The Van den Eynde became especially prominent in 16th-century Delft, 17th-century Antwerp (from whence the surname likely originates)[citation needed] and Naples.

Ferdinand, the elder, was a merchant and art dealer who settled in Rome, where he became part of the local Netherlandish community.

He hoarded a valuable collection of paintings executed by some of the most prominent artists of the day, which he bequeathed to his brother Jan upon his untimely death in 1630.

Roomer's company dealt in luxury goods, lace, silk, grain, diamonds and ship insurance.

When Van den Eynde became Roomer's partner there was a substantial increase in the company's volume of business, particularly in brokering operations and silk trading.

[29] Ferdinand and Jan van den Eynde traded goods between Antwerp and Southern Italy with ease, thanks to their connections in the Flemish city.

[26][27][28] Jan van den Eynde later became one of the richest men in Naples, and a popular figure in the Southern Italian city.

Van den Eynde was an avid art collector, and he put together one the largest collections of paintings in the napoletano.

Van den Eynde married his two daughters (Giovanna and Caterina) to the heirs of two prominent local noble families (de Gennaro and Mastrilli).

Ferdinand died of consumption in 1674, the same year as his father Jan.[38][26][27][28] His daughter Giovanna inherited the largest part of the Van den Eynde's fortune.

[c] Two years after his marriage to Van den Eynde, Colonna was selected by the King of Naples as ambassador to the pope for the traditional presentation of the chinea.

[39][26][27] Ferdinand's younger daughter, Princess Elisabeth, married Carlo Carafa, 3rd Prince of Belvedere, 6th Marquess of Anzi.

[40] They formed the informal Quellinus-Verbrugghen-Willemssens-Scheemaeckers-Van den Eynde consortium, which secured itself monopoly on the sculpture market in Antwerp.

[40] Collaboration among the workshops of the aforesaid families in the late 17th century, might be the main factor to account for the intricate "unity of style and approaches that have made disentangling of hands particularly difficult for art historians.

[42][43][44] The coat of arms consists of three ducks argent on a field of blue (In blauw drie eendjes van zilver).