David Teniers II Again

• Published in: The Art bulletin (New York, N.Y.) N.Y.), 1977-03, Vol.59 (1), p.108-110
• Main Author: Dreher, Faith Paulette
• Format: Article
• Language: English
• Subjects: Ambition; Archival preservation; Archives; Art archives; Art dealing; Descendants; Governors; Grandfathers; Recommendations
• ISSN: 0004-3079; 1559-6478
• DOI: 10.1080/00043079.1977.10787375

The recent discussion between Madlyn Kahr and Jane Davidson (The Art Bulletin, June 1976, 317-19) concerning the honors enjoyed by David Teniers II raises a number of points that require clarification. In particular I should like to call attention to a previously unpublished document that throws further light on Teniers's use of the title ayuda de cámara. This document, which is dated 17 August 1658, records the advice of the Council of Flanders in Madrid, approving the use of a coat-of-arms by the artist, who is explicitly described as Pintor de Camara de los Sres. Archiducque Leopoldo y Don juan de Austria, y su ayuda de Camara. 1 Thus this title appears to have been bestowed upon Teniers at least a year before the edition of the Theatrum pictorium cited by Davidson. Moreover, it was surely intended to confer status within a royal household, since at this time Don Juan was still resident as governor in the Spanish Netherlands, from which he did not depart until the beginning of March 1659. 2 It is not clear from the document whether the title was conferred by Leopold William or by Don Juan, with whom Teniers and his family enjoyed close personal relations 3 -the Spanish su may be interpreted as "his" or "their." In his old age, however, Teniers is described as having been ayuda to both of these princes. 4