Circle of Nicolaes Maes (Dordrecht 1634-1693 Amsterdam)
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Circle of Nicolaes Maes (Dordrecht 1634-1693 Amsterdam)

A portrait of Jean Lucas Pels (1628-1699), half-length, seated in a chair

Details
Circle of Nicolaes Maes (Dordrecht 1634-1693 Amsterdam)
A portrait of Jean Lucas Pels (1628-1699), half-length, seated in a chair
with initials 'NM' (lower right) and inscribed with the coat of arms
oil on canvas
63.6 x 54.1 cm.
Provenance
J.M. Morpurgo; Christie's, London, 13 April 1923, lot 33, offered together with a portrait of a youth, with coat-of-arms (£33 12sh to Leger).
In possesion of the present family since 1924.
Literature
L. Krempel, Studien zu de datierten Gemälden des Nicolaes Maes, Petersberg, 2000, cat. no. 233a, pl. 382, under Not authentic dated works.
Exhibited
Dordrecht, Pictura Dordrecht, Nicolaes Maes, 1 October-19 October 1924, nr. 6.
Special notice
Christie’s charges a premium to the buyer on the Hammer Price of each lot sold at the following rates: 29.75% of the Hammer Price of each lot up to and including €20,000, plus 23.8% of the Hammer Price between €20,001 and €800.000, plus 14.28% of any amount in excess of €800.000. Buyer’s premium is calculated on the basis of each lot individually.

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Sabine Dalmeijer
Sabine Dalmeijer

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Lot Essay

Jean Lucas Pels, a prominent and wealthy merchant and entrepreneur of his time, was married to Susanna Noirot. The coat of arms of the Pels family is identifiable in the four corners surrounding the image. The arms of Noirot are in the upper left, accompanied by those of Vegelmans (the branch of the mother of the sitter) in the upper right corner.

A portrait of Jean Lucas Pels's daughter, Catrina Pels (1665-1704), by Nicolaes Maes (with Otto Naumann, New York) bears the same arrangement of coat-of-arms of the Noirot and Vegelmans family. Catrina Pels's portrait was presumably executed to commemorate her marriage to Johannes Bouwens (1663-1720) on February 28, 1685. The portrait of Catrina's husband (whereabouts unknown) was also painted by Maes and bears the same arrangement of coats-of-arms in the corners (see L. Krempel, Studien zu de datierten Gemälden des Nicolaes Maes, Petersberg, 2000, cat. no. 233, pl. 314). Although Krempel attributes the portrait of Jean Lucas Pels to Johann Friedrich Bodecker (op. cit., cat. no. 233a, pl. 382), we believe there is more resemblance with Nicolaes Maes. The three paintings most likely formed part of a series, as the sizes and placement of arms are almost identical.

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