Finland, 50 Pennia, from the series Coins of All Nations (N72, variation 1) for Duke brand cigarettes by W. Duke, Sons & Co.

Finland, 50 Pennia, from the series Coins of All Nations (N72, variation 1) for Duke brand cigarettes 1889

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drawing, coloured-pencil, print

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portrait

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drawing

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coloured-pencil

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print

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figuration

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coloured pencil

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

Curator: Let’s turn our attention to "Finland, 50 Pennia," from the series "Coins of All Nations." This piece, crafted around 1889 by W. Duke, Sons & Co., offers a glimpse into the world through the lens of commercial art, specifically for Duke brand cigarettes. Editor: Oh, it’s got a peculiar charm, doesn't it? The scale is so playfully skewed! The head seems far too large for the body, and it's all framed by that enormous coin, looking like something out of a quirky dream. Curator: Absolutely. The series, and this particular piece, operates within a fascinating context of 19th-century commercial expansion and cultural representation. These collectible cards served to educate consumers about different nations, their currency, and perceived characteristics. Editor: The choice to depict Finland in this almost cartoonish manner, wielding spears and cloaked in furs, brings up a lot of questions. What's the intent? What narrative is being spun about Finnish identity, and at whose expense? It's like peering into a funhouse mirror reflecting imperial perceptions. Curator: Exactly. We can dissect this imagery through a postcolonial lens, interrogating how the commodification of culture and the propagation of stereotypes went hand-in-hand during the height of imperial expansion. The “exoticism” of Finland and its currency becomes a selling point, reinforcing asymmetrical power dynamics. Editor: I suppose this piece encourages us to contemplate on representation itself—its capacity to distort, simplify, and subtly perpetuate cultural biases. Even in what seems like a harmless little drawing meant to sell cigarettes. It certainly sticks with you. Curator: Indeed. I see this print as an example of how popular culture functions as a site of ideological production. What was designed for entertainment offers invaluable insight into the social and political frameworks of its time. Editor: So, a seemingly innocent trade card reveals hidden layers of societal narratives and cultural assumptions. The world in a cigarette case, eh? Pretty powerful, in a tiny, bizarre way.

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