Scotch, from Types of Nationalities (N240) issued by Kinney Bros. 1890

Editor: Here we have "Scotch, from Types of Nationalities," a coloured-pencil drawing, or print, by the Kinney Brothers Tobacco Company, dating back to 1890. The man’s expression is so dour. How should we read into this depiction, placing it within the social and cultural context of the time? Curator: The caricatured portrayal in “Scotch” is revealing. These "types of nationalities" cards were immensely popular. However, they often perpetuated harmful stereotypes and Orientalist fantasies. Let's think critically about who created this image and why. Editor: Tobacco companies produced them. It seems like a form of advertising but, surely there's more? Curator: Precisely! Beyond marketing, what does the image tell us about the construction of identity? Consider the historical power dynamics between England and Scotland. What role does visual culture play in reinforcing, or even challenging, these hierarchies? How might contemporary Scottish viewers react to this card? Editor: I guess seeing your identity distilled into a caricature for mass consumption must feel reductive, if not insulting. Is there a sense of cultural dominance at play? Curator: Absolutely. The seemingly innocent depiction contributes to a larger narrative of "othering" and reinforces existing social prejudices. This image isn’t simply a portrait; it's a statement about power, representation, and cultural identity, even today. Editor: This really highlights how crucial it is to look at historical art with a critical lens, always considering the context of its creation and consumption. I had never thought of trade cards as playing a role in constructing ethnic stereotypes. Curator: And that understanding is vital when viewing, analysing and presenting art. Thinking intersectionally gives the past - and present - richer texture.