Trade card for James Figg 1790s

Curator: This is William Hogarth’s "Trade card for James Figg," dating to the 1790s. It's an engraving, now held at the Metropolitan Museum of Art. Editor: It's so detailed for something so small, like a business card. The scene feels staged, almost performative, like theatre. What’s striking to me is the explicit connection to class—'Gentlemen'—who is Hogarth trying to reach? Curator: Precisely. As a materialist, I see this print not merely as a piece of art, but as a commodity produced within a specific socio-economic framework. The engraving process itself – the labour, the tools, the printing press – speaks volumes about early industrial practices and Hogarth's position within that system. How does the act of advertising intersect with the commodification of both Figg's pugilistic skills, and Hogarth’s artistic talent? Editor: So, the 'Master of Defence' is selling a service, a skill... and Hogarth is selling his image-making abilities to advertise that? Curator: Exactly. It’s not just about aesthetics or even immortalizing Figg. Hogarth is actively participating in a market, catering to a specific clientele – the 'Gentlemen' mentioned. This highlights how artistic production was becoming intertwined with consumer culture. How might the material realities of 18th-century London, like the rising middle class and their leisure activities, have influenced this piece? Editor: So it's about how the materials and processes – from the engraving to the intended distribution as a trade card – reflect the burgeoning consumerism of the era and shift the focus away from singular authorship towards networks of production and consumption. I’d never considered an art piece quite like that. Curator: Thinking about art through its production and consumption helps to unlock social narratives within the work.