John Nelson Kerins, Catcher, Louisville Colonels, from the Old Judge series (N172) for Old Judge Cigarettes 1888

Curator: Let's delve into this intriguing piece, "John Nelson Kerins, Catcher, Louisville Colonels, from the Old Judge series (N172) for Old Judge Cigarettes," created in 1888 by Goodwin & Company. What are your first thoughts? Editor: My immediate reaction is one of classic solemnity. The composition directs your gaze upward, mirroring the player’s gaze, almost reverential. The tonal range, while limited, adds to this somewhat romantic air. Curator: Indeed. This card wasn't intended as 'high art' but rather as a marketing tool—inserted into cigarette packs. Think about the social implications: commodifying sport, promoting tobacco use, and crafting an image of athletic prowess for mass consumption. It speaks volumes about labor practices and industrialization at the time. Editor: Agreed, the societal context is paramount, but let's not overlook the formal aspects. Notice how the subject's posture, along with the framing, draws the viewer’s eye upwards and makes for an excellent formal study in shape, and how this photographic print presents a stark and direct quality reminiscent of earlier portraiture, lending gravitas. The lighting may be quite subdued overall. Curator: Absolutely. The photograph itself is a fascinating artifact—likely one in a series created through carefully controlled studio shots printed for mass distribution by Old Judge Cigarette Factory in New York. I wonder, were these athletes compensated fairly for lending their image to fuel capitalist endeavors? Editor: That leads to an important point regarding audience perception. The baseball player, usually frozen mid-game action shots, has a peculiar presentation. His gaze does appear as though it is longing upward and forward for great victory! The subtle variations would indeed interest the public enough to want to possess the whole set! Curator: The distribution of these cards had far-reaching impacts and served to build recognition of sportsmen. Editor: In conclusion, by examining the stylistic structure, framing and portrait, we see more to baseball history. Curator: I concur; by studying the materials and considering socioeconomic dynamics, we are granted a fuller understanding of how it was produced.