5 influential American toy companies of the 19th century

In the early 1800s, most American children played with homemade toys. That started to change with the arrival of the industrial revolution and the application of American ingenuity toward playthings.

Names like Marx, Tonka, Mattel and Hasbro, which are familiar to baby boomers and subsequent generations, didn’t emerge until the 20th century. To explore the American toy industry’s beginnings, one has to go back in time to before the Civil War, when pioneering toy manufacturers staked their claim on a still-developing sector.

Here are five companies that were on the ground floor of American toy production:

Francis, Field & Francis Omnibus. Sold for $56,000. Image via LiveAuctioneers

Francis, Field & Francis Omnibus. Sold for $56,000. Image via LiveAuctioneers

Francis, Field & Francis

The first toy manufacturer of record was based in Philadelphia. Known as Francis, Field & Francis, a.k.a Philadelphia Tin Toy Manufactory, this business was in operation as early as 1838. Francis, Field & Francis produced the first manufactured American toy, a horse-drawn fire apparatus. The company claimed their japanned (lacquered) tin toys were “superior to any imported.”

George W. Brown & Co.

By the mid-19th century, New England was the hotbed of toy making. George W. Brown of Forestville, Conn., apprenticed as a clock maker before co-founding George W. Brown & Co., to manufacture toys. Brown applied his knowledge of clocks in designing the first American clockwork tin toys, including a train that the company marketed in 1856. His company also produced many animal-drawn conveyances, platform toys, wagons, fire engines, ships and trains.

The District School figurine set made by Crandall's, 1876. Sold for $2,200. Image via LiveAuctioneers.

The District School figurine set made by Crandall’s, 1876. Sold for $2,200. Image via LiveAuctioneers.

Crandall Toys

Charles M. Crandall of Montrose, Pennsylvania, whose father and brothers were also toy makers, had his greatest success manufacturing building block sets. His sets patented in 1867 featured a tongue-and-groove arrangement that held the pieces together. Crandall introduced lithographed paper-on-wood building block sets in the 1870s. It was said that by the end of the 19th century, Crandall’s building block sets were seen in almost every civilized nation.

J. & E. Stevens Co.

J. & E. Stevens Co. of Cromwell, Connecticut, is credited as the first American company to produce cast-iron toys. John & Elisha Stevens started out making hardware but switched to simple toys like sadirons, garden tools and, later, pistols. J. & E. Stevens supplied cast-iron wheels to numerous toy makers. They are best known as prolific manufacturers of cast-iron mechanical banks in the late 1800s.

Ives & Co Cutter Sleigh, 1893. Sold for $190,000. Image via LiveAuctioneers

Ives & Co Cutter Sleigh, 1893. Sold for $190,000. Image via LiveAuctioneers

Ives & Co.

Of the many toy makers to emerge after the Civil War, the undisputed leader was Ives & Co. Edward Ives joined his father, Riley, around 1860. They moved their company from New York City to Bridgeport, Connecticut, a clock-making center, to facilitate their transition to manufacturing clockwork toys. The first were No. 1 Boy on Velocipede and No. 2 Single Oarsman, which replicated a man rowing a boat. Within a few years, Ives & Co. was producing about 20 high-quality clockwork tin toys. Ives set the pace with the trend toward cast iron in the 1870s, making the first mechanical bell toys on wheels. By the 1880s, Ives, Blakeslee & Co. was exporting toys to Europe and South America. In 1890, Harry Ives joined his father, Edward, in the business and continued manufacturing popular toys and trains well into the 20th century.

To view and bid on antique American toys, head to Jasper52 to check out this weeks’ curated toy auctions.

Information sourced from The Story of American Toys by Richard O’Brien (Abbeville Press, 1990)

Religious Icons: Anticipating the Holiday Season

Arising from the Russian and Ukranian Orthodox worlds are icons – conventional religious images typically painted on small wooden panels and framed with metal sand castings. These icons carry rich histories and intricate religious symbolism. Often portraits or of scenes from the Bible, these ornate paintings remain faithful to the stories of Christ, the Virgin Mary and the saints.

A fine collection of 27 antique religious icons will be featured in an upcoming Jasper52 sale on Sunday, Nov. 6. Below are some highlights:

Russian icon of Christ Pantocrator

Dating to the 1890s and made using egg tempera and zinc on wood with silver basma, a Moscow hallmark. 

Russian icon, ‘Christ Pantocrator,’ Moscow, circa 1890. Estimate: $1,200-$1,500

Russian icon, ‘Christ Pantocrator,’ Moscow, circa 1890. Estimate: $1,200-$1,500

 

Icon of St. Nicholas of Myra

Done in egg tempera and gesso with brass oklad, this provincial central Russia icon dates to the 1880s.

‘Nicholas of Myra,’ central Russia, circa 1880. Estimate: $325-$425

‘Nicholas of Myra,’ central Russia, circa 1880. Estimate: $325-$425

 

Russian Icon Elevation of the True Cross

This depiction of St. Elena and St. Constantine the presenting the True Cross dates to the 1860s. Elevation of the Holy Cross is one of the Great Feasts of the Orthodox Church, celebrated on September 14.

‘Saints Elena and Constantine presenting the True Cross,’ central Russia, circa 1860. Estimate: $400-$600

‘Saints Elena and Constantine presenting the True Cross,’ central Russia, circa 1860. Estimate: $400-$600

 

Russian Icon Savior of Smolensk

This icon shows Christ with his right hand raised in a blessing gesture and his left hand holding a Gospel book. Flanking Him are the Virgin Mary and St. John the Baptist; kneeling in prayer at His feet are St. Sergius of Radonezh and the Venerable Barlaam of Khutyn.

‘Savior of Smolensk,’ egg tempera and and gesso on wood with silver-plated brass oklad, central Russia, circa 1880. Estimate: $600-$800

‘Savior of Smolensk,’ egg tempera and and gesso on wood with silver-plated brass oklad, central Russia, circa 1880. Estimate: $600-$800

 

Our Lady of Kazan

Our Lady of Kazan, aka Kazanskay Mother of God, was a holy icon of the highest stature within the Russian Orthodox Church, representing the Virgin Mary as the protector and patroness of the city of Kazan, and a palladium of all of Russia. This fine example done in egg tempera and gesso with silvered oklad dates to the 1880s.

‘Our Lady of Kazan,’ egg tempera and and gesso on wood with silvered oklad, circa 1880. Estimate: $600-$800

‘Our Lady of Kazan,’ egg tempera and and gesso on wood with silvered oklad, circa 1880. Estimate: $600-$800

See the full Religious Icons auction this week and stay tuned for more unique finds.

11 Stunning Portraits of Famous Writers

The writer is often hidden behind the pen. However, in this stunning curated collection of photogravure portraits, authors, poets, and playwrights reveal themselves to the camera lens. In these photogravure portraits, the printmaking process ensures high-quality reproductions, lending gravures a rich, velvety texture. Face time with black-and-white portraits of the authors and writers behind some of the characters who have shaped our culture.

William Faulkner by Henri Cartier-Bresson

William Faulkner by Henri Cartier-Bresson, 1952. Est. $180-$220

William Faulkner by Henri Cartier-Bresson, 1952. Est. $180-$220

Henry Miller by Brassai

Henry Miller photographed by Brassai, 1968. Sold for $75

Henry Miller photographed by Brassai, 1968. Sold for $75

Ernest Hemingway by Yousuf Karsh

Ernest Hemingway by Yousuf Karsh, 1967. Sold for $120

Ernest Hemingway by Yousuf Karsh, 1967. Sold for $120

Susi Wyss by Robert Mapplethorpe

Susi Wyss phorographed by Robert Mapplethorpe, 1985. Sold for $190

Susi Wyss photographed by Robert Mapplethorpe, 1985. Sold for $190

Robert Frost by Yousuf Karsh

Robert Frost photographed by Yousuf Karsh, 1967. Sold for $110

Robert Frost photographed by Yousuf Karsh, 1967. Sold for $110

Jean-Paul Sartre by Henri Cartier-Bresson

Jean-Paul Sartre by Henri Cartier-Bresson, 1952. Est. $180-$220

Jean-Paul Sartre by Henri Cartier-Bresson, 1952. Est. $180-$220

Carl Sandburg by Yousuf Karsh

Carl Sandburg by Yousuf Karsh, 1960. Est. $180-$250

Carl Sandburg by Yousuf Karsh, 1960. Est. $180-$250

James Joyce by Man Ray

James Joyce by Man Ray, 1934. Est. $250-$350

James Joyce by Man Ray, 1934. Est. $250-$350

Normal Mailer by Yousuf Karsh

Normain Mailer by Yousuf Karsh, 1976. Sold for $20

Normain Mailer by Yousuf Karsh, 1976. Sold for $20

Caterine Millinaire by Robert Mapplethorpe

Caterine Millinaire by Robert Mapplethorpe, 1985. Sold for $40

Caterine Millinaire by Robert Mapplethorpe, 1985. Sold for $40

Vladimir Nabokov by Yousuf Karsh

Vladimir Nabokov by Yousuf Karsh, 1976. Sold for $380

Vladimir Nabokov by Yousuf Karsh, 1976. Sold for $380

Fan of gravure photography? Be sure to follow @byjasper52 on Instagram for more images and updates.

The Complete History of Snuff Bottles

The snuff bottle is a marriage of craftsmanship and artistry that evolved in ancient China and Mongolia. Even with a practical purpose in mind, these functional items quite often feature detailed and elegant designs that artfully reflect their cultural origin.

Painted White Agate Snuff Bottle, Est. $100-$200, Nov. 6 Jasper52 Sale

Painted White Agate Snuff Bottle, Est. $100-$200, Nov. 6 Jasper52 Sale

The origin of snuff’s arrival in China is a topic of debate. According to some historians and historical records, members of China’s imperial families and social elite were introduced to snuff by European missionaries and merchants. This reportedly occurred during the Ming Dynasty (1368-1644). Other reports say that snuff made its way to China by way of Japan.

The popularity of snuff — tobacco leaves finely ground and infused with herbs and spices — grew rapidly in China during the Qing Dynasty (1644-1911). As more people discovered the stimulating and relaxing effects of snuff, as well as its ability to “cure” aches and pains, colds, and digestive issues, efforts to create snuff containers began. Chinese and Mongolian craftsmen began developing the diminutive bottles, with a cork affixed to the stopper in order to ensure the snuff remained fresh.

By the middle of the Qing Dynasty, the use of snuff and snuff bottles had spread throughout China and into nearly every aspect of society. The bottles were appreciated not only as a means for carrying and accessing snuff anywhere, but also for their artistry and decorative appeal, according to an article by Zhixin Jason Sun, curator, Department of Asian Art at The Metropolitan Museum of Art.

Painted White Agate Snuff Bottles, Est. $100-$200, Nov. 7 Jasper52 Sale

Painted White Agate Snuff Bottles, Est. $100-$200, Nov. 7 Jasper52 Sale

While early snuff bottles were made from a variety of materials, glass and variations of glass with artistic elements were by far the most popular. In fact, in an article appearing on The Cultural Concept Circle, it is reported that Emperor Kangxi established a central glass workshop early in the Qing Dynasty with snuff bottles as one of the primary products. During the Qing Dynasty, snuff bottles were produced primarily in six regions: Guangzhou, Beijing, Boshan, Inner Mongolia, Liaoning Province, and Tibet. The area of Liaoning was best known for producing agate snuff bottles.

The most popular types of glass snuff bottles include:

  • Reverse-painted-on-glass: Largely said to have become popular in the middle of the Qing Dynasty, they are still created by artisans today. The bottles are decorated with paintings and often include calligraphy on the inside. Scholars were among the first to create this type of snuff bottle, accessing the polished “canvas” of glass through the mouth of the bottle, then carefully painting the scene.
  • Overlay-on-glass, also referred to as Peking glass: This type of snuff bottle is created when an artisan uses a singular color of glass as the base, then adds layers of contrasting colored glass. After the layers have been added, the artist carves a design. In do doing, each of the layers of glass is revealed, according to an article posted on the Scanlan Fine Arts Gallery website.
  • Agate: This type of stone was first utilized in snuff bottles by artisans living in Beijing. In a Collectors Weekly article by snuff bottle expert Vincent Fausone Jr., the author explains that winter temperatures in Beijing could drop considerably, and in that climate, glass bottles could shatter. This led to the use of stone, especially agate.
  • Enameled: Antique enameled snuff bottles are miniature works of art that required a high level of workmanship on the part of the artisan creating them. The temperature had to be very carefully monitored as the enamel was applied, Fausone Jr. explained, adding that craftsmen in ancient China learned the enameling technique from European Jesuits.

It was common for the palm-sized masterpieces known as snuff bottles to be capped with a piece of jade. The jade would be attached to the cork stopper, which in many cases had a small spoon fastened to it. The spoon was used to assist in sniffing the snuff.

  • Jade: In addition to serving as the material from which many snuff bottle caps were made, jade was also used as a primary material for the bottles themselves. Over the centuries, Chinese leaders have viewed jade with reverence. During the Han Dynasty, Xu Shen extolled the five virtues of jade: benevolence, honesty, wisdom, integrity and bravery.
Jade Snuff Bottle, Est. $10-$200, Nov. 7 Jasper52 Sale

Jade Snuff Bottle, Est. $10-$200, Nov. 7 Jasper52 Sale

Just as snuff bottles were appreciated for their beauty and cultural significance during the Qing Dynasty, they continue to be held in high regard by collectors, historians and designers alike. Small in stature, diverse in composition and artistry; and varied in cost, they comprise an endless collecting field to explore and enjoy.

 

View the exceptional snuff bottles in this week’s Asian Antiques Jasper52 auction.


Additional Sources: