Koninklijk scherpsschuttersgilde 'Vincit concordia fratrum' te 's-Hertogenbosch onder beschermheerschap van Willem III, koning der Nederlanden 1852

Curator: I am pleased to present this medal of the Koninklijk scherpsschuttersgilde ‘Vincit concordia fratrum’ te ‘s-Hertogenbosch onder beschermheerschap van Willem III, koning der Nederlanden, made in 1852. This artwork intrigues me because, given that the relief is crafted on metal, what kind of process would have gone into producing this artwork? Editor: It's interesting to consider the production process behind this object. The medal commemorates a shooting guild under royal patronage, it's definitely rooted in a particular social context. What can we infer from the materials and method of creation about the value this society placed on marksmanship? Curator: The choice of metal – likely silver, or a similar precious alloy – speaks volumes. The laborious process of creating a detailed relief suggests that these weren't mere trinkets. Metalwork holds a certain status, historically, a claim to permanence and importance. This intersects with the social role of the shooting guild itself; a civilian, yet armed, group under royal auspices. Consider who might have made it? And what message this medal communicated within that society? Editor: That's fascinating, looking at the social standing the Guild wanted to create is an approach I wouldn't have considered at first glance. Do you think it's meant to be purely celebratory, or perhaps is it meant for distribution amongst members? Curator: Exactly! Is it a gift of appreciation to the members who support the Royal Family and continue traditions within this group? It's interesting to examine how the guild itself and its activity ties to production and labor! That raises a more pertinent point, why did it take such extensive material resources and labor to execute? To underscore their importance within the kingdom perhaps, or create a specific status marker among members? Editor: Looking at it through the lens of the resources required for its creation has completely changed my view of this piece! Curator: Indeed. By scrutinizing the material realities, we reveal hidden layers of meaning embedded in the object.