Card Number 65, Louise Allen, from the Actors and Actresses series (N145-6) issued by Duke Sons & Co. to promote Duke Cigarettes 1880s
drawing, print, photography
portrait
drawing
figuration
photography
historical photography
19th century
Dimensions: Sheet: 2 11/16 × 1 3/8 in. (6.8 × 3.5 cm)
Copyright: Public Domain
Curator: At first glance, the sepia tone and soft focus lend it an air of wistful nostalgia. She looks like a pre-Raphaelite muse gazing heavenward. Editor: Indeed. What we're viewing is "Card Number 65, Louise Allen, from the Actors and Actresses series," dating back to the 1880s. It's a promotional cigarette card produced by W. Duke, Sons & Co. now residing at The Metropolitan Museum of Art. It's a fascinating example of how commercial interests intertwined with popular culture during the late 19th century. Curator: It is surprising, isn't it? A commercial product featuring the face of an actress and the company's branding so subtly intertwined! It's less of an endorsement, and more of a beautified objectification. Editor: The photograph is of stage actress Louise Allen, of course. It reveals the increasing use of celebrity endorsements in advertising, linking Duke Cigarettes with the perceived glamour and artistry of the theatre. And look above her; the company positions themselves in the fine company of Louise. It's all connected. Curator: And her pose – reclining, eyes averted upward - seems deliberately staged. I imagine its appeal worked for a consumer product of that kind, an invitation to luxury, fantasy, and escape. Editor: Absolutely. These cards were designed to be collected and traded, thus increasing the brand's visibility and solidifying the association between smoking and sophistication. But I think you're right about the aspirational image it's attempting to capture. Cigarette cards became these little artifacts, pocket-sized portals into different worlds—even if they were selling a fleeting addiction. Curator: Which makes it so evocative. Today we have entire movies made with the explicit purpose to be products, not little pocket photographs pretending to be art. Louise is permanently fixed in time, yet there is some sadness about it too: the cost of fame. Editor: A poignant reflection. It brings to mind the ephemerality of fame and the enduring power of imagery—commercial or otherwise. Thank you.
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