Genevieve Lytton in Colors of St. Augustine Yacht Club, from the Yacht Colors of the World series (N140) issued by Duke Sons & Co. to promote Honest Long Cut Tobacco 1890

Editor: Here we have "Genevieve Lytton in Colors of St. Augustine Yacht Club," a print made around 1890 by W. Duke, Sons & Co. as a promotional item. The color palette is very limited. It feels almost like a uniform, or perhaps a symbol of belonging. What do you make of its representation of gender and class? Curator: It's fascinating to consider this image as a product of its time, steeped in the politics of identity. These 'trade cards' often reflected and reinforced prevailing social hierarchies. What does it mean to see a woman, Genevieve Lytton, presented in the 'colors' of a yacht club? Is she a member? More likely, she’s an ornament, embodying the aspirations of the club’s male members, don't you think? Editor: I do. So the imagery of sailing and exclusivity is really being leveraged to sell tobacco? Curator: Exactly. The 'colors' aren't just aesthetic; they signify belonging, privilege, and power. Think about how the burgeoning advertising industry used idealized images of women to promote consumption and reinforce gender roles. Editor: It’s striking how a seemingly innocent portrait can reveal so much about the socio-political landscape of the era. This puts it in such a broader cultural narrative. Curator: Indeed. Consider also the absence of women’s voices and agency in these representations. It’s vital to question whose perspectives are being privileged and whose are being marginalized, right? Editor: Right! Thank you; that helps to clarify so much. Curator: Absolutely. Looking closely reveals how art becomes an active agent in perpetuating or challenging power structures.