Snow Balling, "Just look at that hat," from the Terrors of America set (N136) issued by Duke Sons & Co. to promote Honest Long Cut Tobacco 1888 - 1889

Editor: Here we have "Snow Balling, 'Just look at that hat,'" a print created by W. Duke, Sons & Co. around 1888-1889 as part of the Terrors of America series. It's playful, a little bit cheeky, with the main figure looking quite mischievous. What do you see in this piece? Curator: Beyond the immediate subject matter, I see a powerful reflection of the commodification of leisure and social anxieties during that era. These cards, produced by a tobacco company, weren't just innocent illustrations; they were tools for building brand loyalty and shaping consumer culture. How does the depiction of snowballing relate to the labor practices involved in tobacco production, do you think? Editor: That's interesting. I hadn’t considered the labor aspect. Maybe the playful scene offers a sort of escape, a contrast to the realities of factory work? Curator: Exactly! And consider the materials: cheap paper, mass-produced inks. These are industrial products meant for widespread consumption. It's a far cry from the elite art of the time. The "terrors" themselves often reflect social tensions. Who is this figure terrorizing? Is it simply children being rambunctious? Editor: I see your point. It is interesting how the lower production of the print normalizes an action in everyday life that distracts from production norms and methods. Do you think there is significance of them promoting a print series like "Terrors of America?" Curator: Most definitely, as "terrors" such as these reinforce cultural values and control any disruption of them by contrasting such acts of rebellion, or just general deviation of norms. Consider how even humor can serve these functions... It can definitely provide an interesting perspective. Editor: Wow, I never thought about it like that! Seeing it as a consumer product with a social agenda changes everything. Curator: Precisely. It’s a reminder that art, even in its most unassuming forms, is embedded in systems of production, distribution, and power. The act of making and consuming these images says a lot about the period.