Arms of the State of Vermont, from the Military Series (N224) issued by Kinney Tobacco Company to promote Sweet Caporal Cigarettes 1888

Editor: Here we have "Arms of the State of Vermont" from 1888, a colored-pencil drawing that’s part of the Military Series by Kinney Tobacco Company. It's quaint. What's striking to me is how this idealized image was mass-produced to sell cigarettes. How do you interpret the intersection of commerce and state symbolism? Curator: It's crucial to recognize the materiality of this piece: it’s not just an image, but a mass-produced object intended to circulate within a consumer economy. The "Arms of the State" become a commodity, distributed alongside Sweet Caporal Cigarettes. Editor: So, it’s less about the art itself and more about its function as a promotional tool? Curator: Precisely! The choice of colored pencil, the printing process – these speak to the accessibility and affordability aimed at a broad audience. This blurring of lines between high art, craft, and advertising prompts a deeper look at the production of such objects and who profited from their circulation. How does its imagery play into consumerism? Editor: The idealized landscape promotes an image of Vermont. It presents a comforting vision of rural life linked to the state's identity...and links it to their brand! Curator: Think about the paper it’s printed on, the ink, the labor involved in its creation and distribution. All these elements reveal a network of social and economic relationships tied to the consumption of both images and tobacco. Does understanding the materials and context alter your initial "quaint" perception? Editor: Absolutely. It feels much more calculated and, frankly, cynical now. I'll definitely be thinking differently about the material realities behind images from now on. Curator: That’s the power of the materialist perspective, urging us to critically examine the hidden stories behind the artwork’s surface.