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Woman Standing before a Mirror
Frans van Mieris the Elder (studio copy?)(Leiden 1635 – 1681 Leiden)

17th century
Oil on panel
31.8 x 24.5 cm
faint illegible letters in light paint, upper rightcorner
FM-121

How to cite
Buvelot, Quentin. “Woman Standing before a Mirror” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur
K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–23. https://www.theleidencollection.com/archive/ (archivedDecember 2023).
A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive is managed by apermanent URL. New versions are added only when a substantive change to the narrative occurs.

A good gauge of the popularity of Frans van Mieris’s painted oeuvre is the large
number of copies, the oldest of which must have been made during his lifetime.

Comparative Figures[1]

Nevertheless, little information exists about Van Mieris’s workshop; it is not even
known if the master made replicas of his own paintings. Copies and variants of VanMieris’s paintings, however, were certainly made after his death for Leiden collectors,
a number of which came from the hand of his son, Willem (1662–1747). Some of
Van Mieris’s paintings were particularly popular and frequently copied; for example,
around thirty copies are known of The Oyster Meal from 1661 (Mauritshuis, TheHague).[2] A Woman before a Mirror, now in Berlin (fig 1), was also frequentlycopied, as was this Leiden Collection painting.[3] At least twenty other copies after theBerlin picture are recorded,[4] making it virtually impossible to establish theirindividual provenances. This copy is almost identical to the Berlin original, the mostconspicuous difference being the blue ribbon on the red jacket draped over the chair.
It is difficult to determine whether the present picture was made in the studio ofFig 1. Frans van Mieris the Elder, A
Woman before a Mirror, ca. 1662, oil
on panel, 30 x 23 cm, Staatliche
Museen zu Berlin, Gemäldegalerie,
838

Frans van Mieris, although dendrochronological analysis indicates that the panel does
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Woman Standing before a Mirror
Page 3 of 8date from the seventeenth century.[5] Not surprisingly, a number of later copies weremade with fraudulent intent. The well-known collector and fabulously wealthy cloth
merchant Pieter de la Court van der Voort (1664–1739), a great patron of Willem vanMieris, wrote to his wife on 8 August 1700 from Paris that on some of Willem’s
paintings, the first name had been replaced by “Frans” or simply overpainted to create
the impression that the works were by his father.[6] Frans van Mieris the Elder had
been dead for almost twenty years by then, but he was evidently still an internationalcelebrity.
The theme of a young woman making her toilette appears relatively often in Frans
van Mieris’s paintings.[7] The concentration with which the young woman stands
before a mirror while holding a piece of jewelry to her neck makes it clear that she isputting the last touches to her attire. Her dark-skinned maidservant, whose face Van
Mieris prepared meticulously in a drawn study for the original painting,[8] holds up ajewelry box and waits curiously to see which piece her mistress will decide to wear.
To the right, through a doorway, one sees a man reading at a table.
In the context of a woman making her toilette, a mirror can be associated with vanity
or sensual pleasure.[9] That the woman uses the mirror here to adorn herself withjewelry seems to confirm this meaning. The opened letter on a corner of the table iswithout doubt a love letter—evidence of her interest in the sensual pleasures.[10] In
contrast to the woman’s concern with appearances, the man reading represents theopposite attitude: the life of the mind and a desire to acquire knowledge and wisdom.

- Quentin Buvelot, 2017

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Page 4 of 8Endnotes
1. For lists of copies, see Otto Naumann, Frans van Mieris (1635–1681) the Elder, 2 vols. (Doornspijk,1981), vol. 2; and Eric-Jan Sluijter, Marlies Enklaar, and Paul Niewenhuizen, eds., Leidse Fijnschilders:van Gerrit Dou tot Frans van Mieris de Jonge, 1630–1760 (Exh. cat. Leiden, Stedelijk Museum DeLakenhal) (Zwolle, 1988), 35–36.
2. Otto Naumann, Frans van Mieris (1635–1681) the Elder, 2 vols. (Doornspijk, 1981), 2:44–48, nos.
36a–cc.
3. Otto Naumann, Frans van Mieris (1635–1681) the Elder, 2 vols. (Doornspijk, 1981), 2:56–59, no. 46;
see also Peter van der Ploeg in Frans van Mieris 1635–1681, ed. Quentin Buvelot (Exh. cat. The Hague,Mauritshuis; Washington D.C., National Gallery of Art) (Zwolle, 2005), 157–59, no. 31, repr. OttoNaumann also thinks that the present painting is a copy (correspondence with the author, 10 August2012).
4. Otto Naumann, Frans van Mieris (1635–1681) the Elder, 2 vols. (Doornspijk, 1981), 2: 56–59, nos.
46a–u.
5. On the basis of dendrochronological research executed by Peter Klein in 2012, the panel was dated after
1618 (letter of Peter Klein, dated 17 July 2012, kept in the Leiden Collection archives).
6. Otto Naumann, Frans van Mieris (1635–1681) the Elder, 2 vols. (Doornspijk, 1981), 1: 193, 207–10; T.
H. Lunsingh Scheurleer, ed., Het Rapenburg: Geschiedenis van een Leidse gracht, 10 vols. (Leiden,1986–92), 2: 388; 6a: 358–59, and figs. 55–56; Eric Jan Sluijter, “Een stuck waerin een jufr. voor despiegel van Gerrit Douw,” Antiek 23 (1988): 35–36.
7. Otto Naumann, Frans van Mieris (1635–1681) the Elder, 2 vols. (Doornspijk, 1981), 2: nos. 32, 51, 69,76, 114.
8. Otto Naumann, “Frans van Mieris as a Draughtsman,” Master Drawings 16, no. 1 (1978): 27, no. 11;
Quentin Buvelot, Otto Naumann, and Eddy de Jongh, Frans van Mieris 1635–1681, ed. Quentin
Buvelot (Exh. cat. The Hague, Mauritshuis; Washington D.C., National Gallery of Art) (Zwolle, 2005),
157, fig. 31a.
9. For the symbolism of mirrors, see Eddy de Jongh, Zinne- en minnebeelden in de schilderkunst van dezeventiende eeuw (Amsterdam, 1967), 76–78; Eddy de Jongh, Tot lering en vermaak: betekenissen vanHollandse genrevoorstellingen uit de zeventiende eeuw (Exh. cat. Amsterdam, Rijksmuseum)(Amsterdam, 1976), no. 47; Eric Jan Sluijter, “Een stuck waerin een jufr. voor de spiegel van GerritDouw,” Antiek 23 (1988): 150–61.
10. Otto Naumann, Frans van Mieris (1635–1681) the Elder, 2 vols. (Doornspijk, 1981), 1: 69.

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Woman Standing before a Mirror
Page 5 of 8ProvenanceCount Ferdinand von Plettenberg (1690–1737) (his sale, Amsterdam, 2 April 1738, no. 57 [for 800florins]).
Ewout van Dishoek (1678–1744), Lord of Domburgh (his sale, The Hague, 9 June 1745, no. 35 [toWilhelm VIII, Landgrave of Hesse-Kassel for 1,300 florins]).
Wilhelm VIII (1682–1760), Landgrave of Hesse-Kassel; possibly to Marc René, Marquis Voyer dePaulmy d’Argenson.
Possibly Marc René, Marquis Voyer de Paulmy d’Argenson (1721–82), Paris; to Christophe-Nicolas deMontribloud.
Possibly Christophe-Nicolas de Montribloud (d. 1784), Paris (his sale, Paillet, Julliot & Fils, Paris, 9February 1784, no. 30 [to Paillet 2,501 francs]).
Possibly Du Preuil (ca. 1767–1849), Dusseldorf (his sale, Lebrun, Paris, 25 November 1811, no. 113 [toHesse for 250 francs]).
(Possible sale, Lebrun, Paris, 2 February 1813, no. 239 [to Henri for 240 francs].)
P.J.F. Vrancken, Lokeren (sale, Antwerp, 15 May 1838, no. 43 [to De Lelie, Amsterdam, for 630florins]).
Thadée Joseph Antoine Hyacinthe Van Saceghem (1767–1852), Ghent, 1842 (his sale, Brussels, 2 June
1851, no. 36 [to Tencé, Lille, for 27,200 francs]).
Théodore Patureau, Antwerp (his sale, Paris, 20 April 1857, no. 14 [to Etienne le Roy for 19,700francs]).
H.J. Pfungst, London; to James John Van Alen.
James John Van Alen (1846–1923), Rushton Hall, Kettering, Northamptonshire, 1904; by descent (sale,Christie’s, London, 5 December 1969, no. 79).
[Galleria Giorgio Caretto, Turin, by 1970.]
Private collection, Turin, before 1976.
(Sale, Finarte Casa D’aste, Rome, 14 November 2006, no. 27.)
From whom acquired by the present owner in 2006.

Exhibition History
London, Whitechapel Art Gallery, “Dutch Exhibition,” 30 March–10 May 1904, no. 273 [lent by JamesJohn Van Alen].
Turin, Galleria Giorgio Caretto, “Mostra di scene di genere: Opere di maestri olandesi e fiamminghi del© 2024 The Leiden Collection

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XVII secolo,” 27 October–20 November 1970, no. 40.

References
Hoet, Gerard, and Pieter Terwesten. Catalogus of Naamlyst van Schilderyen, met derzelver pryzen, zedert
een langen reeks van jaaren zoo. The Hague, 1752, 1: 499, no. 57; 2: 171, no. 35.
Descamps, Jean Baptiste. La vie des peintres flamands, allemands et hollandois: avec des portraits gravésen taille-douce, une indication de leurs principaux ouvrages & des réflexions sur leurs différentes
manières. Paris, 1760, 3: 20.
Blanc, Charles. Le Trésor de la Curiosité tiré des Catalogues de vente de Tableaux, Dessins, Estampes,Livres, Marbres, Bronzes, Ivoires, Terres Cuites, Vitrauux, Médailles, Armes, Porcelaines, Meubles,Émaux, Lacques et autres Objets d’Art. Avec diverses Notes & Notices historiques & biographiques. Paris,
1858, 2: 526–27.
Smith, John. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French
Painters. London, 1829, 1: 64, no. 7; 1842, 9: 42–43, no. 28; 45, no. 37.
Kramm, Christiaan. De levens en werken der Hollandsche en Vlaamsche Kunstschilders, Beeldhouwers,Graveurs en Bouwmeesters van den vroegsten tot op onzen tijd. Amsterdam, 1860, 4: 1125, 1126.
Siret, Adolphe. Dictionnaire historique des peintres de toutes les écoles. Paris, 1883, 55.
Lemcke, Carl. “Frans van Mieris.” In Kunst und Künstler des Mittelalters und der Neuzeit. Biographienund charakteristiken unter mitwirkung von fachgenossen herausgegeben von Dr. R. Dohme. Kunst undKunstler Deutschlands und er Niederlände bis um die Mitte des achtzehnten Jahrhunderts. Edited byRobert Dohme, 2: 22. Leipzig, 1878.
Eisenmann, Oscar. Katalog der Königlichen Gemälde-Galerie zu Cassel. Kassel, 1888, LI.
Whitechapel Art Gallery. Dutch Exhibition. Exh. cat. London: Whitechapel Art Gallery. London, 1904,35, no. 273.
Hofstede de Groot, Cornelis. Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten
höllandischen Maler des XVII. Jahrhunderts. Esslingen, 1928, 10: 23, no. 81.
Mireur, Hippolyte. Dictionnaire des ventes d’art faites en France et à l’étranger pendant les XVIIIe et XIXesiècles. Paris, 1911, 5: 187.
Bénézit, Emmanuel. Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs, et graveursde tous les pays, part un groupe d’écrivains specialistes français et étrangers. Paris, 1956, 6: 117.
Plietzsch, Eduard. Holländische und flämische Maler des 17. Jahrhunderts. Leipzig, 1960, 52.
Reitlinger, Gerald. The Economics of Taste: The Rise and Fall of Picture Prices, 1760–1960. London,1961, 388.
Galleria Giorgio Caretto. Mostra di “Scene di genere”: Opere di maestri olandesi e fiamminghi del XVII
secolo: esposizione vendita di 115 dipinti d’autore: Galleria Giorgio Caretto, Torino, 27 ottobre – 20
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Woman Standing before a Mirror
Page 7 of 8novembre 1970. Exh. cat. Turin, Galleria Giorgio Caretto. Turin, 1970, no. 40.
Naumann, Otto. “Frans van Mieris as a Draughtsman.” Master Drawings 16 (1978): 21, no. 27.
Naumann, Otto. Frans van Mieris (1635–1681) the Elder. Doornspijk, 1981, 2: 56, no. 46a, fig. C 46a.
Buvelot, Quentin. “Recenze/Reviews: Anja K. Ševčik (ed.), National Gallery in Prague: Dutch Paintingsof the 17th and 18th Centuries, Illustrated Summary Catalogue.” Umění Art 60, no. 6 (2012): 532.

Versions
1. Frans van Mieris, A Woman Standing Before a Mirror, oil on panel, 30 x 23 cm, Gemäldegalerie,
Staatliche Museen zu Berlin, inv. no. 838.

2. After Frans van Mieris, A Woman Standing Before a Mirror, oil on panel, 31.5 x 24 cm, previous sale,
Galerie Charpentier, Paris, 14 June 1960, no. 42.

3. After Frans van Mieris, A Woman Standing Before a Mirror, oil on panel, 32.5 x 24 cm, previous sale,
American Art Galleries, New York, 5 April 1910, no. 95.

4. After Frans van Mieris, A Woman Standing Before a Mirror, oil on panel, 31.6 x 27.4 cm, National
Gallery, Prague, inv. no. DO 4608.

Technical Summary
The support, a single plank of vertically grained, rectangular-shaped oak from the western GermanyNetherlands regions, is derived from a tree felled after 1608 and has a plausible creation date from 1618
onward.[1] The unthinned and uncradled panel has bevels on all four sides and two small rectangular woodinserts along the left vertical edge. A red wax collection seal with a partial impression and an old paper label
remnant with an ink inscription from Dr. Bredius dated 1893 are located along the panel reverse, but there
are no import stamps, panel maker’s marks or machine tool marks.
A light-colored (possibly gray) ground has been thinly and evenly applied followed by paint applied in thinlayers of smooth transparent glazing through the background and with areas of low brushmarking through thefemale figure’s white blouse, vermilion cape and the chair over which the cape is draped.
There are remnants of letters in light paint along the upper right corner, but there is no discernible signatureor date.
No underdrawing or compositional changes are readily apparent in infrared images captured at 780–1000
nanometers.
The painting, which was cleaned and restored in 2007 and revarnished in 2010, remains in a good state ofpreservation.
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Technical Summary Endnotes

1. The characterization of the wood is based on Peter Klein’s (undated) dendrochronology report.

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