Beschreibung:

Nicolaes MaesDordrecht 1634 - 1693 AmsterdamPortrait of Jean Baptist Everard de Borchgrave (1613–1684), three-quarter-length, wearing a green jacket with a white ruff and yellow drape, leaning on a broken column
signed centre right, on the base of the column: MAESoil on canvas, oval, laid down on canvasunframed: 125 x 108.2 cm.; 49¼ x 42⅝ in.framed: 147.7 x 129.4 cm.; 58¼ x 51 in.Condition reportThe original oval canvas has been laid down onto a rectangular lining canvas. The paint surface is clean and the varnish is slightly discoloured. There are very small scattered paint losses throughout. Few patches of discoloured retouching, possibly associated with old repaired tears, are visible to the naked eye, notably one in the the top left corner, one above the sitters head and a diagonal line across the column to the right measuring approximately 13cm. Inspection under ultraviolet light confirms the above and reveals the opaque varnish and retouching in the centre of lower margin. The picture presents well and is in overall fairly good condition.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.ProvenanceJames Macandrew (d. 1902), Belmont, Mill Hill, London;
His posthumous sale, London, Christie's, 14 February 1903, lot 135 (together with its pendant, lot 134);
Henry Barton Jacobs (1858–1939), Baltimore;
His posthumous sale, Baltimore, Sam W. Pattinson & Co. in collaboration with Parke-Bernet Galleries, 10–12 December 1940, lot 666 (together with its pendant, lot 665);
Karl J. Eisenhardt (1897–1985), York, PA, by 1945;
Thence by descent;
Until sold ('Property from the Collection of Karl and Virginia Eisenhardt'), New York, Christie's, 14 October 2021, lot 80;
There acquired by the present owner.LiteratureC. Hofstede de Groot, A Catalogue Raisonné of the Works of the most eminent Dutch Painters of the Seventeenth century, London 1916, vol. VI, pp. 518–19, no. 146.Catalogue noteNicolaes Maes was, by the second half of his career, one of the most prolific and fashionable Dutch portrait painters of his century. His œuvre was, however, one of immense variety. It ranged from early religious paintings dating to his apprenticeship in Rembrandt’s studio, to his celebrated genre scenes. Yet, by the close of the 1650s, he abandoned these subjects to focus wholly on portraiture.
Maes’ production of portraits underwent a radical stylistic upheaval. His early works can be broadly defined by the sobriety of his sitters’ dress and conservative colour palette paired with precise brushwork.
This picture, however, dates from the latter part of his career, by which time he eschewed his traditional early style for a more flamboyant one that looked to Flanders, and especially Van Dyck , for its visual cues. Maes was apparently given to ‘improving’ his sitters with a ‘skilled and flattering brush’.1 There is much evidence for this in both the gentleman’s confident pose and luxuriant handling of the paint. The ruined column and subject’s classicizing cloak lend the portrait a general air of the antique, rather than the specific Dutch domesticity of Maes’ earlier works.
The sitter, identifiable as Jean Baptist Everard de Bourchgrave (1613–1684), was painted along with his wife Catharina de Woelmont, the subject of a pendant portrait.2 
1 A. Houbracken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, Amsterdam 1718–1721, quoted in A. van Suchtelen, 'A Career as a Portraitist', in A. van Suchtelen, B. Cornelis, M. Schapelhouman and N. Cahill, Nicholas Maes, Zwolle 2019, p. 127.2 C. Hofstede de Groot 1916, p. 519, no. 147.