Card Number 162, Elmore, from the Actors and Actresses series (N145-1) issued by Duke Sons & Co. to promote Cross Cut Cigarettes 1880s

Editor: Here we have Card Number 162, Elmore, a print from the Actors and Actresses series dating to the 1880s, created by W. Duke, Sons & Co. as an advertisement. It's a sepia-toned image of a woman in classical dress, holding a vase. It’s so interesting that this portrait feels classical but also very commercial. What social or cultural elements do you feel stand out in this work? Curator: Well, first consider the power dynamics at play. We see this card circulated to promote cigarettes using a woman's image, a common advertising tactic then and now. What's striking is how it attempts to elevate a commercial product by associating it with high art – in this case, classical antiquity, yet also orientalism. The backdrop, with its stylized palm trees, hints at exoticism. This fusing of supposed sophistication with commodity culture is very telling, isn't it? Who do you think the intended consumer was, and what desires were being targeted? Editor: I see what you mean. The reference to classical art and far-off lands probably speaks to a certain aspirational lifestyle that consumers want to be a part of when buying these cigarettes. What else do you notice about how femininity is depicted here? Curator: It's carefully constructed. She's poised but also ornamental, conforming to ideals of beauty, while simultaneously serving a corporate purpose. Her identity is almost secondary to her function as an alluring figure tied to a brand. This interplay highlights how images of women have historically been utilized and commodified, raising questions about agency, representation, and the male gaze, don't you think? Editor: Yes, definitely. This puts the photograph into a much broader framework that reflects larger questions about cultural and gender issues. Curator: Precisely, so even what seems a trivial piece can provide valuable insights. It is about unveiling the interwoven histories and political motivations within even a simple advertising card. Editor: I am so glad I asked about this piece. I learned to think beyond aesthetics to examine power structures in what appears to be a benign image.