Nicolaes Maes

With Charles van der Hove, Brussels, by 1970, where bought in 1974 by the parents of the present owners;
Private collection, Bruges.

L. Krempel, Studien zu den datierten Gemälden des Nicolaes Maes (1634-1693), Petersberg 2000, p. 294, cat. no. A 59, reproduced fig. 107.

The actual painting is warmer and a liitle less blue in tone than the catalogue illustration suggests. The canvas has an old relining. There is a patched restored area in the upper right corner, where possibly a coat of arms has been removed. A restored and retouched horizontal tear of approx. 20 cm. is visible in the upper left corner, and another smaller one is visible lower centre left. The paint surface is under an old and uneven layer of varnish, and there's a fine craquelure which is slightly beginning to lift in places. A few retouched paint losses are visible in the upper left corner, in the chair centre left, and in the corner lower right, and some scattered retouchings are visible in the background, in the chair, and in the sitter's robe and hands. Inspection under UV light does confirm the aforementioned restorations, but otherwise, remains inconclusive due to the varnish. Offered in a plain parcel-gilt wood frame in good condition. (MW)
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Although an unknown sitter, this man must have held an important position in daily life. Not only portrayed sitting, which was quite uncommon for people of lower birth, he also wears a cap. This could relate to his profession as a doctor, legislator, poet or wealthy merchant. This portrait was identified by Krempel as a pendant to the portrait of a Lady now in the Koninklijke Musea, Ghent (inv. no. 1906-A, see fig. 1). She was indentified by Hofstede de Groot as a member of the Van Snouck-Van Loosen family, due to an overpainted family device in the left corner.¹ The present painting might have had a similar heraldic device in the right corner, most likely removed at a later stage.

1. See Krempel under Literature, p. 294, cat. no. A 59A, reproduced fig. 108.