracks, which had caused various losses in the paint layer and had previously been reintegrated with materials that, according to current criteria, were not respectful of the work of art. During the restoration process, old varnishes were removed, as were overpaintings and stuccoes, replacing them with new, innocuous materials and, finally, covering various losses in the pictorial surface. The restoration has helped to recover the original tonalities with which the author of the work, Joaquín Sorolla, executed each of the brushstrokes. It has also helped to consolidate and make more visible the inscription made by the Valencian master. Finally, it has also contributed to a better reading and interpretation of the work, since, as the features of the portrayed figure became more clearly visible, CAEM researchers identified him as the young Sorolla himself. It is therefore one of the painter’s earliest known self-portraits.