Half guinea of Queen Anne 1711

Curator: Here we have a gold half guinea from 1711, created by John Croker, now held in the Metropolitan Museum of Art. Editor: The first thing that strikes me is its small scale. Such detail packed into such a diminutive form is really quite masterful. The material richness, too. Curator: This coin presents an important snapshot into the intersection of power, gender and representation during Queen Anne's reign. It would have played a tangible part in maintaining class divisions in the 18th century, as a high denomination only afforded to the upper echelons of society. It presents the female body, draped elegantly, in a patriarchal and exclusionary economic framework. Editor: It's a very composed portrait, isn’t it? Notice the gentle curve of the neck mirrored in the wave of her hair. Croker’s modelling here really draws attention to the Queen’s calm demeanor and apparent grace. Look too at the fine beaded border - it gives the piece an intrinsic, textural wholeness. Curator: And what about its legacy today? What are we doing by keeping such artifacts from colonial, and imperialist regimes on display? In its display, are we just reinforcing these outdated structures? The power relations on view here should definitely be open to critique. Editor: Indeed. But one could also argue that, visually, the way Croker handles light across the gold surface imbues the coin with almost ethereal qualities. I am especially taken by the relief around the inscription “ANNA DEI GRATIA”. It gives a visual heft, setting off the profile beautifully. Curator: A key factor, though, must be the context in which a museumgoer views such works, not solely formal visual features. The coin raises pressing questions about the construction of gender, the material manifestations of authority, and the ethics surrounding their collection and preservation. Editor: A coin, then, that reflects far more than just its golden surface. The artistry, however, can't be dismissed either.