Theodor van Thulden
(’s-Hertogenbosch 1602 — ’s-Hertogenbosch 1669) and Frans Van Everbroeck (Antwerp ? c. 1638 — in or after 1672)

A Young Girl with an Angel in a Landscape

oil on canvas

47 1/2"×34" (120.5 cm×86.5 cm)

PROVENANCE:
Otto Naumann, Ltd., New York, from whom purchased by a Private collection, United States, 1987

Theodor van Thulden was born into a middle-class family in ’s-Hertogenbosch in 1606. Attracted by the reputation of Antwerp’s painters’ workshops, he moved there and entered the studio of the portrait painter Abraham van Blyenberch; he is mentioned as a master on the lists of the Antwerp painter’s guild in 1626. Although some scholars have claimed that he was a pupil of Rubens at this time and that he worked on the Medici Gallery commission, Van Thulden’s presence in Rubens’s workshop has never been proven and is contradicted by the style of his early works, which remain deeply effected by late Mannerism. Van Thulden did collaborate with Rubens in 1634 on two important projects after working in France from 1631-1633 upon his return to Antwerp. One of these was the temporary decoration of the city for the Triumphal Entry of Cardinal-Infante Ferdinand of Spain in April 1635. The following year he was among those chosen by Rubens to execute two pictures from his sketches for the decoration of the Torre de la Parada, Philip IV of Spain’s hunting-lodge near Madrid: his contributions were Hercules’s Dog Discovering the Tyrian Purple and Orpheus Charming the Animals with his Lyre (both Madrid, Prado). The same year Van Thulden married the daughter of the painter Hendrik van Balen, and a year later he became a citizen of Antwerp. In 1638 and 1640 Van Thulden became dean of the Guild of St. Luke. In spite of this success, the artist’s financial situation appears to have worsened by 1640 and resulted in Van Thulden’s departure from Antwerp and return to his birthplace, where he was living by 1644. During this period Van Thulden gradually developed a more individual style that was less effected by late Mannerism or the dominating influence of Rubens. Throughout his career Van Thulden produced works inspired by mythology, history and literature, often in the manner of Van Dyck. At ’s-Hertogenbosch, he began to paint portraits commissioned by the major families of the area and created a portrait style, for the most part allegorical, inspired by the elegance and delicacy of Van Dyck.

Very little information exists regarding the life of Frans van Everbroeck. It is believed that he was born in Antwerp circa 1638. In 1654 he was registered as a pupil of Joris van Son in Antwerp and in 1662 was accepted as a master of the local Guild of St. Luke. In 1667 he worked briefly in Amsterdam, and in 1672 he was back in Antwerp where he is recorded as being the teacher of Peter van Lint. Everbroeck is especially known for his garlands of fruit. When he painted floral bouquets he used diagonal compositions like those of Jan Davidsz. de Heem. Few of his paintings are signed and are often wrongly attributed to Daniel Seghers, Jan van Thielen and Adiaen van Utrecht. Among his other pupils and followers are Abraham Mignon and Maria van Oosterwijck.

The present work represents a collaborative effort between Everbroeck and Van Thulden. The figures are by Van Thulden and can most likely be placed with his works produced in the later part of his life in ’s-Hertogenbosch during the years of 1644 — 1669. The overflowing basket, representing the abundance of nature, filled with flowers, fruit and vegetables is characteristic of Everbroeck. Set in an idealized landscape the young girl clutches and displays a bunch of grapes, the traditional symbol for fruitfulness. Its meaning conveys not only a wish for a happy full life for the child, but is further emblematic of the success of her parents’ union. The perfection of the raised grapes is also reflective of the concept that the child should be well bred. It was believed of central importance to a fruitful marriage, not so much the quantity of children produced, but the quality.(1) The natural setting underscores the innocence embodied by the young girl. Yet childish innocence was viewed as fragile and continually under siege, paralleling the delicacy and beauty of the flowers which can quickly fade and decay.(2) Significantly the other child displays only flowers, while casting a concerned glance at the smiling girl, whose attention is focused elsewhere. This winged child may be viewed as a type of guardian angel meant to protect as well as continually inspire its charge to goodness.

(1) Jan Baptist Bedaux, The Reality of Symbols, Gary Schwartz ISDU Publishers, The Hague, 1990, p. 132.

(2) Jan Baptist Bedaux, "Portrait Historie", exhibition catalogue Frans Halsmuseum, Haarlem, Pride and Joy, Children’s Portraits in the Netherlands 1500-1700, October 7 — December 31, 2000, p. 24.

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