Nicolaes Maes (Dordrecht 1634-1693 Amsterdam)
Property of La Salle University
Nicolaes Maes (Dordrecht 1634-1693 Amsterdam)

Portrait of a boy as Cupid

Details
Nicolaes Maes (Dordrecht 1634-1693 Amsterdam)
Portrait of a boy as Cupid
oil on canvas
41 ¼ x 31 7/8 in. (104.7 x 80.9 cm.)
Provenance
Patrick O'Connor, Dublin and New York; Parke-Bernet, New York, 21 February 1946, lot 174, as 'Jan van Noordt' and with incorrect dimensions ($350).
Samuel Friedenberg, Byram, Connecticut; Parke-Bernet, New York, 23 April 1958, lot 35, with incorrect dimensions ($550).
Luis Ferré (1904-2003), Ponce and San Juan, Puerto Rico, and by whom donated in 1958 to
Museo de Arte de Ponce, Ponce, Puerto Rico, and by whom deaccessioned after 1965 to the following
with Central Picture Galleries, New York, where acquired by the La Salle University Art Museum in 1974.
Literature
J. Held, Museo de Arte de Ponce Fundación Luis A. Ferré: Catalogue I, Paintings of the European and American Schools, Ponce, 1965, p. 107, no. 58.0040, with incorrect dimensions.
W. Sumowski, Gemälde der Rembrandt-Schüler, Landau, 1983, III, pp. 2029, 2126, no. 1400, illustrated, with incorrect dimensions.
C.P. Wistar, La Salle College Art Museum Guide to the Collection, Philadelphia, 1984, pp. 33, 85, illustrated.
C.P. Wistar, La Salle University Art Museum: Guide to the Collection, Philadelphia, 2002, p. 41, illustrated.

Lot Essay

Nicolaes Maes’ earliest paintings were biblical and genre subjects informed by the time he spent in Rembrandt’s studio in the early 1650s. From about 1660, however, Maes worked exclusively as a portraitist, first in his native Dordrecht and from 1673 in Amsterdam. Though his first forays into portraiture reflect the influence of the local Dordrecht painters Jacob Gerritsz. Cuyp and his son, Aelbert, by the early 1660s Maes became increasingly attune to the innovations of Flemish artists like Anthony van Dyck, as filtered through the works of the fashionable Dutch portraitists Govaert Flinck and Jan Mijtens. As is typical of Maes’ best portraits of the period, the present painting employs subtle harmonies of reds and blues with brilliant brushwork set against a background of carefully modulated earth tones.

We are grateful to Dr. William W. Robinson for endorsing the attribution and suggesting an execution date of 1664-65 following firsthand inspection of the painting.

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