Mayken Verhulst
Mayken Verhulst (1518–1596 or 1599), also known as Marie Bessemers, was a sixteenth-century miniaturiste, tempera and watercolor painter and print publisher flemish. She was actively engaged in the workshop of her husband, Pieter Coecke van Aelst, posthumously publishing his works. While she is recognized as an exceptionally skilled artist, little is known about her works or life as there are few surviving sources. • Illustration — Possibly a portrait of Pieter Coecke van Aelst, His Wife Mayken Verhulst and Their Children
Also recorded as Marie de Bessemers · Mayken Maaiken · Mayken Meyken · Bessemers, Marie de Verhulst
Mayken Verhulst

Attributed to Pieter Coecke van Aelst · Kunsthaus Zürich · Public domain
- Born
- 1518.
- Died
- Mayken Verhulst died, sources differ on the date (in 1600 and in 1596).
- Nationality
- Habsburg Netherlands.
- Occupation
- painter, printmaker and printer.
- Fields
- portrait and miniature.
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Mayken Verhulst (1518–1596 or 1599), also known as Marie Bessemers, was a sixteenth-century miniaturiste, tempera and watercolor painter and print publisher flemish. She was actively engaged in the workshop of her husband, Pieter Coecke van Aelst, posthumously publishing his works. While she is recognized as an exceptionally skilled artist, little is known about her works or life as there are few surviving sources. • Illustration — Possibly a portrait of Pieter Coecke van Aelst, His Wife Mayken Verhulst and Their Children
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In this article
Life
Life
Mayken Verhulst was born in Mechelen around 1518 as the daughter of Peeter Verhulst Bessemeers (1492–1553) and Margriet Dancerme (1493–1545. Her father was a painter and she learned the artist craft in her father's workshop. Her sister Lysbeth married the engraver and painter Hubert Goltzius, and her sister Barbara married the painter Jacob de Punder. She married Pieter Coecke van Aelst (called the Elder) around 1535 as his second wife. Van Aelst was 16 years older than her and already a prominent painter, sculptor, architect, author and designer of woodcuts, goldsmith's work, stained glass and tapestries. Before they married he had made a perilous journey to Turkey from which he had brought back a great number of drawings. He became later court painter to Charles V, Holy Roman Emperor. • Illustration — Ces Moeurs et Fachons de Faire des Turcz, detail They lived together in Antwerp from 1540 to 1545, then moved to Brussels. Verhulst worked in her husband's workshop until his death in 1550. They had three children: Pieter II, Kathelijne and Mayken (who married in 1563 the great painter Pieter Brueghel the Elder). Mayken was, according to the early biographer Karel van Mander, the first teacher of her grandsons Pieter Brueghel the Younger and Jan Brueghel the Elder. She was buried on 11 April 1600 in Mechelen.
Works
Works
Following Pieter Coecke's death in 1550, she likely oversaw the publication of a large scroll made by conjoining multiple woodcuts entitled Ces Moeurs et Fachons de Faire des Turcz (Manners and Customs of the Turks) (1553) (copies of which are in the collections of the Rijksmuseum, the Metropolitan Museum of Art and the British Museum. This print was originally designed by van Aelst as a tapestry design, strategically published by Verhulst as a print after his death to showcase his work. • Illustration — t Vliegend Peert in Mechelen No works survive that can be securely attributed to Verhulst, although she is frequently identified as the person behind several works assigned to the Master of the Brunswick Monogram.
Identity and origins
Identity and origins
The authorities additionally record the headings Marie de Bessemers, Mayken Maaiken, Mayken Meyken, Bessemers, Marie de Verhulst and Mayken Mayke. Her recorded language was Dutch. She was the child of Pieter van der Hulst (I). She married Pieter Coecke van Aelst. 3 children are recorded: Pauwels Coecke van Aelst, Mayken Coecke and Pieter Coecke van Aelst (II). Other recorded relations include Jan Brueghel the Elder and Pieter Brueghel the Younger.
Life and career
Dated record
Life and career
The full dated record · 2 entries
1518
Mayken Verhulst born at Mechelen.
1600
Mayken Verhulst died at Mechelen.
Legacy
While little is definitively known about her life and works, Guicciardini's Descrittione places her alongside Susanna Horenbout, Levina Teerlinc, and Caterina van Hemessen, suggesting her remarkable talents. Verhulst was the first teacher of her grandsons, Pieter Brueghal the Younger and Jan Brueghal the Elder, both prominent Flemish Baroque painters. Her house and former painter's workshop, 't Vliegend Peert is a historic monument in Mechelen. It is a museum named Het Zotte Kunstkabinet.
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.link RKD id=342425
- 2.Adolf Monballieu, 'De kunstenaarsfamilie Verhulst Bessemeers', Handelingen van de Koninklijke Kring voor Oudheidkunde, Letteren en Kunst van Mechelen 78 (1974), pp. 105-121 (vooral p. 116), Jan Op de Beeck, Mayken Verhulst (1518-1599) – De turkse Manieren van een artistieke Dame (tent. cat. Museum Het Zotte Kunstkabinet, Mechelen 2005), pp. 7-13
- 3.In het betreffende document werd ze eerst “boeckbinder” genoemd, maar dat wordt is vervangen door “boeckprinter”. Zie Edmond Roobaert, Kunst en kunstambachten in de 16de eeuw te Brussel (Archief- en bibliotheekwezen in België – extra nummer 74), Brussel 2004, p. 37
- 4.Op de Beeck, op. cit. (noot 2), p. 13 en Jan Op de Beeck, 'Pieter Bruegel, Mayken Verhulst en Mechelen', in: De Zotte Schilders. Moraalridders van het penseel rond Bosch, Bruegel en Brouwer (tent. cat. Centrum voor Oude Kunst, 't Vliegend Peert, Mechelen), pp. 17-29
- 5.Herman de la Fontaine Verwey, ‘Pieter Coecke van Aelst en de uitgaven van Serlio’s architectuur boek’, Het Boek, serie 2, jaargang 31, (1952-1954), pp. 251-270 en Rudi Rolf, Pieter Coecke van Aelst en zijn architectuuruitgaves van 1539, Amsterdam 1978
- 6.De jaarlijkse uitbetalingen tot vlak voor haar dood zijn goed gedocumenteerd. Zie Roobaert, op. cit. (noot 3), p. 45. Ze kocht ook rente op panden in Antwerpen op 27 juli 1551. Nog op 7 november 1599 ‘kavelt’ haar kleinzoon Pieter Brueghel de Jonge een rente, die ooit door haar was gekocht. Zie Archiefdocumenten, FelixArchief, Antwerpen, SR 242 WG I f 312v en SR 434 MN I f 132v, gepubliceerd in: Godelieve Van Hemeldonck, Kunst en Kunstenaars. Notities betreffende beeldhouwers, geelgieters, tafereelmakers, tapijtwevers, borduurders, schilders. Met bijlagen over opleidings- en arbeidscontracten, kunstinventarissen, kunsthandel, beeldekensafzetters en wandtapijten, Antwerpen 2007 (typescript): https://felixarchief.antwerpen.be/detailpagina?invnr=79_3&page=1&pageSize=10&type=master. Gearchiveerd op 25 juli 2024.
- 7.Lode van den Branden, ‘Druckoctrooien tot 1600’, De Gulden Passer, 68 (1990), p. 37, no. 168
- 8.https://www.britishmuseum.org/collection/object/P_E-6-1-7. Gearchiveerd op 25 juli 2024.
- 9.Op de Beeck, op. cit. (noot 2), pp. 39-45 en Nadine Orenstein 'Customs and Fashions of the Turks' in Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry (tent. cat. Metropolitan Museum of Art, New York 2014), pp. 176-186
- 10.De titel en het colofon zijn te vinden op de twee ‘panelen’ die het eigenlijke fries aan beide zijden flankeren. Links van het fries: "Ces moeurs & fachons de faire de Turcz avecq' les Regions y appartenantes, ont este au vif contrefaictez par Pierre Coeck van Alost, luy estant en Turquie, l'An de Iesuchrist M.D. 33., Lequel aussy de sa main propre a pourtraict ces figures duysantes à l'impression d'ycelles". En rechts: "Marie verhulst vesue dudict Pierre d'Alost trepassé en l'An M.D.L. a faict imprimer lesdictes figures, soubz Grace & Priuilege de l'Imperialle Maieste. En l'An .M.CCCCC.LIII". Langs de rand onder ieder scene zijn nog teksten in Frans toegevoegd met uitleg. Zie https://www.britishmuseum.org/collection/object/P_E-6-1-7. Gearchiveerd op 25 juli 2024.
- 11.We moeten hier een waarschuwing van de prenthistoricus Michael Bury ter harte nemen, die hij uitte naar aanleiding van dergelijke grote houtsneden in Venetië: “Until we are prepared to understand the commercial nature of these complex verntures, the great Venetian woodcuts of the early sixteenth century will be missinterpreted.” Zie Michael Bury, “The Triumph of Christ after Titian”, The Burlington Magazine, 131 (1989), p. 197. Eén van dergelijke Venetiaanse friezen in houtsnede, De Triomf van Christus van rond 1515, werd gekopieerd en eerst uitgegeven in 1543 door Joos Lamprechts in Gent en later door de weduwe van Cornelis Lieferinck in Antwerpen iets daarna. Wellicht kreeg Pieter Coecke hierdoor inspiratie. Zie Michelangelo Muraro en David Rosand, Tiziano e la silografia Veneziana del Cinquecento, Vicenza 1976, pp. 74-76 en Gert Jan van der Sman, De eeuw van Titiaan (tent. cat. Bonnefanten Museum, Maastricht en Stedelijke Musea, Arentshuis, Brugge 2002-2003), p. 92 en https://www.britishmuseum.org/collection/object/P_1930-0414-40. Gearchiveerd op 24 september 2023.
- 12.Archiefdocument in FelixArchief, Antwerpen: SR 243 WG II f 34v. Zie Van Hemeldonck, op. cit. (noot 6)
- 13.Philippe Rombouts & Théodore Van Lerius, De Liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde, 2 delen, Antwerpen en Den Haag 1864-1876, deel 1, p. 182. Zie ook Georges Marlier, La Renaissance flamande. Pierre Coeck D’Alost, Brussel 1966, pp. 47-48
- 14.Roobaert, op. cit. (noot 3), p. 42
- 15.Elizabeth A. Honig, Jan Brueghel and the Senses of Scale, University Park 2016, p. 9
- 16.Jean Bastiaensen, ‘De verloving van Pieter Bruegel de Oude. Nieuw licht op de Antwerpse verankering’, Openbaar Kunstbezit Vlaanderen 51 (2013), deel 1, 26-27
- 17.Karel van Mander, Het Schilder-Boeck, Haarlem 1604, fol. 233r
- 18.Van Mander, op. cit. (noot 17), fol. 233v
- 19.Bastiaensen, op. cit. (noot 16)
- 20.Lodovico Guicciardini, Descrittione di tutti i Paesi Bassi altrimenti detti Germania inferior, Antwerpen 1567. Zie: https://www.digitale-sammlungen.de/de/view/bsb11196895?page=5. Gearchiveerd op 25 juli 2024.
- 21.Dina Aristodemo, Descrittione di Tutti i Paesi Bassi - Ludovico Guicciardini in de ban van de Lage Landen (Phoebus in focus 16), Antwerpen 2020
- 22.DiFuria: ‘not bad for a girl’. Zie Arthur J. DiFuria, ‘Towards an Understanding of Mayken Verhulst and Volcxken Diericx’, in: Elizabeth Sutton (ed.), Women artists and patrons in the Netherlands 1500-1700, Amsterdam 2019, p. 167
- 23.Van Mander, op. cit. (noot 17), fol. 218v en 233r-234r
- 24.Frans J. Van den Branden, Geschiedenis der Antwerpsche schilderschool, Antwerpen 1883, p. 440
- 25.Bijvoorbeeld Monballieu, op. cit. (noot 2), pp. 105 en 109 en Floor Wiegerinck, ‘Vijf generaties Brueghel’, Tableau. Fine Arts Magazine, sept. 2023 (informatie afkomstig van Dr. Nadia Groeneveld-Baadj). Zie ook: https://tableaumagazine.nl/vijf-generaties-brueghel/. Gearchiveerd op 25 juli 2024.
- 26.Honig, op. cit. (noot 15), pp. 9-10
- 27.Honig, op. cit. (noot 15), pp. 9 en 201 (daar, noot 31: informatie afkomstig van Dr. Joost Vander Auwera)
- 28.https://rkd.nl/nl/explore/artists/record?query=goetkint&start=1
- 29.https://skd-online-collection.skd.museum/Details/Index/243439. Gearchiveerd op 24 september 2023.
- 30.Hij zou zelf trouwen met de weduwe van zijn leermeester Pauwels Coecke, Maaike Robroecx, en zijn moeder was Adriana van Doornicke, zus van de eerste vrouw van Pieter Coecke van Aelst. Pieter was dus zijn oom en Pauwels zijn neef. Zie https://rkd.nl/nl/explore/artists/record?query=Gillis+van+Coninxloo&start=1
- 31.Van Mander, op. cit. (noot 17), fol. 234r
- 32.Dietrich Schubert, Die Gemälde des Braunschweiger Monogrammisten. Ein Beitrag zur Geschichte der Niederländischen Malerei des 16. Jahrhunderts, Keulen 1970 en Matthias Ubl, Der Braunschweiger Monogrammist. Wegbereiter der niederländischen Genremalerei vor Bruegel, Petersberg 2014
- 33.Simone Bergmans, ‘Le problème Jan van Hemessen, monogrammiste de Brunswick. Le collaborateur de Jan van Hemessen. L’identité du monogrammiste’, Revue Belge d’archéologie et d’histoire de l’art, 24 (1955), deel 3-4, pp. 133-157
- 34.Eigenlijk is Jan Op de Beeck de enige die haar theorie aannemelijke achtte. Zie Op de Beeck, op. cit. (noot 2), pp. 33-35
- 35.Ubl, op. cit. (noot 32), pp. 47-48
- 36.Roobaert, op. cit. (noot 3), pp. 45-46, afb. 5
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The Encyclopedia exists whether or not anything is for sale. Corrections are recorded rather than overwritten, and every version of this record is kept. Published 14 August 2026.
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