Strategies for the Modern Art Collector: Lessons from William Trumbull and Jacobean England

The art market, whether in the bustling auction houses of 21st-century London or the diplomatic circles of Jacobean England, thrives on knowledge, relationships, and strategic maneuvering. The correspondence of William Trumbull, as explored in David Howarth’s article “William Trumbull and Art Collecting in Jacobean England,” offers a window into the tactics and strategies employed by collectors and agents in the early 17th century. These historical practices hold surprising relevance for today’s art collectors, providing actionable insights into building networks, leveraging expertise, navigating markets, and balancing passion with pragmatism. This essay distills key lessons from Trumbull’s world and translates them into strategies for the modern collector aiming to build a meaningful and valuable collection.

Cultivate Strategic Relationships and Networks

In Jacobean England, Trumbull’s role as an agent in Brussels placed him at the heart of a network connecting English collectors with European artists and markets. His correspondence with figures like Sir Dudley Carleton and Sir Francis Crane reveals the importance of relationships in accessing high-quality artworks. For instance, Carleton’s negotiations for a Rubens painting, facilitated by Trumbull, underscore how trusted intermediaries could secure coveted pieces, even when intended for high-profile patrons like the Prince of Wales.

Today’s collectors should prioritize building relationships with gallerists, curators, auction house specialists, and other collectors. Attending art fairs like Frieze or Art Basel, participating in museum patron groups, or engaging with online platforms like Artsy can foster connections that provide early access to desirable works. For example, a collector who cultivates a relationship with a gallery director may receive first dibs on a new piece by an emerging artist before it hits the public market. Similarly, joining collector networks or art investment groups can offer insights into market trends and opportunities, much like Trumbull’s diplomatic circle did for Jacobean elites.

Leverage Expertise and Due Diligence

The Jacobean art market was fraught with challenges, including misattributions and condition issues, as seen in Daniel Skynner’s letters about a supposed Van der Weyden portrait and a decayed Bassano painting. Trumbull’s clients relied on his knowledge and that of trusted advisors like George Gage to verify authenticity and quality. The rejection of Rubens’s Lion Hunt for being “scarse touched by his own hand” highlights the era’s emphasis on ensuring an artwork’s provenance and condition.

Due diligence remains critical in today’s art market, where forgeries and inflated valuations can trap the unwary. Collectors should engage art advisors, conservators, or provenance researchers to authenticate works and assess their condition. For instance, before purchasing a piece attributed to a high-value artist like Basquiat, a collector might commission a report from a firm like Art Analysis & Research to verify its authenticity. Additionally, leveraging digital tools—such as blockchain-based provenance records or AI-driven image analysis—can enhance confidence in a purchase. The lesson from Trumbull’s era is clear: trust but verify, and rely on experts to navigate the complexities of attribution and quality.

Diversify Collecting Interests with an Eye for Emerging Trends

Trumbull’s correspondents displayed a remarkable catholicity of taste, acquiring not only contemporary Dutch portraits but also early Renaissance German works and Burgundian artifacts. This diversity, as seen in Skynner’s list of Italian pieces ranging from Titian to Baglione, allowed collectors to hedge against market fluctuations and capitalize on emerging interests, such as the growing appreciation for early Netherlandish masters.

Contemporary collectors can adopt a similar strategy by diversifying their portfolios across genres, periods, and regions. For instance, while blue-chip artists like Warhol or Koons remain safe bets, investing in emerging markets—such as African contemporary art or digital NFT works—can yield high returns as tastes evolve. The rise of artists like Amoako Boafo, whose vibrant portraits have soared in value, mirrors the Jacobean discovery of previously niche artists. Collectors should monitor auction results and gallery exhibitions to identify trends, balancing established names with speculative investments in underrepresented or innovative artists.

Navigate Market Dynamics with Patience and Opportunism

The Jacobean art market was competitive, with collectors like the Duke of Buckingham facing setbacks at auctions disrupted by continental rivals. Trumbull’s role in sourcing tapestries and paintings required patience, as seen in his efforts to secure a portrait of Archduchess Isabella for Sir George Chaworth under tight deadlines. Yet, opportunism also played a role, as collectors capitalized on sales of dispersed European collections during the Thirty Years’ War.

Today’s collectors must balance patience with opportunism in a fast-paced global market. Waiting for the right piece at auction—perhaps a rare Hockney at Sotheby’s—requires discipline, especially when bidding wars drive prices beyond estimates. Conversely, collectors should be ready to act swiftly during market dips, such as post-recession periods when high-quality works may be undervalued. For example, the 2008 financial crisis saw savvy collectors acquire masterpieces at reduced prices, a strategy akin to Jacobean collectors snapping up works from war-torn Europe. Using tools like Art Collector IQ to stay on top of the art market can help collectors time their moves effectively.

Balance Passion with Practicality

Trumbull’s personal collecting was modest, driven by admiration for figures like Elizabeth of Bohemia rather than a desire for grandeur. In contrast, his clients, like Charles I, pursued ambitious collections to signal status and sophistication. The Mortlake Tapestry Works, supported by Trumbull’s sourcing of patterns and workmen, exemplifies a practical approach to building a legacy through strategic investment in production rather than just acquisition.

Modern collectors should align their acquisitions with both passion and practical goals. A collector might love street art but recognize that investing in a Banksy print offers better liquidity than a lesser-known muralist’s work. Similarly, supporting emerging artists through patronage—akin to Charles I’s backing of Mortlake—can build cultural capital while fostering future value. Collectors might consider commissioning works or funding residencies, as seen in programs like the BMW Art Journey, to blend personal passion with long-term investment. Budgeting wisely and setting clear collecting goals (e.g., focusing on a specific movement or medium) can prevent overextension, a lesson Trumbull’s modest purchases underscore.

Understand the Power of Cultural and Political Context

The Jacobean collecting boom was tied to a desire to elevate London’s cultural status, as seen in the establishment of Mortlake to rival European tapestry centers. Trumbull’s facilitation of Crane’s ambitions and Charles I’s acquisition of Raphael’s cartoons reflect a strategic use of art to project power and sophistication. Collectors like Pembroke navigated court politics, using gifts like Holbein’s drawings to curry favor or mend relations.

Today’s collectors operate in a similarly charged context, where art can signal status, influence, or social consciousness. Acquiring works that resonate with contemporary issues—such as climate-focused installations or pieces addressing social justice—can enhance a collector’s reputation while supporting meaningful causes. For instance, collecting works by artists like Ai Weiwei, whose activism amplifies their art’s impact, mirrors the Jacobean use of art for cultural diplomacy. Collectors should also consider the optics of their acquisitions, ensuring alignment with ethical standards to avoid controversies, such as those surrounding looted antiquities.

Conclusion

The world of William Trumbull and his Jacobean contemporaries may seem distant, but their strategies for art collecting resonate powerfully with today’s market. By cultivating networks, leveraging expertise, diversifying interests, navigating market dynamics, balancing passion with practicality, and understanding cultural context, modern collectors can build collections that are both personally fulfilling and financially astute. Trumbull’s era reminds us that art collecting is as much about relationships, knowledge, and strategy as it is about aesthetics. For the modern collector, these lessons offer a roadmap to navigate the complexities of the global art world, ensuring that each acquisition is a step toward a legacy as enduring as the tapestries of Mortlake.

HOWARTH, DAVID. “WILLIAM TRUMBULL AND ART COLLECTING IN JACOBEAN ENGLAND.” The British Library Journal 20, no. 2 (1994): 140–62. http://www.jstor.org/stable/42554386.