Saddle-Billed Stork, from Birds of the Tropics series (N38) for Allen & Ginter Cigarettes 1889

Curator: This lovely chromolithograph from 1889 is titled "Saddle-Billed Stork," and it's part of the "Birds of the Tropics" series created for Allen & Ginter Cigarettes. Editor: I'm struck by how delicately it's rendered, especially considering its original function as a small insert in a cigarette pack. There’s something captivating about the way they’ve used coloured pencils to evoke the textures of feathers and foliage. Curator: Allen & Ginter were quite innovative in using these collectible cards as a form of advertising. It’s fascinating how they tapped into the public's growing interest in natural history and exotic locales to promote their product. Imagine the discussions these sparked! Editor: Absolutely. And think about the labour involved in producing these. Someone meticulously created the original drawing, which was then reproduced en masse. The act of taking an animal from its habitat, drawing it, printing it and then packaging it, is pretty complex! Curator: The imagery is striking as well. The stork itself is rendered with incredible detail against this hazy backdrop of what seems to be a tropical watering hole. And on the side are the tiny pink birds almost like the storks companion or pet. Editor: Yes, and the contrast between the stork’s static pose and the implied movement in the surrounding plants is masterful. You almost feel a slight tension that draws you in as the observer, almost spying. Also that tiny, distant flamingo. Its almost cute, in a way, but cute only works within consumer culture. Curator: Indeed. These cards were a window into a larger world for many people at the time, particularly those who wouldn't have had the opportunity to travel. They fostered a sense of wonder but were deeply implicated in global capitalism. Editor: It reminds me of how commodities are still embedded with so much complex information about exploitation, transport, and circulation. Its easy to detach commodities like a small coloured drawing, from reality of the exploitation needed to extract it. Curator: This small card offers a potent reminder of the power dynamics inherent in both art and commerce, wouldn't you agree? Editor: Precisely. Its deceptively charming presentation belies the processes and socio-economic structures needed to create it.