Life of Colonel Robert Green Ingersoll, from the Histories of Poor Boys and Famous People series of booklets (N79) for Duke brand cigarettes 1888

Editor: Here we have a color print from 1888, "Life of Colonel Robert Green Ingersoll," produced by W. Duke, Sons & Co. It’s one of a series of booklets packaged with Duke brand cigarettes. It seems almost quaint to see advertising handled this way today. What stands out to you about this portrait? Curator: It's interesting to consider the socio-economic context of this piece. Cigarette cards, like this one, were essentially capitalist tools, designed to promote consumption. This particular card depicts a biography of Robert Green Ingersoll, but what's more compelling is the way the means of production, in this case printmaking and marketing, are inextricably linked to the dissemination of ideas and the promotion of a product. Can we really separate the life of Ingersoll from the Duke cigarette brand? Editor: So, you're saying the context of its production shapes our understanding of the artwork itself? Curator: Precisely. The choice of portraiture, a typically “high art” form, is used here to elevate the status of a commodity. The materials – the paper, the ink – were cheap and mass-produced, yet the image is intended to convey a sense of importance. It blurs the lines between art, craft, and advertising. The act of collecting these cards and therefore buying packs of cigarettes transforms from consumption to engagement, of a kind, with the history of noteworthy Americans. Editor: That makes me think about who assembled these cards. Where were they printed, and under what labor conditions? Curator: Exactly! Consider the labor involved, likely exploited, in producing these cards and cigarettes. It adds a layer of ethical complexity to what might seem like a simple portrait. How can we ignore the economic engine driving its creation? Editor: It definitely provides a new way of looking at something as seemingly innocent as a cigarette card. I will remember to think about the origins next time I consider artwork. Curator: Indeed. The story isn't just in the image, it is also about the hands and machines that brought the image to life and to the market.