Bill Collins, Catcher, New York, from the Old Judge series (N172) for Old Judge Cigarettes 1887

Editor: This is "Bill Collins, Catcher, New York, from the Old Judge series," an 1887 albumen print by Goodwin & Company. The sepia tones and aged texture give it such an antique feel. I am struck by the geometric arrangement, where Collins' body makes a strong triangle, drawing focus on him. What are your insights into this portrait? Curator: This print is fascinating for its masterful exploitation of tonal values and line. Notice how the highlights articulate the planes of Collins's protective gear, lending the image an almost sculptural quality. And consider the diagonal emphasis formed by his legs: they introduce a vital tension, countering the stasis suggested by the central vertical axis of his torso. Editor: So, the composition, through those diagonals and central axis, creates visual interest? Curator: Precisely. Also, let us reflect on how the formal framing—the limited depth of field and shallow space—pushes Collins forward, presenting the subject as an emblem. What compositional choices might inform this symbolic intention? Editor: Perhaps isolating Collins in such a way gives him an iconic quality, much like classical portraiture does? Curator: Indeed. It elevates an athletic portrait to the level of classical archetype by isolating specific formal components within it. Considering all we observed, what can we learn by assessing solely its structure, medium, and construction? Editor: By understanding its formal construction, we learn how the work's design enhances its subject in order to be elevated into an icon. Thank you. Curator: The close look allowed us a new appreciation for its artistic skill.