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Did you know that sitting in your kitchen right now is a mineral that was once so precious to the 17th-century Dutch that battles were fought over it, lives were lost for it, and an economy depended on it?

Look closely at Pieter Claesz’s Still Life with Peacock Pie or many other tabletop paintings from that period and you will see it there. Given pride of place, cradled in a gold or silver pedestal all its own, rising above plates of partially eaten foods, half-drunk glasses of beer, oyster shells, peeled lemons, and precariously balanced knives, there is salt.

On a tabletop spread with an ivory-white cloth, plates, and white porcelain bowls containing sweets, fruit, olives, and a cooked fowl are arranged around the largest platter, which holds the head, wings, and tail of a peacock stuck into a tall, baked pie, in this horizontal still life painting. The front, left corner of the table is near the lower left corner of the painting, so the tabletop extends off the right side of the composition. The white tablecloth lies over a second cloth underneath, which is only visible along the right edge. The cloth underneath has a leafy, geometric pattern in burgundy red against a lighter, rose-red background. The peacock pie is set near the back of the table, to our right, so it fills the upper right quadrant of the composition. The bird holds a pink rose in its beak. In front of it, near the lower right corner of the painting, a white porcelain bowl painted with teal-green floral and geometric designs holds about ten pieces of pale yellow and blush-red fruit. A pewter plate next to it, to our left, holds dried fruit and baked, stick-like sweets, some covered with white sugar. A pile of salt sits atop a gold, square vessel between the sweets and the peacock pie. Another blue-patterned, white porcelain bowl filled with green olives sits near the back of the table next to a lidded, pewter pitcher with a long spout. Other pewter plates hold a baked fowl, like a small chicken, and, closest to us, a partially cut lemon with its peel curling off the plate. Nuts, more fruit, an ivory-handled knife, bread rolls, and flat biscuits sit on the white cloth among the plates. One glass with a wide stem covered in nubs and a flaring bowl sits near the back, left corner of the table, filled with a pale yellow liquid. An empty glass lies with the upper rim on another pewter plate, to our left. Also on the plate is a bunched up white napkin and a leather case for the knife. The background behind the still life is brown.

Pieter Claesz, Still Life with Peacock Pie, 1627, oil on panel, The Lee and Juliet Folger Fund, 2013.141.1

Our modern eyes might easily overlook the small, white, granular heaps that so often appear in these sumptuous foodscapes. In Claesz’s painting, the magnificent pie decorated with the fowl’s own feathers and gullet—a delicacy only served at special occasions—takes center stage.

Complementing this spectacular presentation piece, complete with pink rose in the peacock’s beak, are a cooked bird, olives, lemons, breads, peaches, nuts, and an array of sugary treats. Presented in beautifully rendered pewter platters and Chinese porcelain bowls, most of these foods were also delicacies, imported from foreign lands. But of them all, salt may have been the most consequential.

The Global Search for Salt

The Dutch had an absolute need for salt. They used it to produce butter, cheese, pocked meat, bacon—and to preserve food. It was also essential in packing herring, the backbone of the Dutch fishing industry.

A jumble of pewter plates and a pitcher, glass goblets, a gold chalice, a brass candlestick, and other vessels along with lemons, olives, and the remains of a mince pie are arranged on a cream-white tablecloth bunched on a dark green tabletop in this square still life painting. The scene is painted almost entirely in shades of cool grays, gold, brown, and white against a deep beige background. The objects span width of the canvas across its center. At the left edge of the painting, a vibrant yellow lemon has been cut so its rind curls in a spiral that hangs over the front edge of the table. Behind the lemon, a scissor-like candle snuffer is propped against the wide ledge of the tall brass candlestick, its white candle nearly burned down. A few glistening olives sit in a small pewter plate, and one olive sits on the tabletop near the lemon and candlestick. A glass goblet with a wide stem with textured knubs rests upended on an elaborately chased, gold, footed vessel that has been tipped over so its wide shallow bowl faces away from us. The tall pewter pitcher behind this is dented on its rounded body. The lidded gold chalice next to the jug is the tallest object in the painting. Next to the chalice, along the right half of the painting, is a glass oil cruet with a long, curving spout, a tall, cylindrical vessel holding a small pile of salt, and a straight-sided, low glass holding beer. In front of these objects, an untouched bread roll and knife sit on a pewter plate at the center of the composition. The remains of the mince pie with its pastry crust sit on a large pewter plate to our right. In front of it is a smaller plate holding a broken goblet and a piece of black and white paper rolled into a cone. A few empty oyster shells sit on the table to the left and right, near the lemons and mince pie. The artist signed and dated the painting along the edge of the white cloth near the lower right corner: “HEDA 1635.”

Willem Claesz Heda, Banquet Piece with Mince Pie, 1635, oil on canvas, Patrons' Permanent Fund, 1991.87.1

Herring ships used salt to process their catch at sea, allowing them to remain out longer and increasing the range of the fisheries. This helped the Dutch establish a herring fishing empire that formed part of their nation’s economic base.

Up until 1500, the Dutch excavated salt by digging up large areas of sea-soaked turf in the Netherlands. They then began importing raw sea and rock salt from nearby Germany, France, Spain, and Portugal.

And then in the 16th century, they discovered the salt flats of the Cape Verde Islands, which the Portuguese, who first settled there in the 1490s, called the “Salt Islands.”

What began with one or two ships around 1530 expanded to 36 ships exporting salt from the region by the end of the century. As demand continued to skyrocket into the 1600s, the industry took on a new level of complexity with the founding in 1621 of the Dutch West India Company.

Governed by a board representing various regions of the Netherlands, this charter company of Dutch merchants and traffickers of enslaved people, as well as foreign investors, was granted a monopoly over the Middle Passage slave trade, Brazil, the Caribbean, and North America.

Human Costs

To accommodate the boom, the Dutch enslaved the local people in Cape Verde. Extracting the mineral was a punishing process: often in sweltering heat, workers were forced to wear wooden shoes and iron bars to break the hard salt under the water’s surface.

Anonymous, Foot stocks designed for the constraint of multiple enslaved people, with 6 separate shackles, c. 1600–1800, wood, iron, Amsterdam, Rijksmuseum, gift from Mr J.W. de Keijzer, NG-2019-502 and -503

The toll of the labor was so great that it often killed them, and a large cemetery was established near the salt flats. Due to its strategic location between Africa and Americas, Cape Verde eventually became a hub for the transatlantic slave trade: up to 3,000 enslaved adults and children from Cape Verde were sold yearly until the mid-19th century.

Around this time, the Dutch also found a great salt sea on Punto de Araya in Venezuela. Between 1600 and 1605, the number of Dutch ships that loaded up there went from 30–40 per year to over 750.

As they fanned out, the Dutch took over the Caribbean islands of Curaçao, Aruba, Bonaire, and later Sint-Maarten, bringing enslaved people from Africa to collect the salt there and then exporting it all over North America and back to Europe.

With the establishment of these colonies from the 16th through the early 19th century, salt from the Caribbean flowed north to the massive cod fisheries of Newfoundland and New England.

Those fisheries soon became the largest new source of animal protein in the world. And as the cheapest protein available, the cod salted there flowed back south to become a mainstay of the diet of enslaved workers.

To this day, cod features prominently in the national cuisines of the islands of the West Indies, even though it is not native to the Caribbean and the closest cod fishery is more than 2,000 miles away.

“One can do better on earth without gold, than without salt,” the Dutch poet Jacob Cats wrote in 1636. And, indeed, salt’s cultural and economic value is not hidden in Dutch still life paintings of the 17th century. But what may not be as evident is its impact—on the Dutch and on the people and places they colonized.

Alexandra Libby

Senior Advisor for Curatorial and Conservation Initiatives

July 28, 2023