Adelaide Neilson, from the Actors and Actresses series (N45, Type 1) for Virginia Brights Cigarettes by Allen & Ginter

Adelaide Neilson, from the Actors and Actresses series (N45, Type 1) for Virginia Brights Cigarettes 1885 - 1891

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drawing, print, photography

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portrait

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drawing

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print

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impressionism

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photography

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19th century

Dimensions Sheet: 2 3/4 x 1 3/8 in. (7 x 3.5 cm)

Editor: This is a fascinating little card from the Actors and Actresses series, featuring Adelaide Neilson, made between 1885 and 1891 by Allen & Ginter for Virginia Brights Cigarettes. It’s so interesting to see a figure, ostensibly representing “high art”, used to sell cigarettes. What strikes you about this particular intersection of commerce and art? Curator: This immediately raises questions about production, consumption, and the dissemination of images in the late 19th century. These cards, distributed with mass-produced cigarettes, demonstrate a collapsing of boundaries between fine art and popular culture. The photographic process itself allowed for widespread replication and distribution, fueling the celebrity culture surrounding stage actors like Neilson. Think about the labor involved, from the photographer and printer to the factory workers packaging cigarettes. Who were these workers, and what were their conditions? Editor: So, it's not just a portrait of an actress but a reflection of industrial practices? The image is not a stand-alone object. Curator: Precisely. The materiality of the card, its function as a collectible inserted into a product meant for mass consumption, informs its meaning. Consider the visual choices, too. The romantic, perhaps slightly exotic, attire. What purpose does that serve for the consumers of Virginia Brights? Is it escapism, aspiration, or something else entirely? It highlights the mechanisms used in production, marketing, and consumption of an art object. Editor: It does make you wonder who collected these, and what they thought of the art world itself. How much value did they place on the photo because it was free and attached to a purchasable product? Curator: Exactly! And it points to an economy around the material image itself that often goes unexplored in our typical "art historical" experience. Editor: That's a totally different way of thinking about these artifacts, focusing on labor, production and consumption... Thank you!

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