Khan of Lolpora, Afghanistan, from the Savage and Semi-Barbarous Chiefs and Rulers series (N189) issued by Wm. S. Kimball & Co. 1888

Editor: Here we have an intriguing print from 1888, titled "Khan of Lolpora, Afghanistan," made by William S. Kimball & Co. What immediately strikes me is the detailed rendering of the Khan's attire and his facial expression, which looks a bit… solemn? It’s a very formal portrait, even within this small trading card format. How do you approach an image like this? Curator: From a materialist perspective, I'm most interested in understanding why Kimball & Co. chose to depict the Khan and for what purpose. Consider this was printed as a collectible trading card. We must ask about the materials and labor involved in its mass production. These trade cards were essentially promotional objects used to market tobacco products; how does this object blur the lines between commercialism, art and perhaps even… early ethnographic studies? Editor: So, the purpose dictates its form? Does knowing its mass produced for commercial use change the way we should see its artistic intent, if any? Curator: Exactly. The availability of affordable printing technologies is vital. And beyond technology, the consumption habits of the public are central to understanding the image's production. Who was collecting these? How did they perceive images of foreign rulers? The card might offer insights into Western perceptions of Afghanistan at the time. How were cultural biases materialized through visual choices and accessible print media? Editor: That’s fascinating! I wouldn’t have considered the implications of the printmaking process or the cultural context of collecting on the artwork itself. Thank you, I will definitely use this methodology for my next project! Curator: Don't only examine what is being presented but what the work, what it's created from, tells us. The means of its production matters. Always.