Between 1875 and the 1940s, tobacco companies on both sides of the Atlantic turned cigarette packaging into a collecting craze. Small illustrated cards were tucked inside each pack, printed in series that covered topics like world cities, athletes, and — most famously — celebrities. Customers who completed a full series could trade them in for free cigarette packs or other prizes, which kept buyers loyal to a single brand and coming back for more.
One of the most sought-after series was called ‘Beauties.’ These cards featured actresses, sports women, and fashion models. The portraits were typically licensed directly from major Hollywood studios, giving the cards a polished, professional look that set them apart from other collectibles of the era. The ‘Modern Beauties’ series, in particular, featured real photo portraits of Hollywood actresses across multiple numbered runs — each card assigned a series number and a name.
Claire Dodd appeared as card number 24 in the Third Series of Modern Beauties. Dodd was a working actress during the early sound era of Hollywood, known for sharp, sophisticated roles. Her portrait, like others in the series, was reproduced from a studio photograph — the kind used for press releases and fan mail.
Constance Jordan held card number 14 in the same Third Series. The Modern Beauties series ran across at least eight numbered editions, meaning dozens of actresses were featured across the full collection. Tobacco brands in the US and Europe both issued versions of these cards, making them widely circulated across the Atlantic.
Gay Sheridan and Myriam Valey were both featured in the Third Series — cards 26 and 15 respectively. The variety of faces within a single series was intentional. Tobacco companies wanted collectors to feel that no two cards were alike, pushing buyers to keep purchasing packs in pursuit of the full set. Each card measured roughly the size of a modern playing card, small enough to slip into a pocket or stack neatly in a collection tin.
By the Fourth Series, the Modern Beauties lineup moved on to a new batch of faces. Juliette Compton appeared as card number 20. Compton was a British-born actress who worked in American films during the early 1930s, appearing in productions at major studios. Her inclusion reflects how the series drew from both Hollywood and the broader entertainment world.
The series ran deep enough to reach at least an Eighth Series, where Judy McCrea appeared as card number 20. By this point in the collection, tobacco companies had featured well over a hundred individual actresses across the full Modern Beauties run. The consistency of the numbering system made it easy for collectors to track which cards they were missing.
Not every card in the broader Beauties category listed a full name. Some, like this card simply labeled ‘Virginia,’ identified subjects by a single name or stage name — a common practice in entertainment during the 1930s. The card’s style is consistent with others produced in the same decade, featuring a close portrait cropped to focus entirely on the subject’s face.
British tobacco companies ran their own parallel series. Around 1937, a collection called ‘Beauties of Today’ was issued in Britain, featuring a similar format — studio-style portraits of actresses printed on small cards distributed with cigarette packs.
The ‘Beauties of Today’ series from Britain shared the same core concept as its American counterpart but catered to a British audience. The cards were printed with fine detail and often featured color tinting over black-and-white photographs, giving them a warm, stylized appearance that matched the glamour aesthetic popular in 1930s print media.
Diana Lewis was among the actresses featured in the British ‘Beauties of Today’ series around 1937. Lewis worked in Hollywood films during this period and was known for her energetic screen presence. Her card, like all others in the series, would have been one piece of a larger numbered set that collectors assembled over time.
Margaret Sullavan’s inclusion in the ‘Beauties of Today’ series speaks to her standing in 1930s Hollywood. By 1937, Sullavan had already received critical recognition for her film work and was considered one of the more respected dramatic actresses of the decade. Jean Connors appeared alongside her in the same British series, both women rendered in the same portrait style that defined the collection.
Lorna Tarr and Suzanne Kaaren both appear in the 1937 British series. Kaaren is perhaps the most recognizable of the two today, having appeared in several films and serials throughout the 1930s. Together, these cards paint a picture of what popular female celebrity looked like in the mid-1930s — a snapshot of fame at a specific moment, preserved on a small piece of printed cardstock tucked inside a cigarette pack.
