What kind of art and collectables were Northern Europeans buying in the 16th century? How much were they paying?
The Metropolitan Museum of Art answers that question in a highly creative way in its exhibition, Relative Values: The Cost of Art in the Northern Renaissance, on view through February 28.
The gallery is filled with a wide range of beautiful objects made in the Renaissance – ceramic containers, cups made from natural shells, bejeweled chalices, gorgeous drinking glasses, fancy sporting boxes, and portable desktop personal shrines. At a distance of 400 years, museums and modern viewers regard them as priceless treasures.
But the Met curators wondered how much these items cost in their day. How rare were these items in the collection? How much did collectors value them? And how did Renaissance makers market them?
The curators dug into assessments of royal holdings, craft guild price lists, and estate inventories. But understanding pricing was complicated because each price list used different regional European currencies (gilders, shillings, florins, and so forth). Then a light bulb went off.
Across Europe, the price of a cow was stabilized at 175 grams of silver. So, the cost of every item in the show is shown in cows!
It’s fun to view the museum’s treasures from this perspective – how many cows was each piece of art worth? Take a look at our Flickr album, which shows some of our favorite treasures from low to high value.
Two of the least expensive items in the show are the ceramic jug used for a silly drinking game (value = 1/8 cow) and the sought-after pilgrim pins that you could pin to your hat to show that you had actually made and completed your pilgrimage across Europe (value = ½ cow). The mass-produced traveler pins seem a little pricey, but probably not compared to the cost of the trip itself. In any case, the pin was probably the only piece of art owned by the lower classes.
Wealthy patrons were attracted to over-the-top virtuoso pieces made from high-priced materials – elaborate traveling game board sets with exotic inlays (14 cows) and silver utilitarian art pieces (10 cows). Commissioning a work from a well-known goldsmith, glass painter, or locksmith drove up the price, especially if you wanted upscale materials.
If you ordered something in solid silver, you could melt it down in a pinch if you needed the cash.
Just like the latest smart device, collectors went wild over buying the latest technological marvel, like automaton clocks (21 cows) or rare natural wonders. Unusual natural materials and virtuosity really drove up the price. Coconut-shell cups with silver (11 cows) or ruby-eyed rock-crystal carved birds (275 cows), anyone?
High-end collectors created cabinets to store their “curiosities” and reveled in showing guests how their advanced mechanical wonders worked or talking about where in the world the unusual materials were sourced.
With economies booming, the merchant and the middle classes desperately wanted to emulate the upper classes, so over the course of the 16th century, demand for fabulous objects only grew. Some makers began using molds to decorate or replicate sculptures to create attractive, but less expensive works for middle-market buyers, such as decorative molded German stoneware (1/2 to ¾ cow).
Some cities began hosting annual art markets, drawing buyers from across Europe. Guilds enhanced distribution by setting up trading posts for their wares in key market towns.
Different from today’s art market that sees paintings at auction in the millions, classical paintings during the Renaissance were relatively inexpensive (5 cows). Works that emanated and reflected “divine light” were highly prized – painted glass (12 cows), alabaster sculptures (40 cows), and bejeweled chalices (255 cows). And tapestries, which took forever to make, were considered the ultimate luxury.
To capitalized on the demand, the design/art stars of the day worked across media, elevating value of less expensive works by putting their highly prized monograms on prints and ceramics as well as high-end masterpieces, channeling their inner Andy Warhol.
Take a look at all of the wonders in the show on our Flickr album and on the Met website, were you can click on each work and then click to see where it falls on the museum’s incredible, feature-rich Timeline of Art History.