F.e de l'Isle du P. Guillaume, from the playing cards (for quartets) "Costumes des Peuples Étrangers" 18th century

Curator: Looking at this artwork, entitled “F.e de l'Isle du P. Guillaume, from the playing cards (for quartets) "Costumes des Peuples Étrangers"” is a trip! An anonymous piece hailing all the way from the 18th century, here at The Met. Editor: It gives me the vibe of a beautifully surreal geography lesson, or perhaps an elaborate inside joke on cultural clichés rendered in charming hand colored detail. The scale, like that of a postcard, heightens the intimacy and, dare I say, the playful exoticism. Curator: Exactly! Crafted with etching and colored pencil on paper, it’s interesting that a print would serve as one component in a playing card quartet. So many impressions to be made to arrive at a ‘set,’ as they say! One wonders about the material choices in this particular production, as well. Editor: Materially, I wonder how the availability and cost of colored pencils, paper quality, and even the labor involved in hand-coloring dozens, maybe hundreds, of these cards impacted their overall circulation. What kind of social and economic networks were needed? Were these luxuries or accessible diversions for a broader audience? Curator: You know, when I stare at her face I get the sense that, in her pose and sideways glance, she could care less if anyone is amused or bothered, though the addition of playful arithmetical word play might suggest that not all things can, nor need to be, so serious. Editor: It almost anticipates postmodern commentary! I appreciate your pointing that out because it makes me reconsider her garb and gestures and its relationship to a playful set of social contexts involving the game as object, not solely cultural artifact. That this was designed for play shifts the meaning even more… Curator: Yes! Play—both in the material sense, as well as its impact as an emotional affect—feels essential in approaching this gem. Editor: Absolutely. I walk away pondering labor, leisure, and just how subversive such collectible, ephemeral pieces could be within their cultural and economic moment.