Pet Polly, from the Household Pets series (N194) issued by Wm. S. Kimball & Co. 1891

Curator: Looking at "Pet Polly," a print created around 1891 by Wm. S. Kimball & Co. as part of their Household Pets series, I am struck by the seemingly demure subject and its implications related to gender, class, and race. Editor: Immediately, the colors capture my attention. There's something almost muted about them, yet they manage to create a sense of lightheartedness and familiarity. Curator: Absolutely. These types of images circulated widely as advertising premiums, reflecting an era obsessed with domesticity and exoticism. We have to ask ourselves what purpose the association with the animal served? Editor: The pairing does feel deliberately posed. There's a stillness, a sense of curated tranquility. The matching striped clothing hints at a visual harmony. Curator: But who dictates harmony, and who benefits? Note how Polly is a colorful imported bird— a common theme that relates to the subjugation of nature by humans. More than that, she acts almost as a colonial counterpart to the young white woman on the right side of the piece. This highlights a dynamic of possession, even a sense of the sitter owning her likeness as property for public consumption, thereby influencing perceptions of who holds and deserves space. Editor: A thought-provoking angle. I hadn’t considered the implications of display, ownership, and consumerism interwoven into the artwork, which now encourages me to wonder where images like "Pet Polly" stand outside their era and their purpose. Curator: Exactly. As it appears within the public sphere, pieces like this are both revealing of their original purposes and open to broader discussions. "Pet Polly" functions not merely as decor but also as social record. Editor: That is fascinating. I leave feeling challenged to think deeply about art's connection with identity and value systems.