Laura Freeman Laura Freeman

The art of the Christmas card

A new show at Pallant House Gallery suggests the demise of the Christmas card has been greatly exaggerated

A hand-coloured winter thrush rings the round robin changes: 'Fieldfare', 2020, by Mark Hearld. Image: © Mark Hearld 
issue 18 December 2021

It’s the thin end of the wedge, the slippery slope, the beginning of the end of a civilised Christmas. It is the first week of December and I still haven’t started my cards. My friend Charlotte was at it in October. She signed up for a lino-cutting class, cut holly boughs and robin redbreasts and printed her own cards. She sent me photos of the fruits (berries?) of her labours and very merry they were, too.

Usually, I am a Charlotte. By November, I have made cards, addressed envelopes, applied thumbs to 80 stamps. But after an illness in the autumn, I’m feeling as uncreative as a turkey. Could I cheat and send emails with a pious little homily about how, for the sake of the planet, I’m forgoing paper cards this year? But if the stalwart Charlottes (and formerly Lauras) of the world don’t keep it up, who will?

Has the death of the Christmas card been greatly exaggerated?

The first commercial Christmas card was produced in Britain in 1843, two years after the creation of the penny post.

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