Norbertus van den Eynde

[4] The family's workshop part of the informal Quellinus-Verbrugghen-Willemsens-Scheemaeckers-van den Eynde collaborative partnership, which had turned the sculpture market of Antwerp into a virtua; monopoly.

[4] The extensive collaboration between the workshops of these families in the late 17th century "may be the most important factor" to account for the intricate "unity of style and approaches that have made disentangling of hands particularly difficult for art historians.

[2] The latter married the prominent still life painter Jan Pauwel Gillemans the Younger on 3 March 1693, by whom she had a son before dying prematurely in October 1697.

[5] Van den Eynde and his wife lived on the Arenbergstraat,[4] in the Wapper district of Antwerp, where they owned at least two houses.

In 1653 he collaborated with his father on the production of the high altar for the Onze-Lieve-Vrouw van de Goede Wil church of Duffel.

[7] Van den Eynde entered in 1653 into a contract to create two statues of saints and a crucifix for the church of the Professed house of the Society of the Antwerp jesuits.

It depicts the legend of the martyrdom of Saint George as recorded in the Legenda Aurea of Jacobus de Voragine, in mid 13th century.

[4] In 1670, van den Eynde and the Antwerp sculptor Hendrik Frans Verbrugghen were "specifically invited for their advice" to travel to Mechelen as consultants for works on the St. Rumbold's Cathedral.

[4] Van den Eynde was a frequent supplier of marble plaques (used for ebony cabinets) for the Musson and Forchondt art dealing firms.