'The Turkeys, Madam you see here

'The Turkeys, Madam you see here, are tender, plump, and far from dear', Christmas card, H.S. Marks, 19th century. Museum no. 15780.37

'May Christmas always be to thee, a time of mirth and jollity'
Christmas card
Designed by H.S. Marks (1829-1898)
Published by Marcus Ward & Co.
Britain
19th century
Museum no. 15780.37

Series of four seasonal greetings.

While not widely observed until the 19th century, Christmas Day - 25 December - was first declared a feast day by Constantine the Great in 325AD. Turkey was not introduced as the main part of the Christmas meal until the 16th century. Prior to that time, feasting meats such as boar and game fowl were most common among the classes who could afford them.

Christmas pudding, like the Christmas tree, originated in Germany. The day's meal with family and friends remains central to the season's festivities.

This card can be found in Print Room Box 3.

'A horn of honest wholesome beer will warm the heart - the spirits cheer', Christmas card

'A horn of honest wholesome beer will warm the heart - the spirits cheer', Christmas card, H.S. Marks, 19th century. Museum no. 15780.38

'May Christmas bring thee peace & plenty, barns & cellars never empty'
Christmas card
Designed by H.S. Marks (1829-1898)
Published by Marcus Ward & Co.
Britain
19th century
Museum no. 15780.38

Series of four seasonal greetings.

While not widely observed until the 19th century, Christmas Day - 25 December - was first declared a feast day by Constantine the Great in 325AD. Turkey was not introduced as the main part of the Christmas meal until the 16th century. Prior to that time, feasting meats such as boar and game fowl were most common among the classes who could afford them.

Christmas pudding, like the Christmas tree, originated in Germany. The day's meal with family and friends remains central to the season's festivities.

This card can be found in Print Room Box 3.

'They're doomed for Christmas brawn and chine, for pigs must die that men may dine'

'They're doomed for Christmas brawn and chine, for pigs must die that men may dine', Christmas card, H.S. Marks, 19th century. Museum no. 15780.39

'The compliments of the season, and all good things in reason'
Christmas card
Designed by H.S. Marks (1829-1898)
Published by Marcus Ward & Co.
Britain
19th century
Museum no. 15780.39

Series of four seasonal greetings.

While not widely observed until the 19th century, Christmas Day - 25 December - was first declared a feast day by Constantine the Great in 325AD. Turkey was not introduced as the main part of the Christmas meal until the 16th century. Prior to that time, feasting meats such as boar and game fowl were most common among the classes who could afford them.

Christmas pudding, like the Christmas tree, originated in Germany. The day's meal with family and friends remains central to the season's festivities.

This card can be found in Print Room Box 3.

'Wife, husband

'Wife, husband, children on their way to dine with friends on Christmas day', Christmas card, H.S. Marks, 19th century. Museum no. 15780.40

'May good digestion wait on appetite, and health on both'
Christmas card
Designed by H.S. Marks (1829-1898)
Published by Marcus Ward & Co.
Britain
19th century
Museum no. 15780.40

Series of four seasonal greetings.

While not widely observed until the 19th century, Christmas Day - 25 December - was first declared a feast day by Constantine the Great in 325AD. Turkey was not introduced as the main part of the Christmas meal until the 16th century. Prior to that time, feasting meats such as boar and game fowl were most common among the classes who could afford them.

Christmas pudding, like the Christmas tree, originated in Germany. The day's meal with family and friends remains central to the season's festivities.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th or 20th century. Museum no. unregistered

Christmas card
Anonymous
19th or 20th century
Museum no. unregistered

Card with a little girl dressed as a post deliverer.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. 1974-1953

A Merry Christmas
Christmas card
Anonymous
Britain
19th century
Cut-out chromolithographed cartouche on backing card with cut paper work borders and embossing
Museum no. 1974-1953

Two young girls open their door to greet a robin with a plate of seed.

'We turn over ten volumes of robins, revealing robins red in all imaginable styles: comic robins, perky robins, robins in the snow.' The Islington Gazette, ca. 1885

The robin redbreast is a perennial favourite in Christmas card designs. Two equally mythic tales attempt to account for its colouring. A Christian legend tells us that the robin's breast was stained red by drops of blood while it comforted the crucified Christ. Another story also characterises the robin as charitable and self-sacrificing, recounting that its breast was permanently scorched while extinguishing the flames of a wren which had been set on fire.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. E.382-1971

Best Wishes
Christmas card
Anonymous
Britain
19th century
Embossing and chromolithography with gold block printing
Museum no. E.382-1971

Three-quarters view of Santa's face depicted in a brass bell-shaped cartouche with holly branches.

Father Christmas, Santa Claus or Old Saint Nicholas take slightly different forms in each country. The character's history begins with Nicholas, Bishop of Myra in Asia Minor, present-day Turkey, who is credited with many acts of generosity. The most famous of these was giving dowries to three sisters by throwing gold into their house at night when he could not be seen. After his death as a martyr he became the patron saint of children and young maidens, but also of sailors, businessmen, pirates and thieves. He was and is particularly celebrated by the Dutch, where he is known as Sinterklaas; the anglicised version of this name, and of Saint Nicholas, is Santa Claus. His feast day falls on 6 December, very close to Christmas.

As he was a bishop, he would have worn red ecclesiastical robes. This element of Father Christmas's appearance was further developed in the 19th century. Gradually, they all converged into the jolly old gift-giver recognised throughout much of the world.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. 2310-1953

Wishing you a Happy New Year
Christmas card
Anonymous
Britain
19th century
Four part fold-out rectangular chromolithograph with gold block printed text, cut-out chromolithograph flowers on left and right panels, embossing
Museum no. 2310-1953

A robin rests on a low branch next to an old snow-covered fence.

'We turn over ten volumes of robins, revealing robins red in all imaginable styles: comic robins, perky robins, robins in the snow.' The Islington Gazette, ca. 1885

The robin redbreast is a perennial favourite in Christmas card designs. Two equally mythic tales attempt to account for its colouring. A Christian legend tells us that the robin's breast was stained red by drops of blood while it comforted the crucified Christ. Another story also characterises the robin as charitable and self-sacrificing, recounting that its breast was permanently scorched while extinguishing the flames of a wren which had been set on fire.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. unregistered

Christmas card
Anonymous
Britain
19th century
Museum no. unregistered

Card showing a little girl and a robin in the woods.

Holly is widely used in seasonal domestic decoration. For devout Christians, the red berries and sharp thorns were decorative devices as well as reminders of the Crucifixion. In the pagan tradition, holly was used to repel witches and evil spirits. From the 1840s onward, holly is often paired with mistletoe on greetings card designs. Before the advent of the Christmas card, it was commonly found on seasonal stationery and letterheads.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. unregistered

Christmas card
Anonymous
Britain
19th century
Museum no. unregistered

Holly is widely used in seasonal domestic decoration. For devout Christians, the red berries and sharp thorns were decorative devices as well as reminders of the Crucifixion. In the pagan tradition, holly was used to repel witches and evil spirits. From the 1840s onward, holly is often paired with mistletoe on greetings card designs. Before the advent of the Christmas card, it was commonly found on seasonal stationery and letterheads.

This card can be found in Print Room Box 3.

Christmas card, 19th century. Museum no. unregistered

Christmas card, 19th century. Museum no. unregistered

Christmas card
Published by Eyre & Spottiswoode
Britain
19th century
Museum no. unregistered

Card showing a sailor attaching holly to the mast.

Holly is widely used in seasonal domestic decoration. For devout Christians, the red berries and sharp thorns were decorative devices as well as reminders of the Crucifixion. In the pagan tradition, holly was used to repel witches and evil spirits. From the 1840s onward, holly is often paired with mistletoe on greetings card designs. Before the advent of the Christmas card, it was commonly found on seasonal stationery and letterheads.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. unregistered

Christmas card
Anonymous
Britain
19th century
Museum no.unregistered

Holly is widely used in seasonal domestic decoration. For devout Christians, the red berries and sharp thorns were decorative devices as well as reminders of the Crucifixion. In the pagan tradition, holly was used to repel witches and evil spirits. From the 1840s onward, holly is often paired with mistletoe on greetings card designs. Before the advent of the Christmas card, it was commonly found on seasonal stationery and letterheads.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. 2000-1953

Happy New Year to You
Christmas card
Anonymous
Britain
19th century
Cut-out chromolithograph on backing card, cut paper work borders and embossing
Museum no. 2000-1953

A robin perches on snow-covered parcels. In the foreground, footprints in the snow suggest that Father Christmas has deposited the gifts.

'We turn over ten volumes of robins, revealing robins red in all imaginable styles: comic robins, perky robins, robins in the snow.' The Islington Gazette, ca. 1885

The robin redbreast is a perennial favourite in Christmas card designs. Two equally mythic tales attempt to account for its colouring. A Christian legend tells us that the robin's breast was stained red by drops of blood while it comforted the crucified Christ. Another story also characterises the robin as charitable and self-sacrificing, recounting that its breast was permanently scorched while extinguishing the flames of a wren which had been set on fire.

This card can be found in Print Room Box 3.

Harry Arnold, Christmas card

Harry Arnold, Christmas card, 19th century. Museum no. 28904.8

Christmas card
Harry Arnold
Published by Eyre & Spottiswoode
Britain
19th century
Colour lithograph
Museum no. 28904.8

Singing carols during the Christmas season originated with the pagan tradition of singing and dances of joy performed at the Winter Solstice. With the advent of Christianity, religious traditions grew to incorporate musical renditions such as the canticles performed in Nativity plays at the time of St Francis of Assisi in the 13th century.

With Oliver Cromwell's rise to power in 1647, the Puritan religion forbade carol singing. The Victorian era marks an important moment in the history of carol singing as it represents a renewed interest in a practice that had been surpressed for centuries. This change is credited to William Sandys and David Gilbert who gathered together and performed the traditional Christmas music of various English regions, awakening an interest in Christmas songs.

This card can be found in Print Room Box 3.

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', verse from six-page Christmas card

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', verse from six-page Christmas card, 1850-1900. Museum no. 29324

'A rhyme, a rhyme, a Christmas rhyme...''Robin Hood and the Blackbird: A Tale of Christmas Dinner'
Verse from six-page Christmas card
Published by Marcus Ward & Co.
1850-1900
Chromolithograph
Museum no. 29324

 The story 'Robin Hood and the Blackbird: A Tale of a Christmas Dinner' is recounted here in a collection of six horizontal format cards, and combines pictures of happy children with visual references to the popular Robin Hood tales. Published by Marcus Ward & Co, this piece recasts the characters from the original Robin Hood story as children. Robin is easily identified by his characteristic costume of green tights, plumed hat and fold-over boots. 
Christmas gift-giving normally centres on the youngest members of a family. Children are a common feature of Christmas card illustration and design because childhood is readily linked with merriment, innocence and purity - all of which are elements of the 'Christmas spirit'. 
The representation of children also has a literal spiritual aspect: some designers and publishers relied on associations made between depictions of children and the Christ child. His image was often used to accompany blessings and tidings for the coming year. Children on Victorian cards are often cherubic in appearance, with silken curls and rosy cheeks, representing the 'ideal child'. 
This card can be found in Print Room Box 3.

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', title page from six-page Christmas card

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', title page from six-page Christmas card, 1850-1900. Museum no. 29324.1

'Robin Hood and the Blackbird: A Tale of Christmas Dinner'
Title page from six-page Christmas card
Published by Marcus Ward &Co.
1850-1900
Chromolithograph
Museum no. 29324.1

Title card - title written in circular cartouch, framed with motifs of sepia and ochre foliage.

The story 'Robin Hood and the Blackbird: A Tale of a Christmas Dinner' is recounted here in a collection of six horizontal format cards, and combines pictures of happy children with visual references to the popular Robin Hood tales. Published by Marcus Ward & Co, this piece recasts the characters from the original Robin Hood story as children. Robin is easily identified by his characteristic costume of green tights, plumed hat and fold-over boots.

Christmas gift-giving normally centres on the youngest members of a family. Children are a common feature of Christmas card illustration and design because childhood is readily linked with merriment, innocence and purity - all of which are elements of the 'Christmas spirit'.

The representation of children also has a literal spiritual aspect: some designers and publishers relied on associations made between depictions of children and the Christ child. His image was often used to accompany blessings and tidings for the coming year. Children on Victorian cards are often cherubic in appearance, with silken curls and rosy cheeks, representing the 'ideal child'.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. 29324.25

'Fair Mistletoe...'
Christmas card
Anonymous
Published Marcus Ward & Co
Britain
19th century
Chromolithograph
Museum no. 29324.25

The tradition of kissing beneath the mistletoe originates in an old Norse practice of warring enemies calling truce under mistletoe, completing their pledge with a kiss. This kiss symbolised an exchange of souls. Apart from encouraging peace and reconciliation, mistletoe was believed to have medicinal and healing properties.

This card can be found in Print Room Box 3.

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', image page two of six-page Christmas card

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', image page two of six-page Christmas card, 1850-1900. Museum no. 29324.3

'A Happy Christmas'
'Robin Hood and the Blackbird: A Tale of Christmas Dinner'
Image page two of six-page Christmas card
Published by Marcus Ward &Co.
1850-1900
Chromolithograph
Museum no. 29324.3

The story 'Robin Hood and the Blackbird: A Tale of a Christmas Dinner' is recounted here in a collection of six horizontal format cards, and combines pictures of happy children with visual references to the popular Robin Hood tales. Published by Marcus Ward & Co, this piece recasts the characters from the original Robin Hood story as children. Robin is easily identified by his characteristic costume of green tights, plumed hat and fold-over boots.

Christmas gift-giving normally centres on the youngest members of a family. Children are a common feature of Christmas card illustration and design because childhood is readily linked with merriment, innocence and purity - all of which are elements of the 'Christmas spirit'.

The representation of children also has a literal spiritual aspect: some designers and publishers relied on associations made between depictions of children and the Christ child. His image was often used to accompany blessings and tidings for the coming year. Children on Victorian cards are often cherubic in appearance, with silken curls and rosy cheeks, representing the 'ideal child'.

This card can be found in Print Room Box 3.

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', image page three of six-page Christmas card

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', image page three of six-page Christmas card, 1850-1900. Museum no. 29324.4

'A Happy New Year'
'Robin Hood and the Blackbird: A Tale of Christmas Dinner'
Image page three of six-page Christmas card
Published by Marcus Ward &Co.
1850-1900
Chromolithograph
Museum no. 29324.4

The story 'Robin Hood and the Blackbird: A Tale of a Christmas Dinner' is recounted here in a collection of six horizontal format cards, and combines pictures of happy children with visual references to the popular Robin Hood tales. Published by Marcus Ward & Co, this piece recasts the characters from the original Robin Hood story as children. Robin is easily identified by his characteristic costume of green tights, plumed hat and fold-over boots.

Christmas gift-giving normally centres on the youngest members of a family. Children are a common feature of Christmas card illustration and design because childhood is readily linked with merriment, innocence and purity - all of which are elements of the 'Christmas spirit'.

The representation of children also has a literal spiritual aspect: some designers and publishers relied on associations made between depictions of children and the Christ child. His image was often used to accompany blessings and tidings for the coming year. Children on Victorian cards are often cherubic in appearance, with silken curls and rosy cheeks, representing the 'ideal child'.

This card can be found in Print Room Box 3.

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', image page four of six page Christmas card

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', image page four of six page Christmas card, 1850-1900. Museum no. 29324.5

'Health & Good Cheer'
'Robin Hood and the Blackbird: A Tale of Christmas Dinner'
Image page four of six page Christmas card
Published by Marcus Ward &Co.
1850-1900
Chromolithograph
Museum no. 29324.5

Christmas gift-giving normally centres on the youngest members of a family. Children are a common feature of Christmas card illustration and design because childhood is readily linked with merriment, innocence and purity - all of which are elements of the 'Christmas spirit'.

The representation of children also has a literal spiritual aspect: some designers and publishers relied on associations made between depictions of children and the Christ child. His image was often used to accompany blessings and tidings for the coming year. Children on Victorian cards are often cherubic in appearance, with silken curls and rosy cheeks, representing the 'ideal child'.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. unregistered

Christmas card
Anonymous
Britain
19th century
Museum no. unregistered

The tradition of kissing beneath the mistletoe originates in an old Norse practice of warring enemies calling truce under mistletoe, completing their pledge with a kiss. This kiss symbolised an exchange of souls. Apart from encouraging peace and reconciliation, mistletoe was believed to have medicinal and healing properties.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 1928. Museum no. unregistered

Christmas card
Anonymous
Britain 
1928
Museum no. unregistered

Card with a very stylised Christmas tree from the Frey family.

Queen Victoria married the German Prince Albert of Saxe-Coburg Gotha in February 1840. At Windsor Castle, the Royal family observed the German tradition of having a decorated evergreen tree in their home from 1841. The Queen's popularity led many in the British Empire to adopt the custom.

The origins of this practice lay with St Boniface who converted the Germans to Christianity. According to legend, St Boniface used the conical shape of a fir tree as an example of the Holy Trinity. Some believe that a miraculous fir grew on the spot where the Saint had chopped down an oak tree worshipped by pagans.

Charles Dickens published A Christmas Carol in 1843. Its enormous popularity led to a further increase of celebrations in private homes of the rich and poor alike. The growing tradition and its festivities centred around the Christmas Tree.

This card can be found in Print Room Box 3.

Wartime Christmas card, Anonymous

Wartime Christmas card, Anonymous, 1917. Museum no. E.131-1980

The London Division
Wartime Christmas card
Anonymous
Britain
1917
Lithograph cover, line block printing inside
Museum no. E.131-1980

The inside of the card reads
"The Compliments of the Season
To You all [handwritten]
From Willie [handwritten]
Christmas
1917"

Though war would seem to be totally opposed to the spirit of goodwill, generosity and peace promoted at Christmas, the number of Christmas cards sent increased dramatically during the First and Second World Wars. Soldiers were separated from families and friends - many never returned home - and the emphasis on the joy and goodness of Christmas became all the more pronounced. A number of wartime greetings focused on warm scenes of hearth and home like those the soldiers were missing. These same scenes were just as nostalgic for wives, children and elderly people coping with discomforts of scarcity and rationing at home. Another popular them for wartime cards was the use of simple symbols such as flags to convey a sense of pride in one's country.

This card can be found in Print Room Box 3.

Christmas card, 19th century. Museum no. unregistered

Christmas card, 19th century. Museum no. unregistered

Christmas card
Published by Marcus Ward & Co.
Britain
19th century
Museum no. unregistered

Holly is widely used in seasonal domestic decoration. For devout Christians, the red berries and sharp thorns were decorative devices as well as reminders of the Crucifixion. In the pagan tradition, holly was used to repel witches and evil spirits. From the 1840s onward, holly is often paired with mistletoe on greetings card designs. Before the advent of the Christmas card, it was commonly found on seasonal stationery and letterheads.

This card can be found in Print Room Box 3.

Christmas card, 19th century. Museum no. 28890.8

Christmas card, 19th century. Museum no. 28890.8

A Merry Christmas and a Happy New Year
Christmas card
Published by Eyre & Spottiswoode
Britain
19th century
Chromolithograph with gold stamping
Museum no. 28890.8

Girl walking down a lane to post a large pink envelope.

In 1840, the Social Reformer, Sir Rowland Hill, worried that many people could not afford the existing cost of postage and so introduced the Penny Post. For the first time letters were sent pre-paid, at the cost of the senter rather than the recipient. The Penny Post was a flat rate payment throughout Great Britain. Previously the cost increased incrementally with the distance the letter travelled. The lower cost encouraged many more people to use the postal service.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. 28897.8

Christmas Greeting
Christmas card
Anonymous
Published by Spottiswoode & Eyre
Britain
19th century
Chromolithograph with gold stamped border
Museum no. 28897.8

The tradition of kissing beneath the mistletoe originates in an old Norse practice of warring enemies calling truce under mistletoe, completing their pledge with a kiss. This kiss symbolised an exchange of souls. Apart from encouraging peace and reconciliation, mistletoe was believed to have medicinal and healing properties.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. E.1925-1953

A Merry Christmas
Christmas card
Anonymous
Britain
19th century
Museum no. E.1925-1953

A boy and girl stand on either side of a potted Christmas tree which bears flags, floral wreaths, shoes and other ornaments.

Queen Victoria married the German Prince Albert of Saxe-Coburg Gotha in February 1840. At Windsor Castle, the Royal family observed the German tradition of having a decorated evergreen tree in their home from 1841. The Queen's popularity led many in the British Empire to adopt the custom.

The origins of this practice lay with St Boniface who converted the Germans to Christianity. According to legend, St Boniface used the conical shape of a fir tree as an example of the Holy Trinity. Some believe that a miraculous fir grew on the spot where the Saint had chopped down an oak tree worshipped by pagans.

Charles Dickens published A Christmas Carol in 1843. Its enormous popularity led to a further increase of celebrations in private homes of the rich and poor alike. The growing tradition and its festivities centred around the Christmas Tree.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. E.1963-1953

A Merry Christmas to All
Christmas card
Anonymous
Britain
19th century
Chromolithograph with cut paper work and gold embossed borders
Museum no. E.1963-1953

'We turn over ten volumes of robins, revealing robins red in all imaginable styles: comic robins, perky robins, robins in the snow.' The Islington Gazette, ca. 1885

The robin redbreast is a perennial favourite in Christmas card designs. Two equally mythic tales attempt to account for its colouring. A Christian legend tells us that the robin's breast was stained red by drops of blood while it comforted the crucified Christ. Another story also characterises the robin as charitable and self-sacrificing, recounting that its breast was permanently scorched while extinguishing the flames of a wren which had been set on fire.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. E.1968-1953

A Merry Christmas to All
Christmas card
Anonymous
Britain
1871
Chromolithograph, cut paper work with paper-lace and embossed detail
Museum no. E.1968-1953

Holly is widely used in seasonal domestic decoration. For devout Christians, the red berries and sharp thorns were decorative devices as well as reminders of the Crucifixion. In the pagan tradition, holly was used to repel witches and evil spirits. From the 1840s onward, holly is often paired with mistletoe on greetings card designs. Before the advent of the Christmas card, it was commonly found on seasonal stationery and letterheads.

This card can be found in Print Room Box 3.

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', image page one of six-page Christmas card

'Robin Hood and the Blackbird: A Tale of Christmas Dinner', image page one of six-page Christmas card, 1850-1900. Museum no. 29324.2

'A Merry Christmas'
'Robin Hood and the Blackbird: A Tale of Christmas Dinner'
Image page one of six-page Christmas card
Published by Marcus Ward &Co.
1850-1900
Chromolithograph
Museum no. 29324.2

The story 'Robin Hood and the Blackbird: A Tale of a Christmas Dinner' is recounted here in a collection of six horizontal format cards, and combines pictures of happy children with visual references to the popular Robin Hood tales. Published by Marcus Ward & Co, this piece recasts the characters from the original Robin Hood story as children. Robin is easily identified by his characteristic costume of green tights, plumed hat and fold-over boots.

Christmas gift-giving normally centres on the youngest members of a family. Children are a common feature of Christmas card illustration and design because childhood is readily linked with merriment, innocence and purity - all of which are elements of the 'Christmas spirit'.

The representation of children also has a literal spiritual aspect: some designers and publishers relied on associations made between depictions of children and the Christ child. His image was often used to accompany blessings and tidings for the coming year. Children on Victorian cards are often cherubic in appearance, with silken curls and rosy cheeks, representing the 'ideal child'.

This card can be found in Print Room Box 3.

Christmas card, Ernest Gillick and Mary Gillick

Christmas card, Ernest Gillick and Mary Gillick, 20th century. Museum no. unregistered

Christmas card
Ernest Gillick and Mary Gillick
Britain
20th century
Museum no. unregistered

Card shows a statue of a nude girl with her finger to her lips and holding real mistletoe.

This card can be found in Print Room Box 3.

'Flags from around Europe', Regent Series

'Flags from around Europe', Regent Series, Christmas card, 1914-18. Museum no. E.262-1952

 'Union is Strength', Regent Series
Christmas card
Britain
1914-18
Lithograph with multicoloured striped ribbon (blue, white and red) and gold embossed lettering
Museum no. E.262-1952

Fourteen flags representing the nations united in war are clustered in two groups of seven on either side of the slogan 'Xmas Greetings and Best Wishes'. A lion sits centrally atop the slogan, representing the British Empire.

Inside reads
[left] "God guard and
protect you
throughout the Christmastide
and in
the Coming Year."

[right] "Soldiers and sailors of England's might,
Who answered Duty and went forth to fight
For the sake of Honour, Freedom and Right,
We take off our hats to you.
Though you miss the home on this Christmas Day,
There will soon come a time when all will say: -
'Here's to those who kep our flag in sway',
We take off our hats to you.
[author] Sidney Nelville"

Though war would seem to be totally opposed to the spirit of goodwill, generosity and peace promoted at Christmas, the number of Christmas cards sent increased dramatically during the First and Second World Wars. Soldiers were separated from families and friends - many never returned home - and the emphasis on the joy and goodness of Christmas became all the more pronounced. A number of wartime greetings focused on warm scenes of hearth and home like those the soldiers were missing. These same scenes were just as nostalgic for wives, children and elderly people coping with discomforts of scarcity and rationing at home. Another popular them for wartime cards was the use of simple symbols such as flags to convey a sense of pride in one's country.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 1914. Museum no. E.263-1952

For Freedom, Hearth and Home
Christmas card
Anonymous
Britain
1914
Lithograph with cut paperwork borders and pink cord
Museum no. E.263-1952

Cover: Cat seated by a fireplace with a kettle over the flames.

The inside of the card reads
"'Sweet Remembrances for the Past.
Kind Thoughts for the Present
Good Wishes for the Future'

Xmas 1914
Remembrances
And every Good Wish
for
Christmas and New Year.
From
The Misses Manton
30 Frederick Street
W.C."

Though war would seem to be totally opposed to the spirit of goodwill, generosity and peace promoted at Christmas, the number of Christmas cards sent increased dramatically during the First and Second World Wars. Soldiers were separated from families and friends - many never returned home - and the emphasis on the joy and goodness of Christmas became all the more pronounced. A number of wartime greetings focused on warm scenes of hearth and home like those the soldiers were missing. These same scenes were just as nostalgic for wives, children and elderly people coping with discomforts of scarcity and rationing at home. Another popular them for wartime cards was the use of simple symbols such as flags to convey a sense of pride in one's country.

This card can be found in Print Room Box 3.

Union Jack Series of Flags, Christmas card

Union Jack Series of Flags, Christmas card, 1914-18. Museum no. E.264-1952

Good Luck to Us All and Fair Greeting
The Union Jack Series
Christmas card
Britain
1914-18
Colour lithograph, block printing and embossing with red ribbon
Museum no. E.264-1952

The Allied flags of Russia, France, Britain and Belgium are shown with a cluster of embossed holly above and the nations' respective symbols of good luck below.

The inside of the card reads
"May we win through -
and the New Year dawn on
Peace and Prosperity for all,
is the Sincere Wish of
Paul A. Greliche
64 High Street
Sheffield"

Though war would seem to be totally opposed to the spirit of goodwill, generosity and peace promoted at Christmas, the number of Christmas cards sent increased dramatically during the First and Second World Wars. Soldiers were separated from families and friends - many never returned home - and the emphasis on the joy and goodness of Christmas became all the more pronounced. A number of wartime greetings focused on warm scenes of hearth and home like those the soldiers were missing. These same scenes were just as nostalgic for wives, children and elderly people coping with discomforts of scarcity and rationing at home. Another popular them for wartime cards was the use of simple symbols such as flags to convey a sense of pride in one's country.

This card can be found in Print Room Box 3.

'Risen Jesus', religious Christmas card

'Risen Jesus', religious Christmas card, 19th century. Museum no. 15780.15

'Risen Jesus'
Religious Christmas card
Published by Marcus Ward & Co.
Britain
19th century
Chromolithograph with gold block printing
Museum no. 15780.15

One of four cards with central illustrations which fold at their lower margins to reveal religious poems within.

Christmas Greeting featuring Jesus Christ in white belted robes with red sash standing in the midst of a wooded clearing.

Christmas is one of the major Christian festivals and so Jesus Christ and the Nativity are often represented on Christmas cards. Even practising Christians, however, tend to prefer secular designs such as winter scenes, flowers or animals to religious imagery. This was as true in Victorian England as it is today. According to George Buday, author of the first truly exhaustive text on Christmas cards in 1954, 'the explanation may be that the Christmas card from its beginning was more closely associated in the minds of the senders with the social aspect - the festivities connected with Christmas than with the religious function of the season.'

Nevertheless, some publishers produced greetings which were specifically spiritual in subject matter, drawing equally upon the tradition of the Old Masters and new interpretations for a contemporary audience.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. E.2029-1953

A Happy New Year to You
Christmas card
Anonymous
19th century
Britain
Chromolithography with cut paper work and embossed borders
Museum no. E.2029-1953

Seven children gathered beneath the boughs of a Christmas tree. Its branches are filled with candles, toys and flags.

Queen Victoria married the German Prince Albert of Saxe-Coburg Gotha in February 1840. At Windsor Castle, the Royal family observed the German tradition of having a decorated evergreen tree in their home from 1841. The Queen's popularity led many in the British Empire to adopt the custom.

The origins of this practice lay with St Boniface who converted the Germans to Christianity. According to legend, St Boniface used the conical shape of a fir tree as an example of the Holy Trinity. Some believe that a miraculous fir grew on the spot where the Saint had chopped down an oak tree worshipped by pagans.

Charles Dickens published A Christmas Carol in 1843. Its enormous popularity led to a further increase of celebrations in private homes of the rich and poor alike. The growing tradition and its festivities centred around the Christmas Tree.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. E.227-1944

Happy New Year
Christmas card
Anonymous
Britain
19th century
Quilted embossed paper (synthetic fibre fill) with cut paper work and machine stitched cartouche
Museum no. E.227-1944

'We turn over ten volumes of robins, revealing robins red in all imaginable styles: comic robins, perky robins, robins in the snow.' The Islington Gazette, ca. 1885

The robin redbreast is a perennial favourite in Christmas card designs. Two equally mythic tales attempt to account for its colouring. A Christian legend tells us that the robin's breast was stained red by drops of blood while it comforted the crucified Christ. Another story also characterises the robin as charitable and self-sacrificing, recounting that its breast was permanently scorched while extinguishing the flames of a wren which had been set on fire.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. E.380-1971

Xmas to Greet You
Christmas card
Anonymous
Britain
19th century
Embossing and chromolithography with gold block printing
Museum no. E.380-1971

Santa stands at military attention in a hand-to-temple salute. His pockets bulge with toys and he carries a decorated tree slung across his back.

Father Christmas, Santa Claus or Old Saint Nicholas take slightly different forms in each country. The character's history begins with Nicholas, Bishop of Myra in Asia Minor, present-day Turkey, who is credited with many acts of generosity. The most famous of these was giving dowries to three sisters by throwing gold into their house at night when he could not be seen. After his death as a martyr he became the patron saint of children and young maidens, but also of sailors, businessmen, pirates and thieves. He was and is particularly celebrated by the Dutch, where he is known as Sinterklaas; the anglicised version of this name, and of Saint Nicholas, is Santa Claus. His feast day falls on 6 December, very close to Christmas.

As he was a bishop, he would have worn red ecclesiastical robes. This element of Father Christmas's appearance was further developed in the 19th century. Gradually, they all converged into the jolly old gift-giver recognised throughout much of the world.

This card can be found in Print Room Box 3.

'Jesus as Shepherd', religious Christmas card

'Jesus as Shepherd', religious Christmas card, 19th century. Museum no. 15780.16

'Jesus as Shepherd'
Religious Christmas card
Published by Marcus Ward & Co.
Britain
19th century
Chromolithograph with gold block printing
Museum no. 15780.16

One of four cards with central illustrations which fold at their lower margins to reveal religious poems within.

Christmas Greeting featuring Jesus Christ in white robe with burgundy tunic standing on a hillside. He holds a shepherd's crook in one hand and a white lamb in the other.

Christmas is one of the major Christian festivals and so Jesus Christ and the Nativity are often represented on Christmas cards. Even practising Christians, however, tend to prefer secular designs such as winter scenes, flowers or animals to religious imagery. This was as true in Victorian England as it is today. According to George Buday, author of the first truly exhaustive text on Christmas cards in 1954, 'the explanation may be that the Christmas card from its beginning was more closely associated in the minds of the senders with the social aspect - the festivities connected with Christmas than with the religious function of the season.'

Nevertheless, some publishers produced greetings which were specifically spiritual in subject matter, drawing equally upon the tradition of the Old Masters and new interpretations for a contemporary audience.

This card can be found in Print Room Box 3.

'Nativity Scene', religious Christmas card

'Nativity Scene', religious Christmas card, 19th century. Museum no. 15780.17

'Nativity Scene'
Religious Christmas card
Published by Marcus Ward & Co.
Britain
19th century
Chromolithograph with gold block printing
Museum no. 15780.17

One of four cards with central illustrations which fold at their lower margins to reveal religious poems within.

Christmas Greeting depicting the Nativity.

Christmas is one of the major Christian festivals and so Jesus Christ and the Nativity are often represented on Christmas cards. Even practising Christians, however, tend to prefer secular designs such as winter scenes, flowers or animals to religious imagery. This was as true in Victorian England as it is today. According to George Buday, author of the first truly exhaustive text on Christmas cards in 1954, 'the explanation may be that the Christmas card from its beginning was more closely associated in the minds of the senders with the social aspect - the festivities connected with Christmas than with the religious function of the season.'

Nevertheless, some publishers produced greetings which were specifically spiritual in subject matter, drawing equally upon the tradition of the Old Masters and new interpretations for a contemporary audience.

This card can be found in Print Room Box 3.

'Wise Men following the North Star', religious Christmas card

'Wise Men following the North Star', religious Christmas card, 19th century. Museum no. 15780.18

'Wise Men following the North Star'
Religious Christmas card
Published by Marcus Ward & Co.
Britain
19th century
Chromolithograph with gold block printing
Museum no. 15780.18

One of four cards with central illustrations which fold at their lower margins to reveal religious poems within.

Christmas Greeting upon which the wise men follow the Star of David.

Christmas is one of the major Christian festivals and so Jesus Christ and the Nativity are often represented on Christmas cards. Even practising Christians, however, tend to prefer secular designs such as winter scenes, flowers or animals to religious imagery. This was as true in Victorian England as it is today. According to George Buday, author of the first truly exhaustive text on Christmas cards in 1954, 'the explanation may be that the Christmas card from its beginning was more closely associated in the minds of the senders with the social aspect - the festivities connected with Christmas than with the religious function of the season.'

Nevertheless, some publishers produced greetings which were specifically spiritual in subject matter, drawing equally upon the tradition of the Old Masters and new interpretations for a contemporary audience.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. E.2023-1953

A Merry Christmas and a Happy New Year (Happy Returns)
Christmas card
Anonymous
Britain
19th century
Oval cut-out chromolithographed cartouche on backing card with cut paper work borders and embossing
Museum no. E.2023-1953

A robin dressed in a hat and scarf greets a female robin in a bonnet. Two fledglings peek their heads out of the nest.

'We turn over ten volumes of robins, revealing robins red in all imaginable styles: comic robins, perky robins, robins in the snow.' The Islington Gazette, ca. 1885

The robin redbreast is a perennial favourite in Christmas card designs. Two equally mythic tales attempt to account for its colouring. A Christian legend tells us that the robin's breast was stained red by drops of blood while it comforted the crucified Christ. Another story also characterises the robin as charitable and self-sacrificing, recounting that its breast was permanently scorched while extinguishing the flames of a wren which had been set on fire.

This card can be found in Print Room Box 3.

Christmas card, Anonymous

Christmas card, Anonymous, 19th century. Museum no. E.378-1971

With Love and Best Wishes
Christmas card
Anonymous
Britain
19th century
Embossing and chromolithography with gold block printing
Museum no. E.378-1971

Two children watch Santa's arrival from behind a tree.

Father Christmas, Santa Claus or Old Saint Nicholas take slightly different forms in each country. The character's history begins with Nicholas, Bishop of Myra in Asia Minor, present-day Turkey, who is credited with many acts of generosity. The most famous of these was giving dowries to three sisters by throwing gold into their house at night when he could not be seen. After his death as a martyr he became the patron saint of children and young maidens, but also of sailors, businessmen, pirates and thieves. He was and is particularly celebrated by the Dutch, where he is known as Sinterklaas; the anglicised version of this name, and of Saint Nicholas, is Santa Claus. His feast day falls on 6 December, very close to Christmas.

As he was a bishop, he would have worn red ecclesiastical robes. This element of Father Christmas's appearance was further developed in the 19th century. Gradually, they all converged into the jolly old gift-giver recognised throughout much of the world.

This card can be found in Print Room Box 3.

Randolph Schwabe, Christmas card

Randolph Schwabe, Christmas card, 1920. Museum no. E.543-1927

'Gloomy night embraced the place/...'
Randolph Schwabe
Published by Lund, Humphries & Co and printed by County Press, Bradford
Britain
1920
Lino block printing
Museum no. E.543-1927

The cover of the card is free of decoration and reads 'Christmas 1920' in black type. the back cover states, 'This is Number Three of a series of six Christmas cards by modern artists and is designed by Randolph Schwabe....'

The carol printed within the card is 'In the Holy Nativity of our Lord God' by the devout Christian poet Richard Crashaw.

Singing carols during the Christmas season originated with the pagan tradition of singing and dances of joy performed at the Winter Solstice. With the advent of Christianity, religious traditions grew to incorporate musical renditions such as the canticles performed in Nativity plays at the time of St Francis of Assisi in the 13th century.

With Oliver Cromwell's rise to power in 1647, the Puritan religion forbade carol singing. The Victorian era marks an important moment in the history of carol singing as it represents a renewed interest in a practice that had been surpressed for centuries. This change is credited to William Sandys and David Gilbert who gathered together and performed the traditional Christmas music of various English regions, awakening an interest in Christmas songs.

This card can be found in Print Room Box 3.

Christmas card, L.A.L. (illustrator)

Christmas card, L.A.L. (illustrator), 19th century. Museum no. E.668-1981

May Christmas Bring Delight
Christmas card
L.A.L. (illustrator)
Britain
19th century
Chromolithograph
Museum no. E.668-1981

The tradition of kissing beneath the mistletoe originates in an old Norse practice of warring enemies calling truce under mistletoe, completing their pledge with a kiss. This kiss symbolised an exchange of souls. Apart from encouraging peace and reconciliation, mistletoe was believed to have medicinal and healing properties.

This card can be found in Print Room Box 3.