Radford, Right Field, Brooklyn Bridegrooms, from the Old Judge series (N172) for Old Judge Cigarettes 1888

Editor: This is "Radford, Right Field, Brooklyn Bridegrooms," a baseball card from the Old Judge series, printed in 1888 by Goodwin & Company. The sepia tones give it a very old-timey feel. I’m struck by how the figure of the baseball player is quite central and upright. How do you interpret this work, considering its formal aspects? Curator: The card presents a study in contrasts within a limited palette. Notice how the background almost seems to melt into the figure, emphasizing the geometric rigidity of the player's stance and the bat he holds. The composition, rather than trying to evoke the action of the baseball field, focuses on the player as an almost sculptural form. Is the flattening effect heightened by the sepia tone an intentional choice or limitation of the technology? Editor: I suppose the photographic technology was less sophisticated back then. So you're focusing on the player’s shape within the composition, and how the tones kind of blend together instead of popping? Curator: Precisely. Look at the rectangle framing the player versus the slightly amorphous landscape, if one could call it that. The artist – or perhaps more accurately, the printer – creates a dynamic tension. It’s not simply a photograph, it's a study in forms. Editor: I see it now! Thanks for pointing that out. I initially thought it was just a straightforward portrait, but it’s clear that the formal composition carries significance. Curator: Indeed. What appeared simple is rather complex upon closer examination. These early cards present such insights when we consider their structure.