Koppelstok voor de poort van Den Briel, 1572 1787

Curator: Here we have Harmanus Vinkeles' 1787 engraving, "Koppelstok voor de poort van Den Briel, 1572," now held in the Rijksmuseum. It's based on a drawing and presented as a print, focusing on a pivotal historical moment. Editor: Immediately I'm struck by the starkness, that monochrome palette rendering a scene of such apparent drama. It feels almost like a stage set, everything so meticulously placed. Curator: Indeed. Vinkeles captures the moment when Willem de Lumey, a Veerman (ferryman), displays the signet ring of Admiral Treslong to the people of Den Briel. This event marks the capture of the city by the Watergeuzen, a crucial step in the Dutch Revolt. Editor: I’m thinking about the production of this image, the labor involved. Consider the engraver painstakingly carving lines into the copper plate, each tiny hatch mark dictating light and shadow, narrative and power. The materiality tells its own story. Curator: It does! You know, looking closely, I'm drawn to the almost casual inclusion of the windmill in the background. It's a quintessential Dutch symbol, quietly witnessing the upheaval. I always wonder if that was Vinkeles' subtle nod to the future. Editor: The print as commodity also comes to mind; its circulation through Dutch society, its use in shaping historical memory and national identity through a tangible object intended for widespread consumption and viewership. Curator: It's an image steeped in layers, isn't it? History, craft, and maybe a bit of wishful thinking woven into the lines. It’s an intriguing glimpse into the past, transformed through art. Editor: Precisely, there's a tension inherent to its existence: this objectification and commercialization of revolutionary fervor rendered centuries after the fact in a easily mass-produced format. Quite interesting, really.