Private collection, Memphis, Tennessee;
From whom acquired by the present collector. 

The panel consists of 2 planks joined vertically with a vertical strip of cloth adhered to the larger panel on the reverse. There is beveling on the top edge and at the top right corner of the reverse of the panel, and no beveling on the left or bottom edge. The vertical join is slightly visible to the naked eye on the paint surface, beginning about 5 inches from the left edge of the painting. The paint surface is stable and the portrait image reads well, with fine details retained such as in the gentleman's beard and his lace collar. Slight frame abrasion is visible to the naked eye along the right edge of the painting. Under UV inspection, a thin line of repair along the vertical join is visible, as well as small, scattered retouches at the lower left in the blacks of the costume and background, and a small spot of retouching on the flat part of the collar. There is no visible retouching in the sitter's face or the lace collar. Overall, the painting is in very good condition and can hang as is. Offered in a carved ebonized wood frame with rectangular enhancements on the corners.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Abraham de Vries' reputation as a portrait painter was known throughout much of Europe in the first half of the seventeenth century.  Not only was he active in the Dutch Republic, but also in Antwerp, Brussels, and much of France, where he first came in contact with Nicolas-Claude Fabri de Periesc (1580-1637), an important French collector and patron of De Vries who likely introduced the artist to his friend, Peter Paul Rubens, in 1629 in Paris.  De Vries' early works display the influence of fellow Dutch artists like Thomas de Keyser and Jan van Ravesteyn, and those of from about 1620-1630 highlight the influence of Flemish artists from Antwerp, as visible in his portrait of the Antwerp painter, Simon de Vos.¹  Yet, by the 1640s, when the present work was painted, the impact of Rembrandt's portrait style is evident.  Although the identity of the gentleman in this portrait is unknown, his affable character seems to emanate from his engaging visage, defined by his crisp blue eyes, rosy cheeks, and distinct goatee.  1.  Oil on canvas, 121 by 92 cm., dated 1635, Antwerp, Maagdenhuismuseum, inv. no. 146602.