May Danforth, Corsair Co./ Florence Baker, Corsair Co./ Maud Waldemere, Corsair Co./ Verona, from the Actors and Actresses series (N45, Type 4) for Virginia Brights Cigarettes 1885 - 1891

Editor: So this print, "May Danforth, Corsair Co./ Florence Baker, Corsair Co./ Maud Waldemere, Corsair Co./ Verona, from the Actors and Actresses series (N45, Type 4) for Virginia Brights Cigarettes," dating from the late 1880s by Allen & Ginter… it feels very much of its time, in terms of style, doesn’t it? How would you unpack the iconography at play here? Curator: Indeed. The framing, grouping four figures together like this immediately puts me in mind of earlier religious iconography. Think of depictions of the four Evangelists. By using this visual structure, the distributors imbue these actresses with a certain elevated status, aligning them with culturally revered figures, however playfully. Editor: Interesting. So, you see the commercial use of religious structure in this cigarette card format? Curator: Precisely! Each woman's image also carries its own symbols. For instance, consider Maud Waldemere's demure profile juxtaposed with Verona's direct gaze and almost challenging smile. These choices were undoubtedly intentional, crafting personas that would resonate with diverse viewers and thus boost sales. What might these theatrical roles mean for their status and the period? Editor: I hadn’t considered that each woman could represent a particular desired archetype for the consumers. I suppose it’s playing with ideas of both aspiration and fantasy. Curator: It is, and by aligning these actresses with the ritual of smoking, the cigarette company creates an alluring association in the consumer's mind. It elevates a simple habit to something more... glamorous. A transgressive ritual! Editor: That makes sense. I guess I see a whole different side of cigarette cards now. I’ll never look at them the same way.