Imperial Order of the Medjidie, Turkey, from the World's Decorations series (N30) for Allen & Ginter Cigarettes by Allen & Ginter

Imperial Order of the Medjidie, Turkey, from the World's Decorations series (N30) for Allen & Ginter Cigarettes 1890

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drawing, ornament, coloured-pencil, print

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drawing

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ornament

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coloured-pencil

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water colours

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print

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asian-art

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coloured pencil

Dimensions Sheet: 2 3/4 x 1 1/2 in. (7 x 3.8 cm)

Curator: This lithograph, from a series called "World's Decorations", showcases the Imperial Order of the Medjidie of Turkey. It was made in 1890 as part of a promotional set for Allen & Ginter Cigarettes. Editor: It's fascinating; it possesses an air of both dignity and exoticism, simultaneously suggesting something significant yet slightly out of reach. The precise lines create an almost hyperreal, idealized object. Curator: Indeed. Note the specific material choices here. The original medal would have been crafted from precious metals and enamel, yet here, we see the translation through colored pencil and printmaking. Consider the implications: mass production meets the aspiration for individual honor. Editor: The star and crescent – ubiquitous symbols in the Islamic world – take center stage. One can see how they functioned as potent visual shorthands of power and faith, readily consumed in the West due to rising popular orientalism at the time. The combination of those instantly readable shapes within this decorative schema tells an immediate story about a particular brand of worldly might. Curator: And how interesting to see this object—originally tied to the Ottoman Empire's system of patronage and reward—reduced to an advertising novelty, mass-produced and distributed with tobacco. The artistry becomes subsumed within a burgeoning consumer culture. Editor: But even within that mass production, the care in depicting the intricate details still makes it visually captivating, don’t you think? There is something deeply evocative in emblems of status, even divorced from their context, prompting the viewers to ponder power, achievement, and even longing, depending on one's vantage. Curator: That’s very well put, and that friction you highlight – the object’s intrinsic meaning versus its commercial exploitation – really exemplifies how commodity culture operates. Editor: Thinking about how symbols operate is rewarding here. Curator: Precisely, a worthwhile consideration given that initial goal of making it, right?

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