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| Wenceslaus Hollar after Parmigianino Head of a Young Woman 1645 etching (after a drawing in the Arundel Collection) Metropolitan Museum of Art, New York |
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| Wenceslaus Hollar after Leonardo da Vinci Head of a Youth ca. 1644-52 etching (after a drawing in the Arundel Collection) Metropolitan Museum of Art, New York |
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| Roman Empire Venus 2nd century AD marble (formerly in the Arundel Collection) Ashmolean Museum, Oxford |
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| Roman Empire Togatus Figure, called Cicero (head and arms are 17th-century additions) AD-125-150 marble (formerly in the Arundel Collection) Ashmolean Museum, Oxford |
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| Roman Empire Torso of Amazon AD 120-130 marble (formerly in the Arundel Collection) Ashmolean Museum, Oxford |
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| Albrecht Dürer Portrait of a Woman of the Fürleger Family 1497 oil on panel (formerly in the Arundel Collection) Städel Museum, Frankfurt |
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| Wenceslaus Hollar after Albrecht Dürer Portrait of a Woman of the Fürleger Family 1646 etching British Museum |
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| Parmigianino (Francesco Mazzola) Saturn as winged horse seducing the oceanid Philyra ca. 1534 drawing (formerly in the Arundel Collection) Royal Collection, Windsor |
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| Hendrik van der Borcht after Parmigianino Saturn as winged horse seducing the oceanid Philyra 1637 etching British Museum |
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| Parmigianino (Francesco Mazzola) Saturn as winged horse seducing the oceanid Philyra ca. 1534 drawing (formerly in the Arundel Collection) Royal Collection, Windsor |
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| Hendrik van der Borcht after Parmigianino Saturn as winged horse seducing the oceanid Philyra ca. 1638 etching Herzog August Bibliothek, Wolfenbüttel |
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| Hans Holbein the Younger Portrait of Margaret Bacon, Lady Butts ca. 1541-43 drawing (formerly in the Arundel Collection) Royal Collection, Windsor |
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| Wenceslaus Hollar after Hans Holbein Portrait of Margaret Bacon, Lady Butts 1649 etching Philadelphia Museum of Art |
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| Wenceslaus Hollar after Hans Holbein Portrait of goldsmith Hans von Zürich 1647 etching (after now-lost painting formerly owned by Arundel) Philadelphia Museum of Art |
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| Adam Elsheimer Landscape with Latona and the Lycian Peasants ca. 1607-1608 oil on copper (formerly in the Arundel Collection) Wallraf-Richartz Museum, Cologne |
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| Peter Paul Rubens Thomas Howard, Earl of Arundel 1629 oil on canvas National Portrait Gallery, London |
"Arundel was brought up as a Catholic, and his childhood was lonely and unhappy. He became a proud, somewhat haughty, man who felt out of place in Stuart England so that, in Clarendon's expressive phrase, 'he seemed to live as it were in another nation.' Like many such men he made little conscious attempt to impress or gain favour with his peers. One of his contemporaries in the House of Lords described the impact he made in a telling description: 'Here comes the Earl of Arundel in his plain Stuff and trunk Hose, and his beard in his Teeth, that [yet] looks more like a Noble Man than any of us.' Like many proud men, he found it difficult to get on easily with his social equals, including both his wife, Alethea Talbot, who was a remarkable collector in her own right, and his sovereign, of whom he disapproved because of his 'too great Affability' – not a complaint anyone else made about Charles I."
– Francis Haskell, The King's Pictures (Yale University Press, 2013)