Sebastiaen van den Eynde

[2] The extensive collaboration between the workshops of the aforementioned 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.

[8] The bust illustrates the profound influence that contemporary Italian sculpture, in which the expatriate Brussels artist François Duquesnoy also played a leading role, exerted on portraiture in Flanders.

[9] Van den Eynde produced several sculptured pieces of furniture for Antwerp's churches.

These include an altar rail in black basanite with balusters and caryatids in white marble made in 1653 for the St. James' Church, after a design by Huibrecht van den Eynde.

[5] Van den Eynde produced the Carpenter's altar for the latter church, which has been dated to shortly after when he became a master in 1661/1662.

[5] In the St. James' Church there are two intricate rood screens sculpted by van den Eynde, both with pieces of marble sculpture on top of them.