Saint Valentine, a legendary ancient Christian said to have been persecuted by the Roman Empire, didn't become associated with romance and love until 1382, when English poet Geoffrey Chaucer wrote, "For this was Saint Valentine's Day, when every bird cometh there to choose his mate."

Over the next four centuries, Saint Valentine, as well as the date, February 14, became more and more entwined with the concepts of courtly love and romantic poetry. The trend was popular throughout Europe, but England really ran with the idea, as lovers in the late 1700s would exchange sentimental verses on this day. In 1797, a book entitled “The Young Man’s Valentine Writer” came out to help frustrated would-be suitors. Victorian publishers even began to put out limited numbers of “mechanical valentines” printed with poems and drawings, as a decline in postal rates encouraged the practice of mailing Valentines. This also allowed “secret admirers” to send racy verses or limericks via post.

Naturally, Valentine's Day exploded in popularity under the reign of wildly romantic and sentimental Queen Victoria. In the mid-1800s “Fancy” Valentines adorned with real lace, paper lace, and ribbons were assembled in factories as the British spent 1 billion pounds a year on Valentines gifts like cards, flowers, and chocolates.

Over in the United States, Esther Howland received a Valentine from a British man her father knew through business in 1847. Intrigued by the idea, she began importing the materials and hand-producing her own versions to sell in America, and the idea took off like wildfire. In 1881, Howland retired and sold her business to George C. Whitney.

In the 1880s, offset lithography made less-personal mass-produced cards cheaper to make, and printers began to churn them out—first as postcards, and later as folded greeting cards. Some of the most popular mass-produced cards of that era were made by children’s book writer and illustrator Kate Greenaway, as well as Frances Brundage, Charles Twelvetrees, and Ellen H. Clapsaddle.

Using die-cut techniques, these cards might come in the shape of fans, crescent moons, bells, birds, flowers, and hearts, or have such shapes pop out of the center. Brundage, in particular, often drew caricatures of American and Dutch people that reflected the attitudes of the era.

In London, Raphael Tuck—with its Royal Warrant of Appointment from Queen Victoria herself—was perhaps the most esteemed paper company in turn-of-the-century England, producing greeting cards, paper dolls and toys, and children’s books. Tuck’s most successful Valentines are its “marionette” cards—featuring paper dolls with arms and legs that move—and their “hidden honeycomb” cards with 3-D hearts that open up like a honeycomb when the card is unfolded...

Lest you think the Victorians were always big saps, the turn-of-the-century Suffragettes jumped on the opportunity to trumpet their cause for the right of women to vote in cheeky Valentines cards, while anti-Suffragettes spread their message via the same medium.

Back in the U.S., Hallmark greeting card company was founded in 1910 in Kansas City, Missouri, and quickly became the biggest name in U.S. Valentine’s Day cards, eventually forming a lucrative partnership with Walt Disney for the rights to use his beloved cartoon characters on Hallmark products.

Another popular American Valentine’s Day card artist of the era was Grace Drayton, who drew children with particularly large heads and eyes. She created similar characters for her comic book strips and paper dolls, as well as for advertisers such as Campbell Soup Company, for whom she created the Campbell Kids.

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