Lord Arundel's Collections

attributed to Garofalo (Benvenuto Tisi)
Youth with Cap
ca. 1505-1520
drawing
(formerly in the Arundel Collection
incorrectly attributed to Leonardo da Vinci)
British Museum

Wenceslaus Hollar after Garofalo
Youth with Cap
1646
etching
(copied while owned by Lord Arundel) 
Herzog Anton Ulrich Museum, Braunschweig

Peter Aubry after Anthony van Dyck
Thomas Howard, Earl of Arundel
1644
engraving
(book illustration)
Herzog August Bibliothek, Wolfenbüttel

Anonymous British Printmaker
Thomas Howard, Earl of Arundel
18th century
engraving
National Portrait Gallery, London

Parmigianino (Francesco Mazzola)
Studies for Eve
ca. 1523
drawing
(formerly in the Arundel Collection)
Metropolitan Museum of Art, New York

Anonymous Copyist
after Parmigianino
Study for Eve
ca. 1635-50
drawing
Royal Collection, Windsor

Nicholas Lanier
after Parmigianino
Study for Eve
1656
etching
British Museum

Anonymous Copyist
after Parmigianino
Study for Eve
ca. 1635-50
drawing
Royal Collection, Windsor

Nicholas Lanier
after Parmigianino
Study for Eve
1656
etching
British Museum

Parmigianino (Francesco Mazzola)
Studies for Moses with the Tablets of the Law
ca. 1523
drawing
(formerly in the Arundel Collection)
Metropolitan Museum of Art, New York

Anonymous Copyist
after Parmigianino
Study for Moses
ca. 1635-50
drawing
Royal Collection, Windsor

Lucas Vorsterman the Younger
after Parmigianino
Study for Moses
ca. 1640-50
etching
British Museum

Arundel Society
Virgin and Child with an Angel
(after painting by Fra Filippo Lippi in the Uffizi)
1877
chromolithograph
Victoria & Albert Museum, London

Arundel Society
Adoration of the Mystic Lamb
(after central panel of the Ghent Altarpiece by Jan van Eyck)
1868
chromolithograph
Wellcome Collection, London

London's 19th-century Arundel Society, named for the great 17th-century collector, was "an organization founded in 1848 by Prince Albert, John Ruskin and others that was dedicated to the reproduction of paintings by Giotto and other artists for the education and improvement of public taste in art."  The emphasis, in keeping with wider current thinking, was on providing instruction rather than enjoyment.  The prospectus issued in 1849 stated that "in their execution, that manner will be preferred which most truthfully expresses the original, rather than that which presents the greatest attraction to the eye."  By the time of the Society's closure in 1897 over two hundred chromolithographs had been circulated.   

Charles William Sherborn
Design for a Bookplate
for the Burlington Arts Club
(Rembrandt and the Earl of Arundel)
1893
drawing, with added gouache
British Museum

Charles William Sherborn
Bookplate for the Burlington Arts Club
(Rembrandt and the Earl of Arundel)
1893
engraving
British Museum

Arundel's memory was likewise kept green in 19th-century London by the Burlington Arts Club.  There, a bookplate was commissioned depicting two – and only two – institutional mascots: Rembrandt van Rijn and Thomas Howard, Earl of Arundel.   

Lord Arundel's Collections

Giulio Romano
Design for Quatrefoil-Shaped Goblet with Acanthus Stem
before 1546
drawing
(formerly in the Arundel Collection)
British Museum

Hendrik van der Borcht after Giulio Romano
Design for Quatrefoil-Shaped Goblet with Acanthus Stem
ca. 1637-42
etching
Victoria & Albert Museum, London

Giulio Romano
Design for Salt Cellar
before 1546
drawing
(formerly in the Arundel Collection)
British Museum

Hendrik van der Borcht after Giulio Romano
Design for Salt Cellar
ca. 1637-42
etching
Victoria & Albert Museum, London

Giulio Romano
Design for Salt Cellar
before 1546
drawing
(formerly in the Arundel Collection)
British Museum

Hendrik van der Borcht after Giulio Romano
Design for Salt Cellar
ca. 1637-42
etching
Victoria & Albert Museum, London

Giulio Romano
Design for Salt Cellar
before 1546
drawing
(formerly in the Arundel Collection)
British Museum

Hendrik van der Borcht after Giulio Romano
Design for Salt Cellar
ca. 1637-42
etching
Victoria & Albert Museum, London

Giulio Romano
Vessel with Three Spouts and Infant Triton
before 1546
drawing
(formerly in the Arundel Collection)
British Museum

Hendrik van der Borcht after Giulio Romano
Vessel with Three Spouts and Infant Triton
ca. 1637-42
etching
Victoria & Albert Museum, London

Parmigianino (Francesco Mazzola)
Cherub in Spandrel with Rabbit and Cupid
before 1540
drawing
(formerly in the Arundel Collection)
Morgan Library, New York

Hendrik van der Borcht after Parmigianino
Cherub in Spandrel with Rabbit
1637
etching
British Museum

Hendrik van der Borcht after Parmigianino
Cupid
1637
etching
Herzog August Bibliothek, Wolfenbüttel

Parmigianino (Francesco Mazzola)
Lucretia
before 1540
drawing
(formerly in the Arundel Collection)
Royal Collection, Windsor

Hendrik van der Borcht after Parmigianino
Lucretia
ca. 1638
etching
British Museum

Parmigianino (Francesco Mazzola)
Sleeping Venus with Cupids
ca. 1527-30
drawing
(formerly in the Arundel Collection)
Royal Collection, Windsor

Hendrik van der Borcht after Parmigianino
Sleeping Venus with Cupids
ca. 1638
etching
British Museum

Hendrik van der Borcht the Younger (1614-ca. 1666) – Painter and printmaker, originally from Frankenthal, then Frankfurt.  Taken into service by Thomas Howard, Earl of Arundel in 1636 and sent first to train in Italy, then to London in 1637 where he acted as keeper of the collections.  Accompanied the collections to Antwerp when they were moved there in 1642-44, and continued working for Lady Arundel until her death in 1654.  Then returned to Frankfurt where he helped his brothers in the family art-dealing business.  Probably died of plague in 1666.  – British Museum

Lord Arundel's Collections

Raffaellino del Garbo
St Roch flanked by St Anthony Abbot
and St Catherine of Alexandria
ca. 1485-95
ink and gouache on paper
(formerly in the Arundel Collection)
National Gallery of Art, Washington DC

Giorgio Vasari
Design for Vasari Family Altar in Arezzo
ca. 1561-62
drawing
(formerly in the Arundel Collection)
Hamburger Kunsthalle

Rowland Lockey after Hans Holbein the Younger
The Family of Sir Thomas More
1592
oil on canvas
(copy of now-lost Holbein painting, formerly in the Arundel Collection)
National Trust, Nostell Priory, West Yorkshire

Anonymous Venetian Artist
Design for Chalice
15th century
 ink on vellum
(formerly in the Arundel Collection
incorrectly attributed to Mantegna)
British Museum

Wenceslaus Hollar
Chalice
ca. 1640
etching
(after drawing in the Arundel Collection
incorrectly attributed to Mantegna)
Museum für Angewandte Kunst, Vienna

Wenceslaus Hollar after Jan Brueghel the Elder
The Four Windmills
1650
etching
(after a painting in the Arundel Collection)
Metropolitan Museum of Art, New York

Albrecht Dürer
Portrait of Willibald Pirckheimer
1524
engraving
(formerly in the Arundel Collection)
British Museum

The portrait engraving above is mounted on the inside front cover of a book printed in 1516, De Natura Deorum of Cicero.  The engraving, printed in 1524, thus became a bookplate identifying the volume's owner as Willibald Pirckheimer, a Nuremberg worthy and, in his day, a famous patron of the arts.  A century later Lord Arundel owned Pirckheimer's book along with the Dürer engraving pasted into it.  

Hans Holbein the Younger
Design for Chimney-Piece for Henry VIII
ca. 1537-43
drawing
(formerly in the Arundel Collection)
British Museum

Anonymous Italian Artist
Standing Youth holding a Spear
15th century
drawing
(formerly in the Arundel Collection)
Morgan Library, New York

Girolamo Siciolante
Adoration of the Child
before 1575
drawing
(formerly in the Arundel Collection)
Graphische Sammlung Albertina, Vienna

Andrea del Sarto
Study for the Head of St Joseph
ca. 1526-27
drawing
(formerly in the Arundel Collection)
Getty Museum, Los Angeles

Wenzel Jamnitzer
Design for Dagger and Sheath
with motif of Mucius Scaevola
ca. 1550-60
drawing
(formerly in the Arundel Collection)
British Museum

Wenceslaus Hollar after Albrecht Dürer
Lion
1649
etching
(after a drawing in the Arundel Collection)
British Museum

Wenceslaus Hollar after Albrecht Dürer
Stag
1649
etching
(after a drawing in the Arundel Collection)
British Museum

Anonymous Dutch Artist
Beetle, Cricket and Spider
early 17th century
watercolor and gouache on paper
(formerly in the Arundel Collection)
Metropolitan Museum of Art, New York

follower of Albrecht Dürer
Illuminated Initial A excised from a printed Greek Lexicon
ca. 1499
bodycolour and gold on paper
(formerly in the Arundel Collection, credited to Dürer)
British Museum

 

Lord Arundel's Collections

Leonardo da Vinci
Drapery Study for The Last Supper
ca. 1495
drawing
(formerly in the Arundel Collection)
Royal Collection, Windsor

Leonardo da Vinci
Bust of a Child
ca. 1500
drawing
(formerly in the Arundel Collection)
Royal Collection, Windsor

Wenceslaus Hollar after Leonardo da Vinci
Bust of a Child
1645
etching
Philadelphia Museum of Art

Leonardo da Vinci
Caricature of a Man
ca. 1495
drawing
(formerly in the Arundel Collection)
Getty Museum., Los Angeles

Wenceslaus Hollar after Leonardo da Vinci
Two Caricatures
1645
etching
Philadelphia Museum of Art

Hollar made a sequence of these caricatured "couples" by combining figures that appeared individually in Leonardo's original drawings.   

follower of Leonardo da Vinci
Bust of a Man
ca. 1510-20
drawing
(formerly in the Arundel Collection)
Royal Collection, Windsor

Wenceslaus Hollar after Leonardo da Vinci
Bust of a Man
ca. 1644-52
etching
Metropolitan Museum of Art, New York

Leonardo da Vinci
Bust of a Man
ca. 1510
drawing
(formerly in the Arundel Collection)
Royal Collection, Windsor

Wenceslaus Hollar after Leonardo da Vinci
Head of a Man
ca. 1644-52
etching
Metropolitan Museum of Art, New York

follower of Leonardo da Vinci
Head of a Man
ca. 1510
drawing
(formerly in the Arundel Collection)
Royal Collection, Windsor

Wenceslaus Hollar after Leonardo da Vinci
Head of a Man
1645
etching
Herzog Anton Ulrich Museum, Braunschweig

Leonardo da Vinci
Album of Drawings
compiled ca. 1570
former Arundel
Royal Collection, Windsor

By 1630 Lord Arundel's agents in Italy had obtained for him an album (above) containing "hundreds" of original drawings by Leonardo da Vinci, assembled around 1570 by the artist Pompeo Leoni who had obtained them in batches from Leonardo's heirs.  This album was retained by the Howard heirs until after the Restoration.  Lord Arundel's grandson Henry was at length allowed to reclaim his title as 6th Duke of Norfolk in 1677.  As a thanks-offering to King Charles II for the restoration of the title (which his grandfather had also legitimately claimed but had never received), Henry gave the Leonardo drawings to the Royal Collection, where they have remained.       

Leonardo da Vinci
Head of Leda
ca. 1504-1506
drawing
(formerly in the Arundel Collection)
Royal Collection, Windsor

Leonardo da Vinci
Study of Woman's Hands
ca. 1490
drawing
(formerly in the Arundel Collection)
Royal Collection, Windsor

Leonardo da Vinci
Head of St Philip
(study for The Last Supper)
ca. 1495
drawing
(formerly in the Arundel Collection)
Royal Collection, Windsor

follower of Leonardo da Vinci
Head of a Man
ca. 1520
drawing
(formerly in the Arundel Collection)
Royal Collection, Windsor