Miss Van Oasten, from the Actors and Actresses series (N145-8) issued by Duke Sons & Co. to promote Duke Cigarettes 1890 - 1895

Curator: Ah, here we have a fascinating artifact: "Miss Van Oasten," from the "Actors and Actresses" series. These photographic prints were issued between 1890 and 1895 by W. Duke, Sons & Co. to promote their Duke Cigarettes. Editor: Wow, what a captivating sepia tone! It feels like a ghost story, all soft focus and frills. It makes me think of old theatres, smoke-filled rooms, and a certain kind of fragile, yet powerful femininity. Curator: Indeed. These photographs are exemplary of the cabinet card format popular during that era. We can examine them as artifacts documenting the intersection of consumer culture, celebrity, and the representation of women in the late 19th century. The commodification of images of actresses served to both elevate and objectify them, fueling a burgeoning entertainment industry while also reinforcing patriarchal norms. Editor: Objectify is a harsh word…I like to think this is how Miss Van Oasten WANTED to be seen! Her costume… is it me, or does it wink to us? She looks almost cheeky, as if saying, "I know I am here selling cigarettes, but honey, you will also remember my NAME." There is a definite spark, more than mere posing! Curator: It is vital to consider the economic and social structures that allowed such "spark" to be captured and circulated. How were actresses, such as Miss Van Oasten, positioned within the late 19th-century economy of representation, particularly given the limited opportunities for women’s financial independence? What was the power dynamic between actress and audience during this period? Editor: That’s a heavier read than my spontaneous vibe… Okay, I'll try: Maybe the 'spark' *is* partly Duke’s design? Make her fascinating enough that people buy! All publicity being good publicity...It does feel very 'crafted', your right to a certain extent...Still love her hat! Curator: And such ephemera now reside in institutions like the Metropolitan Museum of Art, inviting us to dissect the narratives embedded within seemingly simple images, and engage more fully in dialogue about identity, class and commercial enterprise. Editor: Indeed, by seeing an ‘object’ in such an expanded frame, something so seemingly innocuous sings a complicated tune that deserves appreciation, in retrospect, too!