17th century Dutch old master portrait, iron and arms merchant Joannes Bouw

Very fine Dutch 17th century old master portrait of the iron and arms merchant Joannes Bouwens by Nicolaes Maes

This three-quarter length portrait depicts Joannes as a young man, standing in an elegant and mysterious park landscape. He is smiling kindly at the spectator and wearing an exquisite and richly embroidered outfit. The portrait was most likely created to celebrate his marriage to Catharina Pels on February 28th 1685.

Joannes Bouwens, born in Amsterdam and baptized in the Westerkerk on September 2, 1663, was a merchant deeply involved in the thriving commerce of the Dutch Golden Age. This period, spanning much of the 17th century, saw the Dutch Republic emerge as a dominant global trading power, marked by a flourishing economy, world-renowned art, and scientific achievements. Within this vibrant context, Bouwens carved out a niche as a trader in iron, weapons, and cannons, with a particular focus on importing Swedish iron—a critical resource for both domestic industry and European warfare. The son of Pieter Bouwens and Anna Maria van Nut, Joannes was well-positioned within Amsterdam’s mercantile elite. His marriage on February 9, 1685, to Catharina Pels, herself from a prominent family, further strengthened his social and economic standing. Catharina, baptized in the Noorderkerk on April 12, 1665, passed away on October 31, 1704. She was the daughter of Jan Lucas Pels and Susanna Noirot, influential figures in Amsterdam’s commerce.

Joannes and Catharina had eight children:

1. **Susanna Catrina Bouwens** (1686-1752)
2. **Anna Maria Bouwens** (1687-unknown)
3. **Johanna Bouwens** (1689-1714)
4. **Joan Lucas Bouwens** (1691-before 1695)
5. **Pieter Bouwens** (1693-unknown)
6. **Jan Lucas Bouwens** (1695-1756)
7. **Reijnier Bouwens** (1697-1756)
8. **Petronella Agneta Bouwens** (1699-1723)

As a merchant in Amsterdam—a city often called the "crown jewel" of the Dutch Republic—Joannes was part of a commercial ecosystem that connected Europe, Asia, and the Americas through the extensive trade networks of the Dutch East and West India Companies. His business, dealing in iron and armaments, played a vital role in equipping Dutch military endeavors, as the Republic frequently engaged in both defensive and expansionist wars during this era. Joannes Bouwens’ family was embedded in the social and economic fabric of Amsterdam’s elite, forming alliances with other prominent families through business and strategic marriages.

Nicolaes Maes (1634-1693) was one of Rembrandt's most talented pupils. Around the tender age of 15 he left his native Dordrecht to move to Amsterdam to be apprenticed by the great Rembrandt. Until about 1660, Maes mainly painted genre scenes in the style of Rembrandt, with many light-dark contrasts and warm colours. After that, he switched to painting portrait paintings and started developing his own distinctive style; smoothly painted works in which he paid great attention to finely rendering all the details and in which he used bright colors. The combination of his talent and very well received style led to great successes. Maes became a much sought-after and very productive painter of the baroque state portrait. From 1653 to 1673 Maes moved back to Dordrecht and after which he returned for good to Amsterdam. Our painting was most likely created after his return to Amsterdam.

Dimensions:
The canvas measures ca. 64.1 by 54 cms.

Provenance: Presumably J. Tayleur; Christie's, London, 13 April 1923, lot 33 (33 gns. to Leger) Presumably H.W. van Aerdenne, Dordrecht Presumably Christie's, New York City, October 10th 2001, Lot 92 Private collection Italy
Private collection Italy

Condition:
Our painting is likely identical with the one offered in New York on October 10th 2001, the measurements match and the inscriptions on the back also support this. At the time, the work was very grimy and overpainted, however it has some very disctint cracks and retouches which exactly match with our painting (above the fingers of the right hand, small oval-shape in the neck, ...). Back in 2001, it also featured four heraldic shields which seem to have been added by a later hand, these have been removed in a previous restoration, faint traces are still visible.

Literature regarding the portrait of Joannes Bouwens: L. Krempel, Studien zu den datierten Gemälden des Nicolaes Maes, Petersberg, 2000, p. 329, no. 233 and fig. 314.