Lord Arundel's Collection

Francesco Salviati
Doubting Thomas
ca. 1543-47
oil on panel, transferred to canvas
(formerly in the Arundel Collection)
Musée du Louvre

Wenceslaus Hollar after Francesco Salviati
Doubting Thomas
1637
etching
(copied from a painting in the Arundel Collection)
British Museum

Raphael and workshop
Madonna della Rosa
ca. 1517
oil on panel
(formerly in the Arundel Collection)
Museo del Prado, Madrid

Wenceslaus Hollar after Perino del Vaga (as stated)
Madonna della Rosa
1642
etching
(copied from a painting in the Arundel Collection
then believed incorrectly to be by Perino del Vaga)
Royal Collection, Windsor

Albrecht Dürer
Self Portrait at age 26
1498
oil on panel
(presented to Arundel by officials in Nuremberg
for presentation to King Charles I)
Museo del Prado, Madrid

Wenceslaus Hollar after Albrecht Dürer
Self Portrait at age 26
1645
etching
(copied from a painting conveyed by Arundel
for presentation to King Charles I)
British Museum

Anonymous Copyist after Albrecht Dürer
Portrait of goldsmith Albrecht Dürer the Elder
1497
oil on panel
(copy of Dürer painting presented to Arundel
in Nuremberg for presentation to King Charles I)
National Gallery, London

Wenceslaus Hollar after Anonymous Copyist
Portrait of goldsmith Albrecht Dürer the Elder
1644
etching
(copied from a copy of a painting believed to be
by Dürer, conveyed by Arundel to King Charles I)
Philadelphia Museum of Art

Adam Elsheimer
The Realm of Venus
ca. 1600-1605
oil on copper
(formerly in the Arundel Collection)
Fitzwilliam Museum, Cambridge

Wenceslaus Hollar after Adam Elsheimer
The Realm of Venus
1646
etching
(copied from a painting in the Arundel Collection)
Metropolitan Museum of Art, New York

Adam Elsheimer (figures) and Paul Bril (landscape)
Mercury and Herse with the Daughters of Aglaurus
ca. 1605
oil on copper
(formerly in the Arundel Collection)
Chatsworth House, Derbyshire

Wenceslaus Hollar after Adam Elsheimer
Mercury and Herse with the Daughters of Aglaurus
ca. 1646
etching
(figure group copied from a painting in the Arundel Collection)
Metropolitan Museum of Art, New York

Hans Holbein the Younger
The Triumph of Riches
ca. 1533-34
drawing
(study for a now-lost painting in the Arundel Collection)
Musée du Louvre

Lucas Vorsterman the Elder after Hans Holbein the Younger
The Triumph of Riches
ca. 1624-29
ink and bodycolour on paper
(copied from a now-lost painting in the Arundel Collection)
Ashmolean Museum, Oxford

Above, Holbein's study-drawing for and Vorsterman's small copy of a twenty-foot mural painted by Holbein and later owned by Lord Arundel.  It has not survived.  

Parmigianino (Francesco Mazzola)
Arcadian Shepherds
ca. 1535
drawing
(formerly in the Arundel Collection)
Hamburger Kunsthalle

Lucas Vorsterman the Elder after Parmigianino
Arcadian Shepherds
ca. 1624-29
engraving
(copied from a drawing in the Arundel Collection)
Metropolitan Museum of Art, New York

The biggest group of drawings in the Arundel Collection – after those by Leonardo da Vinci – were by Parmigianino, born Francesco Mazzola (1503-1547).  Two of Arundel's household artists, Wenceslaus Hollar and the younger Hendrik van der Borcht, drew and etched Parmigianino copies by the dozens.  Others aided in this task at times, including Lucas Vorsterman the Elder (whose work is seen directly above), Lucas Vorsterman the Younger, and the gentleman-artist Nicholas Lanier.  These reproductive etchings, in particular, functioned to establish the reputation of Parmigianino in northern Europe as a paragon of elegant figure-composition.