Frans van Mieris(Leiden 1635 – 1681 Leiden)

How to cite
Bakker, Piet. “Frans van Mieris” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K.
Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/frans-van-mieris/ (archived June2020).
A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive ismanaged by a permanent URL. New versions are added only when a substantive change to the narrative
occurs.

Frans van Mieris was born in Leiden on 16 April 1635 to the Remonstrant goldsmith and diamond cutter Jan
Bastiaensz van Mieris (1586–1650) and his second wife, Christina van Garbartijn.[1] Van Mieris came from afamily of gold- and silversmiths; two uncles practiced this craft, as did his older cousin Willem Fransz van
Mieris (ca. 1600–56). In 1645 Jan apprenticed his son to this cousin for six years, presumably intending him tocontinue the family tradition.[2]It soon became apparent, however, that Van Mieris’s talents lay elsewhere. He turned out to be a gifteddraftsman, and upon the insistence of the cloth merchant and, later, poet and calligraphic glass engraver
Willem van Heemskerck (1613–92), Van Mieris’s father sent him to study with the drawing master and glass
engraver Abraham Toorenvliet (d. 1656), father of the painter Jacob Toorenvliet (1640–1719).[3] Van Mieris’scommand of drawing developed so well under Toorenvliet that according to Arnold Houbraken, “his father
decided to surrender him entirely to art, to which end he delivered him to the renowned Gerrit Dou.”[4] Dou
quickly dubbed Van Mieris “the prince among his pupils, and said that he carried off the crown from them all.[5]Once Van Mieris had mastered the art of drawing, his father apprenticed him to Abraham van den Tempel(1622/23–72) to “familiarize him with a broad handling of the brush.”[6] Nevertheless, given that Van Mieris
was “more inclined to painting in a small format and in fine detail, he returned to Gerrit Dou for instruction.”[7]We do not know when Van Mieris completed his training, but he was probably still quite young. In any case, it
was the sixteen-year-old “Frans” who presented the members of the gold- and silversmiths’ guild a paintingof Eloy, their patron saint.[8] His earliest dated work, the famous Doctor’s Visit, originated in 1657 and waspreceded by at least fifteen pictures.[9] Most of them diligently emulate his teacher Dou. Yet he soonabandoned the excessive detailing and countless accessories so typical of Dou to focus increasingly on the© 2020 The Leiden Collection

Frans van Mieris
Page 2 of 9interaction among the figures, thereby conveying a liveliness generally absent in Dou’s work.[10] Van Mieris
rapidly developed an entirely personal style, which first manifested itself fully in the aforementioned Doctor’s
Visit.
Despite all these signs of early independence, Van Mieris did not join the Guild of Saint Luke until 14 May
1658.[11] He had married Cunera van der Cock (1629/30–1700) one year earlier, on 15 March 1657, six days
after the birth of their first daughter, Christina (1657–85). The couple would have four more children, including
Jan (1660–90) and Willem (1662–1747), who followed in their father’s footsteps.[12]The many extant paintings from the early 1650s confirm Houbraken’s comment “that [Van Mieris] foundadmirers and patrons from the very beginning.”[13] Among these affluent Leiden citizens was the town
councilor Cornelis Paets (1636–94), who had assembled a splendid collection of paintings and was anamateur painter who had learned “the art of drawing and painting in his youth” from Van Mieris.[15] Paets
commissioned Van Mieris to portray his wife, Agatha, and the painting was “esteemed by all art lovers as oneof his consummate works of art.”[15] Paets also owned “a young lady swooning, as well as a doctor and an old
woman weeping.”[16] Quite exceptionally, for the commission of his wife’s portrait, Paets paid Van Mieris by
the hour, an arrangement that ultimately cost him 1,500 guilders. This may have been the painting that French
envoy Balthasar de Monconys (1611–65) saw Van Mieris working on in 1663, noting in his diary that he could
hardly believe the high price the patron was willing to pay for it.[17] Cosimo III de’ Medici (1642–1723), GrandDuke of Tuscany, offered Paets more than 3,000 guilders for this work on several occasions, but according to
Weyerman, this was “fortunately in vain,” for “this would have been a great loss for the city of Leiden, as thatmagnificent work of art is deemed an inimitable wonder by all connoisseurs.”[18] The fabulously wealthy
merchant and regent Isaac Gerard (1616–94) was also a great aficionado of Van Mieris. He owned four
expensive pictures, possibly including Man Offering Oysters to a Young Woman and The Sleeping Officer,
both now considered outstanding works.[19]His most important patron, however, was Franciscus de le Boë Sylvius (1614–72). In 1658 this former“huisarts” (physician) was appointed a professor of chemistry and medicine at the Leiden Academy, and soon
made a name for himself far beyond the country’s borders.[20] Sylvius was the proud owner of a collection that
ultimately counted 185 paintings. Among them were ten, or possibly eleven, pictures by Dou, and seven by
Van Mieris, including a double portrait of Sylvius and his wife, Margareta Lucretia Schlezer (d. 1669).[21]Sylvius held Van Mieris in such high esteem that according to Houbraken he regularly requested “that any
work that he [Van Mieris] created would be for him, or that he might be granted the privilege of offering a pricecommensurate with what someone else wanted to give.”[22]Sylvius also acted as an agent for Van Mieris. For instance, in 1660 Van Mieris painted the celebrated Cloth
Shop “through the grace of the gentleman mentioned, his patron” for the art gallery of Archduke Leopold
Wilhelm (1614–62) in Vienna, “which so delighted the Archduke that he paid him 1,000 guilders for it.”[23]Leopold, moreover, tried to persuade the artist to work at the court in Vienna for an astonishingly lucrative
remuneration—an offer Van Mieris nevertheless declined. Furthermore, Sylvius brought Van Mieris into contact
with Cosimo III when he visited Leiden in 1667 and 1669. The Grand Duke, too, was so impressed by Van
Mieris’s work that he engaged the artist to paint five pictures, including a self-portrait, for his famous portrait© 2020 The Leiden Collection

Frans van Mieris
Page 3 of 9gallery of celebrities.[24]Despite the fact that notable collectors and princely patrons were prepared to pay dazzling prices for his work,
Van Mieris repeatedly faced financial difficulties. In 1666 he even had to pledge part of his property as security
to defray a substantial debt.[25] These predicaments were sometimes related to arrears in rent (Van Mieris
never bought a house), which is surprising given that the amounts were generally but a fraction of what hemust have earned from painting on an annual basis.[26] That he regularly had money problems also emerges
from his active correspondence with Giovacchino Guasconi (1636–99), the envoy of Cosimo III, in which Van
Mieris frequently requested advances even though he never delivered the commissioned works on time.
His financial difficulties were also partly related to excessive drinking; at least this is suggested by a debt heowed an innkeeper in 1674.[27] Van Mieris regularly imbibed too freely. In a letter in 1675 Guasconi wrote that
Van Mieris turned up for an appointment blind drunk and had left behind at a tavern the painting he was
supposed to bring to the envoy.[28] When it came to payment for this painting, Van Mieris’s wife, Cunera,
insisted that the money be given to her because she feared that otherwise it would evaporate “like acid on an
etching plate.”[29] Houbraken suggests that Van Mieris regularly sought the company of his good friend Jan
Steen (1625/26–79) who “fell deeper and deeper into drinking,” whereby “it also sometimes transpired that
our Mieris tended to have one too many.”[30] One cannot escape the impression that Van Mieris had a drinking
problem, also because the quality of his paintings seems to have diminished somewhat toward the end of hislife. This, however, in no way affected the great demand for his work, which remained constant. Frans van
Mieris died on 12 March 1681, and was buried in the Pieterskerk a few days later.

- Piet Bakker, 2017

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Endnotes

1. The date of birth is mentioned by Houbraken, who was informed by the artist’s son Willem
van Mieris.
2. For the estate inventory of Willem Fransz van Mieris and his wife, Beatrix van Meerdenburch,
see Regionaal Archief Leiden, Notarial Archives, Notary N. Paedts, inv. 676, deed 33, 13
February 1665.
3. Willem Jacobs van Heemskerck was a cloth merchant by trade, but is now known primarily
for his diamond-point calligraphic engraving on glass vessels. That the Van Heemskerck and
Van Mieris families were closely acquainted is evidenced by the commissions extended bymembers of the Van Heemskerck family to all four Van Mierises. Willem Jacobs van
Heemskerck engaged Frans van Mieris the Elder in 1663 to paint the portrait of his son
Jacob. See Rudolf E.O. Ekkart, “Het portret van Jacob van Heemskerck,” Leids
Jaarboekje 77 (1985): 47–51. Subsequently, in 1687 Jan van Mieris was engaged to portray
Willem Jacobs himself (Museum de Lakenhal, Leiden) and his twin daughters, Maria andBartha (art dealer Johhny van Haeften, London, catalogue 1997, no. 24). Grandson Leonard
van Heemskerck, finally, owned two paintings by Willem van Mieris, including “Een Vrouwe
Pourtraitje, in’t haar gekapt, met een wit satijne Jakje aan” (A portrait of a woman, wearing a
cap and a white satin jacket). See Theodoor Hermann Lunsingh Scheurleer, Cornelia
Willemijn Fock, A.J. van Dissel, eds., Het Rapenburg: Geschiedenis van een Leidse gracht(Leiden, 1992), 6: 135, no. 7. He also had his portrait painted by Frans van Mieris theYounger, which after his death was meant to be given “aan de Regenten van het Pesthuys
met versoeck het selve een plaats te vergunnen in de Regentenkamer” (to the regents of theLeper Home with the request that it be granted a place in the Regent Chamber). Regionaal
Archief Leiden, Notarial Archives, Notary J. van Stipriaan, inv. 2286, deed 20, 5 March 1772.
4. “Zyn Vader besloot hem geheel de Konst op te offeren, tot welken einde hy hem bestelde by
den berugten Gerard Dou.” Arnold Houbraken, De groote schouburgh der Nederlantsche
konstschilders en schilderessen (Amsterdam, 1718–21; rev. ed., The Hague, 1753; reprint,1980), 3: 2.
5. “Den Prins van zyne Leerlingen, en zeide: dat hy de kroon van hun allen weg droeg.” Arnold
Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen(Amsterdam, 1718–21; rev. ed., The Hague, 1753; reprint, 1980), 3: 2.
6. “Aan een kloeke penceelbehandeling te [laten] gewennen.” Arnold Houbraken, De grooteschouburgh der Nederlantsche konstschilders en schilderessen (Amsterdam, 1718–21; rev.
ed., The Hague, 1753; reprint, 1980), 3: 2.
7. “Meer toe het kleen en uitvoerig schilderen geneigt [was], keerde hy weder tot het onderwys© 2020 The Leiden Collection

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van Gerard Dou.” Arnold Houbraken, De groote schouburgh der Nederlantsche
konstschilders en schilderessen (Amsterdam, 1718–21; rev. ed., The Hague, 1753; reprint,1980), 3: 2–3.
8. Otto Naumann, Frans van Mieris (1635–1681) the Elder (Doornspijk, 1981), 1: 162.
9. The Doctor’s Visit, signed and dated 1657 (Kunsthistorisches Museum, Vienna); Otto
Naumann, Frans van Mieris (1635–1681) the Elder (Doornspijk, 1981), 1: no. 20 I.
10. Peter Hecht, ed. De Hollandse fijnschilders: Van Gerard Dou tot Adriaen van der Werff (Exh.
cat. Amsterdam, Rijksmuseum) (Amsterdam, 1989), 15.
11. He may have been a member earlier. The administration of the Guild of Saint Luke was kept
only barely, if at all, in 1656 and 1657. The guild contribution in these years was not collected,
and no new members were registered. On the quality of the guild’s administration, see Piet
Bakker, “Crisis? Welke crisis? Enkele kanttekeningen bij de economische neergang van deschilderkunst in Leiden na 1660,” De Zeventiende Eeuw 27 (2011): 232–70.
12. See the biographies of the painters Jan van Mieris and Willem van Mieris in this catalogue.
13. “Dat

hy

van

den

beginneafaanbeminnaars

enbegunstigers

vont.”

Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen(Amsterdam, 1718–21; rev. ed., The Hague, 1753; reprint, 1980), 3: 2.
14. “In zyne jeugt de konst van Teekenen, en Schilderen.” Arnold Houbraken, De grooteschouburgh der Nederlantsche konstschilders en schilderessen (Amsterdam, 1718–21; rev.
ed., The Hague, 1753; reprint, 1980), 3: 4.
15. “By alle Konstkenners voor een van zyne uytmuntendste Konststukjes geschat.” Arnold
Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen(Amsterdam, 1718–21; rev. ed., The Hague, 1753; reprint, 1980), 3: 4. Portrait of Agatha
Paets, signed and dated 1665 (Private Collection); Otto Naumann, Frans van Mieris(1635–1681) the Elder (Doornspijk, 1981), 2: no. 60. Also preserved are two drawings of her
son Willem Paets (1665–1740) as a child, who later held the office of burgomaster several
times, as his father had done. Willem Paets in a Cradle, 1665, black chalk (Fondation
Custodia – Collection Frits Lugt, Paris), and Portrait of Willem Paets as a Child, 1665, black
chalk (British Museum, London); Quentin Buvelot, Otto Naumann, and Eddy de Jongh, Frans
van Mieris 1635–1681 (Exh. cat. The Hague, Mauritshuis; Washington, D.C., National Galleryof Art) (Zwolle, 2005), 169–75, nos. 35–36.
16. “Een jong Juffertje dat in een flaaute leit, nevens een Medecynmeester en een schreijende
oude Vrouw.” This description is most likely of The Doctor’s Visit, signed and dated 1667 (J.
Paul Getty Museum, Los Angeles); Otto Naumann, Frans van Mieris (1635–1681) the Elder(Doornspijk, 1981), 2: no. 71 I.
17. Quentin Buvelot, Otto Naumann, and Eddy de Jongh, Frans van Mieris 1635–1681 (Exh. cat.
The Hague, Mauritshuis; Washington, D.C., National Gallery of Art) (Zwolle, 2005), 19.
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18. “Gelukkig vergeefs … die vervoering [zou] een groot verlies zyn geweest voor de Stad
Leyden, dewyl dat heerlyk Konststukje als een onnavolglyk wonder wort geschat by allekonstkenners.”

Jacob Campo Weyerman, De levensbeschryvingen der Nederlandsche

konstschilders en konstschilderessen (The Hague, 1729), 3: 344.
19. Quentin Buvelot, Otto Naumann, and Eddy de Jongh, Frans van Mieris 1635–1681 (Exh. cat.
The Hague, Mauritshuis; Washington, D.C., National Gallery of Art) (Zwolle, 2005), 18. Thisis Man Offering Oysters to a Young Girl, signed and dated 1659 (State Hermitage Museum,
St. Petersburg); Otto Naumann, Frans van Mieris (1635–1681) the Elder (Doornspijk, 1981),
2: no. 27, and The Sleeping Officer, ca. 1666 (Alte Pinakothek, Munich); Otto
Naumann, Frans van Mieris (1635–1681) the Elder (Doornspijk, 1981), 2: no. 65. From 1672
on, Isaac Gerard sat on the Leiden town council. He lived on the Rapenburg and owned
several country estates. When an inventory of his possessions was drawn up in 1697, he wasworth more than 450,000 guilders. See Stadsarchief Amsterdam, Notarial Archives, Notary D.
van der Groe, inv. 4264, fol. 1-52v, 27 August 1697. The inventory is transcribed in Theodoor
Hermann Lunsingh Scheurleer, Cornela Willemijn Fock, and A.J. van Dissel, eds., Het
Rapenburg: Geschiedenis van een Leidse gracht (Leiden, 1989), 4: 494–503 (Appendix II).
The painters Jacob Toorenvliet and Cornelis Berckhey valued the approximately 200
paintings at more than 6,000 guilders. Gerard owned four pictures by Frans van Mieris withan estimated value, respectively, of 80 guilders (“een conterfeitsel” [a portrait]), 500 guilders(“een stuckje met drie figurtjes” [a picture with three little figures]), 660 guilders (“een slapent
mannetje” [a man sleeping]; possibly The Sleeping Officer), and 750 guilders (“een stuckje
daer oesters gegeten worden” [a picture of oysters being eaten]; possibly Man Offering
Oysters to a Young Girl). The latter three pictures were by far the most expensive pieces inGerard’s collection, with fourth place going to a “naghtstuckje” (nocturnal scene) assessed
at 300 guilders. In addition, two tronies by Dou were valued together at 60 guilders.
20. Until his appointment in 1658, Sylvius lived in Amsterdam, the last year as widowed from his
first wife, Anna de Ligne (1627–57). In 1667 he took a second wife, in Leiden, Magdalena
Schlezer (d. 1669), who was born in Kleve but resided in Utrecht. The couple soon tookpossession of a house on the Rapenburg (no. 31) that was built for Sylvius; in 1673, a year
after his death, it was worth 11,000 guilders. Sylvius had earlier lived in a rented house on the
Rapenburg (no. 43) for 800 guilders per year. Theodoor Hermann Lunsingh Scheurleer,
Cornelia Willemijn Fock, and A.J. van Dissel, eds. Het Rapenburg: Geschiedenis van een
Leidse gracht (Leiden, 1988), 3: 270.
21. Not mentioned is the Portrait of a 52-Year-Old Man, signed and dated 1665 (The Leiden
Collection, New York), which according to Naumann could be the likeness of Sylvius. See theentry in this catalogue. For the estate inventory, see Regionaal Archief Leiden, Notarial
Archives, Notary A. den Oosterlingh, inv. 1073a, deed 66, 6 September 1673. This inventory
is transcribed in Theodoor Hermann Lunsingh Scheurleer, Cornelia Willemijn Fock, and A.J.
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van Dissel, eds. Het Rapenburg: Geschiedenis van een Leidse gracht (Leiden, 1988), 3: 270.
Commentary on the collection and hanging of the pictures in the various rooms is provided in
Theodoor Hermann Lunsingh Scheurleer, Cornelia Willemijn Fock, and A.J. van Dissel,
eds. Het Rapenburg: Geschiedenis van een Leidse gracht (Leiden, 1988), 3: 284–95, andEric Jan Sluijter, “‘All Striving to Adorne Their Houses with Costly Pieces.’ Two Case
Studies of Paintings in Wealthy Interiors,” in Art & Home: Dutch Interiors in the Age of
Rembrandt, ed. Mariët Westermann (Exh cat. Denver, Denver Art Museum; Newark, Newark
Museum) (Zwolle, 2002), 105–16. Sylvius’s picture collection was divided in 1676; half went
to his brother, the merchant Jacob de le Boë, living in Hamburg, and the other half to thechildren of his sister Rachel Rouyer. The Hamburg works were seen by the painter Godfrey
Kneller who, prior to his departure for England, spent some time in Hamburg, where hepainted the portraits of Sylvius’s brother Jacob and his family, among others. See
the biography of Godfrey Kneller in this catalogue. Joachim von Sandrart, Joachim vonSandrarts Academie der Bau-, Bild- und Mahlerey-Künste von 1675: Lebem der berühmten
Maler, Bildhauer und Baumeister, ed. Arthur R. Peltzer, 350–51 (Nuremburg. 1675–79;
reprint, Munich, 1925), 350–51.
22. “Dat al wat hy maakte voor hem mogt wezen, of hy keur hebben om het zelve te naasten tot
zoodanig een prys als ymant anders daar voor wilde geven.” Arnold Houbraken, De grooteschouburgh der Nederlantsche konstschilders en schilderessen (Amsterdam, 1718–21; rev.
ed., The Hague, 1753; reprint, 1980), 3: 3. Buvelot’s explanation of this quote is that Sylvius
paid Van Mieris a fixed fee for the right of first refusal, as we know was the case of theSwedish diplomat Pieter Spiering with respect to Gerrit Dou. See the biography of Gerrit Dou
in this catalogue; Quentin Buvelot, Otto Naumann, and Eddy de Jongh, Frans van Mieris
1635–1681 (Exh. cat. The Hague, Mauritshuis; Washington, D.C., National Gallery of Art)
(Zwolle, 2005), 16–17. Houbraken, however, speaks of “versocht,” or request, and his words
are difficult to interpret as anything other than that Van Mieris was entirely at liberty to accept
or reject such a request.
23. “Door de gunst van gemelden Heer zynen Mecenas … het welk den Aarthertog zoo wel beviel
dat hy hem daar voor dede betalen duizent gulden.” Quentin Buvelot, Otto Naumann, andEddy de Jongh, Frans van Mieris 1635–1681 (Exh. cat. The Hague, Mauritshuis; Washington,
D.C., National Gallery of Art) (Zwolle, 2005), The Cloth Shop, signed and dated 1660
(Kunsthistorisches Museum, Vienna); Otto Naumann, Frans van Mieris (1635–1681) the Elder(Doornspijk, 1981), 2: no. 31.
24. The Old Lover, ca. 1669? (Otto Naumann, Frans van Mieris (1635–1681) the Elder[Doornspijk, 1981], 2: no. 98); The Family Concert, signed and dated 1675 (ibid., no. 102); A
Man Playing the Theorbo (Self-Portrait?), signed and dated 1676 (ibid., no. 107); Self-Portrait
as a Painter, 1676 (ibid., no. 110); Self-Portrait of the Artist Holding a Small Painting, ca.
1676 (ibid., no. 111). At present, all five paintings are in the Uffizi Gallery in Florence. See© 2020 The Leiden Collection

Frans van Mieris
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Quentin Buvelot, Otto Naumann, and Eddy de Jongh., Frans van Mieris 1635–1681 (Exh. cat.
The Hague, Mauritshuis; Washington, D.C., National Gallery of Art) (Zwolle, 2005), 215n60.
25. Regionaal Archief Leiden, Notarial Archives, Notary P. van Scharpenbrant, inv. 1099, deed
40, 7 September 1666.
26. For example, in 1659 he rented a house on the Korte Oude Vest “omtrent de brouwerij vanden Hamer” (in the neighborhood of the Hamer brewery)—directly across from the workshopof his former teacher Dou—for one year for 220 guilders. In 1672, he had a debt of 530
guilders because he was two years in arrears for the rent of a house on the Houtmarkt. In
1678 he again rented a house on the Houtmarkt, this time for 138 guilders per year. Otto
Naumann, Frans van Mieris (1635–1681) the Elder (Doornspijk, 1981), 1: 166, 175, 187.
27. Eric Jan Sluijter, Marlies Enklaar, and Paul Nieuwenhuizen, eds., Leidse fijnschilders: Van
Gerrit Dou tot Frans van Mieris de Jonge, 1630–1760 (Exh. cat. Leiden, Museum de
Lakenhal) (Zwolle, 1988), 127, refers to Regionaal Archief Leiden, Notarial Archives, Notary
P.G. van Tielt, inv. 914, deed 124, p. 18.
28. Otto Naumann, Frans van Mieris (1635–1681) the Elder (Doornspijk, 1981), 1: 178; Quentin
Buvelot, Otto Naumann, and Eddy de Jongh, Frans van Mieris 1635–1681 (Exh. cat. The
Hague, Mauritshuis; Washington, D.C., National Gallery of Art) (Zwolle, 2005), 23.
29. “Zoals zuur op een etsplaat.” Quentin Buvelot, Otto Naumann, and Eddy de Jongh., Frans
van Mieris 1635–1681 (Exh. cat. The Hague, Mauritshuis; Washington, D.C., National Galleryof Art) (Zwolle, 2005), 23.
30. “Meer en meer tot den drank verviel … ’t ook somtyds wel eens [gebeurde], dat onze Mieris
zig in de maat van drinken vergiste.” Arnold Houbraken, De groote schouburgh der
Nederlantsche konstschilders en schilderessen (Amsterdam, 1718–21; rev. ed., The Hague,
1753; reprint, Amsterdam, 1980), 3: 7.

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© 2020 The Leiden Collection