Coversheet for Thesis in Sussex Research Online
Total Page：16
File Type：pdf, Size：1020Kb
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 0 COLLECTORS AND COLLECTING IN ENGLAND c. 1600 – c. 1660 SUSAN CAROLINE BRACKEN DOCTOR OF PHILOSOPHY UNIVERSITY OF SUSSEX 2011 VOLUME I TEXT 1 TABLE OF CONTENTS VOLUME I Page Abbreviations used in the footnotes. Introduction 1 Chapter One: ‘Chyna’, ‘Chinese’ and ‘India’ – Oriental Objects 13 in England Before 1614 Porcelain in England 14 Reasons for acquisition 17 The status of porcelain 18 Routes of transmission 19 English Royal inventories 22 Courtiers and their collections 26 Collections in early Seventeenth-century England 28 Two Case Studies: Thomas Arundell and Robert Cecil 30 Objects other than Porcelain: Furnishings and Furniture 36 Conclusion 42 Chapter Two: Collecting and Commissioning Copies and 45 Variants of Masterpieces The concept of the copy 46 The intentions behind the practice of copying 50 Collectors and Copies 55 The historical status of copies and copying 59 Methods of Copying 66 Critics and Commentators on copies in the Sixteenth and 72 Seventeenth Centuries Emulation and copies 81 Seventeenth-century masters and copying 86 Copies and the problem of Forgery 91 Copies as historical evidence of original works 94 The roles of agents and dealers 100 Artistic training and the role of copies 104 The canon 107 2 Copies and Diplomacy 114 Artists as Copyists 119 Signatures and Authenticity 127 Sculpted Copies 129 Where copies were displayed and how they were viewed 130 Gallery Paintings 139 Conclusion 141 Chapter Three - English Collectors of Old Master Paintings, Both Originals and Copies 143 Introduction 143 Thomas Howard, 14th Earl of Arundel 155 The collection of George Villiers, 1st Duke of Buckingham 158 The Collection of James, 3rd Marquess and 1st Duke of Hamilton 167 The collection of Charles I 175 Pricing Copies in the Sale 192 Ham House – a Case Study of a Seventeenth-Century Collection 194 Copies of Old Master Paintings on the London Market 1649-55 201 Artists as Copyists in London 212 Conclusion to Chapter Three 216 Conclusion to Thesis 217 Bibliography Appendix One – English Inventories Appendix Two – Transcript of 1605 Wardour Castle Inventory Appendix Three – Transcript of 1612 Salisbury House Inventory Appendix Four – Types of Copy VOLUME II List of Illustrations Illustrations 0 ABBREVIATIONS Original Documents HH1611 = Hatfield House Inventory 1611 HH1612 = Hatfield House Inventory 1612 HHP = Hatfield House Papers SH1612 = Salisbury House Inventory 1612 (see complete transcript at Appendix III) SH1629 = Salisbury House Inventory 1629 WC1605 = Wardour Castle Inventory 1605 (see complete transcript at Appendix II) Printed Sources AB = Art Bulletin AH = Art History AN = The Art Newspaper BAJ = British Art Journal BM = The Burlington Magazine Baglione = Giovanni Baglione Le Vite de’ pittori, scultori et architetti. Dal pontificato di Gregorio XIII del 1572 in fino a’ tempi di papa Urbano Ottavo nel 1642, critical ed. Jacob Hess and Herwarth Röttgen, 4 vols., Vatican City, 1995. Bellori = Bellori, G.P., The Lives of the Modern Painters, Sculptors and Architects, A New Translation and Critical Edition, A.S. Wohl, H. Wohl, T. Montanari, Cambridge, 2005 and paperback edition 2010. Brookes 2007 = Brookes, A., ‘Richard Symonds’s Account of his Visit to Rome in 1649- 51’, Walpole Society, 69, 2007, pp.1-184. CIA 2006 = David Teniers and the Theatre of Painting, exh. cat. Courtauld Institute of Art, 2006, ed. E. Vegelin van Claerbergen. Cropper 2005 = Elizabeth Cropper, The Domenichino Affair: Novelty, Imitation, and Theft in Seventeenth-Century Rome, 2005. CSPD = Calendar of State Papers Domestic CSPC = Calendar of State Papers Colonial 1 HMC = Historic Manuscripts Commission Humfrey 2007a = Humfrey, P., Titian, 2007 Humfrey 2007b = Humfrey, P., Titian: The Complete Paintings, Bruges, 2007 JoHoC = Journal of the History of Collections JWCI = Journal of the Warburg and Courtauld Institutes Loh = Maria H. Loh, Titian Remade: Repetition and the Transformation of Early Modern Italian Art, Los Angeles, 2007. Madrid 2003: Tiziano, ed. M. Falomir, exh. cat Prado, 2003. NG means National Gallery, London; National Galleries elsewhere are identified separately. NGA, Washington means National Gallery of Art, Washington, DC. NPG means National Portrait Gallery, London. ODNB = Oxford Dictionary of National Biography Sale = ‘The Inventories and Valuations of the King’s Goods 1649-51’, ed. O. Millar, Walpole Society, 43, 1972. Spear 1997: Richard E. Spear, The Divine Guido: Religion, Sex, Money and Art in the World of Guido Reni, 1997. TOCS = Transactions of the Oriental Ceramic Society van der Doort = Abraham van der Doort’s Catalogue of the Collections of Charles I, ed. O. Millar, Walpole Society, XXXVII, 1958-60. 1 INTRODUCTION The field of collecting in England in the seventeenth century has been examined principally through scholarly studies of individual collections. This was the first period in England in which it can be demonstrated that high quality paintings not only dominated the major collections, such as those of Charles I and the Duke of Buckingham, but were themselves the principal motivation for gathering pictures. Few sixteenth-century collections, other than that of John, Lord Lumley, are properly recorded, with many inventories simply listing the number of pictures with no further information. 1 This makes it difficult to assess their contents, but the surviving evidence indicates that the majority were dominated by portraits. Attributions are rare in the sixteenth century and are usually indicative of a recognition of certain famous names, but not a real understanding of their works. One of the significant changes in the seventeenth century is in the recording of collections, where attributions to artists gradually emerge, indicating a new interest in the authorship of paintings, which had generally been absent in the previous century. The most important inventory is that written by Abraham van der Doort of the collection of Charles I, unusual not only because it is concerned principally with paintings, but also because it provides a level of detail about the paintings concerned which had never previously been seen in England. 2 Many of his attributions remain unchallenged. Information can also be gleaned from some knowledgeable visitors to collections in the seventeenth and eighteenth centuries. Scholars in the twentieth century who have explored the question of collecting in England in the seventeenth century include the seminal work of Oliver Millar in transcribing van der Doort’s inventory and the documents for the sale of the king’s collection.3 There have been important individual studies by Mary Beal and Anne Brookes of the notes on paintings made by Richard Symonds, the traveller and writer on Italy.4 Paul Shakeshaft has written on the formation of the Hamilton collection,5 Philip McEvonsoneya on the 1 Art Collecting and Lineage in the Elizabethan Age: The Lumley Inventory and Pedigree, ed. M. Evans, 2010 (hereafter “Lumley”). 2 ‘Abraham van der Doort’s Catalogue of the Collections of Charles I’, ed. O. Millar, Walpole Society, 37, 1958-60, hereafter “van der Doort”. 3‘The Inventories and Valuations of the King’s Goods 1649-1651’, ed. O. Millar, Walpole Society, 43, 1970- 72, hereafter “Sale”. 4 Beal, M., A study of Richard Symonds: his Italian notebooks and their relevance to seventeenth century- painting techniques, New York, 1984. Brookes, A., ‘Richard Symonds’s Account of his Visit to Rome in 1649-51’, Walpole Society, 69, 2007, pp.1-184. 5 Shakeshaft, P., ‘To much bewiched with thoes intysing things’: the letters of James, third 2 dispersal of the Buckingham collection,6 Timothy Wilks on the collection formed by Prince Henry and other aspects of the royal collection.7 Several scholars, such as Shakeshaft and Robert Hill, have explored the role played by ambassadors, such as Carleton and Wotton.8 Arthur MacGregor has ranged more widely both in types of object collected and geographically in two major publications on collecting and the beginnings of the modern museum, as well as an examination of the collection of Charles I.9 Other studies, notably that of Lucy Gent, have examined English attitudes to art and collecting through the literature of the period and the amassing of libraries.10 Copies have generally been given little consideration in these studies, which have tended to concentrate on original works, despite references to considerable numbers of copies in seventeenth-century documents. The presence of copies of history paintings by some of the most famous artists of the sixteenth and early seventeenth centuries is one of the defining features of a new kind of collecting in England at this time, with the involvement of collectors who were aware of the status of the works they acquired or commissioned. The subtle distinctions between different types of copy and variant have not been fully explored, but are addressed in what follows. This thesis will examine all aspects of the copy in detail and present this aspect of collecting in such a way as to re-shape perceptions of collecting as a whole. The first chapter will use the example of “Chyna” to show how collecting objects from remote Marquis of Hamilton and Basil, Viscount Feilding, concerning collecting in Venice 1635-1639’, BM, 128, 1986, pp. 114-134. 6 McEvansoneya, P., ‘An Unpublished Inventory of the Hamilton Collection in the 1620s and the Duke of Buckingham’s pictures’, BM, CXXIV (Aug.