Jeanne Vergouwen, the daughter of artists, was admitted to Antwerp’s painters’ guild in 1658. Skilled as a copyist, she also made original compositions, and may have launched her career with portraits of family members. Her subject here is Andries Rademaker, an Antwerp notary and art collector to whom she was related by marriage. Rademaker gazes directly at the viewer but gestures with pride toward a statuette of a guardian angel leading a child who is partially cropped at the painting’s edge. The sculpture appears to be made of alabaster, a white translucent mineral that was expertly carved during that time in specialized workshops in the Southern Netherlands.