{"id":15860,"date":"2026-06-30T12:41:25","date_gmt":"2026-06-30T15:41:25","guid":{"rendered":"https:\/\/anacecilia.digital\/en\/?p=15860"},"modified":"2026-06-30T12:41:27","modified_gmt":"2026-06-30T15:41:27","slug":"liebig-trade-cards-and-eucalol-brazilian-prints-discover-the-history-of-these-collecting-cards","status":"publish","type":"post","link":"https:\/\/anacecilia.digital\/en\/liebig-trade-cards-and-eucalol-brazilian-prints-discover-the-history-of-these-collecting-cards\/","title":{"rendered":"Liebig Trade Cards and Eucalol Brazilian Prints: Discover the History of These Collecting Cards"},"content":{"rendered":"\n
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What are Cultural Collecting Cards?<\/h2>\n\n\n\n

Cultural collecting cards are prints featuring an illustration on the front and historical and\/or scientific explanations on the back. Advertisements for the companies that produced them are usually added alongside the explanatory text.<\/p>\n\n\n\n

These cards cover a wide range of subjects, including art, travel, museums, historical monuments, architecture, literature, ancient legends, music, nature, scientific discoveries, and curiosities.<\/p>\n\n\n\n

Collecting cards reached their peak popularity starting in the late 19th century, following the development of lithography<\/strong>\u2014or multi-colored printing.<\/p>\n\n\n\n

According to the Getty\u2019s Art & Architecture Thesaurus<\/em> <\/strong>(a controlled vocabulary), collecting cards are:<\/p>\n\n\n\n

Cards issued singly or in sets since the 19th century, primarily for collecting, bearing a wide variety of images, such as sports figures, movie stars, or flowers. If cards include advertising, use also \u201cadvertising cards\u201d; if cards accompany a product, use also \u201cpremiums.\u201d For cards bearing tradesmen\u2019s advertisements, and sometimes a variety of images, produced from the 17th through the 19th century, use also \u201ctrade cards.\u201d<\/em><\/p>\n\n\n\n

Liebig Trade Cards in Europe<\/h2>\n\n\n\n

Justus von Liebig<\/strong> (1803\u20131873) was a German scientist of great importance to organic chemistry. In the 1840s, he developed a technique for producing meat extract\u2014in paste or cube form\u2014that could be canned without refrigeration. This process promised to concentrate and preserve both the product\u2019s nutrients and its flavour.<\/p>\n\n\n\n

The Liebig Extract of Meat Company<\/strong> was founded by the German entrepreneur Georg Christian Giebert, who adopted the inventor\u2019s name with his permission. He established a large factory in Fray Bentos, Uruguay, in 1864. In South America, low production costs made the venture exponentially more profitable. Plans to build a factory in Brazil never materialised.<\/p>\n\n\n\n

The company\u2019s European base was located in Antwerp (Belgium), from where the product was distributed across most of Europe. The company\u2019s success was largely due to its affordable prices and quality, as well as a marketing strategy that linked knowledge with nutrition through collecting cards. They served, therefore, as food for both the body and the mind.<\/p>\n\n\n\n

This ideal met with the postulates of materialist publicists such as Ludwig B\u00fcchner and Jacob Moleschott, who in the 1850s popularised the principle \u00abMan ist was er isst\u00bb (One is what one eats). This motto encompassed the idea that food for the stomach was as important as food for the brain, and that for the majority of people, life conditions could be substantially improved through better education and nutrition.<\/em> (Morcillo, p. 230)<\/p>\n\n\n\n

For nearly a century (1871\u20131975), the Liebig Company issued 1,871 collecting cards redeemable with purchase coupons. They featured advertisements and recipes for dishes prepared with the company\u2019s meat extract. Organised into thematic series, they were produced in various languages.<\/p>\n\n\n\n

While many of these cards celebrated European composers and artists, biblical themes, or Greco-Roman antiquity, a growing interest in archaeological subjects, \u201cexotic\u201d geographies, travel, and colonial conquests gradually became evident.<\/p>\n\n\n\n

Often, the content of these cards expressed Western values \u200b\u200bthrough a strongly Eurocentric lens. Thus, the imperialist mindset became linked to consumer interests, as people \u201ctravelled\u201d across the globe\u2014to African and American lands\u2014through the medium of Liebig cards.<\/p>\n\n\n\n

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Liebig cards were printed in colour using a technique known as chromolithography<\/strong>. Separate stones served as printing plates for the multiple colours that, when superimposed, created the final image. It was an extremely labour-intensive process\u2014one that was only optimised with the invention of modern printing presses.<\/p>\n\n\n\n

Lithography made it possible for graphic art to accompany everyday life with pictures.<\/em> (Walter Benjamin)<\/p>\n\n\n\n

Eucalol Brazilian Prints<\/h2>\n\n\n\n

As Gorberg aptly noted in his catalogue raisonn\u00e9<\/strong><\/em> of Eucalol cards, there is strong evidence suggesting Liebig cards inspired them. Among the many similarities, the most obvious examples appear to be Series 19 (The Conquest of Mexico<\/em>) and Series 20 (The Discovery of the Sea Route to India<\/em>) \u2014which were clearly copied from Liebig cards issued in 1897.<\/p>\n\n\n\n

But let us start at the beginning to explore the history of the most famous collecting cards in Brazil\u2014and, likely, in all of South America.<\/p>\n\n\n\n

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In 1917, German-Jewish immigrant Paulo Stern<\/strong> established a small business in Rio de Janeiro dedicated to manufacturing and trading essences. He used his Brazilian partner\u2019s name to register the enterprise\u2014Correa da Silva & Cia\u2014due to the growing hostility toward Germans at the time. In 1919, his brother Ricardo Stern joined the business. Before settling in Brazil, Ricardo had worked as an international correspondent in Europe.<\/p>\n\n\n\n

Thus began what would become a successful manufacturer of toiletry products, trading under the name Perfumaria Myrta<\/em>. Among its many products, the eucalyptus-based Eucalol line is particularly noteworthy for our research. Soaps bearing the same name were launched in 1926.<\/p>\n\n\n\n

Unlike conventional white or pink soaps, Eucalol soaps were green, a feature that initially seemed unusual to consumers. However, as a marketing strategy in 1930, Perfumaria Myrta began including three collecting cards as a bonus in every three-bar box; the cards absorbed the soap\u2019s fragrance. A dedicated album was also available for collecting them.<\/p>\n\n\n\n

The cards, issued until 1960, were a huge success:<\/p>\n\n\n\n

Facilitated by the product\u2019s chemical properties (avoiding the spoilage issues associated with cigarettes or candy) and the existing transport infrastructure, the distribution of the cards reached virtually every Brazilian state. At the same time\u2014much like the trends seen with stamps and postcards\u2014informal associations emerged to guide and encourage this collecting hobby. In Porto Alegre city, Rio Grande do Sul State, an Eucalol Card Club was formed, boasting a membership of over 3,000 collectors. (\u2026) The widespread reach of Eucalol cards stemmed from their intrinsic qualities and the lack of other media outlets, particularly in cities where the circulation of publications and other informational or recreational printed materials was limited.<\/em> (Goulart, pp. 160\u2013161)<\/p>\n\n\n\n

Despite this success, the company could not withstand competition and closed down in the 1980s; however, its cards are still appreciated to this day. Much like Liebig cards in Europe, Eucalol prints are arguably the most famous collecting cards in Latin America.<\/p>\n\n\n\n

Regarding graphic design<\/strong>, there is a strong possibility that the earliest cards were printed in Germany and later by Brazilian printing houses. From a technical standpoint, Eucalol cards were produced using processes distinct from those used for Liebig cards.<\/p>\n\n\n\n

In the series Como se faz uma estamp<\/em>a (How a Card Is Made), the reverse side of the Eucalol cards describes the stages of zincography<\/strong>. The original drawing is first photographed. The photographic plate is copied onto a sensitised zinc plate, which is then treated with acids. Once proofs and copies have been made on the zinc plates, the cards are printed\u2014one colour at a time\u2014depending on the size of the press. Finally, they are cut and packaged. The illustrations in this series use six colours.<\/p>\n\n\n\n

According to Goulart, the finest cards were produced not by zincography but by lithography<\/strong>, printed in eight colours\u2014as seen in the Hist\u00f3ria do Brasil <\/em>(History of Brazil) and Hist\u00f3ria Natural <\/em>(Natural History) series. For both series, the company commissioned the engraver Alexandre Oppido, a \u201cchromist\u201d who created the printing plates for reproducing the original image.<\/p>\n\n\n\n

Having been printed over several decades at various facilities\u2014yielding visibly different results\u2014Eucalol cards serve as significant documentary evidence of the production and reproduction systems of the printing industry in the last century, a time of rapid technological advancement.<\/p>\n\n\n\n

In terms of content, Eucalol cards covered a wide range of subjects, notably: travel and locations in Brazil and around the world; legends from Brazil and antiquity; global curiosities (cultural heritage); nature (waterfalls, fauna, flora, prehistoric animals); Brazil\u2019s indigenous peoples; literature (Don Quixote, children\u2019s stories); composers; notable Brazilians (Santos Dumont, Oswaldo Cruz); Brazilian history; flags, coats of arms, and uniforms; Scouting; sports; fashion; and dances, among others.<\/p>\n\n\n\n

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Eucalol soap advertisements promoted collecting as \u201ca new sport!<\/em>\u201d They further claimed: \u201cWant to be entertained? Want to learn? Collect the instructive and interesting Eucalol soap cards.<\/em>\u201d And what was once an intellectual pastime has now become our object of work and study.<\/p>\n\n\n\n

In his book on Eucalol prints, Professor Wagner Ant\u00f4nio Rizzo draws upon some of the most significant intellectuals to guide us through a rich exploration of these fine cards: Marilena Chau\u00ed, Walter Benjamin, J\u00fcrgen Habermas, Domenico De Masi, Roger Chartier, Paul Ric\u0153ur, Theodor Adorno, Pierre Bourdieu, Umberto Eco, Norberto Elias, N\u00e9stor Garc\u00eda Canclini, and Italo Calvino, to name a few. Regarding creative leisure<\/strong>\u2014an important concept developed by the Italian sociologist and thinker Domenico De Masi\u2014Rizzo notes:<\/p>\n\n\n\n

In articulating the relationship among communication, work, and leisure, Jo\u00e3o Jos\u00e9 Curvello examines everyday life through the lens of time allocation, as do other scholars. However, what particularly caught my attention was his dialogue with authors such as Habermas and De Masi. I am especially interested in the reflections on creative leisure found in De Masi\u2019s work, particularly when considering Eucalol cards as cultural objects; their unique characteristics invite questions about a form of playful activity that can also incorporate pedagogical and didactic dimensions.<\/em> (RIZZO, p. 42)<\/p>\n\n\n\n

Having played a significant role in the creative leisure of Brazilians, Eucalol prints earned a place in the history of graphic arts; they are held in museum and library collections, fill the pages of books dedicated entirely to them. Eucalol prints have even inspired music.<\/a><\/p>\n\n\n\n

Cultural Collecting Cards in Museums Around the World<\/h2>\n\n\n\n

Various museums, libraries, and archives around the world preserve trading cards in their collections. <\/p>\n\n\n\n

In Brazil, Eucalol prints are part of the collections of the National Historical Museum (Rio de Janeiro), the Santa Catarina School Museum (Florian\u00f3polis), the Joaquim Felizardo Museum of Porto Alegre, the Brazilian Expeditionary Force Military Museum (Belo Horizonte), and the Tempostal Museum (Pelourinho, Salvador), to name a few examples.<\/p>\n\n\n\n

Prominent international institutions also hold trade cards\u2014such as Liebig and others. These include The British Museum (United Kingdom), the Royal Ontario Museum (Canada), the Library of Congress (USA), the National Library of Australia, and North American universities such as Harvard, Princeton, Yale, and Cornell.<\/p>\n\n\n\n

The Smithsonian Institution\u2019s National Museum of the American Indian<\/em>, through the significant initiative known as Smithsonian Digital Volunteers: Transcription Center<\/em>, has translated its German Liebig cards into English.<\/p>\n\n\n\n

Our project at UFMG <\/a>is gradually establishing contact with these institutions. Some have already kindly collaborated with our research by providing relevant information about the cards in their collections\u2014such as photographs, conservation and storage conditions, inventories, and cataloguing data from collection management software, among other precious details.<\/p>\n\n\n\n

Want to Know More About Cultural Collecting Cards?<\/h2>\n\n\n\n

Take a tour of the Eucalol prints and Liebig trade cards in my Online Collection of Cultural Prints<\/a>, developed using the Brazilian open-source software Tainacan\/WordPress. The collection is in Portuguese, but your browser\u2019s automatic translator can help.<\/p>\n\n\n\n

Click here to read information about the Rosetta Stone Eucalol Card.<\/a> It depicts an important archaeological artefact on display at The British Museum.<\/p>\n\n\n\n

You can also read a text about my lecture on this project at the University of Warwick, UK: Travelling through Nature on Cultural Prints: Eucalol and Liebig Trade Cards.<\/a><\/p>\n\n\n\n

This post is part of my e-book Manual on Cataloguing, Preventive Conservation, and Collection Management: Cultural Prints<\/a>, the result of our research at UFMG. Download the e-book for free by clicking the link above or the image below.<\/p>\n\n\n\n

The e-book is not yet available in English, but I have published other chapters from it on my Portuguese blog\u2014which your browser can quickly translate:<\/p>\n\n\n\n

How to preserve Eucalol prints or other collecting cards?<\/a><\/p>\n\n\n\n

Is it possible to implement advanced collection management systems in digital repositories built with open-source software?<\/a><\/p>\n\n\n\n

Will Artificial Intelligence replace professionals in museums, libraries, archives, and galleries?<\/a><\/p>\n\n\n\n

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Notes<\/h2>\n\n\n\n

Estampas Eucalol<\/strong> Raisonn\u00e9 <\/em>Catalog<\/strong>. Samuel Gorberg, Rio de Janeiro, 2000.<\/p>\n\n\n\n

\u00c1lbum de Figurinhas<\/strong>: Configura\u00e7\u00f5es e Hist\u00f3rias.\u00a0Paulo C\u00e9zar Alves Goulart.\u00a0Available at: <https:\/\/www.teses.usp.br\/teses\/disponiveis\/27\/27135\/tde-03052024-120619\/publico\/731310GoulartPauloCezarAlves.pdf<\/a>>\u00a0Accessed on: June 17, 2026.<\/p>\n\n\n\n

Antiquity and Modern Nations in the Liebig Trading Cards<\/strong>. Marta Garc\u00eda Morcillo In:<\/em> Antig\u00fcedad cl\u00e1ssica y naciones modernas en el Viejo y el Nuevo Mundo, Madri, 2018.<\/p>\n\n\n\n

Fina(s) Estampa(s)<\/strong>: As estampas Eucalol e a mem\u00f3ria publicit\u00e1ria brasileira. Wagner Rizzo, Bras\u00edlia, 2014.<\/p>\n\n\n\n

SMITHSONIAN INSTITUTION. German Advertising Trade Cards Collection<\/strong>: Transcription Center Project. Available at: <https:\/\/sova.si.edu\/record\/nmai.ac.288<\/a>> Accessed on: June 17, 2026.<\/p>\n\n\n\n

TAINACAN<\/strong>. Available at: <https:\/\/tainacan.org\/en\/<\/a>> Accessed on: June 17, 2026.<\/p>\n\n\n\n

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Please help me improve my English by sending me your suggestions through this contact form<\/a>. Thanks!  <\/p>\n\n\n\n

Published on my blog in Portuguese on June 23, 2026: Estampas Eucalol e Liebig: Conhe\u00e7a a hist\u00f3ria destes cart\u00f5es colecion\u00e1veis<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

In this post, take a journey exploring Liebig Trade Cards and Eucalol Brazilian Prints\u2014collectable cards from the 19th and 20th centuries.<\/p>\n","protected":false},"author":2,"featured_media":15948,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[25],"tags":[311,312,189,330],"class_list":["post-15860","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cultural","tag-eucalol","tag-liebig","tag-museum","tag-webmuseum"],"acf":[],"yoast_head":"\nLiebig Trade Cards and Eucalol Brazilian Prints: Discover the History of These Collecting Cards - Tropical Philosophy<\/title>\n<meta name=\"description\" content=\"In this post, take a journey exploring Liebig Trade Cards and Eucalol Brazilian Prints\u2014collectable cards from the 19th and 20th centuries.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/anacecilia.digital\/en\/liebig-trade-cards-and-eucalol-brazilian-prints-discover-the-history-of-these-collecting-cards\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Liebig Trade Cards and Eucalol Brazilian Prints: Discover the History of These Collecting Cards - 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