Zes pence, noodmunt van Jacobus II, koning van Engeland, uit juni 1689 1689

Editor: This is "Six Pence, Emergency Coin of James II, King of England, from June 1689," currently residing at the Rijksmuseum. The material looks like bronze or perhaps another kind of metal. The overall impression I get is of something very utilitarian. It’s damaged, worn down. What's your interpretation? Curator: Well, let’s consider this object not just as a marker of a monarch, but as a physical manifestation of labor and crisis. This wasn't minted in some pristine royal workshop, but amidst turmoil, likely utilizing whatever materials were available and accessible. Notice the visible wear and tear; this isn't just an aesthetic imperfection, it’s evidence of circulation, of its life within a specific economic system and a time of political uncertainty. How does this immediate materiality shape your understanding of the historical context? Editor: So, the very imperfection and accessible material, its bronze rather than gold or silver, reflect instability and the limitations in that time period? It's fascinating how much information the material conveys. Curator: Precisely! Consider the process. Who made it? Where? How were these specific materials sourced? What social class of laborers were involved? By focusing on the physical and material production of this coin, we move beyond simply admiring its symbolic value and instead, we engage with its existence as a product of human labor, reflective of very specific social circumstances. The cheap production betrays the urgency of the context in 1689. Editor: That perspective has completely shifted how I see this coin. It's not just a portrait; it is something produced by many hands in the midst of upheaval, and reveals so much more about the situation. Curator: Exactly. This "noodmunt," this emergency money, is a powerful illustration of how material culture is intrinsically linked to power dynamics, labor, and social reality. Editor: Thanks. It highlights how crucial it is to investigate what and how the artwork is made, rather than simply appreciating its surface. Curator: Indeed. And in doing so, challenge the traditionally imposed boundaries between high art and "craft" objects by exploring questions related to materiality, production, and labour.