Heroman van der Mijn

Anonymous sale, Brussels, Galerie Fievez, 1930s, lot 153(?) as Adriaen van der Werff;
Where purchased by the father of the present owners.

Single, arched top panel. Two horizontal strips inset on verso of panel. Panel is beveled on left, right and bottom. Painting appears to have excellent retention of paint quality and fine detailing. The fine preservation of paint is only disturbed by the thick varnish which has caused blanching to occur throughout. U.V. light confirms the thick varnish. A small, discolored retouching has been applied to the right portion of the chest but this is not disturbing. On top of the varnish are a few retouchings to details in the composition. Parts of the foliage by the feet of the sitter, as well as on the tree trunk have been retouched. Detailing on the straps of the sandals and cable-knit on the legs, as well as some of the darks in the drapery have also been retouched. Retouchings seem to be applied very well. Painting is recommendable and with a new varnish may be hung as is. In a carved giltwood frame.
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.

This very fine painting may be a pendant to another picture by Heroman van der Mijn, signed and dated 1719 (see fig.1).  That picture, traditionally considered to depict Granida, the heroine of P.C. Hooft's 1605 pastoral play of the same name, is now in the Rijksmuseum, Amsterdam (inv. no. SK-A-4826).  They are both oil on panel with a shaped top and are of almost identical measurements.  Each of the women is sitting on a rock and set side by side the subjects face one another.  At right background in the Rijksmuseum picture there is an arched opening through which an extensive landscape with figures can be seen.  In the left background of the present picture, Judah walks away into an extensive landscape.  Put together, the two would make a balanced, rather symmetrical pair. 

Van der Mijn depicts the moment from Genesis Chapter thirty-eight after Judah has had intercourse with his daughter-in-law Tamar, believing that she was a prostitute.  He has left her with his signet ring, cords and staff, as security towards his promised payment of a goat in exchange for her favors.  Tamar is shown holding her veil, which she had worn to disguise herself from her father-in-law, while Judah is seen in the background at left walking away.  

Heroman van der Mijn worked for aristocratic patrons throughout Europe:  in Düsseldorf he (like Adriaaen van der Werff to whom this picture has in the past been given) worked for Johan Wilhelm, Elector Palatine; in London, van der Mijn worked for the English court; and in Holland, he worked for Prince William IV of Orange Nassau.

We are grateful to Dr. Eddy Schavemaker for identifying this painting to be a work by Heroman van der Mijn, and for his assistance with this catalogue note.