Zanzibar (Turk), from the Natives in Costume series (N16) for Allen & Ginter Cigarettes Brands 1886

Curator: This is "Zanzibar (Turk)," a print dating to 1886 and created by Allen & Ginter as part of their "Natives in Costume" series. It's a rather striking, if stereotypical, depiction of a man in traditional garb. Editor: The colours are surprisingly vivid. I'm curious, how did a cigarette company come to be involved in image-making? The saturation is appealing, like something found in a theatre costume department—such vibrancy points to specific pigments and textile dyes, wouldn't you say? Curator: Cigarette cards like this were early examples of promotional material. The images served both to stiffen the packs and entice customers. The image, beyond simple promotion, conjures a world exotic, but clearly seen through a western, almost theatrical lens. Editor: Absolutely. The term "Turk" is already a sweeping generalization, which likely indicates little regard to specific cultural production of the actual garments represented. We see it used as a stand-in for all things "Eastern" by this consumer industry. Did Allen & Ginter manufacture the card stock themselves, or did they rely on another manufacturer? Curator: That's a good question. And your point about “Turk” reveals how limited Western understanding was – this single image performs a signifier for a large demographic. Editor: Right, because everything here speaks of systematization – from the labor to create the artwork and manufacture the print to its function in marketing, trade, and tobacco consumption habits. Everything produced can be tracked. The circulation and distribution is as important as what's depicted here. Curator: I’m not so certain the artist saw themselves as a cog. Look at the details included – a sense of dignity, almost—despite the generalizing title. Maybe a certain romanticisation? The turban is almost iconic in its construction. It speaks of cultural memory – whether that’s entirely authentic to Zanzibar or not. Editor: It's undeniable that objects accumulate complex cultural weight. I’m inclined, however, to examine their journey as material things shaped by human ingenuity in concert with commerce. That feels more grounded. Curator: A worthy counterpoint! This little card, then, contains multitudes. Editor: Indeed. A tiny square ripe with historical traces.