Journal of the History of Collections vol. 30 no. 1 (2018) pp. 49–63
Van Dyck paintings in Stuart royal inventories,
1639–1688
Erin Griffey
Van Dyck’s paintings have been thoroughly analyzed in terms of style, iconography and patronage, but
there has been no systematic analysis of how these pictures were recorded in Stuart inventories. Pictures
attributed to Van Dyck are listed in several royal inventories from c.1639 to c.1688 – from those compiled
by Abraham van der Doort c.1639 to the Commonwealth sale of 1649–51, to Charles II of c.1666–67,
Henrietta Maria of 1669 and James II of c.1685–88. This article considers the subject matter and
placement of Van Dyck’s pictures in a range of palace and room contexts, and charts change and continuity
of display across the inventories. The article shows the potential for the close comparison of these royal
inventories for understanding display, taste and dynastic politics at the Stuart court.
VAN DYCK’s paintings at the English court, produced
irst during a six-month period in 1620–21 at the court
of James I, and from 1632 as ‘principalle Paynter in
Ordinarie to their Majesties’, Charles I and Henrietta
Maria, were a spectacular success.1 Knighted soon after
returning to England from the Continent in 1632, Van
Dyck produced numerous portraits of the royal family
and the nobility, his English portraits gifted and collected
within élite circles in England and abroad. His compositions were widely copied (in large and in miniature) and
disseminated as prints. Henrietta Maria noted ‘les bons
et agréables services’ of ‘chevalier Antoine Vandyck’, this
painter who was – is – ever-present in shaping the face
of the Caroline court.2 Van Dyck’s astonishing talents as
a painter of surface lustre and subtle movement, elegant
weight and intimate characterization were a perfect
match for Stuart courtly magniicence.
Scholars have analyzed the style, iconography and
patronage of the artist’s paintings, but there has been
no systematic analysis of how these pictures were
recorded in Stuart inventories. Several royal inventories survive from c.1639 to c.1688, from Abraham van
der Doort’s ‘register’ of c.1639 to the Commonwealth
sale inventories of 1649–51, to the Charles II inventory of c.1666–67, the post-mortem inventory of
Henrietta Maria of 1669 and the James II inventory
of c.1685–8.3 All of these have been transcribed and
published, with the exception of the Charles II inventory, which Lucy Whitaker is currently undertaking
for the Walpole Society.
During the Stuart period, there was no methodical
tracking of all works of art at every palace. Instead,
inventories were occasioned by a number of different factors – personal, political and practical. Some
of these record only works in particular palaces and
rooms, especially the principal palaces and their state
rooms and privy apartments, which were lavishly decorated.4 While inventories generally present a record
of objects at a particular moment, Van der Doort
tracks artworks over a longer period. Appointed by
Charles I as surveyor of pictures in 1625, Van der
Doort was charged ‘to keepe a Register’ of them.5 The
four manuscripts of this ‘register’, a lengthy irst draft
and three fair texts, are stamped with the date 1639,
but Van der Doort had been compiling it for years and
it includes numerous insertions, expansions, deletions
and corrections.6 If the surviving records fail to offer a
comprehensive picture of display at the Stuart court,
they nonetheless offer valuable insight.
This article provides an overview of Van Dyck
paintings listed in these Stuart royal inventories.7 One
entry by Van der Doort also records a ‘perspective’,
for which Van Dyck was expected to paint a portrait
of the king and ‘prince’ but ‘had no mijnd terentu’
[had no mind thereunto], an interesting reference to
the painter’s perceived ability to decide what he had
‘mind’ to paint.8 The analysis of Van Dyck paintings in
these inventories provides compelling evidence of the
arrangement of pictures in certain palace and room
contexts; the taste for his work, including preferences
© The Author(s) 2017. Published by Oxford University Press. All rights reserved.
doi:10.1093/jhc/fhx014 Advance Access publication 6 June 2017
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
ERIN GRIFFEY
to be conspicuously displayed in the more public gallery spaces. Such galleries generally showcase works
by prized artists, such as Van Dyck, as well as Italian
Renaissance painters including Titian. This accords
with William Salmon’s advice about the ‘Disposing of
Pictures and Paintings’, which suggests that ‘the best
works become Galleries; where any one may walk,
exercise their senses, in viewing, examining, delighting and censuring’.9 Bedchambers also housed works
considered important by virtue of their provenance
and/or authorship or appropriate in terms of subject
matter, whether an intimate religious image appropriate for private devotion or a portrait of a wife or
favourite. References to the framing of Van Dyck’s
pictures found in Van der Doort’s inventory also suggest hierarchies and preferences in terms of formal
presentation.
in terms of subject types; and the role of Van Dyck’s
portraits of Charles I and Henrietta Maria in the
dynastic claims of their sons. In addition, a number of
paintings can be traced across inventories, including
Charles I on Horseback (see Fig. 1), Henrietta Maria
(see Fig. 2), Charles I and Henrietta Maria with Prince
Charles and Princess Mary, known as the ‘greate peece’
(see Fig. 3), Charles I on Horseback with Monsieur de
St Antoine (see Fig. 4) and Cupid and Psyche (see
Fig. 5). With these and other Van Dyck pictures it is
illuminating to chart the instances in which they were
displayed in the same location, or as they moved into
different palaces and rooms.
In addition, some conclusions can be drawn concerning the hierarchy of display at the Stuart court,
with images of major dynastic importance, especially
family portraits, and claims to martial power tending
Fig. 1. Anthony van Dyck,
Charles I on Horseback,
c.1635–6. Oil on canvas, 96
x 86.3 cm. Royal Collection
Trust / © Her Majesty
Queen Elizabeth II 2017.
50
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
VA N D Y C K P A I N T I N G S I N S T U A R T R O YA L I N V E N T O R I E S , 1 6 3 9 – 1 6 8 8
reign of Philip IV that decoration could be a process
of ‘random selection’, but it could also be driven by
inding unity through subject matter, style, national
school or even focus around a particular artist, such
as Titian, or through a larger thematic unity.10 These
approaches to decoration can be discerned to some
extent at the Stuart court, although careful consideration of this is beyond the scope of the present article. In many cases, rooms at the Stuart court housed
a surprising variety of pictures, marked by difference
in genre, national school and scale. There is no room,
for example, dedicated solely to pictures by Van Dyck
in any of the royal inventories, although a number
of his portraits were hung in the Cross Gallery at
Somerset House during the reign of Charles I. It is
also signiicant that Van Dyck’s works are more commonly found at Whitehall Palace than other palaces
under Charles I and Charles II, though his pictures
are listed at other palaces, including Hampton Court,
in the Commonwealth sale inventories and Windsor
in the inventory from the early years of James II.
Nevertheless, the sheer number of Van Dyck paintings alongside other masters, both contemporary
(such as Mytens and Rubens) and earlier masters he
so deeply admired (including Titian), as well as the
prominent location of many of his pictures, demonstrates his importance at the Stuart court.11
Van Dyck is identiied as the painter in eighty-eight
entries across the Stuart royal inventories c.1639 –
c.1688, referring to about forty-seven pictures or
types thereof.12 In some cases the description is speciic enough to make an identiication viable and often
this is consistent enough across different inventories
to track pictures with some conviction. Keepers and
curators of the Royal Collection, most notably Oliver
Millar, have identiied many Van Dyck pictures that
survive there, and have traced their provenances.
In other cases this has been complicated by vague
descriptions, such as generic references to a ‘head’ or
a picture of a ‘ladi’ [lady] or a common religious subject. Terse references to portraits even of named subjects can be frustrating when several portraits could it
the description. Sometimes the consistency of placement in the same room or other connection makes an
attempt at identiication tempting, if unconirmed. In
other cases, the descriptions are tantalizing but elusive in connecting them to known surviving works by
Van Dyck, such as ‘A sea Peice with a greate Rocke
& some isher men upon the Shoare’, listed amongst
Fig. 2. Anthony van Dyck, Henrietta Maria, before August 1632.
Oil on canvas, 109 x 86.2 cm. Royal Collection Trust / © Her
Majesty Queen Elizabeth II 2017.
One must be cautious, however, in asserting a strict
hierarchy of display at the Stuart court, since pictures
with illustrious provenances and by famous painters
might be placed in storage. And even if an inventory records a picture in storage, it is not always clear
whether such pictures remained in storage long-term
or spent a short period there during refurbishment.
Some pictures seem to disappear from the records,
whether reattributed, gifted or otherwise removed
from the collection. For example, ive paintings by
Van Dyck were recorded in storage at Whitehall in the
Charles II inventory of c.1666–7, but at the end of his
reign, when the James II inventory seems to have been
created, two were now on display, one at Whitehall
and one at Windsor, another remained in storage and
the other two were no longer traceable.
Furthermore, despite overarching themes and subjects in certain spaces, such as the Cross Gallery at
Somerset House and the Gallery at St James’s, there is
rarely a systematic iconographic programme in a particular gallery or room. Steven Orso has shown in his
analysis of pictorial display at the Alcázar during the
51
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
ERIN GRIFFEY
Fig. 3. Anthony van Dyck,
Charles I and Henrietta
Maria with Prince Charles
and Princess Mary, 1631–32.
Oil on canvas, 303.8 x
256.5 cm. Royal Collection
Trust / © Her Majesty
Queen Elizabeth II 2017.
the immediate royal family hung at Whitehall: one of
the king on a ‘Dunn horse’ (Chair Room) (Fig. 1), the
portrait of Henrietta Maria in a ‘white habbitt’ (in the
king’s bedchamber) (Fig. 2), the family portrait of the
king, queen, Prince Charles and Princess Mary (Long
Gallery) (Fig. 3) and the depiction of the ive eldest
children (Breakfast Chamber).15 The larger version of
this equestrian portrait of the king apparently hung in
the Princes Gallery at Hampton Court, and was sold
to Sir Balthazar Gerbier at the Commonwealth sale.16
A further equestrian portrait of the king on a white
horse hung at the end of the Gallery at St James’s
(Fig. 4).17 Because Van der Doort’s register is not
comprehensive, this may explain the absence of other
references to works by Van Dyck. Other pictures
the contents of storage at Whitehall in the c.1666–67
inventory, and the picture of a ‘large reddish spaniel’
relegated to storage in 1685.13
Van Dyck’s name is spelled in several variations,
usually with his title (Sir) attached, including as Sr
Antho Vandik, Sr Antho Vandike, Sor Antoni Vandijk,
Sir Anthony van Dyke and Vandyck. Although two
Van Dyck pictures are listed in the 1635 schedule of
the possessions of the 2nd Duke of Buckingham at
York House, the irst pictures attributed to the painter
in Stuart royal inventories appear in Van der Doort’s
register of c.1639, comprising twenty-two pictures.14
Nineteen, thus the majority of these pictures, were
portraits, and, of these, thirteen were displayed at the
king’s principal palace, Whitehall. Four portraits of
52
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
VA N D Y C K P A I N T I N G S I N S T U A R T R O YA L I N V E N T O R I E S , 1 6 3 9 – 1 6 8 8
Lorraine portrait, painted in Brussels. Van der Doort
notes, for example, that the Lanier portrait was made
‘Beyond ye Seas’, and similarly elaborates that the
van den Bergh portrait was painted ‘Beyond [the
Seas] / befor hi kam hir in ingellent’ [before he came
here in England].21 The portrait of de Lorraine was,
according to Van der Doort’s entry, a gift to the king
from Endymion Porter.22 One further picture with a
pre-England provenance was the ‘old man’s head’ in
the Long Gallery, which was apparently bought by
Charles when he ‘Was prinz onlij’ [was prince only].23
The portrait of Marie de Medici may have been a
freshly commissioned autograph copy of the portrait
now in Bordeaux.24 Thus we cannot conclude that the
majority of Van Dyck’s portraits recorded in Van der
Doort’s register were painted in England or, for that
matter, that they depict English subjects.
The locations of the Van Dyck pictures listed in
Van der Doort’s register is also relevant: a portrait
of a ‘ladi’ hung in the queen’s rooms at her jointure
palace of Greenwich and his portrait of Isabella Clara
Eugenia in a ‘romen habit’ hung at the Queen’s House
in Greenwich.25 In addition, his image of the Virgin
and Child with Angels hung in Henrietta Maria’s
bedchamber at Whitehall.26 The Long Gallery at
Whitehall was home to the massive family portrait,
the so called ‘greate peece’ (Fig. 3), as well as two
additional Van Dyck pictures. Other Van Dyck portraits congregated in the Bear Gallery.27 Two portraits
by Van Dyck also hung in the Privy Gallery (Marie
de Medici and the double portrait of the Palatine
princes). Van Dyck pictures hung, too, in both the
king’s bedchamber (the portrait of Henrietta Maria in
white, Fig. 2) and in the queen’s bedchamber (Virgin
and Child with Angels).28
Van der Doort’s register shows that the Long
Gallery was a showpiece of Renaissance and seventeenth-century paintings (113) and igural sculptures
(thirty-four), mostly heads.29 Van Dyck had high visibility here, with his enormous family portrait (Fig. 3)
and two other works, including Cupid and Psyche
(Fig. 5). The majority (seventy) of the pictures were by
Italian painters including Giulio Romano, Domenico
Fetti, Veronese, Tintoretto and Raphael, and only sixteen were by Netherlandish painters.30 There seems
to have been no particular theme to the pictures in
the Long Gallery, with a mix of portraits (sixtytwo), religious pictures (thirty-nine), mythological
works (sixteen), allegories (ive), self-portraits (four),
Fig. 4. Anthony van Dyck, Charles I on Horseback with Monsieur
de St Antoine, 1633. Oil on canvas, 370 x 270 cm. Royal Collection
Trust / © Her Majesty Queen Elizabeth II 2017.
appear in the Commonwealth sale inventories, as we
shall see below.18
In addition to Van Dyck’s portraits of the royal family, Van der Doort lists a self-portrait of the painter
showing him ‘with his left hand at his breast’.19 This
hung in the same room, ‘the litle roome at the hithr
end of the Longe gallorie’, along with two other
Netherlandish artists’ self-portraits by Rubens and
Mytens (the latter’s image was situated above the
door, perhaps making him less visible than the others).20 Further portraits attributed by Van der Doort
to Van Dyck commemorated relatives at foreign courts
(Marie de Medici, Isabella Clara Eugenia, Henriette
de Lorraine, Charles Louis and Prince Rupert) and
musicians (Nicholas Lanier and Hendrick Liberti)
as well as the pro-Spanish military captain, Count
Hendrick van den Bergh. Notably, with the exception
of the double portrait of the Prince Palatine, Charles
Louis, and his brother, Prince Rupert, these portraits were painted in Antwerp, based on an Antwerp
period portrait, or, in the case of the Henriette de
53
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
ERIN GRIFFEY
Fig. 5. Anthony van Dyck,
Cupid and Psyche, 1639–40.
Oil on canvas, 200.2 x
192.6 cm. Royal Collection
Trust / © Her Majesty
Queen Elizabeth II 2017.
landscapes (three), histories (two) and two images
of ‘laughing’ igures.31 While Bronzino, Pordenone,
Giulio and Rembrandt were all proudly displayed in
their self-portraits in the Long Gallery, it is notable
that Van Dyck’s self-portrait was located separately in
the adjacent ‘litle’ room at the end of the gallery with
the self-portraits by two of his Netherlandish contemporaries, Rubens and Mytens. The Bear Gallery had
a preponderance of portraits, representing thirty out
of the thirty-seven works listed there; of the portraits,
ive were by Van Dyck, eleven by Daniel Mytens,
two by Michiel van Mierevelt and two by Gerrit
van Honthorst and one each by Paul van Somer and
Antonis Mor.32 Mytens may have had more works in
the Bear Gallery than Van Dyck, but only two other
works by him were listed by Van der Doort: his aforementioned self-portrait and his portrait of Prince
Henry in the king’s Whitehall bedchamber.33
The Gallery at St James’s was, like the Long Gallery,
also overwhelmingly dominated by Italian artists,
which adds signiicance to Van Dyck’s presence there
with three works (including the massive equestrian
portrait with Monsieur de St Antoine, Fig. 4).34 The
most widely represented painters here were Giulio
Romano (eight pictures), Titian (eight pictures) and
Tintoretto (six pictures). Although there were several
religious paintings in this gallery, along with a range
of other genres, one of the most compelling themes of
the St James’s Gallery was martial power. With several
images of Roman emperors on horseback by Giulio
and half-length portraits of the same by Titian in the
same room, Van Dyck’s depiction of Charles I vied for
attention with the Italian painters he admired – and
indeed Charles I was able to dominate the visual ield
over Roman emperors through the sheer size and
placement of his equestrian portrait at the far end of
the gallery.
A connection might be made here with the Salón
Nuevo at the Alcázar in Madrid, completed in 1636,
where Rubens’s equestrian portrait of Philip IV
54
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
VA N D Y C K P A I N T I N G S I N S T U A R T R O YA L I N V E N T O R I E S , 1 6 3 9 – 1 6 8 8
princes are depicted in armour in the portrait.43 Other
portraits were still in their straining frames, such
as those of van den Bergh and Liberti, which both
hung in the Bear Gallery, as was the Cupid and Psyche
(Fig. 5), in the Long Gallery.44 The head of an old man
in the Long Gallery had no frame at all.45 Clearly it
was not deemed essential to frame a picture to hang
it, even if it was displayed in a gallery amongst other
framed works. Van Dyck’s ‘Memoire’ or invoice to the
king from late 1638 further demonstrates that the artist sometimes supplied pictures with frames, for two
portraits of the king are listed as framed.46 The invoice
also includes a separate change for frames for the ‘veu
Conte’, presumably for the two ‘demis’ portraits of
Henrietta Maria intended for him that are listed in
the same bill.47
Van der Doort’s detailed entries contrast sharply
with the descriptions in the Commonwealth sale
inventories. The 1649 Act for the sale speciied that
these were the ‘goods and personal estate of the late
King, Queen and Prince’.48 These inventories include
more pictures attributed to Van Dyck (30) than found
in Van der Doort (22). Two further works (see below)
not attributed to Van Dyck are now widely accepted
in the scholarship to be by the painter. The sparse
information provided can make it complicated to
link some pictures from the Commonwealth sale to
Van der Doort, but in many cases one can reasonably
surmise that the same picture is being described. In
the case of portraits, the subject is usually given, and
if it is a full-length, i.e., ‘at length’. There are occasional elaborations, such as the note that the portrait
of the Archduchess Isabella was ‘done by ye life’, an
interesting assertion given that the portrait seems to
have been a repetition of Rubens’s 1625 portrait.49
The greater number of pictures attributed to Van
Dyck in the Commonwealth sale inventories can
be explained by the inclusion of pictures in palaces
and rooms not recorded by Van der Doort and pictures painted subsequently by the artist. There are,
for example, now two entries for Van Dyck portraits
of Marie de Medici (one in Somerset House and
one at St James’s), possibly because she had been
in residence at the English court in 1639–41 at St
James’s.50 References to quality are rarely made in
the Commonwealth sale entries, and the only such
comment for a Van Dyck attributed work is bestowed
on the ‘greate peece’ (Fig. 3), described as ‘very
Curioslÿ done’.51
hung at one end of the gallery, surrounded by other
images that proclaimed the Spanish crown’s imperial, Catholic ambitions.35 If Rubens’s Philip IV was
the ‘triumphant defender’ of Catholicism in the
Salón Nuevo,36 Van Dyck’s Charles I, who parades
under a Roman triumphal arch, answers the call for
a Protestant defender of the faith (in the blue sash of
the Order of the Garter rather than the red sash of
the Catholic Imperial Party) with his own militaristic ambitions.37 For the cognoscenti, Van Dyck was, like
Rubens, invoking Titian’s prototype of Charles V on
horseback with all its powerful political (and artistic)
associations, which hung at the opposite end of Philip
IV’s salon.
There are a few conclusions to be made based on
the presence of Van Dyck’s works in Van der Doort’s
register. Firstly, several of Van Dyck’s pictures protrayed sitters with close familial connections to
Henrietta Maria (Marie de Medici was her mother,
Isabella was her cousin and Henriette de Lorraine was
her sister-in-law) and indeed three Van Dyck pictures
were hung in her rooms. Giovanni Bellori tells us that
Van Dyck ‘Per le Regna fece’ [made for the queen]
the Virgin and Child with Angels that hung in her bedchamber.38 Of further interest is the placement in the
Privy Gallery of the Catholic Marie de Medici in the
same room as the Protestant Palatine princes. This
may have been a calculated decision to cater to a range
of confessional identities who would enter this space.
Moreover, Van Dyck’s works were prominently
located, and it is revealing that several hung alongside
Italian masters. At the Queen’s House at Greenwich,
for example, his portrait of the Archduchess Isabella
was the only picture by a Netherlandish artist. The
others were all by Italians.39 Henrietta Maria’s bedchamber at Whitehall, where she gave birth to the
Princess Catherine in 1639, had Van Dyck’s Virgin
and Child with Angels amongst other images of
the Holy Family and Virgin and Child by Orazio
Gentileschi, Luca Cambiaso and Raphael.40
Van der Doort also records details about the frames
used for Van Dyck’s pictures. Most were both carved
and gilded, though the large family portrait was only
‘Some part guilded’.41 The depiction of the Five
Eldest Children was set in a ‘blue and carved’ gilded
frame and the double portrait of the Palatinate princes
was particularly lavish, being ‘adorned with Marshiall
weapons carved whited and guilded frame’.42 The
latter frame was particularly itting given that the
55
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
ERIN GRIFFEY
today accepted as the same picture listed as a Van
Dyck by Van der Doort.58 The equestrian portrait of
the king on a white horse (Fig. 4) is also not directly
attributed to the artist but is now acknowledged to be
the one valued at £150 and sold to Hugh Pope, listed
at Somerset House amongst works from St James’s,
where it had hung during the time of Van der Doort.59
In the Commonwealth sale inventories, just two
pictures by Van Dyck were on display at outlying
palaces in the queen’s jointure: the portrait of the
Archduchess Isabella was still at Greenwich but
moved from the withdrawing chamber to the Queen’s
Gallery, and the Cupid and Psyche (Fig. 5), transferred from its former location in the Long Gallery
at Whitehall to Wimbledon.60 A portrait of the ‘Prince
Cardinal’ by Van Dyck is listed amongst the pictures
at Hampton Court, as is a ‘Prince Thomas’, descriptions that are not consistent with any of the portraits
described by Van der Doort.61 Other pictures had been
moved in the ten years since Van der Doort inventoried them: the portrait of Liberti had been relocated
to St James’s, as had Van Dyck’s self-portrait. The
Virgin and Child with Angels was transferred from the
queen’s Whitehall bedchamber to Somerset House.62
Others seem to be missing or are unidentiiable in the
Commonwealth lists: the portrait of van den Bergh;
the ‘old man’s head’; and the double portrait of
Charles Louis and Rupert.
For the Commonwealth sales, the biggest congregation of Van Dyck pictures was at Somerset
House (twelve), and most of them seem to have been
intended to hang there: the double portrait of Charles
I and Henrietta Maria with a ‘lawrell leafe’ in the
Great Closet, the Three Eldest Children in the Drawing
Room; the Virgin and Child with Angels and eight fulllength portraits in the Cross Gallery.63 The ravishing
Rinaldo and Armida (1629), now in Baltimore, hung
in the Great Gallery, and may have been on display at
Somerset House for some time, since it was not listed
amongst the contents of Whitehall in Van der Doort.64
This was another Antwerp-period painting that the
king had acquired, in this case through Endymion
Porter.
The Cross Gallery featured twenty-three individual full-length portraits, with eight attributed to
Van Dyck, depicting the king, queen, Prince of Wales
(Fig. 6), and ive other subjects with dynastic importance to king and queen: James I, Prince Henry, Marie
de Medici, Gaston, Duc d’Orléans (her brother) and
Since many pictures were moved to Somerset
House for the sale of the royal goods, especially from
Whitehall and St James’s, it is not always certain which
pictures were normally displayed at Somerset House.52
In any case, even in times of peace, pictures were moved
around, such as on the occasion of Henrietta Maria
giving birth to Princess Catherine in 1639.53 Another
complicating factor is that the palaces had not been
fully occupied by the court in several years. There are
clues in the inventories and from other accounts that
the king’s imprisonment for a few months in 1647
at Hampton Court occasioned a copy of the ‘greate’
family portrait in the Long Gallery (Fig. 3) as well
as the transfer of a few special family portraits from
Whitehall to Hampton Court.54 Van Dyck’s portrait
of the Five Eldest Children is likely the portrait of ‘the
Kings Childrn in one peece by Vandyke’ recorded at
Hampton Court for the Commonwealth sale, as was a
portrait of Henrietta Maria (likely the portrait of her
in white that formerly hung in the king’s Whitehall
bedchamber) (Fig. 2).55 The three portraits are listed
in succession in the Commonwealth sale inventories,
as if they were hung side by side. The equestrian portrait by Van Dyck, presumably the one previously in
the Chair Room at Whitehall (Fig. 1), was listed just
a few items before these royal family portraits, with
three extremely expensive Titian religious paintings
between them (these Titian pictures valued in total at
a staggering £1,400).56 It is compelling to consider the
proximity of the Van Dyck pictures to those by Titian,
and ask if the king perhaps meditated on his mortality
and legacy in a visual display that juxtaposed Titian
pictures of the Supper at Emmaus, the Virgin Mary,
and the Burial of Christ alongside Van Dyck’s portraits of the king, his consort and his children.
Despite the temporal distance between the court’s
occupation of the palaces and the drawing up of the
inventories for the sale, tentative conclusions can be
made. Some pictures were apparently intended for
particular rooms, most notably the Cross Gallery
at Somerset House. Others are listed speciically as
coming from a particular palace. Based on the details
given, and leaving out pictures that seem to have been
moved to Somerset House for the sale, it seems that
the largest proportion of Van Dyck pictures hung
at Somerset House (twelve), followed by St James’s
(seven), Whitehall (ive) and Hampton Court (ive).57
The double portrait of George Villiers, 2nd Duke of
Buckingham, and Lord Francis, is unattributed but
56
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
VA N D Y C K P A I N T I N G S I N S T U A R T R O YA L I N V E N T O R I E S , 1 6 3 9 – 1 6 8 8
Fig. 6. Anthony van Dyck,
Charles II as Prince of Wales,
before May 1638. Oil on
canvas, 154 x 132.1 cm. Royal
Collection Trust / © Her
Majesty Queen Elizabeth II
2017.
Marguerite de Lorraine (her sister-in-law).65 The
Cross Gallery had a tradition of displaying portraits,
and at the time of Anne of Denmark was hung solely
with portraits (ifteen of them).66 Van Dyck likely
brought the portrait of Gaston with him to England
in 1632, for the king authorized a payment for a
full-length portrait of ‘Monsieur the french Kings
brother’ on 8 August 1632.67 The aforementioned
1638 bill from the artist lists several portraits that
seem to be connected to the Cross Gallery, including
‘Le Prince Carlos en armes pour Somerset’ at £40,
referring to this commission.68 The same bill refers to
portraits of Henrietta Maria herself as well as Prince
Henry, Marie de Medici, both billed at £50. These
amounts are consistent with prices for full-length
portraits (the smaller portrait of Prince Charles seems
to take that into account). Remarkably, the king annotated the bill with the inal prices for works for which
he was considered responsible, while the queen herself was intended to decide how much the artist was
paid for the other works. Although her part of the bill
was probably ultimately settled by the king, this suggests that these paintings had her directorial input.69
Moreover, the connection between Van Dyck and
Henrietta Maria is corroborated by the prevalence of
his works in the palaces of her jointure at the time of
the Commonwealth sales.
Henrietta Maria’s display of Van Dyck’s portraits
of herself and her children extended to her château at
Colombes outside of Paris, where she died in 1669.70
There, the Three Eldest Children, formerly in the
Drawing Room at Somerset House, was displayed in
57
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
ERIN GRIFFEY
Other groups of pictures were moved to new locations, such as the trio of self-portraits of Van Dyck,
Rubens and Mytens formerly encountered in the ‘litle’
room at the end of the Long Gallery at Whitehall.
These were now positioned in Whitehall in the ‘Passage
between the Green Room and the Closet’, along with
at least thirteen other artists’ self-portraits, including
Titian, Giorgione, Raphael and Rembrandt.76 This
organization of artists’ self-portraits, although apparent on a small scale during the time of Charles I (distributed with some in the ‘litle’ room and others in the
Long Gallery itself), was now consolidated into one
location during the time of Charles II. Considering
Cardinal Leopold de Medici’s contemporaneous
collection of artists’ self-portraits, and Cosimo de
Medici’s English visit of 1669 and later establishment
of the famous gallery of self-portraits at the Ufizi, it
is worth posing the question whether there might be
a connection with Charles II’s ‘Passage’, with its sixteen artists’ self-portraits. These were shown amongst
twenty-four other pictures, a mix of artist portraits,
such as a Rubens portrait of ‘Vandyke in a dutch habit’,
portraits of learned men (Erasmus as well as other portraits featuring books and papers), and other portraits,
landscapes, genre scenes and a single religious work
depicting the Good Samaritan.
Charles II’s inventory records many pictures that
had been returned to the crown at the Restoration and
shows, in a few cases, consistency of display since the
time of Van der Doort and the Commonwealth sale
inventories. The dynastic importance of some portraits, in particular their placement in the same locations as his father, showcases the importance of both
visual and hereditary lineage. The James II inventory
of pictures, as Andrew Barclay has shown, seems to
record the pictures at Whitehall as they were placed
at the end of Charles II’s reign in early 1685, and at
Windsor in 1688. Unlike the limited coverage of the
c.1666–7 inventory, which solely records pictures at
Whitehall and Hampton Court, the later inventory
also includes St James’s and Windsor. More analysis
is needed of this inventory, but it is noteworthy that
Whitehall (869 entries, 104 of them in storage) was
far more heavily populated with works of art than
other palaces, such as Hampton Court (177), Windsor
(170, none in storage) and St. James’s (just forty-nine,
twenty-three of which were in storage and another
nine in the wardrobe). This inventory records twentytwo paintings attributed to Van Dyck, comprising
her Presence Chamber, where it could be widely viewed.
The portrait of Charles II as Prince of Wales (Fig. 6),
which had previously hung in the Cross Gallery at
Somerset House, was now hung in the Vestibule, and a
Van Dyck portrait of the queen ‘when she was young’
hung more privately in her Dressing Room. Although
the last description is vague, the two former portraits
had both hung at Somerset House, suggesting that she
felt some claim to those portraits. Charles II seems likely
to have approved her taking the pictures to France, and
two portraits of the royal children were both returned
to him at her death, for they can be linked with pictures
listed in the 1685–8 inventory.71
Charles II’s pictures at Whitehall and Hampton
Court seem to have been inventoried c.1666–7.
This inventory includes ten entries for pictures by
Van Dyck, eight of them familiar from his father’s
reign and two previously unseen in the royal inventories, the aforementioned intriguing ‘sea Peice’ and
a depiction of Christ with St John. In addition, the
double portrait of the Duke of Buckingham and Lord
Francis, which was not attributed to Van Dyck in the
Commonwealth sale inventories, appears here, again
unattributed but to be conidently identiied as such.
This double portrait was in storage at Whitehall,
along with four other Van Dyck pictures: Charles
I in coronation robes, Margaret Lemon, Christ and
St John and the ‘sea Peice’.72 Charles II did, however,
ensure that his father was on show in the equestrian
portrait with Monsieur de St Antoine, which was no
longer at St James’s but now hung at Hampton Court
in ‘Paradise’ (Fig. 4).73
The storage of pictures under Charles II deserves
more attention than can be given here (180 are listed as
in storage at Whitehall and another nine at Hampton
Court in the c.1666–7 inventory), but it is certainly
notable that ive Van Dyck pictures were not on view
when the inventory was taken. However, other Van
Dyck pictures with dynastic signiicance enjoyed
pride of place, in particular the ‘greate peece’ (Fig. 3)
in the Long Gallery at Whitehall, where it had formerly hung during Charles I’s reign.74 Similarly, the
portrait of Henrietta Maria in white (Fig. 2) was positioned in the King’s Bedchamber at Whitehall, as it
had during his father’s day. The depiction of the Five
Eldest Children, which had previously hung above the
table in Charles I’s Breakfast Chamber, was now displayed in the Third Privy Lodging Room (also known
as the Square Table Room) at Whitehall.75
58
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
VA N D Y C K P A I N T I N G S I N S T U A R T R O YA L I N V E N T O R I E S , 1 6 3 9 – 1 6 8 8
Orange and William, Prince of Orange.85 Van Dyck’s
self-portrait continued to hang in the same passage
between the closet and the Green Room, amongst
the same other artists’ self-portraits that hung there
twenty years previously.86 Some changes had been
made in this ‘passage’, which now had thirty-two
rather than thirty-eight pictures, including the movement of three genre scenes to the nearby stool room.
This passage had, moreover, now a stronger sense of
a gallery of artists’ self-portraits (fourteen), interspersed with other portraits of artists (four) and igures associated with reading.87
The portrait of Charles II as Prince of Wales
(Fig. 6), formerly in the Cross Gallery and inventoried
at Colombes, was now recorded in the king’s Great
Bedchamber at Windsor.88 Another Van Dyck picture
hung in the same room, a portrait of the ‘late Prince
and Princess of Orange’, presumably a version of the
double portrait now in the Rijksmuseum.89 The new
lodgings at Whitehall had resulted in moving a number of pictures, including Van Dyck’s Cupid and Psyche
(Fig. 5), formerly in the bedchamber and now placed
in the Great Antechamber in the ‘New Lodgings’.90
Another return from Colombes, Van Dyck’s portrait
of the Three Eldest Children, was also situated in the
Great Antechamber. The portrait of the Five Eldest
Children stayed in Whitehall but was moved from its
mid-1660s location in the Third Privy Lodging Room
to the Yellow Bedchamber.91 Others previously in
storage found a new life on display, such as Van Dyck’s
portrait of Margaret Lemon, now placed in the king’s
private closet at Whitehall.92
Van Dyck was well represented at Windsor in
1688, with pictures in several different rooms in
the privy apartments: the Privy Chamber (Duchess
of Richmond), Withdrawing Chamber (Kenelm
Digby; double portrait of the Duke of Buckingham
and Lord Francis), the Great Bedchamber (double portrait of Prince William and Princess Mary;
Charles II as Prince of Wales in armour, Fig. 6) and
the closet (equestrian portrait of Charles I on a dun
horse is listed here, though the entry is accompanied
by the note, ‘at Hampton Court’).93 The closet had
two portraits ‘after Vandyck’, one of Mrs Endymion
Porter and the other of Anne, Countess of Newport.94
The portrait of Venetia Digby hung in the Queen’s
Drawing Room.95 There is poignancy to the display
in the Great Bedchamber.96 Alongside the Van Dyck
portraits of Charles II as Prince of Wales and his sister,
most of the other pictures from the c.1666–7 inventory, a few works not recorded in earlier inventories
and at least two Van Dyck portraits returned from
Henrietta Maria’s château at Colombes after her death
in 1669.
In 1685–8, the Van Dyck pictures were spread
amongst three royal palaces, chiely at Whitehall
(fourteen) but also at Windsor (seven) as well as at
Hampton Court (one is clearly listed as hanging
there, the equestrian portrait of Charles I on the white
horse, in the Queen’s Gallery). Two different versions of the equestrian portrait of Charles I on a dun
horse are recorded in the 1685–8 inventory, including one in storage at Whitehall.77 The other is listed
amongst the pictures at Windsor, with the added
note ‘at Hampton Court’, suggesting that this picture
had been moved there.78 This equestrian portrait was
recorded along with other pictures ‘that were not the
late king’s’ (Charles II’s), and thus may be related to
the one recorded in the Duke of York’s collection at
Whitehall in 1674.79 A couple of pictures attributed to
Van Dyck in the earlier Charles II inventory are not
readily traceable here, namely the portrait of Charles
I in coronation robes and the ‘sea Peice’.
A number of Van Dyck pictures are new to the
1685–8 inventory, either added to the collection or
re-attributed since the c.1666–7 inventory, including
the ‘reddish spaniel’, a life-sized Madonna as well as
a portrait of Henrietta Maria ‘side-face’ and portraits
of Sir Kenelm Digby and his ‘lady’, Venetia.80 A further two portraits of Henrietta Maria are listed, one of
which remained in the same location since the earlier
inventory.81 Not all of the known works are accepted
as autograph today, with the portraits of Kenelm and
Venetia Digby regarded as studio copies. Eight Van
Dyck pictures are listed in storage, including iconic
works from his father’s reign, the ‘greate peece’ and
the portrait of his father on a dun horse.82 A further
portrait of his mother, the one in proile mentioned
above, was also in storage.83 The Christ and St John
remained in storage, as it had been over twenty years
earlier.84
The deployment of Van Dyck pictures suggests
both continuity and change in the nearly twenty years
since the last inventory. The half-length portrait of
Henrietta Maria stayed in the king’s bedchamber at
Whitehall, now the ‘old’ bedchamber, with three of the
same family portraits listed in c.1666–7, all by Adriaen
Hanneman, of Henriette-Anne, Mary, Princess of
59
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
ERIN GRIFFEY
selfe in the prsence of Sr James Palmer’, a copy could
be portable and privately admired. This miniature was
a point of pride, since the king presented it to Van der
Doort in the presence of a courtier who was himself
an amateur miniature painter.
Van Dyck’s pictures produced at the English court
continue to serve as our visual touchstone of the halcyon days of the Stuart court of the 1630s. Their currency in large-scale exhibitions and at home in the
Royal Collection, attests to their continuing power in
claims to artistic and royal magniicence. The importance of Van Dyck in visualizing Stuart dynastic power
is also demonstrated through their display at royal
palaces during the reigns of his patrons, Charles I and
Henrietta Maria, as well as their son, Charles II. Van
Dyck’s pictures were prominently staged, both in their
locations with their attendant audiences as well as their
artistic company (Italian masters). Copies after Van
Dyck’s pictures were also kept at the royal palaces, particularly family portraits in smaller versions. The wide
dissemination and display of his work beyond royal palaces merits further attention alongside the conclusions
here.
Mary, in the double portrait with William, which are
both nostalgic and strangely prescient considering
the events of 1688, there was Godfrey Kneller’s fulllength portrait of Louise de Keroualle, arguably the
king’s greatest love. Another picture with some personal signiicance hung in this Windsor bedchamber,
an Antonio Verrio picture of Christ ‘curing the lame
and blind’, almost certainly a reference to the king’s
ritualistic touching of patients to cure the King’s
Evil.97
Van Dyck’s presence in Stuart court display was
not of course limited to pictures he himself made
and/or those directly attributed to him. As the above
references to portraits ‘after’ Van Dyck in the 1685–8
inventory demonstrate, copies are also recorded
in Stuart royal inventories, and these are generally
described as works ‘after’ an artist. These copies were
in the form of painted portraits on canvas as well as
miniatures. In 1685–8, in addition to the copies of
Van Dyck’s portraits of Mrs Endymion Porter and
the Countess of Newport, there were pictures of the
Countess of Dorset and Charles II as well as miniature copies of portraits of Henrietta Maria executed
by Richard Gibson and John Hoskins.98 The inventory records copies by ifteen named painters, with
copies after Van Dyck (six) only eclipsed by pictures
after Titian (twelve). Copies after Van Dyck appear in
the other inventories, too, with three in the c.1666–7
inventory, including a miniature copy of Henrietta
Maria by Hoskins, in the king’s closet at Whitehall,
as well as two others, Remigius van Leemput’s
copy of the ‘greate peece’, in the Queen’s Gallery at
Whitehall, and Jan Belcamp’s small ‘Prospective’ of
Henrietta Maria, in Paradise at Hampton Court.99
The Leemput picture is the only copy after Van Dyck
listed in the Commonwealth sale inventories, which
documents it at Hampton Court.100 The Belcamp
work ‘after’ Van Dyck appears in Van der Doort,
placed in the king’s Chair Room in the Privy Gallery
at Whitehall.101 Another picture of Henrietta Maria, a
miniature by Hoskins which was ‘the last that Hoskins
did after Sir Anthony Vandike’ is also mentioned in
Van der Doort, and recorded as delivered to the king
in 1639.102 Given that several of Van Dyck’s portraits
of Henrietta Maria were acquired by courtiers and
foreign élites and thus displayed outside the royal
palaces, copies enabled broad circulation of portrait
types.103 And in the case of a miniature, like this one,
which Van der Doort received ‘by your Mats owne
Address for correspondence
Erin Griffey, The University of Auckland, Art History, 14a
Symonds Street, Auckland, New Zealand.
[email protected]
Acknowledgements
This paper was inspired by the Van Dyck: Anatomy of Portraiture
exhibition at the Frick Collection in 2016, and discussions with
colleagues at the Study Day. I am grateful to the Surveyor of
The Queen’s Pictures, Desmond Shawe-Taylor, and to Assistant
Surveyor, Lucy Whitaker, for access to the manuscript of Charles
II’s inventory in the Surveyor’s Ofice. I would also like to thank
Andrew Barclay, Bendor Grosvenor, Richard Stephens, Simon
Turner and Jeremy Wood for their continuing encouragement of
my work on Stuart inventories.
Notes and references
1 W. Hookham Carpenter, Pictorial Notices, consisting of a memoir of Anthony van Dyck, with a descriptive catalogue of the
etchings executed by him, and a variety of interesting particulars
relating to other artists patronised by Charles I (London, 1844),
p. 29.
2 Letter of 26 August 1633; H. Hymans, ‘Les dernières années
de Van Dyck’, Gazette de Beaux-Arts 36 (1887), p. 434.
3 O. Millar (ed.), ‘Abraham Van Der Doort’s Catalogue of the
Collections of Charles I’, The Walpole Society 37 (1958–60), pp.
60
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
VA N D Y C K P A I N T I N G S I N S T U A R T R O YA L I N V E N T O R I E S , 1 6 3 9 – 1 6 8 8
iii-256; O. Millar (ed.), ‘The Inventories and Valuations of the
King’s Goods 1649–1651, The Walpole Society 43 (1970–72),
pp. vii-458; E. Griffey and C. Hibbard, ‘Courtly magniicence
and hidden politics: Henrietta Maria’s inventory at Colombes’,
Journal of the History of Collections 24 (2012), pp. 159–81 and
online supplement; Anonymous, King Charles II’s Collection,
An Inventory of All His Majesties Pictures in Whitehall, in
Hampton Court and in Stoare, Copy of a contemporary MS. in the
possession of H. M. The Queen, (London, 1922) (unpublished
transcription of the manuscript in the Ofice of the Surveyor,
St James’s Palace, OM16; cited hereafter as Charles II inventory); W. Bathoe (ed.), Catalogue of the Collection of Pictures,
&c. Belonging to King James the Second (London, 1758). See
also Anonymous, Royal Inventory of Pictures, Statues, etc. at
Whitehall, Hampton Court, Windsor Castle, St. James’s, and
in the Queen Dowager’s Custody (between 1686 and 1689),
Glasgow University Library MS 238. On the relationship
between the Bathoe edition (based on Harley MS 1890) and
Hunter MS 238, with an indispensable guide to the room locations, and a convincing rationale for dating the Whitehall
sections to early 1685 and those relating to Windsor to 1688;
see A. Barclay, ‘The inventories of the English royal collection, temp. James II’, Journal of the History of Collections 22
(2010), pp. 1–13, especially the online supplement. Inventories
of the later Stuarts, including William and Mary and Anne,
are not examined here. For references to these inventories, see
O. Millar, The Tudor, Stuart and Early Georgian Pictures in the
Collection of Her Majesty The Queen (London, 1963), pp. 37–8.
exactly as some of the portraits can be dificult to disentangle. For example, the equestrian portrait of the king on a dun
horse was known in two versions from Van der Doort, who
mentions both the ‘modell’ that hung in the Chair Room
at Whitehall and the ‘greate’ one that hung in the Princes
Gallery at Hampton Court; Millar, op. cit. [1960] (note 3),
p. 62 no. 2. The ‘greate’ one, which is independently listed
in the Commonwealth sale inventories (Millar, op. cit. [1972]
(note 3), p. 316 no. 283), did not return to the British Royal
Collection. For the provenance, see O. Millar in S. Barnes
et al., Van Dyck, A Complete Catalogue of the Paintings (London
and New Haven, 2004), p. 468. However two further versions
of this portrait of Charles I, again speciied as a portrait of him
on a dun horse, appear in the 1685–8 inventory of James II. See
Bathoe, op. cit. (note 3), p. 31 no. 359, p. 91 no. 1076.
13 Charles II inventory, op. cit. (note 3), p. 50, no. 637; Bathoe,
op. cit. (note 3), p. 33, no. 382. Seascapes survive in the backgrounds of some of Van Dyck’s portraits, such as the two
Rijksmuseum portraits of men from the Van der Burght family,
and the Metropolitan Museum portrait of Robert Rich, 2nd
Earl of Warwick.
14 Oxford, Bodleian Library, Rawlinson MS A341, Inventory
of York House, 1635, nos. 1 and 67: ‘One great Peice being
Scipio’ and ‘A Little head’.
15 Van der Doort’s entry for the equestrian portrait of the king
elaborates that the image is ‘the irst moddell of – ye king in
greate on horseback wch is at this time in the – Princes Gallory
at Hampton Court’; Millar, op. cit. [1960] (note 3), p. 62,
no. 2. Thus, there were two versions of this portrait displayed
in Stuart royal palaces during the time of Van der Doort, being
those now at Windsor and in the National Gallery, London.
See Millar, op. cit. [1963] (note 3), pp. 94–5.
4 For example, the vast majority of the pictures catalogued by
Van der Doort are at Whitehall Palace, but his other lists and
notes show that there were important pictures at other palaces as well. Charles II’s c.1666–7 inventory only includes
Whitehall and Hampton Court and James II’s only Whitehall,
Hampton Court, Windsor and St James’s.
16 Millar, op. cit. [2004] (note 6), pp. 468–9.
5 On Van der Doort, see Millar, op. cit. [1960] (note 3), pp.
xiii-xvii.
17 Millar, op. cit. [1960] (note 3), p. 226, no. 1. Note, however,
that the works at St James’s were included in Millar’s edition
of Van der Doort, pp. 226–8, but this catalogue was not written by Van der Doort. It seems to have been written in 1640.
On this manuscript, in the Library of the Victoria and Albert
Museum, MS 86. J.13, see Millar, pp. xxiii-xxiv.
6 Millar’s edition of Van der Doort comprises four different
manuscripts; on these, see Millar, op. cit. [1960], pp. xvii-xxii.
7 No drawings by Van Dyck are listed in these inventories.
However a grisaille oil sketch for the procession of the Order
of the Garter is listed in both the c.1639 and 1649–51 inventories: Millar, op. cit. [1960] (note 3), p. 158 no. 10; Millar, op.
cit. [1972] (note 3), p. 151 no. 2. See also Barclay, op. cit. (note
3).
18 Van der Doort’s inventory is dominated by works at Whitehall,
with few listed from Hampton Court and Somerset House.
There are some entries in Van der Doort for works at St James’s
(Gallery), Greenwich, particularly the Queen’s Gallery, as well
as at Nonsuch.
8 Millar, op. cit. [1960] (note 3), p. 180 no. 6.
19 Millar, op. cit. [1960] (note 3), p. 38, no. 4. B. Grosvenor has
recently identiied this as the portrait in a private collection,
recently placed on display at the Rubenshuis. See ‘A Selfportrait by Sir Anthony van Dyck (1599 – 1741) from the collection of Charles I’, British Art Journal 16 no. 3 (2015–16),
pp. 2–7.
9 Polygraphice, or, The art of drawing, engraving, etching, limning,
painting, washing, varnishing, colouring, and dying in three books,
2nd edn (London, 1673), p. 224.
10 S. Orso, Philip IV and the Decoration of the Alcázar of Madrid
(Princeton, 1986); see especially pp. 28–31, quote from p. 28.
On the dominance of Titian pictures in the bóvedas del Tiziano,
see p. 30.
20
21
22
23
24
Millar, op. cit. [1960] (note 3), p. 37 no. 2; p. 38 nos. 4–5.
Ibid., p. 7, no. 34, p. 2 no. 3.
Ibid., p. 6 no. 24.
Ibid., p. 58 no. 91.
Charles I paid Van Dyck £25 for ‘the Arch Dutchesse at length’
on 8 August 1632; Hookham Carpenter, op. cit. (note 1), p. 71.
25 Millar, op. cit. [1960] (note 3), p. 197, no. 21, p. 194 no. 3.
26 Ibid., p. 177 no. 33; Millar, op. cit. [1972] (note 3), p. 300
no. 30, as at Somerset House. This picture does not survive.
For an impression of the lost original, see the picture in the
11 It is worth noting that Charles I apparently directed Van der
Doort to ‘mak a not’ [make a note] of all of the king’s paintings
by Titian; Millar, op. cit. [1960] (note 3), pp. 183–4. Titian pictures were placed prominently in Whitehall and also displayed
at St. James’s, Somerset House, Hampton Court and Oatlands.
12 This igure includes the grisaille oil sketch (see note 7) but
not the perspective piece that Van Dyck did not complete.
It includes the second version of the ‘dunn horse’ portrait,
even though strictly speaking it is not given its own entry by
Van der Doort. These calculations are dificult to determine
61
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
ERIN GRIFFEY
27
28
29
30
31
32
33
34
35
36
37
38
39
40
Galleria Palatina, Palazzo Pitti, Florence; H. Vey, in Barnes
et al., op. cit. (note 12), p. 397, no. III.A1.
Thus called in the 8 August 1632 warrant issued to pay Van
Dyck £100 for ‘One greate peece of or royall selfe, Consort and
children’; Hookham Carpenter, op. cit. (note 1), p. 71.
Millar, op. cit. [1960] (note 3), p. 35, no. 1; ibid., p. 177, no. 33.
Ibid., pp. 42–60 (102 pictures), with additional pictures on
p. 181 (three pictures) and p. 193 (eight pictures). The sculptures are listed on pp. 165–70.
Others were German, Spanish, or by an unnamed artist.
Millar, op. cit. [1960] (note 3), p. 49 nos. 39, 41.
Outside the Bear Gallery, Mytens only had two other works
listed by Van der Doort: a portrait of Prince Henry in the
king’s bedchamber and his self-portrait, in the ‘litle’ room at
the end of the Long Gallery; see ibid., p. 35 no. 3 and p. 38
no. 5.
Ibid., p. 38 no. 5 and p. 35 no. 3.
Ibid., pp. 226–8; recall that these pictures are listed in the
Victoria and Albert Museum MS 86.J.13 (see note 17), which
was not written by Van der Doort but was published by Millar
as an appendix to Millar, op. cit. [1960] (note 3). Van Dyck’s
pictures are listed on p. 226 nos. 1, 7, and p. 227 no. 46.
See M. C. Volk, ‘Rubens in Madrid and the decoration of the
Salón Nuevo in the Palace’, Burlington Magazine 122 no. 924
(1980), pp. 168–80. For more on the decoration of the Salón
Nuevo, including a reconstruction of the arrangement of pictures, see Orso, op. cit. (note 10), esp. pp. 32–117. The 1636
inventory is transcribed in Appendix C, pp. 189–91; thirty
paintings are listed in this inventory, while at St James’s in
c.1640 there were ifty-ive.
Volk, op. cit. (note 35), p. 171.
On the red sash, see ibid., p. 171 note 12.
Giovanni Bellori, Le vite de’ pittori, scultori et architetti moderni
(Rome, 1672), p. 262. This version does not seem to have survived, but a version is in the Galleria Palatina, Palazzo Pitti.
Millar, op. cit. [1960] (note 3), p. 194 no. 3.
Ibid., pp. 176–7, nos. 30–32. In the same room was a further
Virgin and Child by ‘done in ffraunc’.
but the connection with a life study is rarely made. Van der
Doort also regularly describes the scale of a person in relation
to life-size, and only very rarely (twice by my count) refers to a
work being made after life. See for example his description of a
self-portrait of Il Pordenone, p. 45 no. 19: ‘painted by himselfe
after himselfe by the life’. See also the entry to the Peter Oliver
miniature of Henrietta Maria ‘by the life’, p. 106 no. 14.
50 Millar, op. cit. [1972] (note 3), p. 269 no. 206 (St James’s),
p. 319 no. 319.
51 Ibid., p. 70 no. 29.
52 See ibid. Some of the entries state this, for example p. 298,
where reference is made to the list of artworks that are at
Somerset House but came from Whitehall and St James’s.
Copies often add if a work is a Somerset House, Whitehall or
St James’s ‘piece’, but this is not consistently done.
53 See also E. Griffey, On Display: Henrietta Maria and the
materials of magniicence at the Stuart court (London and New
Haven, 2016), p. 130.
54 On the copy, by Remigius van Leemput, see D. Howarth,
Images of Rule: Art and Politics in the English Renaissance,
1585–1659 (Berkeley, 1997), p. 145; Millar, op. cit. [1963] (note
3), p. 98. For the entry in the Commonwealth sale inventories,
see Millar, op. cit. [1972] (note 3), p. 206 no. 336. While the
copy may thus have been intended for Hampton Court along
with other works displayed there for the king, he would not
enjoy them there long. By 12 August 1647 Charles was moved
to Oatlands.
55 Millar, op. cit. [1972] (note 3), p. 206 nos 337, 338.
56 Ibid., p. 206 nos. 333–5. See also Millar, in Barnes et al., op.
cit. (note 12), pp. 470–71. The larger version of the equestrian portrait on the dun horse was in the Gallery at Somerset
House; Millar, op. cit. [1972] (note 3), p. 316 no. 283.
57 These igures are approximate, since not all pictures are clearly
linked to one speciic house. The eight Cross Gallery portraits
were clearly intended for Somerset House, and the Rinaldo and
Armida is described as a Somerset House piece (Millar, op. cit.
[1972] note 3, p. 316 no. 279), as is the double portrait with the
laurel leaf (p. 317 no. 354). The Three Eldest Children is known
to have been made for the queen’s Drawing Room at Somerset
House, and the Virgin and Child with Angels is also known to
have been made for the queen.
41 Ibid., p. 42 no. 1. The 1636 inventory of the Alcázar also
includes many descriptions of frames. See Orso, op. cit. (note
10), pp. 189–92.
42 Millar, op. cit. [1960], p. 35 no. 1; p. 26 no. 20.
43 Now in the Louvre, inv. no. 1238.
44 Millar, op. cit. [1960], p. 2 no. 3; p. 7 no. 35; p. 43 no. 10.
45 Ibid., p. 58, no. 91.
46 TNA, SP 16/406 (16); transcribed in Hookham Carpenter, op.
cit. (note 1), p. 67.
47 TNA, SP 16/406 (16); transcribed in Hookham Carpenter, op.
cit. (note 1), pp. 67–8.
48 C. H. Firth and R. S. Rait (eds), Acts and Ordinances (London,
1911), vol. II, pp. 162–3, and for the second Act, pp. 546–8.
49 Millar, op. cit. [1972] (note 3), p. 67 no. 109. See H. Vey, in
Barnes et al., op. cit. (note 12), p. 319. By my calculations, this
is one of only ten instances of a picture being described as
being made after life in the Commonwealth sale inventories.
See for example, p. 298 no. 3, and p. 315 no. 269. Others are
described as ‘big’ as or ‘less’ than life-size in relation to scale,
58 Millar, op. cit. [1960] (note 3), p. 226 no. 7, as at St James’s;
Millar, op. cit. [1972] (note 3), p. 269 no. 202. This is listed
amongst works categorized, p. 256, as ‘of St James’s’, in the
Commonwealth sale inventories.
59 Millar, op. cit. [1972] (note 3), p. 273 no. 279; see also Millar,
in Barnes et al., op. cit. (note 12), p. 462. Note that there was
another unattributed painting of ‘The King on horsback’
listed amongst works from St James’s, Millar, op. cit. [1972]
(note 3), p. 273 no. 272.
60 Ibid., p. 67 no. 109, p. 217 no. 1.
61 Ibid., p. 198 nos. 203, 204.
62 Ibid., p. 300 no. 30.
63 Ibid., p. 317 no. 354, p. 313 no. 233, p. 300 no. 30, pp. 318–19.
This igure does not include the equestrian portrait listed
in the Gallery since it is listed as a St James’s piece, p. 316
no. 283.
64 Ibid., p. 316 no. 279.
65 Ibid., pp. 318–19.
62
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
VA N D Y C K P A I N T I N G S I N S T U A R T R O YA L I N V E N T O R I E S , 1 6 3 9 – 1 6 8 8
87 The fourteen pictures that seem clearly designated as self-portraits are accompanied by the phrase ‘by himself ’ or ‘by herself ’. In addition, there is the so-called portrait of Van Dyck
by Rubens, as well as four ‘pictures’ of other artists. There are
a few exceptions, but the room was almost completely covered
with heads. See for example the head of a young woman, a
work not found in Charles II’s inventory, Bathoe, op. cit. (note
3), p. 10 no. 111; a woman’s head with lowers, p. 11 no. 115.
The only history painting was a Bassano depiction of the Good
Samaritan, p. 11 no. 121. The addition, since c.1666–67 of a
‘picture of a book upon the closet door’, p. 12 no. 136, suggests a playful quality, and again underscores the links with
reading in this passage. This playfulness is further displayed in
the ‘picture of a fool in a black cap looking through a window’
attributed to Holbein, p. 12 no. 137, and which was also in the
same passage in the earlier inventory.
66 Three manuscript copies of the lost 1619 original inventory are
held in the Duchy of Cornwall Ofice. The inventory has been
transcribed by M.T.W. Payne, ‘An inventory of Queen Anne of
Denmark’s “ornaments, furniture, household stuffe, and other
parcells” at Denmark House, 1619’, Journal of the History of
Collections 13 (2001), pp. 23–44.
67 Hookham Carpenter, op. cit. (note 1) p. 71.
68 Ibid., p. 67.
69 See my discussion in this respect in Griffey, op. cit. (note 53),
p. 120.
70 For more on the inventory and its contents, see Griffey and
Hibbard, op. cit. (note 3).
71 Bathoe, op. cit. (note 3), p. 14 no. 155, p. 42 no. 483.
72 Ibid., p. 43 no. 466, p. 46 no. 533, p. 49 no. 618, p. 50 nos. 635,
637.
73 Ibid., p. 79 no. 80.
74 Ibid., p. 1 no. 1.
75 Ibid., p. 15 no. 240, p. 10 no. 162.
76 Ibid., pp. 16–18. Other works listed in this room have vague
descriptions that may relate to self-portraits, such as p. 16
no. 271, p. 17 no. 275, and nos. 286–8.
77 Bathoe, op. cit. (note 3), p. 31 no. 359.
78 Ibid., p. 91 no. 1076.
79 Millar, op. cit. [1963] (note 3), p. 95. See the Inventory of
household goods and pictures of James, Duke of York, 1 June
1674, Bodleian Library MS Bodl. 891, fol. 16v no. 4; transcribed in Paul Mellon Centre, Ellis Waterhouse archive, box
‘E.K.W. archive’ folder ‘J’; in ‘The art world in Britain 1660 to
1735,’ at http://artworld.york.ac.uk; accessed 22 August 2016.
This 1674 inventory, comprising ifty-two pictures, includes
no attributed works, which is why it is not used in the broader
analysis of this article.
80 Bathoe, op. cit. (note 3), p. 33 no. 382, p. 40 no. 464, p. 38
no. 441, p. 66 no. 745, p. 68 no. 771. The studio portraits of
Kenelm and Venetia Digby are both currently in the Royal
Collection: RCIN 402903 and RCIN 653619. The portrait of
Henrietta Maria ‘side face’ is in the Royal Collection: RCIN
400159. There is another version proile portrait in Memphis,
Memphis Brooks Museum of Art.
81 Bathoe, op. cit. (note 3), p. 9 no. 93; Hunter MS, op. cit. (note
3), fol. 42 no. 93.
82 Bathoe, op. cit. (note 3), p. 15 no. 173, p. 31 no. 359.
83 Ibid., p. 38 no. 441.
84 Ibid., p. 29 no. 330.
85 Ibid., p. 9 no. 93, and nos 94–6.
86 Ibid., p. 11 no. 124.
88 Bathoe op. cit. (note 3), p. 67 no. 753.
89 Ibid., p. 67 no. 750. On the autograph (Rijksmuseum) version
and its provenance, see Millar, in Barnes et al., op. cit. (note
12), p. 616.
90 Bathoe, op. cit. (note 3), p. 14 no. 159.
91 Ibid., p. 42 no. 483.
92 Ibid., p. 43 no. 498.
93 Ibid., p. 91 no. 1076.
94 Ibid., p. 91 nos 1084–5.
95 Ibid., p. 68 no. 771.
96 Ibid., p. 67 nos. 750–53.
97 This iconography relates to Verrio’s illusionistic fresco painting (now lost) in the King’s Chapel at Windsor. As such this
painting may be related to RCIN 404052.
98 The copyists of the larger portraits are not named in these
cases. The miniaturists are named. The portrait of the
Countess of Dorset was in storage at Whitehall, Bathoe, op.
cit. (note 3), p. 27 no. 304; the Richard Gibson miniature of
Henrietta Maria was also in storage at Whitehall, p. 30 no. 337;
the John Hoskins miniature of Henrietta Maria was in the
king’s closet at Whitehall, p. 45 no. 523; and the portrait of
Charles II ‘when he was a child’ was in storage at St James’s,
p. 100 no. 1238.
99 Charles II inventory, op. cit. (note 3), p. 24 no. 414, p. 72 no. 17,
p. 79 no. 73. It is unclear if this is the same Hoskins copy of
a Van Dyck portrait of Henrietta Maria as that listed in the
1685–8 inventory.
100
101
102
103
63
Downloaded from https://academic.oup.com/jhc/article-abstract/30/1/49/3861862
by University of Auckland user
on 29 April 2018
Millar, op. cit. [1972] (note 3), p. 206 no. 336.
Millar, op. cit. [1960] (note 3), p. 68 no. 32.
Ibid., p. 122 no. 76.
Ibid., p. 122 no. 76.