925:"A Catalogue of the curious collection of pictures of George Villiers, Duke of Buckingham : in which is included the valuable collection of Sir Peter Paul Rubens : with the life of George Villiers, Duke of Buckingham, the celebrated poet, written by Brian Fairfax ... : also, a catalogue of Sir Peter Lely's capital collection of pictures, statues, bronzes, &c. with the exact measures of the pictures in both collections : a description of Easton-Neston in Northamptonshire, the seat of the Right Honourable the Earl of Pomfret, with an account of the curious antique statues, busto's, urns, &c. : a description of the cartoons at Hampton-Court : a letter from Mr. I. Talman to Dr. Aldrich ... giving an account of a fine collection of drawings of Monsignor Marchetti, Bishop of Arezzo, collected by the celebrated Father Resta"
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were more highly prized than paintings in the 17th century. As far as paintings were concerned, they were primarily interested in acquisition of old masters, but did commission new works by outstanding contemporary artists such as Rubens and van Dyck. Between them they produced what Alex
Trumble described as "the most spectacular but short-lived episode in British connoisseurship". As a result of the Group's activities, on the eve of the Civil War, the area of London close to the Strand which included the London homes of most members of the group, contained some of the finest pictures in the world.
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Balthazar
Gerbier to collect paintings for him. Gerbier went to Rome in November 1624, on a buying expedition for him. In 1635, following Buckingham's death, an inventory of his collection was prepared. Subsequently, the collection was sequestrated by Parliament and some works were "embezzled". Parliament ordered that paintings of the Trinity or the Virgin should be destroyed, but this does not seem to have happened. In due course, parts of the collection were bought by the Earl of Northumberland and Abbot Montague, while other parts were sold at auction in 1758.
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145:(right) bought in a Madrid market while he and Buckingham were attempting to secure Charles's marriage to the sister of King Phillip IV. In the space of about twenty years, King Charles put together one of the largest collections of works of art in Europe, relying "on the eyes and ears of a number of agents and connoisseurs". Charles bought extensively from Italy where economic conditions meant that collection owners needed to raise money. In 1628, he bought the fabulous collection that the
22:
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72:, the Earl of Northumberland and the Duke of Hamilton. Between them, they introduced a taste for the Italian old masters to England. 16th century Italian paintings were more highly valued than Dutch pictures. The group also commissioned new works from the largely foreign-born artists and craftsmen whom they lured to work in London.
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In 1604 he became known to some members of the group as the author of a court masque for James I. He was supported by members of the group, including the Earl of
Pembroke to whom Jonson dedicated a collection of epigrams. Over the thirty years following the first masque, Jonson was the author of more
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In 1616, he was appointed ambassador to the
Netherlands. He continued his interests in the art trade, exchanging statues for paintings with Rubens. He served as an intermediary for collectors such as Pembroke, Buckingham and Arundel to whom he sent paintings by Daniel Mytens and Gerard van Honthorst.
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Following the accession of
Charles I, art and collecting became an integral part of life at court. The group were able to exploit the low cost of paintings to accumulate significant collections in a short time. They collected paintings and other works of art including sculptures and tapestries. These
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and Italy with Inigo Jones. Arundel trained him in art appreciation. Petty subsequently worked as an agent for
Arundel for many years in Italy, Greece and Asia Minor. Charles I employed him as his agent in Venice at the sale of paintings from the collection of Bartolomeo della Nave in July 1634. The
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accompanied the then Prince of Wales and the Duke of
Buckingham on their quixotic visit to Madrid attempting to marry a Spanish princess. Gerbier took the two of them on visits to Spanish royal and noble picture collections, which awakened the interest of Charles in what could be achieved by art. He
232:
They fled abroad as a result of the Civil War. Their collection was slowly dispersed because of the need to sell to support themselves. When
Arundel died, he still possessed 700 paintings, along with large collections of sculpture, books, prints, drawings, and antique jewelry. Most of his collection
181:
Much of his collection was put up for sale during the protectorate. Both
Spanish and French collectors were active in obtaining paintings and a number of the best works are now in European collections. However, many of the works that were still in England at the time of the restoration were returned
75:
Arundel was perhaps the most dedicated connoisseur of the group, whilst
Hamilton may have taken an interest in art collecting simply to gain the ear of the King. The group acquired works through a remarkable network of advisors, agents, dealers and ambassadors who fed the royal taste for art and had
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was an architect, artist and connoisseur who was employed in the court of Charles I. He exercised the most influence over court culture by organising many Court Masques and incorporating images from the group's collections in their backdrop. He accompanied the Arundels on their visit to Italy. In
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In 1623, Hamilton accompanied his father to join Charles, Prince of Wales and Buckingham in Spain, where he saw for the first time the works of major European artists. Although younger than other members of the group, Hamilton became noted as an art collector. Between 1636 and 1638 he acquired 600
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Buckingham was a favourite of both James I and Charles I. He was a great collector of works of art which were on show at York House, his London residence. Buckingham accompanied Charles (then Prince of Wales) to Madrid and saw first hand the Spanish King's art collection. Buckingham employed
396:. Gerbier continued to act on behalf of Buckingham and (after Buckingham's assassination) other members of the Whitehall group. In 1640, he wrote to both the King and the Earl of Arundel announcing the death of Rubens and pointing out the opportunity this provided to acquire fine paintings.
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King Charles I was the most passionate and generous collector of art among the British monarchs, and saw art as a way of promoting his grandiose view of the monarchy. His interest in art was initially stimulated by his elder brother, Henry, and his enthusiasm was subsequently encouraged by
608:
Ben Jonson was a classically educated, well-read and cultured man of the English Renaissance whose cultural influence was of unparalleled breadth. He "lived most of his life in close proximity to the English court at Whitehall, and the court figures prominently in his writings".
63:
The term "Whitehall Group" was used by Oliver Millar in a magazine article in 1956 and subsequently in a 1958 book. He used the term "Whitehall Circle" in a book published in 1971. The term encompasses King Charles I himself and a number of his close associates including the
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He was able to make lasting friendships and call upon the hospitality of the great and the good of Jacobean society. In addition to his court masques, he also received commissions from aristocratic patrons who needed to mount private festivals in honour of royal guests.
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and some of his sons. Rubens, who eventually came to London in 1630 on a diplomatic mission, was an especial target. While in London Rubens painted and later supplied more paintings from Antwerp. He was very well-treated during his nine-month visit, during which he was
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by Gerbier for the Duke of Buckingham. Nijs was involved in a transaction by which a collection of paintings and sculptures went via Sir Dudley Carleton to the Earl of Arundel. Along with Nicholas Lanier, he also acted as agent for Charles I when he acquired the
586:. He went to Italy in 1625, buying paintings on behalf of the King, including working with Daniel Nye to acquire the Gonzaga (Mantuan) collection. He was subsequently instructed (along with Inigo Jones) to put together an inventory of Charles I works of art.
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were forced to dispose of. As a result of this, his collection rivalled that of the King of Spain. His interest in art also resulted in him being given works by European rulers attempting to gain favour or as part of marriage negotiations.
221:. In 1613, Arundel and his wife paid an extended visit to Italy in the company of Inigo Jones and 34 attendants (among whom was William Petty). In Venice, they were joined by Sir Dudley Carleton who was the ambassador to Venice.
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He was a courtier and important patron of art who held office under both James I and Charles I. Both Ben Jonson and Inigo Jones benefited from his patronage. Herbert appears to have paid for Inigo Jones to tour Italy in 1605.
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Thomas, Earl of Arundel (sometimes known as "the collector earl") and his wife Aletheia were dedicated art connoisseurs. They were arguably the greatest collectors in early Stuart England. Thomas had gained some works from
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and Daniel Mytens. Van Dyck's portraits, particularly those on horseback that disguised the fact that Charles was very short (less than 5 feet (1.5 m) tall), presented an authoritative and majestic image of the King.
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When the Countess inherited a third of her father's estate they were able to pursue their passion for collection. Their activities in collecting statues and paintings was emphasised in a pair of portraits painted by
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He inherited both the title and art collection on the death of his brother, the 3rd Earl in 1630. According to Aubrey, he "exceedingly loved paintings" and was "the great patron of Sir Anthony van Dyck.
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in Wiltshire. Inigo Jones was involved in the redesign of the house in the 17th century including the single cube room which houses part of the collection.
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was knighted and sent as ambassador to Venice. He began to look for works of art for Charles (then Duke of York) and other members of the Whitehall group.
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also accompanied Buckingham to Paris when Charles married Henrietta Maria by proxy. He acted as Buckingham's agent in Italy and the southern Netherlands.
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512:
494:
81:
712:
Cools, Hans; Keblusek, Marika; NoldusK, Badeloch, eds. (2006). "A Question of Attribution: Art Agents and the Shaping of the Arundel Collection".
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47:(or less frequently, Whitehall Circle) is a term applied to a small circle of art connoisseurs, collectors, and patrons, closely associated with
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for Charles and maintained an inventory of the King's art collection. The catalogue survives as a complete manuscript and was described by
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1038:"'Portrait of James Hamilton, Earl of Arran, Later 3rd Marquis and 1st Duke of Hamilton, Aged 17', Daniel Mytens the Elder, 1623"
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Charles employed English and foreign court painters from whom he commissioned new works. In addition to Van Dyck, these included
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than one masque per year, often collaborating with Inigo Jones. These masques helped shape the art of the Caroline court.
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Daniel Nijs was "a strange, shadowy, Flemish dealer who knew Italy well". In 1621 he facilitated the purchase of Titian's
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Following his accession in 1625 he tried to bring leading foreign painters to England. In 1626, he was able to persuade
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to England. The term usually includes the advisors and agents who facilitated the group's acquisition of works of art.
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1628, he was instructed (along with Nicholas Lanier) to put together an inventory of Charles I works of art.
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As he supported Parliament in the Civil War, his collection remained more or less intact. It is displayed at
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paintings. When he died, many of his paintings went to Antwerp and some can be seen in the background of
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king made an arrangement to divide any purchases equally between himself and three other stakeholders.
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Gordon, D J (1943). "The Imagery of Ben Jonson's The Masque of Blacknesse and the Mask of Beautie".
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39:, 196 x 385 cm. This was presented to Charles by the King of Spain on his trip there in 1623.
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a significant influence in the formation of the group's collections. These included
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241:. What remained of the collection was sold by their son, following Aletheia's death.
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132:, once part of Charles I's collection, now in the Kunsthistorisches Museum, Vienna
851:"George Villiers (1592-1628), 1st Duke of Buckingham - National Maritime Museum"
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and on his death, van der Doort moved in to the service of Charles I. He was
170:. Charles eventually persuaded Ruben's pupil, Van Dyck, to settle in London.
947:"William Herbert, 3rd Earl of Pembroke - Person - National Portrait Gallery"
454:. He joined Arundel's household in 1613, and was included on the trip to
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James Hamilton, Earl of Arran, later 3rd Marquis and 1st Duke of Hamilton
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124:
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Kings & Connoisseurs: Collecting Art in Seventeenth-Century Europe
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Consuming Splendor: Society and Culture in Seventeenth-Century England
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by depicting them in front of their sculpture and picture galleries.
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The Sale of the Late King's Goods: Charles I and His Art Collection
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1079:, "The Landscape Background in Rubens's St. George and the Dragon"
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Sir Dudley Carleton and his relations with Dutch artists 1616–1632
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Buckingham provided lodgings for Gerbier at his London residence,
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The Countess of Arundel with the picture gallery in the background
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People associated with the Royal Collection of the United Kingdom
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Jaffé, Michael (1966). "The Picture of the Secretary of Titian".
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Fairfax, Brian; Walpole, Horace; Talman, John (25 January 2019).
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Jaffé, Michael (1966). "The Picture of the Secretary of Titian".
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Sir Isaac Wake, Venice and art collecting in early Stuart England
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The Earl of Arundel with his sculpture gallery in the background
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Petty was chaplain to the Earl of Arundel. Petty was born at
16:
Circle of art collectors associated with Charles I of England
697:
Wood, Jeremy (2018). "Conoiseurship at the Caroline Court".
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to settle in England, later to be joined by his daughter
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Philip Herbert, 4th Earl of Pembroke by Anthony van Dyck
296:
William Herbert, 3rd Earl of Pembroke by Daniel Mytens
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as "the fullest catalogues of their day in Europe."
1096:Stourton, James; Sebag-Montefiore, Charles (2012).
835:Stourton, James; Sebag-Montefiore, Charles (2012).
820:Stourton, James; Sebag-Montefiore, Charles (2012).
791:Stourton, James; Sebag-Montefiore, Charles (2012).
716:. Royal Netherlands Institute at Rome. p. 25.
714:Your Humble Servant: Agents in Early Modern Europe
1276:Journal of the Warburg and Courtauld Institutes
489:Sir Dudley Carleton (later Viscount Dorchester)
1186:(Yale, 1995), p. 49: James Orchard Halliwell,
668:Dutch and Flemish Artists in Britain 1550–1800
8:
749:. Cambridge University Press. p. 183.
1204:. Cambridge University Press. p. 45.
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1012:"Royal Institute of British Architecture"
972:"Oxford Dictionary of National Biography"
764:"Review in the Times Literary Supplement"
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219:the collection of his uncle, Baron Lumley
51:, who introduced a taste for the Italian
1081:The Burlington Magazine for Connoisseurs
927:. London : Printed for W. Bathoe ..
701:. Royal Academy of Arts. pp. 30–35.
650:Dutch pictures from the royal collection
495:Dudley Carleton, 1st Viscount Dorchester
20:
1389:George Villiers, 1st Duke of Buckingham
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578:Nicholas Lanier by Sir Anthony van Dyck
348:Views of the Archduke's Picture Gallery
251:George Villiers, 1st Duke of Buckingham
245:George Villiers, 1st Duke of Buckingham
139:George Villiers, 1st Duke of Buckingham
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1086:No. 529 (April 1947:89-91, 93) p. 90.
732:Reflections on the Puritan Revolution
637:. Oxford University Press. p. 6.
288:William Herbert, 3rd Earl of Pembroke
282:William Herbert, 3rd Earl of Pembroke
7:
1066:. Yale University Press. p. 35.
604:Ben Jonson by Abraham van Blyenberch
341:James Hamilton, 1st Duke of Hamilton
311:Philip Herbert, 4th Earl of Pembroke
305:Philip Herbert, 4th Earl of Pembroke
141:. One of his first acquisitions was
1190:, vol. 2 (London, 1846), pp. 288-9.
548:Van der Doort initially worked for
196:Thomas Howard, 21st Earl of Arundel
68:, the Earl of Arundel, the 3rd and
14:
532:Portrait of Abraham van der Doort
233:of marble carvings, known as the
1328:The Court Mask; Ben Johnson; CUP
1202:The Stage Designs of Íñigo Jones
912:. Hardinge Simpole. p. 184.
477:Inigo Jones, by Anthony Van Dyck
1188:Letters of the Kings of England
554:Surveyor of the King's Pictures
503:Portrait of Dudley Carleton by
1394:Italy–United Kingdom relations
438:, and after Grammar School in
190:Thomas Howard, Earl of Arundel
1:
1098:The British as art collectors
935:– via Internet Archive.
837:The British as art collectors
822:The British as art collectors
808:Charles I: King and Collector
793:The British as art collectors
699:Charles I: King and Collector
237:, was eventually left to the
635:Rubens:the Whitehall Ceiling
1160:Lord Arundel and his Circle
1136:Connoisseurship of the Arts
1000:. David R Godine. p. .
505:Michiel Jansz van Mierevelt
444:Christ's College, Cambridge
262:, 1625, by the workshop of
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1214:Waterhouse, reviewing the
908:Eales, Jacqueline (2002).
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584:Master of the King's Music
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1162:(Yale, 1985), pp. 127-30.
745:Peck, Linda Levy (2005).
182:and now form part of the
1064:Kings & Connoisseurs
1062:Brown, Jonathan (1995).
452:Jesus College, Cambridge
1369:17th century in England
1348:, 2007, Pan Macmillan,
1317:British Library website
1259:Donaldson, Ian (2011).
1221:The Burlington Magazine
1113:The Burlington Magazine
910:Puritans and Roundheads
891:The Burlington Magazine
648:Millar, Oliver (1971).
633:Millar, Oliver (1958).
450:he got a Fellowship at
128:Woman in a fur wrap by
1379:English art collectors
1200:Peacock, John (1995).
734:. Methuen. p. 67.
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260:The Duke of Buckingham
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996:Aubrey, John (1999).
855:collections.rmg.co.uk
670:, Primavera, page 271
666:in Roding, Juliette,
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70:4th Earls of Pembroke
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1374:Charles I of England
1248:Jonson and the Court
1227:(June 1961), p. 287.
1100:. Scala. p. 61.
998:Aubrey's Brief Lives
839:. Scala. p. 50.
824:. Scala. p. 62.
795:. Scala. p. 65.
662:Hill, Robert, 2003,
582:Nicholas Lanier was
446:. After teaching at
239:University of Oxford
120:Charles I of England
109:Members of the Group
1263:. OUP. p. 168.
1261:Ben Jonson - a life
1077:Edward Croft-Murray
358:Advisors and agents
143:Woman in a fur wrap
1148:Rev. William Petty
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369:Balthazar Gerbier
363:Balthazar Gerbier
264:Peter Paul Rubens
175:Cornelius Johnson
86:Balthazar Gerbier
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469:Inigo Jones
463:Inigo Jones
436:Westmorland
400:Daniel Nijs
94:Inigo Jones
53:old masters
28:Pardo Venus
1363:Categories
1047:25 January
1021:25 January
981:25 January
956:25 January
931:25 January
860:25 January
806:Review of
773:25 January
621:References
596:Ben Jonson
590:Ben Jonson
456:Heidelberg
442:, went to
420:collection
406:Daniel Nys
394:York House
100:Activities
90:Ben Jonson
1304:192333762
511:In 1610,
412:Ecce Homo
163:Artemisia
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513:Carleton
448:Beverley
417:Garganza
271:Florence
168:knighted
147:Gonzagas
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381:, p 249
352:Teniers
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440:Kendal
432:Soulby
151:Mantua
130:Titian
80:, Sir
37:Louvre
35:, now
33:Titian
1300:S2CID
1292:JSTOR
534:, by
482:Jones
59:Usage
31:, by
1350:ISBN
1049:2019
1042:Tate
1023:2019
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775:2019
92:and
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