Useful Frames and Dead Pasteboard

She tells the story of loving and burning card portraits, which were widely circulated in nineteenth-century society and became objects of intense feeling in Thomas Hardy’s writing.

All images of Thomas Hardy used in this presentation are from the National Portrait Gallery, London:
Thomas Hardy, by (Mary) Olive Edis (Mrs Galsworthy). Bromide print, 1923. NPGx17356.
Thomas Hardy, by Francis Henry Hart, for Elliott & Fry, published by Ogden's.
Cigarette card, 1894, published c. 1895-1907. NPG x136531.
Thomas Hardy, by Henry Walter ('H. Walter') Barnett. Whole-plate glass negative, 1909. NPG x81696.
Thomas Hardy, by (Mary) Olive Edis (Mrs Galsworthy). Bromide print, 1914. NPGx17363.
Sarah Hook is a DPhil candidate at Wolfson College, Oxford, researching the links between Victorian writers and the language and spaces of portraiture in the mid- to late nineteenth century."