ABSTRACT
This essay will consider some issues at stake for the study of material culture and materiality for the emotions history. Taking a collection of scrapbooks, albums, correspondence, drawings and other objects produced and collected in the late nineteenth and early twentieth centuries by various members of the Carmichael McIntosh family of St Andrews, Scotland, as its point of disembarkation, it uses this cache of emotionally laden objects in order to think through a number of foci for the field. In so doing, it focuses on several representative categories that have emerged within emotions history research that are largely particular to its intersections with material culture studies, such as the commercialisation of sentiment, superadded objects, craft practices and portraiture.
