'Dair hi tgout ende sulver toe dede': Haagse hofrekeningen in kunsthistorisch onderzoek

In the past, the method for approaching art and material culture mentioned in the Dutch account books of late medieval princely households has been characterized as ‘gathering dead wood’ and criticized for being ‘too superficial’. Because of the financial purpose of the invoices it is ‘impossible to really learn anything about the scarcely mentioned acquired objects of art’. In most cases, inventories are missing and the extant accounts are indeed used to create a reconstruction of pieces of art that no longer exist. Taking this approach, one will end up with lists of unidentified items and their prices whereas further meaning is desired. Accounts may seem useless for an art historical study. However, when the ‘gathering of wood’ is done thoroughly and put to a different use, the mentions in the account books can shed new light on the consumption of art by a prince and his household. The invoices can be used in a more social economical approach, instead of focusing on the pieces of art alone. Case in point is a survey of the accounts books written by order of Albert, duke of Bavaria-Straubing, count of Holland, Zealand and Hainaut. His The Hague court flourished from 1389 on when he decided to take on the Binnenhof as his permanent residence. Ample information is available to discuss the subject at length: both craftsmen and merchants were responsible for the supply of products of luxuries and art, mostly pieces of silverwork and embroideries. The chamberlains were responsible for the commission or acquisition of these goods. Even some cautious conclusions can be made on the careers of these goldsmiths, needle workers, merchants and chamberlains