Frans van Mieris(Leiden 1635 – 1681 Leiden)

How To Cite
Bakker, Piet. "Frans van Mieris." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr.
New York, 2017.
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Frans van Mieris was born in Leiden on 16 April 1635 to the Remonstrant goldsmith and diamond-cutter
Jan Bastiaens van Mieris and his second wife, Christina van Garbartijn.[1] Frans came from a family of goldand silversmiths; two uncles practiced this craft, as did his older cousin Willem Fransz van Mieris (ca.
1600–56). In 1645 Jan apprenticed Frans to this cousin for six years, presumably intending him to continue
the family tradition.[2]It soon became apparent, however, that Frans’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), Frans’s father sent him to study with the drawing master and glass
engraver Abraham Toorenvliet, father of the painter Jacob Toorenvliet (1640–1719).[3] Frans’s command ofdrawing developed so well under Toorenvliet that according to 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 apainting of Eloy, their patron saint.[8] His earliest dated work, the famous Doctor’s Visit, originated in 1657
and was preceded by at least fifteen pictures.[9] Most of them diligently emulate his teacher Dou. Yet hesoon abandoned the excessive detailing and countless accessories so typical of Dou to focus increasingly
on the interaction 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© 2017 The Leiden Collection

Frans van Mieris
Page 2 of 9days 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.[14] Paets
commissioned Van Mieris to portray his wife, Agatha, and the painting was “esteemed by all art lovers as
one of his consummate works of art.”[15] Paets also owned “a young lady swooning, as well as a doctor andan 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 paintingthat French envoy Balthasar de Monconys (1611–65) saw Van Mieris working on in 1663, noting in hisdiary that he could hardly believe the high price the patron was willing to pay for it.[17] Cosimo III de’ Medici(1642–1723), Grand Duke 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 that magnificent work of art is deemed an inimitable wonder by all
connoisseurs.”[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, andsoon made a name for himself far beyond the country’s borders.[20] Sylvius was the proud owner of acollection 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.[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 theprivilege of offering a price commensurate 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 celebratedCloth
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 impressedby Van Mieris’s work that he engaged the artist to paint five pictures, including a self-portrait, for his famous
portrait gallery 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 fractionof what he must have earned from painting on an annual basis.[26] That he regularly had money problems
also emerges from his active correspondence with Giovacchino Guasconi, the envoy of Cosimo III, in which© 2017 The Leiden Collection

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Van Mieris frequently requested advances even though he never delivered the commissioned works ontime.
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 wrotethat 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 transpiredthat our Mieris tended to have one too many.”[30] One cannot escape the impression that Van Mieris had adrinking problem, also because the quality of his paintings seems to have diminished somewhat toward theend of his life. 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

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 (d. 1664) and his wife, Beatrix van
Meerdenburch, see Regionaal Archief Leiden, NA not. N. Paedts, inv. 676, deed 33, 13 February
1665.

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3. Willem Jacobs van Heemskerck was a cloth merchant by trade, but is now known primarily forhis diamond-point calligraphic engraving on glass vessels. That the Van Heemskerck and Van
Mieris families were closely acquainted is evidenced by the commissions extended by membersof 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: R.E.O. Ekkart, “Hetportret van Jacob van Heemskerck,” Leids Jaarboekje 77 (1985): 47–51. Subsequently, in 1687
Jan van Mieris was engaged to portray Willem Jacobs himself (oil on panel, oval, 13 x 10 cm,
Stedelijk Museum de Lakenhal, Leiden) and his twin daughters, Maria and Bartha (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 haargekapt, met een wit satijne Jakje aan” (A portrait of a woman, wearing a cap and a white satin
jacket). See: Th. H. Lunsingh Scheurleer et al., Het Rapenburg: Geschiedenis van een Leidse
gracht, 6 vols. and index (Leiden, 1989), 6:135, no. 7. He also had his portrait painted by Frans
van Mieris the Younger, 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 regentsof the Leper Home with the request that it be granted a place in the Regent Chamber). Regionaal
Archief Leiden, NA Not. 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, 3 vols. (Amsterdam, 1718–21; rev. ed., The Hague, 1753;
reprint, Amsterdam, 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 , 3 vols.
(Amsterdam, 1718–21; rev. ed., The Hague, 1753; reprint, Amsterdam, 1980), 3:2.
6. “Aan een kloeke penceelbehandeling te [laten] gewennen.” Arnold Houbraken, De grooteschouburgh der Nederlantsche konstschilders en schilderessen , 3 vols. (Amsterdam, 1718–21;
rev. ed., The Hague, 1753; reprint, Amsterdam, 1980), 3:2.
7. “Meer toe het kleen en uitvoerig schilderen geneigt [was], keerde hy weder tot het onderwys
van Gerard Dou.” Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders
en schilderessen, 3 vols. (Amsterdam, 1718–21; rev. ed., The Hague, 1753; reprint, Amsterdam,
1980), 3:2–3.
8. Otto Naumann, Frans van Mieris (1635–1681) the Elder, 2 vols. (Doornspijk, 1981), 1:162.

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9. The Doctor’s Visit, oil on copper, 33 x 27 cm, signed and dated 1657, Kunsthistorisches
Museum, Gemäldegalerie, Vienna (Otto Naumann, Frans van Mieris (1635–1681) the Elder, 2
vols. [Doornspijk, 1981], 1: no. 20 I).
10. Peter Hecht, De Hollandse fijnschilders: Van Gerard Dou tot Adriaen van der Werff (Exh.
cat. Amsterdam, Rijksmuseum) (Maarsen/The Hague, 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 beginne af aan beminnaars en begunstigers vont.” Arnold Houbraken,Degroote schouburgh der Nederlantsche konstschilders en schilderessen , 3 vols. (Amsterdam,
1718–21; rev. ed., The Hague, 1753; reprint, Amsterdam, 1980), 3:2.
14. “In zyne jeugt de konst van Teekenen, en Schilderen.” Arnold Houbraken, De grooteschouburgh der Nederlantsche konstschilders en schilderessen , 3 vols. (Amsterdam, 1718–21;
rev. ed., The Hague, 1753; reprint, Amsterdam, 1980), 3:4.
15. “By alle Konstkenners voor een van zyne uytmuntendste Konststukjes geschat.” Arnold
Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen , 3 vols.
(Amsterdam, 1718–21; rev. ed., The Hague, 1753; reprint, Amsterdam, 1980), 3:4. Portrait of
Agatha Paets, oil on panel, 27 x 21.5 cm. signed and dated 1665, private collection (Otto
Naumann, Frans van Mieris (1635–1681) the Elder, 2 vols. [Doornspijk, 1981], 2: no. 60). Alsopreserved are two drawings of her son Willem Paets (1665–1740) as a child, who later held theoffice of burgomaster several times, as his father had done. Willem Paets in a Cradle, 1665,
black chalk, 100 x 130 mm, Institut Néerlandais, Frits Lugt Collection, Paris, andPortrait ofWillem Paets as a Child , 1665, black chalk on parchment, 294 x 233 mm, British Museum,London. Quentin Buvelot, ed., Frans van Mieris 1635–1681 (Exh. cat. The Hague, Mauritshuis;
Washington D.C., National Gallery of 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, oil on panel, 44 x 33 cm,
signed and dated 1667, J. Paul Getty Museum, Los Angeles (Otto Naumann,Frans van Mieris(1635–1681) the Elder, 2 vols. [Doornspijk, 1981], 2: no. 71 I).
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17. Quentin Buvelot, ed., Frans van Mieris 1635–1681 (Exh. cat. The Hague, Mauritshuis;
Washington D.C., National Gallery of Art) (Zwolle, 2005), 19.
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 C. Weyerman, De levens-beschryvingen der Nederlandsche konst-

schilders en konstschilderessen, 4 vols. (The Hague, 1729), 3:344.
19. Quentin Buvelot, ed., Frans van Mieris 1635–1681 (Exh. cat. The Hague, Mauritshuis;
Washington D.C., National Gallery of Art) (Zwolle, 2005), 18. This isMan Offering Oysters to a
Young Girl, oil on panel (rounded at the top), 44.5 x 34.5 cm, signed and dated 1659, Hermitage,
St. Petersburg (Otto Naumann, Frans van Mieris (1635–1681) the Elder , 2 vols. [Doornspijk,
1981], 2: no. 27), and The Sleeping Officer, oil on panel 45 x 33 cm, signed, Alte Pinakothek,
Munich (ibid., 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 was worth more than 450,000 guilders. See: See Stadsarchief Amsterdam,
Notarial Archives, inv. 4264 (notay D. van der Groe) fol. 1-52v, 27 August 1697. For atranscription

of

this

inventory,

see:

Th.

H.

Lunsingh

Scheurleer

etal., Het

Rapenburg: Geschiedenis van een Leidse gracht , 6 vols. and index (Leiden, 1989), 4:494–503(Appendix II). The painters Jacobus 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]; possiblyMan Offering Oysters to a
Young Girl). The latter three pictures were by far the most expensive pieces in Gerard’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
Schletzer (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. Th. H. Lunsingh Scheurleer et al., Het
Rapenburg: Geschiedenis van een Leidse gracht, 6 vols. and index (Leiden, 1989), 3:270.

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21. Not mentioned is the Portrait of a 52-Year-Old Man , oil on panel, 19.1 x 14.1 cm, signed anddated 1665, The Leiden Collection (Otto Naumann, Frans van Mieris (1635–1681) the Elder , 2
vols. [Doornspijk, 1981], 2: no. 82), which according to Naumann could be the likeness ofSylvius. For the estate inventory, see: Regionaal Archief Leiden, NA not. A. den Oosterlingh, inv.
1073a, deed 66, 6 September 1673. A transcription of this estate inventory is in Th. H. Lunsingh
Scheurleer et al., Het Rapenburg: Geschiedenis van een Leidse gracht , 6 vols. and index(Leiden, 1989), 3:270. Commentary on the collection and hanging of the pictures in the various
rooms is provided in ibid., 284–95, and E. J Sluijter, “‘All Striving to Adorne Their Houses with
Costly Pieces.’ Two Case Studies of Paintings in Wealthy Interiors,” in M. Westermann,Art &Home: Dutch Interiors in the Age of Rembrandt (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 (see his biography in this catalogue) who, prior to his departure for England, spent sometime in Hamburg, where he painted the portraits of Sylvius’s brother Jacob and his family, among
others. A. R. Peltzer, Joachim von Sandrarts Academie der Bau-, Bild-, und Mahlerey Künste
von 1675 (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 , 3 vols. (Amsterdam, 1718–21;
rev. ed., The Hague, 1753; reprint, Amsterdam, 1980), 3:3. Buvelot’s explanation of this quote isthat Sylvius paid Van Mieris a fixed fee for the right of first refusal, as we know was the case of
the Swedish diplomat Pieter Spiering with respect to Gerrit Dou (see the biography of Dou in thiscatalogue). Quentin Buvelot, ed., 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 anythingother 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, ed.,Frans van Mieris
1635–1681 (Exh. cat. The Hague, Mauritshuis; Washington D.C., National Gallery of Art)
(Zwolle, 2005), The Cloth Shop, oil on panel, 55 x 43 cm, signed and dated 1660,
Kunsthistorisches Museum, Gemäldegalerie, Vienna (Otto Naumann, Frans van Mieris(1635–1681) the Elder, 2 vols. [Doornspijk, 1981], 2: no. 31).

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24. The Old Lover, c. 1669?, oil on panel, 27 x 21 cm (Otto Naumann, Frans van Mieris(1635–1681) the Elder, 2 vols. [Doornspijk, 1981], 2: no. 98); The Family Concert, oil on panel,
52 x 40 cm, signed and dated 1675 (ibid., no. 102); A Man Playing the Theorbo (Self-Portrait?) ,oil on panel, 22.2 x 16 cm, signed and dated 1676 (ibid., no. 107); Self-Portrait as a Painter,
1676, oil on panel (or copper ?), 12 x 9.4 cm oval (ibid., no. 110);Self-Portrait of the Artist
Holding a Small Painting, c. 1676, oil on canvas, 77.5 x 60 cm (ibid., no. 111). At present, all fivepaintings are in the Uffizi in Florence. See Quentin Buvelot, ed., Frans van Mieris 1635–1681(Exh. cat. The Hague, Mauritshuis; Washington D.C., National Gallery of Art) (Zwolle, 2005), 215
n. 60.
25. Regionaal Archief Leiden, NA. not. 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 workshop of
his former teacher Dou—for one year for 220 guilders. Otto Naumann, Frans van Mieris(1635–1681) the Elder, 2 vols. (Doornspijk, 1981), 1:166. And, 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. Ibid.,
1:175. In 1678 he again rented a house on the Houtmarkt, this time for 138 guilders per year.
Ibid., 1:187.
27. Eric J. Sluijter et al., Leidse fijnschilders: van Gerrit Dou tot Frans van Mieris de Jonge,
1630–1760 (Exh. cat. Leiden, Stedelijk Museum de Lakenhal) (Zwolle, 1988), 127, refers toRegionaal Archief Leiden, NA not. P.G. van Tielt, inv. 914, deed 124, p. 18.
28. Otto Naumann, Frans van Mieris (1635–1681) the Elder , 2 vols. (Doornspijk, 1981), 1:178;
Quentin Buvelot, ed., 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, ed., Frans van Mieris 1635–1681 (Exh. cat.
The Hague, Mauritshuis; Washington D.C., National Gallery of Art) (Zwolle, 2005), 23, refers to
Otto Naumann, Frans van Mieris the Elder, 2 vols. (Doornspijk, 1981), 1:183–84.
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, 3 vols. (Amsterdam, 1718–21; rev. ed., The
Hague, 1753; reprint, Amsterdam, 1980), 3:7.

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Literature
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Weyerman, Jacob C. De levens-beschryvingen der Nederlandsche konst-schilders en
konstschilderessen. 4 vols. The Hague, 1729, 2:341–47.
Peltzer, Arthur R. Joachim von Sandrarts Academie der Bau-, Bild-, und Mahlerey Künste
von 1675. Munich, 1925, 197.
Naumann, Otto. “Van Mieris, riant betaald schilder.” Tableau, no. 3 (1981): 649–56.
Naumann, Otto. Frans van Mieris (1635–1681) the Elder. 2 vols. Doornspijk, 1981.
Sluijter, Eric J. et al. Leidse fijnschilders: van Gerrit Dou tot Frans van Mieris de Jonge,
1630–1760. Exh. cat. Leiden, Stedelijk Museum de Lakenhal. Zwolle, 1988, 9–55, 127–39.
Hecht, Peter. De Hollandse fijnschilders: Van Gerard Dou tot Adriaen van der Werff. Exh.
cat. Amsterdam, Rijksmuseum. Maarsen/The Hague, 1989, 13–19, 165–96.
Buvelot, Quentin. “De reputatie van Frans van Mieris.” In Quentin Buvelot, ed.Frans van
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