Artful China

 

QUESTION: A friend of mine recently gave me a colorful vase that has two handles and a design of some sort of fruit on the front. The mark on the bottom says “Laughlin Art China” along with the image of an eagle. Can you tell me what company made this and when? 

ANSWER: Your vase is one of hundreds of pieces produced by the Laughlin China Company in the first decade of the 20th century. While the company made some of the pieces, such as soup tureens and platters, it made most of its pieces for display only.

At the turn of the 20th century, American potteries, formerly limited to the production of dinnerware and washstand toilet sets, took a cue from the vogue for American art pottery and began developing decorative "specialty ware" or art china.

Characterized by unusual decals surrounded by a background of solid color applied with an air brush or atomizer, these wares mimicked the standard glaze and hand-painted ware of such art potteries as Rookwood, Roseville and Weller. At first, manufacturers used a brown background but soon changed that to bright red, magenta, green, blue-green, pink and sometimes combinations of several colors. The first American pottery to popularize the style seems to have been the Warwick Pottery of Wheeling, West Virginia. 

Many potteries in the Ohio Valley quickly copied the art china concept. None, however, elaborated up on the idea with more verve and success than Homer Laughlin China of East Liverpool, Ohio, which began production if its art china in 1900. 

But neither Homer nor Shakespeare Laughlin, the founders of Homer Laughlin China Co., had anything to do with the development of Laughlin Art China. The brothers did develop a whiteware pottery on a subscription basis in East Liverpool in 1873, but Shakespeare dropped out in 1877. While Homer Laughlin expanded the company, beginning the production of semi-vitreous porcelain in the 1890s and incorporating the company in 1896, he retired two years later and moved to California.

During these early years, there was one notable and highly successful effort by Laughlin China to produce artistic china-ware. Around 1886, the company succeeded. Marked with the words "Laughlin China" in a horseshoe, workers frequently decorated it  using the French pate-sur-pate technique, with cameo-like white designs on a blue ground. But such ware is rare, as Laughlin only made it for three years.

Under new management, notably that of William E. Wells, the Laughlin pottery continued to expand, completing a second plant in East Liverpool's East End in 1900, soon followed by a third plant. In 1903,. it traded plants with the National China Co. and then enjoyed a combined capacity of 35 kilns.

Shapes that are known to have been used for Laughlin specialties include American Sweetheart, King Charles, Genesee, Hudson and The Angelus. A number of these shapes, notably Kwaker, continued in production as late as the 1940s, 

Beginning in 1903, Laughlin China marked its art china specialties with a gold stamp featuring an eagle trying its wings, over a script "Laughlin." The firm sold the first pieces that same year, but they didn’t appear in company sales literature until 1905. Actual production seems to have been limited to five or six years.

Laughlin produced more than 130 different shapes and sizes of its art china with a currant decal, the most common form of decoration. 

But the White Pets design, the best known, featured a series of dogs, cats and birds, the most common being a pair of pointers, usually shown amid a clump of cattails. The use of a decal showing a pair of white cockatoos may have been a response to Warwick China's striking use of white birds on a white ground.

Another popular Laughlin Art China pattern was Dreamland, bearing a variety of Kate Greenaway-like children's scenes, usually involving a goat, with a blended yellow, green and brown back-ground. Like White Pets, this line often lacked the Laughlin Art China eagle backstamp and simply bore the line name. Unlike White Pets, Dreamland was decorated not with a simple decal but by "pouncing," a process in which the design was enhanced by the addition of small particles of carbon pigment, particularly effective in the cartoon-like Dreamland and Holland decorations. Other cartoon-like decorative lines utilized a variety of frog decals, most likely inspired by Kenneth Grahame's The Wind in the Willows.

Other companies occasionally decorated Homer Laughlin blanks using different decals and decorating techniques. Perhaps most notable was the little-known McKean Pottery of Minerva, Ohio, which specialized in a faux wood grain decorative background, a line which they called Angora. 

With Laughlin art china, condition is very important, particularly in collecting art china decorated with the air-brushed background, since this type of decoration wears easily. Because Laughlin intended some of its art china to be used, the delicate nature of the decoration was a problem and may be part of the reason for its decline in popularity. However, some pieces are so rare that even substantial amounts of wear don’t rule out significant prices.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "folk art" in the 2023 Winter Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

A Chest by Any Other Name

 

QUESTION: I have inherited a chest that originally belonged to my great-grandmother which had been passed down to her daughter, my grandmother, then to my mother, her daughter. My mother used the chest, made of cedar, to store blankets and linens in her bedroom. I inherited it when she died two years ago. People have told me that it was a hope chest. What was a hope chest and what was it used for?

ANSWER:  “A rose by any other name....” so go the words of William Shakespeare. The same can be said of the “hope” chest. Originally referred to as a dowry chest, cedar chest, or trousseau chest, it changed names with the times. The dowry chest was meant to contain assets–money and jewelry—that the family of the bride gave to the groom in exchange for their daughter’s hand in marriage. But hope chest implies something else—the hope for a good life for her in marriage.

Young unmarried women used a hope chest to collect and store items, such as clothing and household linen, in preparation for married life. Americans called this a "hope chest" or "cedar chest" while the British referred to it as a "bottom drawer." 

Using her own needlework skills to construct a trousseau was for a young girl the equivalent of planning and saving for marriage by her future husband. The collection of a trousseau was a common coming-of-age rite until the 1950s, a step on the road to marriage between courting a man and engagement. Such a chest was an acceptable gift for a girl approaching a marriageable age.

What did a young girl put in her hope chest? Typically, she stored traditional dowry items, such as special dresses, table linens, towels, bed linens, quilts, silverware, and sometimes  kitchen items. As a bride would normally leave home when she married, cabinetmakers often made hope chests to be portable by including sturdy handles on either side. 

Traditionally, a mother would pass her hope chest down to her daughter. She would start preparing a hope chest from the time her daughter was a young age and slowly build the collection as the years went by. The chests contained many things thought of as “essentials,” such as china, silverware, linens, clothing, and jewelry, that a young woman would need to start a new life in marriage.

It was also standard practice to include family heirlooms and mementos. Things like albums or photographs, letters or treasured objects passed down through the generations that may not have much monetary or practical value but which would comfort the young woman in her new home.

The chest itself was often made of cedar. At that time, cedar was easily available and a popular choice for storage thanks to its naturally fresh, long-lasting fragrance, as well as natural resistance to mold and insects. Cedar also had a naturally warm color and a softer, cozier texture.

But hope chests didn’t just appear out of nowhere. Around 3,000 years ago, the ancient Egyptians created boxes and wooden chests with dovetail joints. The wealthier a girl was, the more ornately-decorated and -painted was her hope chest.

Between the 5th and 15th centuries, wooden chests saw a period of prosperity. In Europe, most were made of hardwoods like oak, poplar, walnut, pine woods and some soft woods. It was during this time that decorating a chest wasn’t just reserved for kings; it became common practice to add friezes and panels to the outer lid of a chest. Handles also began to appear, but not for decoration. During times of wars, battles and invasions, a household had to be ready to pack up their things and flee at a moment’s notice.

The 17th century witnessed a change in the hope chest—the addition of drawers. For the first time in history, cabinetmakers incorporated storage drawers into chest design. At first, it was simply the addition of two small drawers underneath the chest. By the end of the century, chest makers chose mahogany and employed inlay materials like pearl and bone. They also began to finish the chests with a coat of lacquer.

By the 19th century, the hope chest had evolved into a tradition in most families, especially among immigrants to America. This was typical among Scandinavian and German immigrants. The Amish have had a long traditions of plainly constructed chests with extensive painted decoration.

Today, the tradition of keeping a hope chest has faded away. One of the primary reasons is that such a chest tends to glorify the outdated idea of a “dowry.”  Also, it isn’t the most practical  since the items traditionally kept in a hope chest, like fancy linens and dresses, aren’t exactly the things a modern bride “needs” for a successful marriage. However, antique hope chests can be found in both antique shops and shows. And the more decoration one has, the higher the price.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "folk art" in the 2023 Winter Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

What Do Mason Jars Have to Do with the Erie Canal?

 

QUESTION: I’ve been collecting old mason jars for a while. Recently, I found a blue one at a flea market. Embossed on the front of it are the words “The Clyde.” The letters “CGW” appear on the bottom. I haven’t been able to find any information about this jar. Can you help me?

ANSWER: It appears that you found an old Mason jar made by the Clyde Glass Works of Clyde, New York, in 1895.

When New York Governor DeWitt Clinton proposed the Erie Canal that would cross the state, linking the Hudson River with the Great Lakes, people sarcastically called it "Clinton’s Big Ditch." A construction project of that magnitude, completed entirely by hand labor, seemed impossible. But by July 4, 1817, construction of the canal had begun. It wasn’t until October 26, 1825 that a canal boat made the first full-length voyage on the new canal.

Frederick Augustus Dezeng, an immigrant from Saxony, Germany, who operated a window glass factory near Geneva, New York, was a good friend of Governor Clinton. He understood the importance of being able to transport goods by water from Lake Erie all the way to New York City via the Hudson River. But more importantly, he realized that shipping his glass by canal boat would be safer and cause less breakage. Even carefully packed, glass didn’t  travel well in horse-drawn carts over bumpy dirt roads of unpredictable condition.

 saw the potential of doing business via the Erie Canal. Access to firewood to fuel the glass furnaces was a major reason, as was the ease of packet boats bringing in sand from Oneida, New York, along with quantities of potash lime via the Canal. He encouraged his  youngest of five children, William, to set up a glassworks along the Canal in nearby Laurelville, which later changed its name to Clyde.

William S. Dezeng and his brother-in-law, James R. Rees, went into partnership to open a glass factory to make cylinder window glass in 1827. They laid the cornerstone for their new enterprise on March 27, 1828, and the factory began production that year. A newspaper advertisement from 1833 promoted the firm’s glass as  first quality and free from imperfections. This was a major achievement in itself since up to that time window glass had many imperfections. In the process, a glassblower blew molten glass into a cylinder, then cut it it open and annealed it to flatten it out. However, ripples and small bubbles in the finished glass were almost unavoidable.

Orrin Southwick and Almon Wood, calling their glass business Southwick & Wood, built the first bottle factory in Clyde in 1864. Wood apparently withdrew to be replaced by Charles W. Reed to form the firm of Southwick & Reed—sometime between 1864 and 1868.

About 1868, Southwick, Reed & Company merged the bottle and window glass plants into a single unit. Unfortunately, the factory burned on July 24, 1873, but they rebuilt it  immediately.

Sometime during the following year, Clyde gained a license from the Consolidated Fruit Jar Company to produce Mason Patent jars. Since there were many fruit jars bearing the “CFJCo” monogram, their jars had “CLYDE, N.Y.” embossed on either the front or the back of each jar. When Consolidated apparently sold its fruit-jar interests to Hero around 1882, Clyde lost a major portion of its business.

In 1880, the owners of Southwick, Reed & Company incorporated as the Clyde Glass Works. By this time, Clyde was making soda and beer bottles, liquor flasks, and fruit jars, commonly referred to as Mason jars, marked with one of the Clyde logos. They produced quart jars in amber, aqua, cobalt blue, and clear glass but only made pint size jars in aqua.

Between 1868 and 1895, the Clyde Glass Works produced five different Mason jars—The Clyde, written in cursive, the CLYDE LIGHTNING and the CLYDE MASON’S IMPROVED, both embossed in all uppercase letters and made for the Consolidated Fruit Jar Company.

The Mason jar first appeared in the 1850s when John Landis Mason, a tinsmith from Vineland, New Jersey, was searching for a way to improve the relatively new process of home canning. Until then, home canning involved using wax to create an airtight seal above food. Users stopped the jars with corks, sealed them with wax, then boiled them. It was messy process and hardly foolproof.

In 1857, a 26-year-old Mason invented and patented threaded screw-top jars. The earliest Mason jars were made from transparent aqua glass. But Mason didn’t patent the rest of his invention—the rubber ring on the underside of the flat metal lids that created the airtight seal, which made wax unnecessary. By 1868, many glass companies were producing Mason jars. Including Southwick, Reed and Company. Though Mason tried to regain control of his invention after various court cases and failed business partnerships, he gave up.

Clyde Glass Works produced a clear Mason jar embossed with “The Clyde” in upwardly slanted cursive letters from 1895 to 1915. It was handmade with an old-style Lightning closure. Those jars with ground lips had narrow mouths while those with smooth lips had a regular size mouth. 

The firm first made these jars in 1895 to commemorate its incorporation as the Clyde Glass Works. By 1903, it had purchased new machines for making fruit jars but only used them to make jars until sometime during the following year. 

A jar, embossed with “CLYDE / LIGHTNING” on the side was a blown jar of green glass with a ground rim and sealed with an old-style Lightning closure. The "Lightning" toggle or swing-type closure had widespread use on a lot of different bottle types, though its primary use was on bottles for carbonated beverages, such as soda and beer, and canning jars. However, the sealing surface for these two main types of Lightning-type closures was different. Charles de Quillfeldt of New York City invented and patented this type of bottle or jar closure on January 5, 1875.  He originally intended his design to be used on beverage bottles but later altered it to use on canning or Mason jars.

Variations of the Mason jar include the "Improved Mason" which sealed on a shoulder above the thread instead of below. The Clyde Glass Works produced the Clyde Mason’s Improved jar by hand and embossed “CLYDE,” “IMPROVED,” “MASON” in three separate lines.

Out of 59 bottles identified as being made by Clyde, fifty-one were in the arched format—the arch and inverted arch. 

The glass works at Clyde, New York, had a long and varied history. Although it’s almost certain that Clyde never marked the majority of its containers, certain types of both bottles and jars were clearly identified as being produced at the plant. The earliest of these were jars, the Mason’s Improved jars with “S&W” and “SW&Co” embossed on the bottom edge came from the Southwick & Reed and Southwick, Reed & Company factories, respectively. These were almost certainly the earliest marked jars, made from 1864 to 1870. 

From 1870 to 1882, the factory made the Mason’s Patent and Mason’s Improved jars, embossed with the CFJCo monogram on the front and “CLYDE, N.Y.” on the reverse. Jars made between 1882 and 1890 didn’t have Clyde logos on them. The plant made The Clyde from 1890 to 1910, and produced the Clyde Mason’s Improved jar from 1895 to 1915. Lackluster sales forced the Clyde Glass Works to close in 1915.

The age, rarity, color, and condition of an antique Mason jar greatly influence its value.  A jar's age and rarity can be determined by the color, shape, mold and production marks of the glass, and the jar's closure. Mason jars usually have a proprietary brand embossed on the jar. Early jars embossed with "Mason's Patent November 28th 1858" that date from the late 1850s to early 1860s closely match the illustrations of Mason's 1858 patents. While the Clyde Glass Works’ Mason jars sell online for anywhere from $15 to $75, those embossed with the words “The Clyde” usually sell for higher prices.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "folk art" in the 2023 Winter Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Dreaming of Spring

 

QUESTION: I’ve always enjoyed gardening. I guess I inherited that gene from my father. Every year, he would wait impatiently for the first of the season seed catalogs to arrive. As a kid, I loved paging through them to see the lavish illustrations of all kinds of flowers and vegetables. As I got older, I began helping my father choose the seeds to plant for the summer growing season. Now as an adult with my own family, I’m carrying on the tradition with my own children and garden in our backyard. I never considered collecting seed catalogs until after my father died, and I helped my mother sort through lots of old things. I came across some of dad’s old seed catalogs and brought them home with me. But honestly, I have no idea which of them is collectible. Can you offer some history of seed catalogs and which ones might be the best to collect?

ANSWER: Seed catalogs are the botanical equivalent of a dream book—a grower’s wish list. The most interesting, quirky, art-filled seed catalogs are from the early 1900s.

The hand-drawn and painted, romanticized illustrations and resplendent plant descriptions made them equal parts information and entertainment while offering gardeners plants for their upcoming summer season.

The first known garden catalog appeared over 400 years ago at the 1612 Frankfurt Fair with the distribution of the bulb catalog, Florilegium Amplissimum et Selectissimum, by Dutch grower Emmanual Sweerts. The catalog contained 560 hand-tinted images of flowering bulbs, giving gardeners a glimpse of possibilities for their own gardens.

Many of the illustrations originated in botanical publications, useful for identifying plants and noting their medicinal uses, but this new publication distributed to fair-goers was a first to present bulbs for sale. Sweerts died in 1612—the same year the catalog first appeared in print—but it was reprinted for many years to come, right into the Tulipmania period in Dutch history.

Long before the soil warms, the first weeds sprout, and good intentions give way to busy summers, these gems tempt gardeners with visions of  ‘candy-sweet’ corn, crunchy cucumbers, and perfectly plump tomatoes.

It seems that gardening enthusiasts have been drooling over seed catalogs for a long time. Prior to his publication, other plant catalogs listed ornamental species growing in the private gardens of the rich and famous.

Wealthy Europeans had a penchant for collecting ornamental and newly discovered plant species from around the world. Printed catalogs with beautiful engravings depicting these rare botanical possessions helped them show off their status.

A few years after that Dutch catalog, René Morin published the first known French plant catalog in Paris.

Seed catalogs not only provide a bright spot in winter for the gardener, but they also offer a colorful glimpse into the past.

Seed catalogs continue to hold a colorful and important pride of place in history, and not just gardening history. These publications offered gardeners an interesting and informative glimpse into the past, so much so that the Smithsonian Institute Libraries contains a collection of about 10,000 seed catalogs dating from 1830 to the present day. The pages of these catalogs reveal not only details about the history of gardening in the U.S., but their text and illustrations also provide a fascinating look at printing, advertising and fashion trends through the years.

The honor of publishing the first American seed catalog goes to 18th century horticulturist David Landreth. The D. Landreth Seed Company, founded in 1784 in Philadelphia, introduced the zinnia, the white potato, various tomatoes, and Bloomsdale spinach to America, largely through its catalogs.

As American pioneers moved westward, ordering seed catalogs became an important way to bring fruits, vegetables and flowers with them to their new homes. When the nation's railway system grew and the mail service improved, the seed and nursery trade expanded as well.

After the Civil War, the mail order seed market became quite competitive, and nurseries used their catalogs to announce novelty items such as "Mammoth," "Giant" or "Perfection" varieties of flowers, fruits and vegetables.

Catalog covers became more elaborate, and catalogs contained more than basic information and began to include more detailed descriptions, testimonials, special offers, contests and awards the nursery’s plants had won at horticultural fairs or exhibitions. For example, Dingee & Conard's 1889 catalog contained a special insert on pink paper that gave a detailed listing of its discounted collection of popular varieties.

Boston's Joseph Breck & Company, established in 1818, published its first seed catalog in 1840. Called "The New England Agricultural Warehouse and Seed Store Catalogue," the 84-page publication included illustrations and horticultural details next to product listings. Today the company is called Breck's Bulbs, and it still mails free catalogs to customers.

Seed catalogs have reflected the times. For example, catalogs from 1945 celebrated the end of the World War II with colorful pictures and the advice to settle down and to decorate your home with flowers. Seed producers gave flower varieties victory-related names. The back cover of the Jackson & Perkins catalog in 1945 featured the 'Purple Heart' viola, for instance. In one patriotic display, the 1945 Burpee Seeds catalog depicted a V-For-Victory- shaped red Swiss chard plant surrounded by bomb-like carrots over a tomato shaped like a globe.

The beauty of seed catalogs comes from their photography and, in earlier examples some cases, their engraving. Even today, companies such as Territorial Seed Company, based in Cottage Grove, Oregon.

One of the most well known seed catalogs belongs to W. Atlee Burpee & Company,  founded in 1876 by Washington Atlee Burpee in Philadelphia, Pennsylvania, after starting a mail-order chicken business in 1876. The company expanded to selling garden seeds, farm supplies, tools and hogs after customers began asking for seeds they had grown in their native farms. 

In 1888, Burpee established the family farm, Fordhook Farm in Doylestown, Pennsylvania, as a family farm and the first experimental test field station in the United States. After he traveled to Europe to collect seeds which needed to be adapted to North American climates, Burpee conducted crop field trials.

In 1900, distant cousin Luther Burbank visited the farm inspiring him to create his own experiments. He later created additional research stations, including in California in 1909, to test seeds. By the turn of the century, Burpee's had created one of the largest mail and freight businesses of the time.

By 1915 Burpee was mailing over a million catalogs a year to American gardeners. But that same year, its direction began to change when Atlee’s son, David, inherited the company upon the death of his father. David’s main interest lay in victory gardens, and he became an early promoter of them during World War I. He also prioritized the company’s output in flower seeds and initiated several flower hybridization breeding programs. Burpee geneticists also began to modify the genes of seeds using x-rays and colchicine.

The advertisements began to include full-color advertising to include Burpee's strengths of reliability of seeds using the motto "Burpee's Seeds Grow" and leader in the industry while the catalog was compact, arranged by category, and easy to find the order form.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "folk art" in the 2023 Winter Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

It's Your Turn

 

QUESTION: I’ve always loved playing board games. When I was a kid, my family would have game nights. Each member of my family take turns choosing the games we played. While we played more modern games, I’ve always been fascinated by antique board games. How did board games get their start? What were some of the more popular games in the 19th and early 20th centuries? If I were to collect old board games, which ones would be the best to collect?

ANSWER: Collecting board games can be fun. The shear number of games produced during nearly 100 years of game production offers a wide variety of games to collect. Many people who collect games collect the ones they played as children. It’s a great place to start.

People have been playing games since ancient Egypt. The Romans loved to bet and rolling dice was popular. By the Middle Ages, playing cards was all the rage. Games became more sophisticated by the 17th century, as backgammon caught on. The Industrial Revolution and the introduction of electricity enabled the middle class to have more free time and by the late 19th century, parlor games, especially board games. The reliable light source encouraged people to seek evening amusements.

One of the most popular of these amusements was the game of checkers. While the more elite were more inclined to play chess, everyone else played checkers, often while sitting out on the porch on a summer’s eve or around the pot-bellied stove in the local country store in winter. While commercial manufacturers produced checkerboards, those that collectors love most are the handmade versions of light and dark wood inlaid in a contrasting pattern. 

Much the same can be said of backgammon and Parcheesi boards, some of which were made of glass with the board design painted in reverse on the back. Many of the game boards were beautiful works of art, with bold designs and bright colors, featuring fanciful characters or outrageous cartoons, often based on nursery rhymes, fairy tales or stories plucked from the headlines.

The counters, playing pieces, that people used to play these games range from the plain wooden circles of checkers and backgammon to elaborately carved pieces of exotic woods, jade and other semiprecious stones, and ivory for chess.

Board games offer the greatest variety for collectors. Most board games involve a race to the finish between two or more players who move their pieces along a printed track at a rate determined by the throw of a pair of dice, the turn of a numbered spinner, or the selection of cards.

In the 16th century, the Italians played Goose, the earliest known board game. But it wasn’t until the 19th century that board games existed in greater numbers. From about 1870 to 1960, when watching television gained popularity, manufacturers produced thousands of board games for the market. Some didn’t quite make it out of the gate while others gained phenomenal success.

The Mansion of Happiness, a game with a religious theme, first appeared in 1843 and was still popular over 40 years later in the 1880s. Winning, based on the Puritan view that success could be achieved through Christian deeds and goodness, required players to advance by landing on spaces denoting virtues like piety and humility and move backward when landing on spaces like cruelty and ingratitude. 

In 1860, The Checkered Game of Life rewarded players for mundane activities such as attending college, marrying, and getting rich. Daily life rather than eternal life became the focus of board games. The game was the first to focus on secular virtues rather than religious virtues, and sold 40,000 copies its first year.

By the 1880s, many games had a rags-to-riches theme. In Game of the District Messenger Boy, players are rewarded for landing on spots with attributes like accuracy and neatness and deducted for loitering.

Most games originated in New York City, as it was the center of the board game industry. The Game of Playing Department Store from 1898 showed what a novel concept it was for Americans to do all their shopping under one roof. Round the World With Nellie Bly from 1890, illustrated the Victorian fascination with travel and exploration, while Rival Policeman from 1896 used as its base the real-life story of a time when New York had two competing police departments.

Board games tell a lot about the culture in the United States at different times in its history from the mid 19th century to the mid 20th century. 

Probably the all-time most popular game to this day is Monopoly. Originally conceived in the late 1890s under a different name as a game of the poor versus the rich, it was mostly a game with rules and game boards that players customized themselves. Sometimes they used a piece of oil cloth for the board and whatever little objects they could find for the game pieces. But it wasn’t until 1935 that Charles Darrow, a broke and out-of-work man in southeastern Pennsylvania, took the game idea, using various concepts created by players over time, and packaged it into a product that he sold through Wanamaker’s Department Store in Philadelphia. While many accounts claim Darrow as the inventor, he wasn’t. But he eventually sold the game to Parker Brothers, the largest producer of board games in America at the time, and the rest, as they say, is history.

Collectors have a lot of reasons for collecting board games, but one of the main ones is the artistic and often complicated graphics which adorn the boards and box covers. Game manufacturers lithographed the graphics onto the boards in black and white, then carefully had low-paid young women hand tint them. But by the 1880s, chromolithography made it possible to produce multicolored boards. Some were faithful images of Victorian dress and customs while others were more abstract. In either case, the game’s box cover was what sold it. And even today, if a game’s box is lost or damaged, most collectors won’t purchase it. Ironically, the absence of game pieces, cards, dice, and spinners isn’t that important, though will detract from the game’s value.

Even though manufacturers produced thousands of games, not all that many survive in good condition and even fewer in pristine condition because nearly makers used cardboard and paper to produce them. Board game and moisture are a bad combination. 

From 1880 to 1950, three companies dominated the market for board games. One of the earliest was W & S.B. Ives Company of Salem, Massachusetts. Ives developed the game with the longest name—Pope and Pagan, or the Missionary Campaign, or the Siege of the Stronghold of Satan by the Christian Army. Like many other late 19th-century board games, Pope and Pagan had a religious theme. Board games of the time were meant to be educational and not just for amusement. Some taught geography or simple bookkeeping or social values, such as honesty and a respect for hard work.

Two other major board game producers were McLoughlin Brothers of New York City and Parker Brothers of Salem, Massachusetts. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "folk art" in the 2023 Winter Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.