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Marketing Art in Antwerp, 1460-1560: Our Lady's Pand Author(S): Dan Ewing Source: the Art Bulletin, Vol

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Marketing Art in Antwerp, 1460-1560: Our Lady's Pand Author(S): Dan Ewing Source: the Art Bulletin, Vol Marketing Art in Antwerp, 1460-1560: Our Lady's Pand Author(s): Dan Ewing Source: The Art Bulletin, Vol. 72, No. 4 (Dec., 1990), pp. 558-584 Published by: CAA Stable URL: https://www.jstor.org/stable/3045762 Accessed: 05-01-2019 07:20 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms CAA is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin This content downloaded from 35.176.47.6 on Sat, 05 Jan 2019 07:20:20 UTC All use subject to https://about.jstor.org/terms Marketing Art in Antwerp, 1460-1560: Our Lady's Pand Dan Ewing The Pand market operated by the Church of Our Lady in Antwerp from 1460 to 1560, during the annual trade fairs, was the largest and most important public art market in Europe for most of the period. The financial history of Our Lady's Pand is well documented, since the church 's account books survive and record the income received from the Pand for the years 1468-1560. These accounts are analyzed, and the findings combined with information from other contemporary sources, to pro- vide a picture of the Pand's operation, scale, growth, and decline. The origin of the Pand is placed against the backdrop of earlier art-marketing efforts in Antwerp, and its decline is presented as a function of the changing market dynamics in the mid-sixteenth century. The first showroom in post-Classical Europe to be con- chival record, from the point of view of art marketing, has structed expressly for the exhibition and sale of works of never been undertaken.2 art was opened in Antwerp in 1460. Built by the Church The account books of the Church of Our Lady, now part of Our Lady (the future Cathedral of Antwerp), the court- of the Cathedral Archives, record the income received from yard known as Our Lady's Pand displayed and sold paint- the rental of stalls to artists exhibiting at Our Lady's Pand ings, sculpture, books, and prints during the Antwerp fairs, during the years 1468-1560.3 As will be seen, only the last and was in operation from 1460 until its demolition in 1560. of the three different methods used in recording income The Pand was both a symptom and an agent of the new furnishes detailed information about artist-renters. More- practice of producing art on speculation for the open mar- over, as part of ledgers of receipt and expenditure, the Pand ket, which, as Lorne Campbell has demonstrated, devel- accounts are frustratingly mute in relation to art practices. oped in the Southern Netherlands during the fifteenth cen- Yet even with these limitations, the accounts constitute our tury.1 The historical importance of Our Lady's Pand, richest source of documentation for any of the early Ant- arguably the first authentic art salesroom, qua salesroom, werp art markets. Among other things, the accounts give and the largest and one of the most enduring of all art mar- a quantitative definition to the scale and growth of public kets in Europe prior to 1550, has long been recognized. art retailing in Antwerp; they provide information about Both economic historians and art historians have explored hitherto unknown auxiliary markets around the Pand; they the extant church accounts relating to the finances and art- give some idea of the general levels of activity of those ists of the Pand. Art historians, however, have been con- artists and printers exhibiting at the Pand during the 1540s siderably less thorough than their economic colleagues in and 1550s; and they evoke, indirectly, the dramatic changes exploiting this source, and a systematic study of the ar- occurring in the city's marketplace in the mid-sixteenth cen- A preliminary version of this paper was read at the session on art markets J.C. Wilson, "Marketing Paintings in Late Medieval Belgium," in Artistes, at the 1988 College Art Association meeting in Houston. I wish to thank artisans et production artistique au Moyen Age: Rapports provisoires, ii, Jean Wilson, who chaired the session, and fellow participants Zirka Paris, 1986, 1759-66; and Jacobs. Filipczak and John Michael Montias for their comments and encourage- 2 The Cathedral accounts have been thoroughly utilized by Van der Wee ment. I would also like to express my gratitude to Kristine Forney, Alan and by Vroom, as part of larger studies of Antwerp's economy and the Frishman, J. van den Nieuwenhuizen, and Kathryn Vaughn for their as- church's finances, respectively. Information from the accounts concerning sistance, and to Elena Ciletti, Lynn Jacobs, and J.M. Montias for their artists is incorporated into Rombouts and Van Lerius, in footnote material careful reading of the text and constructive criticism. My greatest debt is on individual artists; into A. Rouzet, ed., Dictionnaire des imprimeurs, to Lynn Jacobs and Jan van der Stock, who have been uncommonly help- libraires et editeurs des XVe et XVIe siecles dans les limites geographiques ful throughout. Funding for the research, here gratefully acknowledged, de la Belgique actuelle, Nieuwkoop, 1975, in entries on Antwerp printers was provided by the National Endowment for the Humanities and Hobart who exhibited at the Pand; and into F Prims, "De Kunstenaars in O.L.V. and William Smith Colleges. Pand te Antwerpen in 1543," Bijdragen tot de geschiedenis, inzonderheid 1 Campbell, 194-198. Other studies of Early Netherlandish art markets van het oud hertogdom Brabant, xvi, 1938, 296-300 (partial transcription include E. Baes, "La Peinture flamande et son enseignement sous le regime of one year's account). For the other literature on the Pand, see Van der des confreries de St.-Luc," Memoires couronnes et memoires des savants Wee, i, 503-506, ii, 165-166; Vroom, 80-84, 86-87; Van der Straelen, 24- htrangers [de] l'Acadhmie Royale des Sciences, des Lettres et des Beaux- 29; Thys, 361-365; Floerke, 8ff; E. Geudens, Plaatsbeschrijving der straten Arts de Belgique, xLIv, 1882, 87ff; Floerke; Koch; Wilson; B. Dubbe and van Antwerpen en omtrek, voor het charterboek van 1374 der H. Geest- W. Vroom, "Patronage and the Art Market in the Netherlands during the kapel van de O.-L-Vrouwekerk, iii, Brecht, 1909, 13-15; Wilson, 478-479; Sixteenth Century," in Kunst voor de beeldenstorm: Noordnederlandse Koch, 56; Wilson (as in n. 1), 1763-64; and Jacobs, 209, 212, 213, 219. kunst, 1520-1560, exh. cat., Rijksmuseum, Amsterdam, 1986, ii, 29-37; 3 KAA, OR. This content downloaded from 35.176.47.6 on Sat, 05 Jan 2019 07:20:20 UTC All use subject to https://about.jstor.org/terms MARKETING ART IN ANTWERP, 1460-1560 559 tury. When information from the accounts is combined with principle. other contemporary materials, a fairly substantial picture By the 1480s, the scale of Antwerp's fairs was so great of the operation and history of the Pand emerges. that German merchants were claiming they had surpassed Before turning to the sources, however, a few remarks the fairs of Lyons, their chief rival.7 A more concrete in- about context are necessary. Our Lady's Pand, for all its dication of the fairs' growth was the constant pressure to originality, was based upon significant Antwerp prece- prolong their duration and to practice flexibility in their dents, notably the sale of uncommissioned art during the scheduling. As early as 1465, the city announced its inten- fairs and the establishment, beginning in the 1430s, of the tion of becoming a permanent fair market, and between city's first organized art markets. 1468 and 1520 it repeatedly extended fair times, over the loud objections of Bruges.A By the second quarter of the The Antwerp Fairs and Early Art Sales sixteenth century, Antwerp had essentially become a per- The growth of the Antwerp art trade was a function of manent market.9 Although the fairs continued to be held, the city's expanding economy, especially during the six- they were important mainly as times of payment for trans- teenth century.4 The sale and exportation of luxury goods actions occurring year-round.10 was one of the distinguishing features of the Antwerp mar- One of the distinctive features of the Antwerp fairs was ketplace, which for about seven decades (1501-68) reigned the proliferation of specialized markets. Halles for cloth as the commercial and financial capital of the European sales, for example, were established on the Maalderijstraat world economy, a position it had wrested from Venice.5 and in houses and courtyards along the Hoogstraat, while The basis of Antwerp's commercial life was its biannual panden were even more ubiquitous.11 Although today the fairs: the Pentecost Fair or Sinxenmarkt, which began on medieval pand is often identified either as a monastic clois- the second Sunday before Pentecost, and the St. Bavo's Fair ter or an arcaded courtyard, with galleries used for retail- or Bamismarkt (in French, Foire de St. Remy), which began ing, in Antwerp the term was applied to specialized sales- on the second Sunday after Assumption (August 15).6 Typ- rooms in a variety of types of buildings or spaces. A pand ically, the fairs lasted six weeks each, though this some- could be located as readily in an existing house, a new times varied greatly.
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