March 2023

Antique DOLL Collector March 2023 Vol. 26, No. 3

2/14/23 12:38 PM

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Anne Demuth Buying & Selling Fine Antique Dolls 1025 Bowman Rd., Westfield, NC 27053

Fresh dollhouse collection from Phoenix, Arizona. Dolls below priced from $275 to $695, discounts for multiple purchases. See extra photos in my eBay store: Anniepoojewels also many early furnishings and accessories available, very rare find.

Call for individual prices: 336-755-1400 to discuss purchase and special Antique Doll Collector magazine discount. Email: dollsbearscookies@yahoo.com • Also find us on Facebook: Anne Demuth

Find my latest treasures in a charming setting. Visit my private doll shop.

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You’ll be greeted by a fresh collection of brand new items, some pictured here!! Plus, my shop is always chock full of doll goodies galore and the option to buy, sell or trade!

Choose from my large and well-priced collection of antique and vintage doll dresses, slips, chemise, pantaloons, shoes, wigs, ribbons, fabrics, furniture and accessories. Bring your dolls to dress, trade and repair. Have fun!!

If you are thinking of selling your doll treasures, I buy everything from one doll or doll accessory, to an entire collection. I pay excellent prices for dolls, shoes, clothes, wigs, miniatures, doll jewelry, doll houses, furniture and accessories.

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Experience pure doll Joy!

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Nelling, Inc.

FINE ANTIQUE DOLLS AND ACCESSORIES BUYING & SELLING QUALITY DOLLS FOR OVER 29 YEARS

published by the

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It’s Wedding Day for a group of Simon Halbig all bisque mignonettes, ranging in size from 5-5 ½” in stunning antique clothing.

Bride and Groom in box, under a wedding canopy of a real, beaded flower wedding crown. $4,975 for the pair.

The four ladies in the wedding party, shown in close-ups, $2,250., $2,450., $1,295., $2,250., (# 3 has head crack).

Bottom row is a 5 ½” French mignonette by Sustrac w/ rare jointed elbows in orig. 2-pc gown. $4,450.

Please contact us for more photos and condition details, or go to the All Bisque page at www.maspinelli.com!

MOVING?

P.O. Box 4327, Burbank CA 91503 • e-mail: nellingdolls@gmail.com Cell: 818-738-4591 Home: 818-562-7839 • Member NADDA and UFDC

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Antique DOLL Collector is not responsible for any inaccuracies in advertisers’ content. An unsolicited manuscript must be accompanied by SASE. Antique DOLL Collector assumes no responsibility for such material. All rights including translations are reserved by the publisher. Requests for permissions and reprints must be made in writing to Antique DOLL Collector. ©2023 by the Puffin Co., LLC.

ANTIQUE DOLL COLLECTOR

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MARCH 2023

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Valerie Fogel’s

Beautiful Bébés Fine Dolls & Precious Playthings from Our Past www.beautifulbebes.com

Always Buying!

Trades and Consignments Considered Tel: 425.765.4010 Beautifulbebes@outlook.com

18” Petit & Dumoutier - A stellar example of the sought after Petit and Dumoutier Bébé… an 18” child with extravagantly huge blue paper weight eyes, palest crème bisque, delicate painting of crisply modeled features and superb long curly wig. She has such an innocent and childlike look, a bit different than some of the larger models.

Original body, lovely, creme silk costume, French lace bonnet in excellent condition $13,250- Layaway offered

4” Enamel Viennese Clock - Splendid working clock with delightful renderings of young loverd and cherubs set in beautiful gilded metal frame. A fantastic addition to any vignette. $1485-

Enchanting Painting of a Girl with a Doll by Valenti. Beautifully rendered. 17”x19” Framed $1095+S&H Tiny 5” A/O Mignonette - Superb petite French All Bisque Mignonette in entirely original folklore costume replete with colorful embroidery and beaded details. Housed in lovely straw woven egg Candy Container with original French label. Excellent condition. $1085-

15” Wood Body Poupée with Serene Beauty - Marked with a two at the base of her beautiful bisque neck, this petite Poupée is serene and lovely. Costumed as a young lady, she exudes refinement. A two-piece piece Spring ensemble of patterned white on white cotton with deep teal-blue trimmings is the perfect accent to enhance her enchanting enamel eyes. She is blessed with a fabulous articulated wood body pristinely covered in kidskin.

Matching boots, an antique parasol, and a sweet silk chapeaux atop her golden mohair locks complete her sweet ensemble. $7850-

Tiny 4” Signed Mademoiselle - A darling tiny figure of a woman depicting the 1700s. Such impeccable detail.

Additional pictures available. Perfect for vignettes or your favorite collection of these beautiful smalls. $385-

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Embassy Suites - Portland Airport 7900 NE 82nd Ave., Portland, OR 97220 Admission: $8 (cash) Parking: Free Hours 11 AM to 4 PM

Gorgeous Parlour Game Table - Your favorite Poupées and Bébés will be vying for this statement piece! Perfect for 15” to 19” fashions or Bébés , this carved Parisian piece dates back to the 1850s-early 1860s. 9”x5”x8” $1699-

Member

UFDC & NADDA

Rare Early Brown Haired Wood Body China 6.5” - Hard to find beauty with rare brown hair.

Exceptional painting of tiny delicate details. She’s seeking a home with a wardrobe! Excellent. $2995-

2/15/23 5:36 PM

The Complete Guide to Antique, Vintage and Collectible Dolls

March 2023, Volume 26, Number 3

On the Cover Among the finest works of the early Lenci firm is the 1928 portrait doll of Rudolf Valentino as “The Sheik.”

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LENCI, THE EARLY YEARS

by Florence Theriault

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THE HÜTTENSTEINACH CONNECTION

by Linda Edward

Photo courtesy of Theriault's.

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COOL CATS AND FAKE FELINES German Bisque Cat Dolls and Contemporary Copycats

by Sharon Weintraub

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DRESSING JAMES Part 2 of the Tale of An Izannah Walker Boy

by Paula Walton

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MORE THAN TRINKETS TO OFFER C & H White Peddler Dolls

by Elizabeth Ann Coleman

SUBSCRIBE TO ANTIQUE DOLL COLLECTOR, GO TO www.antiquedollcollector.com Subscription information: adcsubs@gmail.com or 631-261-4100 6

ANTIQUE DOLL COLLECTOR

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MARCH 2023

2/13/2023 6:06:00 PM

(212) 787-7279 P.O. Box 1410 NY, NY 10023 matrixbymail@gmail.com

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1) Steiner Type 12” Child Fashion swivel neck, CloMo, PW Eyes, Original Clothes, Wig & Shoes. $1495 2) All Original 9” Cabinet Belton - Blue PWs, Bru tip tongue, mohair wig, orig. body, very fine layers of hand sewn finery, gloves & purse! $950; 7” Vintage Rabbit Candy Container - $110 3) Shelf size 18” French Export for Jumeau - Heirloom Original ‘1159’ w/ Jumeau Lady Body! PW Eyes, Orig cork pate/ Wig, elegant ensemble w/Gloves, Muff & Capelet. $1595 4) 16” Rare A.M. ‘411’ Lady - All Original in High Style Edwardian Ensemble, slender character face & lovely bisque arms. $1595 5) Wimpern 10.5” French Trade ‘Bebe’ French Stiff Wrist Body, Factory Clothes & Hat, delicate bisque w/Orig.

Eyelashes. $595; Choice 8” Rabbit Candy Container - exquisite quality antique German find. $250

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6) Miniature 5” Closed Mouth Gaultier - blue PWs, knee length human hair wig & Factory Dress & Chapeau! “Tres jolie.” $495 7) 20” Attic Mint Kestner ‘167’ - unplayed find, flawless Factory Chemise, Shoes & Wig, sgnd.

Body w/orig finish. $595 8) Fabulous 4.5” Yellow Boot All Bisque Pair - Socket Heads, Glass Eyes, clo.mo, Orig. Wigs & Crocheted Clothes, mint. $1100 9) All Bisque Glass Eye Googly Pair - Adorable 5.5” Factory Mint & colorful w/Orig Hats, Purse, Color Shoes, Buttons & Bows, plus Socket Heads! $1495

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10) 27” Heirloom Mint & Original Handwerck - from Mohair Wig to her Sgnd. French Leather Boots she’s flawless quality, vibrant blue eyes, mint sgnd. body & gorgeous fine linen layered apparel. $950 11) Rare Large 34” Figure ‘B’ Steiner Bebe - a grand ‘Size 20’ doll with glorious bisque, 12-upper & 12 lower perfectly pretty teeth, working Lever Eyes, Mohair Extension Wig, & Lovely Antique Clothes. A breathtaking knockout. $7500; Sweet Steiff Lamb w/Bell. $190

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12) Vintage 24” Aloysius Bear English limited edition complete w/ Scarf & Both Pins, orig. patches & eyes too. All good condition. A big hugger! Just..$250 13) Life Size 25” Laughing Jumeau Baby - top quality mint satin bisque w/ wonderful mohair curls, clean orig body & clothes.

Tremendous expression! $550 14) Luxurious Life Size 25” JDK ‘226’ w.17”c. Head - choice Kestner bisque & body, op/clo bisque tongue, lovely layers of period clothes bonnet to booties!

Just. $650 15) 27” Big Old Teddy - Orig eyes, no repairs, sweetest face & old uniform not shown. $450; Steiff Jtd. Bunny clean w/Button & Bow! $195 16) 8” Brown Heubach - ethnic features, fired in color, gl.sl. eyes & Orig. Smock. $250 17) Mint Steiff 15” Pair of ‘Nikili’ complete w/Clothes, Labels, Tags & Buttons! $750 18) Pretty 17” Biskaloid Child in Easter Box - both bright fresh color.

Doll in Factory Felt Trims & Shoes in Italian Box w/Lid. $350; A Choice 11” Blue Bunny- 2-tone rarity w/Orig. Eyes. $195 19) Fancy Steiff 10” Llama- Button & Tag; clean & sassy! $295; A Steiff 11” 2-Tone Baby Bunny - pink&white w/ Button Tag & swivel neck. $145 20) 18” MA. Binnie Walker - play doll, pretty colors. $50; Vogue 10” Jill - fully jtd. dancer. $125; 14” Mary Hoyer Boy w/Caracul Wig as Mary Martin, clear eyes. $350

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(212) 787-7279

P.O. Box 1410 NY, NY 10023

Quality Antique Dolls by Mail Return Privilege • Layaways Member UFDC & NADDA

matrixbymail@gmail.com

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21) Rare 16” Compo Peter Rabbit - 1920’s Quaddy Playthings. jtd.fabric body, Orig. Clothes, Shoes & Paint. No craze $395; A 10” Mint Little Girl - w/orig dress/shoes. $30 22) 19” Hard Plastic ca: 1950 - All Original & clean. $90; 18” FnB ‘Honey’- All Original & clean.$135 23) Scarce 11” FnB Patricia Kin - clear sl. eyes/lashes plus Wig & Orig.Dress. $325; Near Mint Patsyettes - Orig.

Clothes & Shoes. $85 each 24) 27” Shirley Temple Flirty mint Factory Wig & Dress, no facial craze, unmkd $395; Small Shirley Temple Baby - by Ideal, flirty eyes, Mint Factory Dress & Bonnet, no craze as found. just $495 25) 24” Deanna Durbin - great color, no facial craze, Mint Orig.

Wig, Shoes, Dress & Label, $495; Unusual 21” Ann Shirley-type Teen Factory Orig. gabardine 2-piece & Wig. $180 26) 15” Puzzy Farmer - Factory Clothes w/Hat & Pin, no craze. $295; Tiny Terri Lee MIB - as Farm Girl. Just $125 27) 18” Shirley Temple - attic find in Orig. Dress & Wig. $150; 13” Shirley Templenear mint w/Orig.

Clothes, Wig,Label & Shoes. $350; 15” Dewees Cochran FnB American Children, sl. eyes, Orig. Wig & Dress. $350

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28) Petite 11” Cabinet Fashion - Closed Mouth, leather body, Bisque Arms, Bru teeth, PW eyes, orig.

Wig, Shoes & Undies -A gem! $850 29) Precious 16” E. J. Bebe - sumptuous bisque, dreamy glimmering PWs, shaded lids, Orig.

Sgnd Body & Coil, minor hidden hl beneath Mint Factory Wig/Pate, aqua silk dress, not $6000 just $4200 30) Scarce 14” Kestner ‘152’ - adorable mold in select cabinet size, mint bisque & sgnd. body, period clothes & Factory Shoes. $595; 7” Mechanical Clockwork Doll - in Factory Clothes, Hat & Original Box w. Lid says “Santa’s Doll to me”! Just $425; German Glass Eye Rabbit on grass covered Candy Container. $175

31) 14” Pre-1900 German Closed Mouth - blue PWs, Solid Crown, turned head, old leather body, bisque arms, stylish aqua ensemble! $450 32) 10” Adorable & Mint ‘Breathers’ Factory Perfect Toddlers by E. Heubach from hats to pompom Leather Shoes, quality clothes & body, Pierced Nostrils too. Prettiest ever! $795; Mint 4” Pair Steiff ‘Manni’ Bunnies dressed plus Buttons & Tags. $350 the pair!

33) Mint “Mother Daughter” Dolls - 4” Smallest K*R Flapper with Gl.eyes, Orig.

Wig & Dress, doll house size. $195; 6” AM Flapper - orig. wig, & pretty voile layers. $105 34) Unusually Large 14” Indian - German bisque portrait, All Original includes Wig, Head Band Necklace etc. hidden flaw so only $450

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35) 9.5” Closed Mouth SFBJ Country Girl - excel. quality, Gl. Eyes, Orig. Fancy Clothes, Shoes, basket. $275; Steiff Lamb w. his Bell. $195 36) Magnificent & Rare 34” Figure ‘B’ Lever Eye Steiner like none other - see photo #11 37) 13” Cabinet French Fashion - Luscious face, orig. body, sweepingly stylish 2-tone High Style Couture w.

Chapeau, hidden flaw, not $1500 just $850 38) 9” Brown Kestner ‘260’ Toddler - orig. wig & her Period Clothes, great color! $695; 6” Mint Brown K*R Toddler - star fish hands & sl. eyes! All top quality. $425

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39) Fine Quality French Nationals - 6” Mint Unis - top quality & bl. gl. Eyes. $175; 7” Striking G.K. - mint French trade Alsatian w/lace & hip length braids. $160 40) Rare 23” SFBJ French Flirty - (see SFBJ book!) 17” cir.

Head, sl. tin lids, Orig. Store Clothes all mint in Egg. $450; The Vintage Duck- $65 41) Heubach ‘262’ Googly - 7.5” chubby ‘bucktooth’ toddler, Carved Teeth, eyes & dimples! In Factory Romper. $375; 9” AM ‘210’ Campbell Kid - big & chunky w/perfect oily bisque. $495

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Joyce Kekatos joycedolls@aol.com 917-859-2446 or 718-863-0373 LAYAWAY AVAILABLE • Member UFDC & NADDA www.grandmasatticdolls.com • Look for me on Ruby Lane!

9” RARE “Igodi” Heubach, side glancing painted eyes, orig. dress & undies, perfect all bisque head & body w/RARE “swivel neck”. VERY

SPECIAL!! $1695.

7” RARE Large All Bisque Bye-Lo,

9.5” Closed Mouth glass sleep eyes, “All Original” costume, JDK #169, mint bisque, pink painted shoes, perfect bisque sl. eyes, all orig. & ant. hat. Orig. JDK body w/ str. wrists. DARLING

tiny size & a BEAUTY!! $2350.

overall, “swivel neck”. RARE size (18) second to largest.

Bassinet included.

ADORABLE!! $1175.

7” All Bisque Bonnie Babe, 2 lower

teeth, gl. sleep eyes, orig. dress, orig. mint bisque body, “swivel neck”.

Absolutely DARLING!! $1100.

RIGHT: 7.5” Brown Schoenau & Hoffmeister “Hanna”, sl. eyes, perfect bisque, orig. wig, orig. dress & hat, orig. mint S & H 5 piece body. This little girl is ABSOLUTELY DARLING!! $725.

World Doll Day Shows

Featuring: Modern, Vintage, Antique Dolls, Bears, and Toys 2023 World Doll Day Shows & Events Schedule ler Dea ies ir Inqu me co Wel

Scottsdale: March 18th, 2023, 10am-3pm

Embassy Suites by Hilton, 5001 N. Scottsdale Rd., Scottsdale, AZ 85250

Sacramento: April 15th, 2023, 10am-3pm Officers Club, 3410 Westover St., McClellan, CA 95652

Seattle: May 13th, 2023, 10am-3pm

Mark Your Calend ar!

Double Tree Suites by Hilton Southcenter, 16500 Southcenter Parkway, Seattle, WA 98188

San Francisco Bay Area: September 23rd, 2023, 10am-3pm Concord Plaza Hotel, 45 John Glenn Dr., Concord, CA 94520

Southern California: October 29th, 2023, 10am-3pm Courtyard Marriott, 600 E. Esplanade Dr., Oxnard, CA 93036

Door Prizes, Raffles (Benefits local charities) • Admission - $10, Children 12 & under free Identification/ Valuation, Restringing, Food for Purchase Like/Follow/Share on Facebook: https://www.facebook.com/ WDDShowsEvents Sign up for updates and get on our email list at: www.worlddolldayshows.com Mary Senko: mary.senko@worlddolldayshows.com or mary.senko@comcast.net cell: 425-330-1770 Proud to be a Woman Owned Business

ANTIQUE DOLL COLLECTOR

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By Florence Theriault

At 27 inches, the rare female variation of the popular Pierrot doll, inspired by Madame di Scavini’s fascination with Commedia dell Arte, featured a unique face and carried a guitar rather than the traditional mandolin.

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ere’s a trend that holds true across all categories of doll collecting. The early years of a dollmaker’s work are often overlooked. Instead, it’s the golden years of a particular doll that are most sought by the novice collector, the period when the doll artist or firm has achieved excellent quality control, both in materials and in production. And so it is with the Lenci doll because it is her fashionable, colorful, and wonderful child dolls from the 1929-1935 era that are most sought today, while important and extremely rare dolls from the 1919-1925 era are often overlooked.

That is a pity, for the dolls of these early years have other important values. They clearly project the dollmaker’s artistic vision. They are more visionary, more experimental, and not at all hesitant about being different. And since the background of the dollmaker is often artistic or intellectual, rather than profit-making, the hard facts of business have not yet impacted their work. Three early 20th-century women whose dollmaking years began this way were Käthe Kruse, Sasha Morgenthaler, and Elena di Scavini. It is the early dolls of Elena di Scavini that are shown in this article.

In the post World War I years, as Scavini cast about for a life purpose, she rambled into the making of dolls. To this end, she remembered her own favorite childhood doll of rags and wood, of which she said, “My doll was nothing and therefore she could become anything.” After her initial experiments in making a doll of the canvas, she realized that she wanted a fabric that could be molded. Felt, of course! Just like a hat, and so it was a hat factory she turned to for the production of a thin felt fabric that could be pressed onto a mold. Thus, the firm was born.

1919 and 1920 were the first years of production, and while it is true that the quality of the felt was

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Left: The 20-inch early Lenci portrait of a Native American was likely inspired by American silent films of the Wild West. A decade later, the Lenci firm continued this theme with a wonderful boy and girl from their 300 series in elaborate Native American costumes, which are also featured in the Romberg Collection.

Right: In the Lenci firm’s early 1920 advertisement, the 18-inch doll was described only as “Cow Boy”, and was surely intended as a companion to the Native American shown in the same ad. Shortly thereafter Lenci issued another cowboy doll which she named “Tom Mix”.

Josephine Baker, who was a personal friend of Elena di Scavini, was presented in 1927 by Lenci wearing the traditional banana costume from her legendary Parisian dance, 18 inches.

less refined than that of the golden years of the late 1920s, it is also true that the dolls from this era overcame that impediment through sheer force of characterization. This was the era of celebrity dolls, of winking or sulky characters, of theatrical mainstays from Commedia dell’arte or circus figures that hinted back to Elena’s own teenage years in the circus. Her studies in photography surely inspired a fascination with Hollywood silent film stars of which the most notable she created was Valentino as The Sheik. But there was also Josephine Baker, Tom Mix, Jim (Gene) Tunney, and Jackie Coogan, who were specially named in the Lenci catalog, and others whose characterization was vaguely suggested such as Marlene Dietrich and Raquel Meller.

One particular character serves as example.

This was Jim (Gene) Tunney who held the world heavyweight title from 1926 to 1928. In 1926 the Lenci firm presented a doll “178/A Tunney” in a boxing costume. It appears to have been offered under that name for only one year, so it is intriguing to wonder if licensing issues occurred, as often happened during these early days of the licensing industry. Interestingly, three years later, another

“Bombita” was the name of 1920s era legendary bullfighters Emilio and Ricardo Torres. Lenci celebrated their matador fame in her 1925 doll, actually labelling the doll “Bombita” in her catalog, one of few examples in which the celebrity was actually named.

The scandalous performance of the seductress Salome was presented by Lenci in the first year production of her dolls, 1919/1920. It appears to have been made for one year only and was constructed with unique (and expensive to construct) swivel waist, the better to portray the dance contortions. The 16-inch doll is extremely rare.

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Appearing among the dolls in the early Lenci Asian series was 23inch “Hu Sun”, so-named in the 1924 Lenci catalog, and with body designed to allow her to kneel, sit or stand. She was exquisitely costumed with embroidered costume and carries her original carved and painted wooden opium pipe.

Standing 23”, the sternfaced red-haired man represents a character from the elite cavalry guard of the Russian Cossacks, and dates prior to 1923. It is likely that the prominence of the Cossack during the political upheaval in Russia, 1917-1922, inspired Elena di Scavini’s creation of the doll.

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At age 15, Elena di Scavini ran away and joined the circus for a year. The ambience of the circus influenced and inspired her throughout her creative years as a doll designer, seen here in the 21-inch earliest period 1920 clown with uniquely modeled face for this doll only.

doll appeared in exactly the same costume, described simply as “1005 Boxer," and then in 1931, once again in a tiny 6-½” size as “Series XX/6.”

Since the mid-1800s, Europeans had been fascinated with the “Wild West” of the United States. When Hollywood’s silent films rolled around, this fascination was heightened, so it was no surprise that among the very first group of dolls offered by Elena Scavini in 1919/1920, there were the “#6 Cow Boy” and “#1 Chef Indien.”

Soon after appeared Tom Mix who had starred in American Western silent films from 1909 onward and was known to be admired by Madame Lenci, as evidenced by her 1926 doll “178 Tom Mix.” The early dolls of Elena Scavini and the Lenci firm offer great opportunity for collectors seeking to connect their dolls with historical and cultural changes. Did the famous Salome doll of Lenci represent a particular performer or merely the role itself? Did the scandalous rumors surrounding the Salome performance enhance the sale of the

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Left: “Fukuruko”, Lenci’s interpretation of the Fukurokuju, the Japanese god of longevity, was traditionally presented with his unusual elongated forehead and wearing the garments of a Chinese scholar. Presented in the 1924 catalog, the doll is considered extremely rare, especially in this choice condition.

Right: At a tiny 7-½ inches, from the miniature series of Lenci, the doll is believed to represent the child silent film star Jackie Coogan.

doll or destroy it, since the doll is extremely rare and appears to have been made for a very short time only? What is the complete background of the extraordinary exhibition-size Asian dolls? And what about the rare early portrait of a Russian Cossack which does not appear in any Lenci catalog or ad, but whose head construction indicates production pre-1923? The historically elite cavalry guard Russian Cossacks had figured prominently in the political upheaval in Russia 1917-1922 and it is likely, but not certain, they inspired Elena Scavini's model. Nor is it known if the doll was designed as a portrait model of a specific hero. And so the questions go on and on.

The dolls presented in this article, and featured in the upcoming Theriault Marquis auction “Lenci Art” are from the private collection of Elaine Romberg, who astutely studied and sought these early examples, appreciating not only their beauty and rarity but also their importance in the Lenci story. For more information visit www.theriaults.com.

Lenci’s fascination with the American Wild West began with her earliest “Cow Boy,” continued with the soon-thereafter Tom Mix doll, and even extended into the late 1920s with this smaller model which wears nearly identical costume to the named Tom Mix doll.

The 29-inch pair of exuberantly costumed harlequin-inspired dolls were first shown in a 1924 photograph of a Lenci exhibition in Paris entitled “Carnaval de Venise.” In 1925 the pair were offered in the Lenci catalog as models 193 and 194. They are very rare to find.

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The

Hüttensteinach Connection

By Linda Edward

From 1854 onward, Swaine & Co. made a variety of porcelain products such as tableware, industrial porcelains, and decorative items like this lovely plaque featuring a portrait of Beatrice d’ Este (1475-1597). The plaque bears the markings Swaine & Co. Hüttensteinach 700. Photo courtesy of Akiba Galleries.

t has been said, “It’s not always what you know, but whom you know.” This sentiment often comes to mind when I am studying various makers of antique dolls. Invariably one finds interrelationships between companies, sometimes with whole regions maintaining symbiotic relationships. An example of this interconnection can be seen in the dolls created by some of the smaller companies of Hüttensteinach, Germany in the late 19th and early 20th centuries.

In the mid-19th century, Hüttensteinach was then a small community near the district of Sonneberg in the state of Thuringia (today Hüttensteinach is actually part of the town of Sonneberg). In 1817 a porcelain factory was opened in Hüttensteinach on the site of a former iron mill. After a series of owners, this property was purchased in 1852

by August Arnoldi, who then took in Robert Swaine as a partner. This partnership was short-lived and in 1854 Robert Swaine along with his brother William, founded a company called Porzellanfabrik Swaine & Co. By 1856 William Swaine was listed as the sole owner.

This 12-inch Swaine & Co. character mold D.I.P. can be found on baby, toddler, and child-style bodies. The mold features an open/closed mouth, sleep eyes with painted upper lashes and single-stroke eyebrows, and wears a mohair baby wig.

Swaine marked their dolls in two ways. The incised mark for this doll includes the model designation D.I.P. and a size number 3, along with a stamped circular mark in green which reads: Geschutze Germany S & Co. All Swaine dolls have this stamped mark in addition to their incised marks.

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This delightful 13-inch character is a less often found Swaine model. Marked with the initials B P the doll has a smiling open/closed mouth with upper teeth, intaglio eyes with a simple painted lashline, and single-stroke eyebrows (larger examples have been seen with multi-stroke eyebrows). The head is wigged and is on a child body. Photos courtesy Morphy Auctions

In 1859 Carl and Eduard Schoenau (Gebrüder Schoenau) purchased Arnoldi’s factory complex.

Gebrüder Schoenau then leased the factory space to Swaine & Co. In 1864 Gebrüder Schoenau opened their own porcelain factory across the street from the property they were leasing to Swaine. Both factories continued to offer a variety of table wares, industrial porcelains, and decorative items.

In 1910 Swaine & Co. added doll heads to their line, exhibiting character dolls at the Leipzig Fair, joining in the trend towards character dolls that was spreading through the German doll industry. The company offered a variety of beautifully sculpted and painted doll heads in fine porcelain bisque. These included models with open mouths, closed mouths, open/closed mouths, and both intaglio-eyed and glass-eyed models. Some models had molded hair and others were designed to be wigged.

The line included heads for baby bodies, toddler bodies, and child bodies.

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This 12-inch mold marked B 1 appears to be the molded head version of the BP mold. Instead of being wigged, this doll features a sculpted hairstyle with a distinctive curl on the forehead. The intaglio eyes are slightly squinting as the doll smiles. Photo courtesy of Rubylane.com shop 2BethsDolls.

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The Swaine mold designation D.I. is seen here. This 13-inch solid dome baby has an open/closed mouth, intaglio eyes and feathered eyebrows. The incised and stamp marking can be seen here. Photos courtesy of Rubylane.com shop Lynette Antique Dolls and Accessories. Another mold made by Swaine (not shown) was marked D·V and had a solid dome head, open/closed mouth and sleep eyes.

The Swaine model marked F.P. is another example that has an open/closed mouth and sleep eyes. Photo courtesy of Frasher’s Doll Auction.

Lori was the name given by the manufacturer to this model. The example here is 21 inches long and is incised D Lori. The doll has a solid dome head, an open/closed mouth, sleep eyes, painted eyelashes and feathered brows.

Photo courtesy of Morphy Auctions.

The Swaine mold 232 is an openmouth version of the Lori mold.

Photos courtesy of McMastersHarris auctions. Both Lori and mold 232 dolls have been found in sizes ranging from just 8 inches long to life-sized at 28 inches. Photo courtesy of the former McMastersHarris Auctions.

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Fritz Bartenstein not only patented his multi-faced doll in Germany but also received a U.S. patent on July 5, 1881 for his design.

This 12-inch example of Swaine’s mold A is a socket-head doll with molded, painted hair on a closed dome head. The intaglio eyes are well sculpted with painted highlights in the blue irises. Photos courtesy of Frasher’s Doll Auction. Following the chain of ownership of the Hüttensteinach porcelain factories of Swaine & Co. and Gebrüder Schoenau we can see that the Swaine character dolls were only made for a short period, beginning in 1910 and had been phased out by 1920.

In 1914 William Swaine died and the ownership of his company went to Albert Schoenau. By 1917 Swaine & Co. had become part of the holdings of Gebrüder Schoenau and in 1920 the company changed its name to Gebr. Schoenau, Swaine & Co. GmbH and turned its focus to producing only industrial porcelain products.

In 1880 another Hüttensteinach businessman came to recognition in the doll world. Fritz Bartenstein (1859 – 1913) was an inventor and manufacturer who received a patent for his design for a double-faced (laughing/crying) doll’s socket head. Bartenstein had started his career as the factory foreman for Gebrüder Schoenau. In 1881 he patented his design for a doll’s Mama/Papa voice mechanism. This invention caused the doll’s head to turn from side to side as its two pull strings were operated. Bartenstein offered his doublefaced dolls with either wax or bisque heads. His company closed in 1905. Before the company closed it seems that Bartenstein sold the patent rights to his doll head and voice designs Carl Bergner.

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Carl Bergner attained the patent rights for Bartenstein’s multi-faced doll design. Bergner’s heads were made for him

by Simon Halbig. This head is incised with the mold designation 430.

Bartenstein dolls were available with bisque heads or wax ones as seen in this example.

The doll’s design consisted of a mechanism that allowed the faces to pivot inside of a stationary hood which was attached to the neck of the torso. Photos courtesy of Alderfer Auctions.

Bergner had been operating his doll factory in the Sonneberg area since 1860. Using bisque heads made for him by the firm of Simon & Halbig, Bergner exhibited his multifaced dolls at the 1903 Leipzig Fair. He would continue to offer his multi-faced dolls into the mid-1920s.

This peek at some of the dolls emanating from just a very small area within Thuringia gives us a taste of the many personal and business connections that fueled a very interesting period in the history of doll manufacturing. The dolls that came out of these ventures are among the treasures enjoyed by collectors today and preserved as historical artifacts for tomorrow.

Bibliography Jurgen and Marianne Cieslik German Doll Studies.

Annapolis: Gold Horse Publishing, 1999 Dorothy S., Elizabeth A., Evelyn J. Coleman The Collector’s Encyclopedia of Dolls Vol. I & II. New York: Crown Publishers, Inc., 1968 & 1986 Dorothy S., Elizabeth A., Evelyn J. Coleman The Collector’s Book of Dolls’ Clothes. New York: Crown Publishers, Inc., 1975 Mary Gorham Krombholz Identifying German Character Dolls. Cumberland: Reverie, 2008 Mary Gorham Krombholz 500 Years of German Doll Making. Cincinnati: Self-Published, 2013 K H Steckelings Above from Shining Stone: The History of Lithophanes from the 18th to the 20th Century. Sandstein Kommunikation GmbH, 2017 ANTIQUE DOLL COLLECTOR

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More than Trinkets to O ffer

By Elizabeth Ann Coleman

C. & H. White traditional leatherfaced peddler on attached and labeled base. Height: 9-inches doll, 10-inches with hat, 10 ½-inches with base.

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Unusual C. & H. White peddler utilizing a peg wooden Grödner Tal doll rather than the expected leather face models.

Height 9 ½-inches. Coleman collection

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Printed paper label on base of male peddler for C & H. White, of (Milt)on. Portsmouth. Coleman collection

R

arely have I been satisfied with a casual glance when it comes to looking at a doll that catches my eye. Over decades I have learned that dolls themselves can tell us more about themselves than reading and looking at books or chasing Internet sites. All we need to do is carefully sleuth through the layers that compose any doll, be it old or new.

In this brief look/see, I am going to share with you the kinship found between two dolls beyond their occupation as peddlers who support a tray and basket loaded with wide ranges of merchandise. If you think the man looks more familiar, you are correct. A look at the underside of his paper-covered wooden block base reveals the label for the concern of C. & H. White that was located on the English south coast seaside in the community of Milton, adjacent to more recognizable Portsmouth. Like most bustling ports of its day and its surrounding areas, this region featured both genteel neighborhoods and sincerely less refined inhabitants in the docklands. The area thrived on commerce of all types, and Portsmouth’s High, or main shopping street, was ranked second only to those in London. It was thought of as a working area, not a touristic seaside resort. Yet surely at the time, the 1840s, dolls like these would have been upscale reminders for many of the quaint and fast-dying-out peddlers and hawkers of Portsmouth. Because of the number of surviving examples of White peddlers alone, we can surmise these were popular either locally or as souvenirs, items perfect for decorating the mantle shelf at home instead of using the popular gaudily painted pair of Staffordshire porcelain dogs.

Let’s begin by looking carefully at the gent with his head of leather featuring black glass bead eyes and

Printed cotton trouser material for trousers of male White peddler which matches that found in the dress of a related Grödner Tal female peddler. Coleman collection

Closeup of leather face with painted features and glass bead eyes, brown yarn hair, and blister-painted card top hat. Coleman collection ANTIQUE DOLL COLLECTOR

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Closeup of Grödner Tal female doll used as a C. & H. White peddler.

Coleman collection

painted features. His hair is twisted brown wool yarn, and he wears a black blister-painted tall—or stove pipe—hat.

His frock coat is of black wool broadcloth so finely woven that its raw edges need no further work. A white cotton shirt is set off with a brown cotton stock at his neck, and below, he wears a filmy white cotton scarf loosely tucked into his scarlet cotton flannel waist-length vest. His body is constructed over a wire armature with bent wire fingerless hands.

On his feet, he wears black leather boots. While he is dressed in quite contemporary attire, his often-accompanying female companion is generally dressed in long outmoded—but still respectable—18th-century-style attire. These figures, with their mostly still attached bases, were likely, as mentioned above, considered in their day to be decorative items for adults rather than play dolls for children. Only in the 20th century would doll collectors claim these for their own collections because of their multi-media composition resembling that found on dolls of the same period.

This brings our discussion closer to the longer limbed turned and carved wood, peg jointed—without a doubt— doll from the Grödner Tal region, a valley on the German/Italian border, who stands tall all by herself. The doll as she stands has every indication of association with tens of thousands of other longer-legged peg wooden Grödner Tal play dolls of the 1840s. Her turned spherical head and bust are painted and varnished, and her protruding nose was probably inserted. Black cotton tricot hose cover her cream-colored legs, and 18th-century style leather buckle shoes cover whatever color her wooden footwear was originally painted. On her head, she wears an exquisitely sewn cap of white cotton with a minutely stitched face-framing frill and fully gathered caul in the back. At her neckline, she wears a mull fichu tying in streamers at the center back, and her rectangular linen apron ties in back over the fichu.

Predictably, a white cotton petticoat is over her cream wool flannel petticoat, and as is to be expected, there are no pantalettes or drawers.

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But, in my discussion, haven’t I overlooked two major garments, one for each of these dolls? Exactly.

And it is these, and another couple of clues that I think make both these “doll” products coming from workrooms associated with C. & H. White.

Starting off, we have his more summery brown and white printed pin-striped cotton trousers, which, as you can detect, are exactly the same material as her dress. As is to be expected, her dress is of an earlier style, about 1820. Her occupation places her in a less affluent strata of society, one usually relegated to wearing secondhand or out-of-date garments.

But the usage of matching fabric is not their only similarity. While his tray of trinkets and trifles is secured to his hands, her basket of nearly identical size and construction hangs over one arm. Both contain a wide assortment of small goods related to sewing and personal adornment, including gloves and for the gents’ braces or suspenders. Kinship is established not through the offerings but the same braided linen twist gimp encircling the edge of her basket and his tray.

Finally, I could literally pin all this together by exploring the soles of her shoes with the point of a straight pin and stumbling across a hole in each sole where she had once been attached to a base, no doubt wood covered with characteristic White marbleized paper.

I think I have made a fairly strong case that both these peddlers came from the clever hands of those working for the firm of C. & H. White. Now, one interesting question remains. Dictionaries from their day are quite specific—dolls were playthings for children. With their trays, baskets, and sometimes even tables, miniature peddlers often found themselves living in protective environments, removed from inquisitive little hands. In their day, long before there were art or artist’s dolls, how would dressed figures such as these have been identified and merchandised?

Contemporary trade cards, directories, and the like give us a clue: Fancy Goods. And often, if we read further, we discover that dolls and toys were frequently sold by merchants of Fancy Goods.

Whether the original purpose of these peddlers was to give pleasure to adults or to children, their purpose remains the same today, and it reminds us that good things really do come in small scale.

Top to bottom: Corner of woman’s tray basket illustrating the trademark C. & H. White braided twist cord edging.

Coleman collection Straight pins indicating location of nail holes in soles of peddler woman’s feet that once secured her to a base. Coleman collection Detail of printed cotton fabric used in dress of female peddler. Coleman collection

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James’ Story Continues ‑ Part 2

Stitching History into his Wardrobe All photos from the author unless otherwise stated.

by Paula Walton

James and the sampler that inspired his name.

James Denholm sampler. Paula Walton collection.

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elcome to my continuing tale of James, an early 17-inch Izannah Walker boy.

As doll collectors, we hopefully all have friends who share our love of dolls, and who are quite willing to enter into long, rambling conversations about our mutual passion. If we are very fortunate, we have a few kindred spirits who are also willing to slip back into childhood for a brief time and “play dolls” with us, too. James’ owner is just such a friend. One day, as we were talking together about James, and how few Izannah Walker boy dolls ANTIQUE DOLL COLLECTOR

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Left to right from top: This boy from 1850 looks strikingly like a real-life Izannah Walker boy doll. Public Domain.

In this circa 1848-1850 image of an American boy and his father, the boy is dressed very much like the well-known Izannah Walker doll, John Thayer. Public Domain.

1850 image of a young boy with side-parted hair, wearing a button-front shirt/bodice and gathered breeches. Public Domain.

Arthur Thatcher Garren1850-1860 wearing two different plaid fabrics. His hair is brushed into one large curl on the top of his head, which was a very popular mid-19th-century style for boys.

All children you see with this hairstyle are boys. Public Domain.

A very good example of the shorter skirts and straighter bodice often seen on young boys’ dresses. Also note the broderie anglaise trim on his pantalettes. From the 19th-century Photography Collection of Nick Vaccaro. Copyright Nick Vaccaro.

This young boy is stylishly attired in a checked dress, with his hair parted on both sides, then brushed into one large curl on top of his head. He has additional ringlets on the sides and back of his hair. Public Domain.

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have been found, our conversation veered slightly on to other mid-19th-century rarities concerning boys.

Because we are both also deeply interested in antique samplers, I mentioned that I own a wonderful sampler that bears the name James Denholm. Other than family trees, I seldom see male names on samplers. This particular sampler captured my heart because of the slightly quirky way that “DENhOLM” was embroidered by its maker. There is just something very charming about that lowercase “h.” It is so sweet and endearing, very much like this beloved little painted cloth boy.

Suddenly both James’ owner and I began thinking of James Denholm as the perfect name for this Izannah Walker boy and coming up with all sorts of reasons why he should be James. It felt exactly like playing dolls again as children. We created an elaborate backstory for James purely out of our imaginations and were immediately

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ready to follow along with him on his new adventures. It takes a very special doll to inspire such flights of fancy.

Once sweet James had a name, we turned our attention to the problem of finding him suitable clothing, now that his masquerade as “Prudence” had come to an end. As I related in part one of James’ story, we were unsuccessful in our individual attempts to locate any boy’s clothing from the proper time period that would fit The Henry Wadsworth Longfellow family with their two young sons in 1849. Public Domain. him. Having run out of options for finding antique garments, the next best thing was for me to create a handmade wardrobe for him using period fabrics and notions.

Robert Louis Stevenson daguerreotype portrait as a child in 1850. Public Domain

Research

Because there are so very few surviving examples of boy dolls attributed to Izannah Walker, there are also limited boys’ garments to study. Izannah Walker’s dolls were made, for the most part, to represent children and were dressed as such. (I have seen a very small number of large dolls that give the impression of being adult women.)

As I am sure we can all agree, the pristine clothing worn by John Thayer, previously a part of Carol Corson’s collection, is the most wonderful known example of apparel belonging to a Walker boy. Since the best examples of Izannah Walker doll clothing are in actuality just smaller versions of mid19th century children’s clothing, an alternate avenue of research is examining antique boys’ garments. Early daguerreotype and tintype images are also a very good resource that provide the added insight of how the clothing looks when being worn. I prefer these early photographic images to painted portraits because I can see more clearly how the clothing is put together, and get a much better sense of what fabrics were used.

When viewing all types of early photographic images, and painted portraits

1863-1875 A young boy with side-parted hair, wearing a plaid dress. Public Domain.

A small boy with side-parted hair, wearing a shirt, and breeches. Public Domain.

it is very important that you look at them through the lens of their particular moment in time. Do not view them through the stereotypes of the 20th and 21st centuries. Prior to the 20th-century, little boys wore dresses, in some eras had long hair that was arranged in curls, and wore pink. In fact, not until the second decade of the 20th-century did pink begin to be associated with girls, and blue with boys. These are all things you need to take into account if you collect dolls ANTIQUE DOLL COLLECTOR

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from early time periods, especially when you are trying to redress them in historically accurate clothing.

How can you tell if a child in an early photograph or painting is a boy?

As a general rule boys had their hair parted on the side, and girls had center parts.

In the middle of the 19th-century young boys also had their hair parted on both sides, with a single long curl fashioned on the very top of their heads.

Dresses for very young, toddler-age boys tended to have slightly lower waistlines, slightly shorter skirts, and somewhat straighter bodices.

Both woven and printed plaids and checks were popular for boys’ clothing, and you will often find plaids cut on the bias as a decorative element. Generally, in 19th-century sewing fabric was cut on the lengthwise and crosswise grains, even for bindings. Bias tape bindings are a strictly 20th-century sewing method.

Pleated skirts, as part of a dress or as an individual garment, were James and his bugle pose beside a Currier and Ives print of The Little Drummer, which frequently used in the 19th-century pictures a young boy wearing a dress, seated on a cushion next to his drum. construction of little boy’s clothing. images are sometimes in the public domain.

There has long been a tradition When doing my research for James’ wardrobe, I of symbolism in portraiture. Look for clues of the pulled garments from my own collection of antique child’s gender in other objects shown in the portrait. children’s clothing, reached out to friends who collect Boys were sometimes depicted wearing shakos or clothing and daguerreotypes, searched countless other military caps, holding bugles, pony whips, online images, and created a Pinterest board: toy horses, and guns. Mourning portraits have an (www.pinterest.com/pauladwalton/ especially extensive use of symbolism. snips-and-snails-and-puppy-dog-tails/) .

There are always exceptions to the “rules.” If you are still unsure about the gender of the child, Locating Antique Fabrics it would be better to choose a portrait as a clothing Once I had some very solid ideas about what reference that retains the name of the sitter. Pinterest is a wonderful tool, but many times images are posted patterns I’d like to draft, and a great deal of inspiration, I was ready to move on to the challenging and reposted online, losing their captions somewhere task of searching for antique fabrics. Because I make along the way. Online museum collections offer a reproductions of the antique Izannah Walker dolls in somewhat better source of documentation, and the 36

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my own collection, plus a few others that belong to good friends, I am continually looking for mid-19th-century cotton print material. Much of the fabric I buy and use comes from antique quilts that are too damaged to be restored, but still have some usable areas that can be taken apart and refashioned into doll clothing.

So naturally the first stop on my fabric hunt was my own storeroom shelves of quilts. Unfortunately, I did not have any significant quantities of suitable plaid or check fabric, which is what I had my heart set on for at least part of James’ wardrobe.

With my fingers firmly crossed, I moved my search online to Etsy and eBay. Ideally, what I wanted was very fine antique red and black wool plaid. In reality, antique wool fabrics in usable condition are quite rare, due to moths. I was able to find some antique red and black linen plaid, plus several yards of vintage brown and white linen in a small-scale plaid, on Etsy. The

James looks right at home sitting in the lap of this child-size mannequin wearing my reproduction of the boy’s dress displayed nearby.

The differences between boys’ and girls’ dresses are subtle. When I wanted to make a girl’s version of this red and black plaid boy’s dress, I changed the fabric to a purple cotton print and instead of using wool braid, I used black velvet ribbon. For the girl’s version I cartridge-pleated the skirt, rather than making wide pleats like on the original boy’s dress.

third time I checked my fabric stash, I unearthed a tiny amount of antique brown gingham. (You may not realize that gingham is a very old type of fabric. It is believed to have originated in either Malaysia or France in the 17th-century, where it was originally more of a stripe. It was popularized by the Dutch and English in the very early 1800s, and turned into the familiar check pattern that we have all known for our entire lives.)

I rounded out these various plaids and checks with coordinating antique fabrics that I already had in my studio. If I had been searching for fabric in summer or fall, I would have gone to all of the local outdoor flea markets and antique fairs.

Genuine antique cloth is a necessity if you are attempting to costume your antique doll as accurately as possible. Antique fabrics not only have a different weight and hand than modern fabrics do but they were also dyed using substances that achieve certain colors that cannot ANTIQUE DOLL COLLECTOR

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be accurately reproduced using modern dyes. If you are costuming an antique reproduction doll, you may want to consider reproduction quilting fabrics as an easier-to-find alternative to 19thcentury yard goods.

While you are hunting for antique fabrics, you will also want to keep your eye out for antique laces and buttons, which can usually be found in the same locations.

Drafting Patterns

I have always loved the way children’s garments were constructed in the early-to-mid19th-century. Their construction is so elegant in its simplicity, and the finished garments are so eminently practical, with their drawstrings and growth tucks.

Fortunately for those of us who like to sew for our dolls, that same simplicity makes it relatively easy to draft patterns for many of these styles. Paper patterns were a very new idea in mid-19th-century America. Items as simple as a baby’s layette and a basic child’s dress could easily be cut out at home, by any competent seamstress, without a pattern.

The earliest patterns were published in books, trade journals, and periodicals, so they were not Even when the front of a quilt is too damaged to be restored, the fabric on the back is often still usable.

Different pieces of antique brown stripe fabrics I considered using for James’ breeches.

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When hunting for antique fabrics, also look for antique lace and buttons.

something to which most women who were sewing for their families had access. Eventually, women did have patterns available to them for more complicated garments that they could use to sew at home. In the United States, Godey’s Lady’s Book started featuring patterns in each of their issues beginning in 1853. Other magazines soon followed suit.

Ten years later, in 1863, a Massachusetts tailor named Ebenezer Butterick, started The Butterick Company. He made heavy cardboard templates for children’s clothing in graded sizes. His family cut and folded the first patterns, which they sold from their home. By studying antique children’s clothing and images, you can actually see how children’s fashions evolved into ever more elaborate designs from this point on. For the most part I chose simpler, earlier clothing designs for James that befit his age, though I did add in some later designs, and fabrics because many of Izannah Walker’s dolls have what I call “accumulated wardrobes.” I love the idea that successive generations of owners often added to the doll’s wardrobe, so I wanted James’ clothing to have that same feeling.

To begin any drafting project I study my source materials, next I pull pieces from my antique clothing collection and review their construction. I realize that not everyone has the luxury of doing this, thankfully there

are now many resources in books and online, where you can often find the same information. In the third and final installment of James’ story you will be able to see the fruits of my research, and I will share some of the patterns and instructions that I drafted for James. I hope they will inspire you to sew for any mid-19th century china, parian, papier-mache, or Izannah Walker boy dolls in your collection.

Paula Walton is a former museum director and curator who has been recognized 43 times as one of the top traditional craftspersons in America. Some of her specialties include dollmaking, reproduction clothing, 18th & 19th-century women’s decorative arts, and the restoration of painted cloth dolls and textiles. She currently has ten Izannah Walker dolls in her personal collection, and creates a limited number of historically accurate reproduction Izannah Walker dolls using her own handmade molds of 17 different antique I.W. dolls. You may email her at paula@asweetremembrance.com. For additional information about her work please visit www.izannahwalker.com and www.asweetremembrance.com.

(Look for Part 3 of Paula’s article in the April issue of Antique DOLL Collector.) Watch for 19th-century photographic image collector Nick Vacarro’s article, “My Puzzling Journey— Collecting Piece by Piece the Works of Izannah Walker (working title),” in an upcoming issue of Antique DOLL Collector magazine. Several of Nick’s images from his collection are featured in this article by Paula Walton.

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German Bisque Cat Dolls and Contemporary Copycats

By Sharon Weintraub

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he history of the domestic cat in Western Europe has not always been a happy one. Brought to Europe by the Romans from the Middle East, cats were originally valued for their rodent hunting skills, if not for their cuteness and cuddliness. However, as the Middle Ages progressed, cats were associated with paganism and witchcraft. Cats became widely viewed as witches’ familiars, and throughout Europe, cats, and often their owners as well, were hunted, tortured, hanged, or burned alive. Even after the witchcraft hysteria faded by the early 1700s, cats were seen as useful instruments of rodent control but were far from pampered pets. Often semi-feral cats were characterized as crafty, cruel, and callous hunters.

It was the coming of the Victorian era that saw cats promoted from the barn and pantry to the parlor. A higher standard of living and a growing middle class encouraged the keeping of animals as companions. There was a change in attitude toward childhood; instead of treating children as miniature adults, children (at least for more prosperous families) were seen as innocent beings

Three 6-inch-tall cats by Gebruder Heubach with bisque heads and composition bodies. Heads incised with the Heubach square mark and “3/0” and “91” and “03.”

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who must gently be educated and guided. The keeping of pets was one way to teach children responsibility and empathy. Many characteristics of the cat, such as its personal cleanliness and the mother’s devotion to her kittens, fit in well with the Victorian emphasis on the domestic hearth.

The first cat show took place in Crystal Palace in London in 1871, introducing many to the beauty of cats, and fluffy Persians and Angoras became a sign of status. Advances in printing made colorful children’s books more affordable; now seen as a way to entertain as well as instruct, the books were filled not only with old favorites such as Puss in Boots but new whimsical stories, many featuring cute cats and cuddly kittens.

This new acceptance of the cat as a children’s companion inspired German doll companies to create toys and dolls representing friendly felines.

The three little kittens pictured have found their mittens and are obviously ecstatic over the prospect of pie. They have bisque heads on crude five-piece composition bodies and are each six inches tall. By the German company of Gebruder Heubach, each is incised on the back of the neck with the Heubach square mark and “3/0” and “91” and “03.” The heads are identical, with one cat head being glossy black, another grey with

Detail from Louis Wain painting “The Batchelor Party.”

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Three all-bisque cats by Hertwig and Company in original clothing. Each is 21⁄4 inches tall, and the girl cats are incised with the vertical “Germany” down the spine.

a white blaze, and the third all white, and all sharing round googly green painted eyes and wide grins with painted upper teeth. Although roughly made, the bodies are unique. Instead of hands, there are round-toed paws, the arms and legs are textured to resemble fur, and they have molded and painted high-buttoned boots. The complexion of each body complements the coloring of the head. The black cat and her white sister have their original simple dresses made from inexpensive materials.

The heads may have been inspired by the works of illustrator Louis Wain, known both for his comical kitties and his own tragic life. Born in 1860 in England, by 1881, Wain had become a freelance illustrator, his works appearing in various media, from newspapers to children’s books. In 1884, he married Emily Marie Richards, but shortly afterward, she was diagnosed with breast cancer.

To amuse her as she became increasingly ill, Wain drew her sketches and portraits of a black and white kitten they had adopted and named Peter. Emily encouraged her husband to consider publishing his cat portraits.

His “A Kitten’s Christmas” appeared in the 1886 Christmas edition of the “Illustrated London News,” the series of drawings featuring almost two hundred cute kitties engaged in holiday activities, such as sending invitations, feasting, and kissing under the mistletoe.

Although the cats remained unclothed and on all fours, Wain was able to hint at human emotions on their fluffy feline faces. Wain’s triumph was marred as Emily died shortly afterward on January 2, 1887.

In 1890, the “Illustrated London News” printed Wain’s “A Cat’s Christmas Dance,” which also featured a crowded clowder of cats engaged in holiday festivities, but now they were dressed in their Victorian best as they

Three all-bisque cats by Hertwig in original clothing. The two taller cats are 21⁄4 inches tall, and the kitten is 11⁄2 inches tall. The girl cat is incised with the vertical “Germany” down her spine.

walked, strolled, and danced on two legs. Wain’s upright round-eyed cats, often with wide grins or grimaces, engaged in a variety of human activities, from taking tea to playing cricket. An example of his work, a detail from a painting entitled “The Batchelor Party,” is shared in this article.

A popular and prolific artist, Wain’s comic kitties appeared everywhere, from postcards to some of the most prominent publications of the day. Unfortunately, Wain was as poor a businessman as he was a skilled artist, often selling his works outright without retaining any copyright or reproduction rights. He battled poverty and became increasingly paranoid and volatile. In 1924, he was committed to the pauper ward at a mental asylum.

However, one of the hospital guardians, on a periodic inspection of the institution, recognized Wain, and a national appeal was made on Wain’s behalf. He was moved to the Royal Bethlehem Hospital, where he had his own room and received kinder care. Wain continued to create, even decorating the institution’s walls and mirrors with murals. He died in 1939 at the age of 78.

Another maker of an anthropomorphized menagerie was artist and author Beatrice Potter. Her book, “The Tale of Peter Rabbit,” was commercially published in 1902 and quickly became a childhood favorite. Little Peter was followed by a series of books featuring a wide variety of animals found in the English countryside, such as ducks, hedgehogs, and, of course, cats. Like Wain, her animals often walked or stood upright and, particularly the adult characters, wore clothing. Yet, such was Potter’s skill, that even as her animal characters assumed human poses and pursuits, her creations retained their natural proportions and features.

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Two all-bisque Puss in Boots dolls by Hertwig in original clothing. Each is 21⁄4 inches with no visible marks.

During this same period, the German firm of Hertwig and Company produced a series of diminutive bisque animal dolls dressed in crocheted clothing. The April 2007 issue of Antique DOLL Collector magazine included my article, “Petite Pets: Anthropomorphized All-Bisque Animals by Hertwig and Company,” which featured minute animal dolls, all in their original crocheted costumes. (My complete collection is also featured on my blog at: https://bawdybisques.blogspot.com/p/ hertwigs-bisque-bestiary.html.) Many of Hertwig’s ittybitty beasties look as if they may have stepped out of Potter’s illustrations. Most of the Hertwig animals in my collection came from England, and I have long wondered whether Hertwig was inspired by Potter’s charming animals. The English would have been a ready market for bisque versions of their beloved Potter characters.

Also pictured is a trio of tabbies from Hertwig (to give an idea of the size of some of these itty-bitty kitties featured in this article, I have posed them with toy mice meant for a full-size cat; the mice are one inch tall and two inches long, not including the tail). The all-bisque cats are a soft grey and have amber glass eyes. All wear their original crocheted costumes; the tiny tomcat has a romper made to look like a shirt and shorts, accessorized with a ribbon bowtie, while the female felines have short dresses with white pinafores. All have molded white slippers adorned with a blue pompom. Their forelegs end in slender paws, and their pudgy legs are bent slightly at the knees. The modeling of their feline faces is naturalistic and even includes faint indications of fur. They are all 2–1/4 inches tall, and while any marks on the boy cat are hidden under his tightly crocheted clothing, each girl cat is incised with the vertical “Germany” down her spine and has a channel for a tail.

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Two bisque immobile cats

by Hertwig with fabric squeaker hats. Each is 31⁄2 inches high and incised “Germany.”

The family of black felines featured here is also from Hertwig. All wear their original crocheted clothing.

The two taller cats are 21⁄4 inches tall, and the girl cat is incised with the vertical “Germany” down her spine and has a channel for a tail. Both have green glass eyes. Their cute kitten is a mere 11⁄2 inches tall, with yellow grass eyes. All wear the same molded slippers, although Mama cat’s slippers have pink instead of blue pompoms.

There are modern all-bisque animal dolls coming out of Germany, including cats. Often offered as old and attributed to Hertwig or Limbach Porzellanfabrik, these fantasy feline fakes do not resemble authentic antiques. The contemporary cats lack the finely detailed modeling of the originals’ faces and limbs. The delicate bent forelegs and paws and plump legs are replaced by straighter, cruder limbs, often poorly fitting with the body; the eyes are painted, and there are no molded slippers. Overall, these modern creations look more like someone tried to tweak an existing all-bisque child doll mold to create a cat.

The favorite fairy tale of Puss in Boots was first published in a collection of Italian stories published in the mid-1500s. Although there have been many versions of the story of this heroic cat over the centuries, the basic story remains the same. The youngest son receives as his inheritance only a cat and bemoans his poverty.

The cat, taking pity on his master, with wit and trickery, convinces a king that his master is a wealthy nobleman, and in the end, his master acquires a rich estate and marries the princess. In the 1697 version published by French author Charles Perrault, the cat first requests that his master provide him with a bag and a pair of boots, and that is how the popular Puss in Boots was born.

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LEFT: Bisque-headed cat with cloth body by Hertwig. 41⁄2 inches long and incised on head “Germany 416/10.”

Two cats in original clothing by Carl Horn Nachf. Puss in Boots is 11⁄2 inches high, and the white cat is 11⁄4 inches long, not counting the tail.

The two petite all-bisque booted kitties pictured are from the firm of Hertwig. Although Perrault mentioned only boots, illustrators over the years have added to Puss’ wardrobe, often endowing him with a sword, a plumed hat, and sometimes an entire cavalier costume. Hertwig has followed this tradition, as both cats wear their original crocheted costumes. One sports a jauntily tilted hat and a tailed jacket and carries a soft metal rifle to help him bag plump rabbits and partridges to gift to the king in his master’s name. There is a hole in his bottom for a yarn or cloth tail, but no marks. The second Puss is dressed in the more typical style of Hertwig’s animal series, with a one-piece outfit crocheted in two colors to represent a shirt and pants and a fabric collar with the remains of a ribbon bowtie. These gallant felines are each 21⁄4 inches tall and are jointed only at the shoulders. The molded black boots allow them to stand on their own. Both have grey shading on the sides and back, but it is darker and more defined on the Puss in the one-piece romper, who also was adorned by the artist with a red dot tongue, emphasizing his face and giving him a more alert expression. It is interesting how these subtle shifts in decoration can make two otherwise identical pieces look so different.

The pair of behatted pussycats pictured is also from the creative and prolific firm of Hertwig. Predating Dr. Seuss by decades, these 31⁄2-inch high cats in hats are immobile bisque figures with high headpieces made of springs covered in fabric; at one point, the hats squeaked when compressed, but the interior squeakers no longer function. One has a molded jacket while the other only is accessorized with a rose, but both have a molded short tail curled in the back and are incised “Germany” below that appendage.

Another Hertwig cat creation has the flange bisque head of a smiling cat with side-glancing eyes and is on its original inexpensive cloth body. Incised on the back of the head, “Germany 416/10,” this floppy feline is 41⁄2 inches long. His coloring is at least partially cold painted, rather than fired in, a favorite money-saving technique of this thrifty firm. Such decoration is susceptible to wear and water, so caution should be exercised when washing a Hertwig bisque doll or novelty.

Another version of Puss in Boots salutes a fellow feline with a straight-pin sword. These miniature mousers appeared in the February 2016 issue of Antique DOLL Collector in my article entitled, „The Crocheted Critters of Carl Horn Nachf and Hertwig and Company.“ Horn began offering “miniature dolls, dolls in national costumes, Lilliput animals” in 1916. A 1927 advertisement from the company declared that it had “an extensive collection of assorted dressed dolls, measuring from 11⁄4 to 31⁄2 inches high, in attractive finish and best quality.” Horn was in business as late as 1930. Like the majority of Horn products, both of these miniature kitties are created from crochet covering a tiny all-bisque doll.

In the example of Puss in Boots, the lower legs of the doll were left bare and painted black to resemble the famous feline’s eponymous footwear. Although a mere 11⁄2 inches high, Puss has a flowing cap, detailed embroidered features, and a fine set of whiskers. The other cat is part of Horn’s series of Lilliput animals; she is just 11⁄4 inches long, not counting her crocheted tail, and has features outlined in fine black embroidery. Although there is a bisque doll body under the tight crochet of the torso and legs, this kitty’s head appears to have been made separately and sewn on.

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All-bisque Tag designed by Georgene Averill. Five inches tall and incised on the back, “TAG TRADE MARK Copyright by Georgene Averill 891 Germany,” as well as “891/90” on the limbs and head.

RIGHT and BELOW: Two all-bisque cats jointed at shoulders and hips. The white cat is 21⁄4 inches tall and long, and the striped cat is 31⁄2 inches long and 13⁄4 inches high. No marks.

An incredibly cute kitten is the rare Tag designed

by Georgene Averill. Five inches tall, Tag is incised on the back, “TAG TRADE MARK Copyright by Georgene Averill 891 Germany.” “89 1 ⁄ 90” is incised inside each limb and “891” is on the front of the neck rim. She has a swivel neck and is loop-strung like a typical German allbisque doll. There is a hole in the seat for a knitted tail.

In 1915, David Cory, a prolific writer of popular children’s books, published “The Adventures of Rag and Tag.” The pair were friends and schoolmates and, in all ways, dressed and behaved as typical children of the era, except that Rag was a brown and white terrier pup and Tag a grey and white kitten. Rag’s and Tag’s adventures also appeared in the junior edition of the “Brooklyn Daily Eagle” in 1916. Averill’s Tag came in several color variations. I believe the glass eyes, which are set, may be appropriate replacements.

Not all-bisque cat creations are anthropomorphic, as demonstrated by the two felines shown standing on all fours. Both are jointed at the shoulders and hips; originally they were joined with wire, which I replaced with elastic. The white kitty with the bow is made of very heavy old white bisque speckled with pinpoints of slag. The features are simply painted, and the only other decoration is the brown dabs on the ears and the pale blue bow. This petite puss is 21⁄4 inches tall and long.

These little bisque animals were rather inexpensive toys for the period and received only minimal finishing and decoration. This cat, and its mirror image, have been reproduced by doll artists and there are new versions coming out of Germany often fraudulently being offered as old. The contemporary pieces are made out of finer bisque (although they may be artificially stained to look old) and have more detailed decoration. The bows are sometimes found in brighter colors, such as yellow and green, which are not typical for antique pieces. The grey 44

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and white tiger cat looks a bit troubled, with a slightly arched back and ears back and flattened. Like his more content companion, he is of heavy old white bisque and is 31⁄2 inches long and 13⁄4 inches high. Neither cat is marked.

Shown in this article are one authentic antique and two fake felines I dub “Frankendolls.” Following the reunification of Germany, collectors and dealers began excavating doll parts and figurine fragments from the massive dumps behind the former doll factories in the Thuringia area of Germany, such as Hertwig and Limbach. Some began putting together these pieces.

Like Frankenstein’s monster, these dolls are created of disparate long-buried parts that were dug up, pieced together, and brought back to “life.” The enormous dumps of the old porcelain German factories were largely made up of rejected, or defective parts tossed out before dolls were actually assembled. Further, there are many thousands of discarded parts buried in these dumps, and each factory had its own dump.

The chances of excavating a complete doll torso AND its original matching limbs and head are pretty much zero. Unfortunately, these Frankendolls are often offered through deceptively worded advertisements as antique dolls, and rare ones at that. They are not antique. They are new dolls made out of old disparate parts (and as noted later in this article, perhaps not even old). In addition, these are fantasy pieces, dolls that look nothing like the dolls actually produced by these German factories.

Many of these Frankendoll heads have no neck.

Using a fine drill, the neck of an old excavated doll body with a broken head was cut out and sanded down. A new old head, from a broken figurine, doll, or nodder, was fitted into the oversized neck socket, creating a swivel-neck doll. Because there is typically no neck, the head sits directly between the doll’s shoulders. To attach the head to the torso, a hole is

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LEFT: Antique seated nodder cat and two contemporary all-bisque cat dolls. The nodder is 21⁄4 inches tall and incised on the bottom “Sp. 449.” The nude doll is 51⁄2 inches, and the dressed doll is 31⁄4 inches tall.

RIGHT: Close-up of wire attachment of the heads of the contemporary dolls.

drilled in the top of the head, and wire is strung through to the head and attached to the wire joining the arms.

German swivel-neck dolls were NEVER strung this way.

German factories did make nodders (some call them knotters), which were comic bisque figures with an immobile body and a turning head strung with elastic, often pulled through a hole on top of the head and knotted. The seated brown and white cat with the big green bow is an authentic antique nodder. He is 21⁄4 inches tall and incised on the bottom “Sp. 449.” Limbach used this “Sp.” prefix for many of its figurines.

However, any doll with jointed arms and legs and a swivel neck joined by wire coming through the head is certain to be a Frankendoll. Both of the standing dolls are Frankendolls a friend of mine bought that were wrongly represented as antique. An illustration shows the wires coming through the tops of both dolls’ heads. The taller Frankendoll, at 51⁄2 inches, has a head that was clearly copied from that of the antique nodder. However, because the new head is larger than that of the authentic antique, it may have been molded from a bigger version.

Because the arms and legs came come from different dolls, the match and fit between the body and limbs are often poor. Even the least expensive original German allbisque dolls had good proportions and matching limbs that fit well with the body. In addition, the excavated pieces often have stains, rust, and dings from being buried in the ground for decades that even cleaning, bleaching, and recoloring cannot entirely remove. Some dealers hide all these defects by clothing the dolls in costumes of felt or vintage-looking material, sometimes even offering dolls in their “original” boxes. The 31⁄4-inch tall cat in the black and white felt outfit is an example of a dressed Frankendoll; I have also seen such animal dolls

outfitted in crocheted dresses, apparently in an attempt to pass them off as part of the much smaller and finer Hertwig antique animal series. Cutely costumed, the dolls are quite appealing, and I have no issue with them being sold as craft or artistic creations. However, a doll made out of antique parts is not an antique, and a fantasy creation is not an authentic rare doll.

Reports and photographs from various German doll festivals document tables offering enormous arrays of Frankendolls displayed for sale, with heads not only of a wide variety of animals, but also of soldiers, clowns, children, and comic characters. Many of the same heads appear over and over again, so it appears that Frankendolls have evolved to a new stage—once excavated heads (and no doubt body parts as well) are being reproduced. In fact, dolls similar to both of the Frankendoll examples in this article appear regularly at antique shows and online auctions. So now a purchaser of a Frankendoll cannot even take solace in thinking that at least the mismatched parts are old.

Long before the Internet, cute bisque kitties from Germany were enchanting children (and, no doubt, a few adults as well). This article is only a sample of some of the adorable antique cat dolls available to collectors.

However, anyone looking at adopting an antique pussycat must beware of the modern fraudulent felines pretending to be authentic antiques.

(Bibliography upon request.)

To purchase Sharon Weintraub’s articles referenced above (April 2007 and February 2016 Antique DOLL Collector), please go to www.antiquedollcollector.com/ backissues1.html q

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Kathy Libraty’s Antique Dolls

Please join us at our In House Yard Sale

At the Frizellburg Antique Store 1909 Old Taneytown Rd., Westminster MD 21158 The weekend is Thurs., Fri., and Sat. May 4th, 5th, and 6th.

11 to 5 (regular store hours)!

Though it is smaller it will be definitely drier!!!

AND still multi-vendor with plenty of treasures for everyone!!!

For more info call 410-848-0664 or 410-875-2850 Open every Thursday-Sun 11-5 1. 17” Bahr & Proschild 224 in Red Plaid Dress.............. $775 2. 21” Closed-Mouth Kestner in Blue Silk Frock........... $2750 3. 18” Kestner 171 “Daisy” in Blue Gingham Dress...... $1850

~Layaway Always Available~ Call us at: 718.859.0901 www.rubylane.com/shop/kathylibratysantiques email: KathyLibratysDolls@gmail.com

See you there!

1909 Old Taneytown Rd., Westminster, Md. 21158 frizellburgantiques@yahoo.com See us at facebook.com/Frizellburgantiques 410-848-0664 or 410-875-2850 We are OPEN Thurs - Sunday 11-5

Paula Claydon 914-939-8982

Eyelash27@aol.com Member NADDA & UFDC

www.evelynphillipsdolls.com

Two rare Kestner 241 dolls in excellent condition. The blue-eyed one is 18” tall and the brown-eyed one is 19” tall.

Contact me for details.

Visit my Ruby Lane Shop:

19” Early Kestner. First out of the mold crisp features. Tender br sleep eyes and perfect pale bisque. Original chunky body, Schmitt type derriere is in its original finish. Incised “13” on head.

Beautiful girl that has been stowed away for 60 yrs..........$2850.00

rubylane.com/shop/linda-ellen-brown-trinckes 352-300-8983 | brownlindaellen@gmail.com www.thetrinckescollection.com

SARA BERNSTEIN DOLLS

Rare 17” Izannah Walker Boy Doll is in all original condition.

See his story in this issue, page 18.

Large handmade wardrobe.

Manufacturers of Fine Doll Jewelry, Brass Accessories, Miniature Trunks & Hardware 336 Candlewood Lake Road, Brookfield, CT 06804 Phone 203-775-4717 Email: info@catspawonline.com

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Visit our website and shop online: www.catspawonline.com Catalog price is $8.95 post paid

Accessorize Your Dolls!

Cats Paw has been in business since 1982 specializing in quality reproductions made from antique originals, and unique old store stock. Our antique reproductions are made by hand using the lost wax technique, and each item is hand finished to achieve an authentic “antique” look. We offer exquisite doll accessories that only look expensive!

• Jewelry • Trunks • Items for the Boudoir • Buttons and Clasps • Purse Frames • Presentation Boxes • Bleuette Accessories & More 46

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Emporium-MAR23.indd 46

View Quality Dolls at affordable prices. 100’s of pictures and prices at my Ruby Lane Shop...

203-313-5973 paula@asweetremembrance.com

santiqbebe@aol.com • 732-536-4101

www.sarabernsteindolls.rubylane.com

MARCH 2023

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Calendar of Events Send in your Calendar Listing to:

antiquedollcollector.com/enhancedevents.html or email events@antiquedollcollector.com or mail to Antique DOLL Collector, c/o Calendar, P.O. Box 349, Herndon, Virginia 20172. If you plan on attending a show, please call the number to verify the date and location as they may change.

LONG TERM Sep 6-10, 2023 ~ Denver, CO. 2023 Fall Miniatures Show. Denver Museum of Miniatures, Dolls & Toys. dmmdt.org/fallshow.

MARCH 2023 2-4 ~ Germany. Spring Auction. Wendl. +49 (0) 3672 / 424350. +49 (0) 3672 / 412296 (f). kontakt@auktionshaus-wendl.de.

3-4 ~ Jackson, MI. Jackson Antique & Collectible Show. Jackson Fairgrounds (Keeley Park). 128 W Ganson St. www.midmichigansupershows.com.

3-5 ~ Rock Island, IL. Antique Spectacular Vintage Market. QCCA Expo Center, 2621 4th Ave. 712-326-9964. antiquespectacular.com.

4 ~ Escondido, CA. Cameo Doll Club Show and Sale. 10 am - 2:30 pm. Church of the Resurrection, 1445 Conway Drive. Gordana Little. 760-749-3257. tnverdugo@att.net.

4 ~ Fletcher (Asheville), NC. Doll & Bear Show and Sale. WNC Agricultural/Boone Bldg. Jackie Stone. 828-505-2287. jackiestone@charter.net. www.SoutheasternDollShows.com

4 ~ Westampton, NJ. Antique & Vintage Doll Auction. Sweetbriar, PO Box 37, Earleville MD 21919. Crescent Shrine, 700 Highland Dr, 08060, (Exit 45-B & I-295). Dorothy Hunt. 410-275-2213. sweetbriar@live.com. www.SweetbriarAuctions.com.

18 ~ Scottsdale, AZ. Doll Show & Sale. 10 am-3 pm. World Doll Day Shows. Embassy Suites by Hilton Scottsdale. 5001 N. Scottsdale Rd. Mary Senko. 425-330-1770. mary.senko@comcast.net. www.worlddolldayshows.com.

5 ~ Buena Park, CA. Doll Show & Sale. Holiday Inn. Sherri Gore. 424-394-7612.

19 ~ Hempstead, NY. 40th Annual Doll & Teddy Bear Show and Sale. 10 am to 4 pm.

Hofstra University Sondra & David Mack Student Center, 1000 Hempstead Turnpike, Hempstead, NY 11549 (off Hempstead Turnpike in Hempstead). The Doll Study Club of Long Island. www.dollstudy.com 19 ~ Pleasant Hill, CA. Doll Show and Sale.

Independent Spirits Doll Club. Zio Fraedo’s, 611 Gregory Lane. 10am to 3pm. For more info: Nancy Jo Schreeder, 925-229-4190.

24-25 ~ Ladenburg, Germany. Spring Auction.

Ladenburger Spielzeugauktion GmbH. 0049 (0) 6203 13014. mail@spielzeugauktion.de. www.spielzeugauktion.de.

25 ~ Annapolis, MD. Saying Good-bye.

Coming Home. Theriault’s Auction. 410-2243655. info@theriaults.com. www.theriaults.com.

25 ~ Flat Rock, NC. Land O’Sky Doll Club 30th Annual Dolly’s Holiday Luncheon. Kenmure Country Club. 100 Clubhouse Dr.. Kathryn Engheta. 828-606-2221. kengheta52@gmail.com. landoskydollclub.com.

25 ~ Wyoming (Grand Rapids), MI. Grand Rapids Toy Show. HSB (Home School Building). 5625 Burlingame Ave. S.W. www. midmichigansupershows.com. 517-524-8899.

10-11 ~ Online. Online Teddy Bear Show.

BearHugs4u. Dolores Austin. DoloresJA@aol.com.

570-313-2327. info@bearhugs4u.com. bearhugs4u.com.

11 ~ Lakeland, FL. Doll & Bear Show & Sale.

Tropical Doll Study Club of Lakeland FL.Lake Mirror Center, 121 S Lake Ave. Diane Milla.

863-644-1144. milladiane@gmail.com.

12 ~ DeWitt (Lansing), MI. Lansing Antique & Collectible Doll Show & Sale. Banquet & Conf Ctr of DeWitt, 1120 Commerce Park Dr. 48820 (off I-69). Sandy Johnson Barts. 269-599-1511.

SJBbetsys@comcast.net.

12 ~ Maquoketa, IA. Doll Show. Centerstone Inn & Suites. Eastern Iowa Doll Show. Sherryl Newton.

319-610-3534. easterniowadollshows@aol.com.

18 ~ Caldwell, ID. Doll Show & Sale. Hello Dollie Doll Club. Faith Lutheran Church, 2915 S Montana. Dorothy Fochs. 530-671-0777.

Ddfochs@gmail.com.

18 ~ France. Collectible Dolls. Galerie de Chartres. Starts at 9:30 am. +33 (0)2 37 88 28 28. chartres@galeriedechartres.com. www.ivoirechartres.com and www.interencheres.com/2800.

Calendar continued on page 48

19 ~ Portland, OR. Portland Doll & Bear Show. Embassy Suites - Portland Airport, 7900 NE 82nd Avenue, Portland, Oregon 97220. Joe Koury. joe@queensofthedollaisle.com.

650-303-4140. www.queensofthedollaisle.com.

Hours 11 am - 4 pm. Admission $8. Free Parking.

The Doll Study Club of Long Island 40th Annual Doll and Teddy Bear Show & Sale

Sunday March 19, 2023 10 am to 4 pm HOFSTRA UNIVERSITY SONDRA & DAVID MACK STUDENT CENTER 1000 Hempstead Turnpike, Hempstead NY 11549

DONATION $6 or $5 with ad | Seniors $5 Children 12 and under $1 A portion of the proceeds to benefit Rocking the Road for a Cure Cancer Charity

FOR UPDATES: WWW.DOLLSTUDY.COM DIRECTIONS TO HOFSTRA MACK STUDENT CENTER: OFF HEMPSTEAD TPKE IN HEMPSTEAD. CALL 516-463-6600 OR VISIT WWW.HOFSTRA.EDU ANTIQUE DOLL COLLECTOR

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MARCH 2023 CONT’D FROM PAGE 47 25 ~ Jonesborough, TN. Doll Show & Sale. The Dollhouse. Jonesborough Visitor Center, 117 Boone St., 37659. Ellen Stafford. 423-753-0022. ellen@jonesdollhouse.com.

26 ~ Annapolis, MD. The Elaine Romberg Collection of Early Lenci Dolls. Theriault’s Auction. 410-224-3655. info@theriaults.com. www.theriaults.com.

APRIL 2023 1 ~ Madison, WI. At the Garden Market – 51st Annual Doll Show and Sale. Exhibition Hall, Alliant Energy Center, 1919 Alliant Energy Way. Vicki 608-279-5298. dollcoll@charter.net. https://www.facebook.com/Madison-AreaDoll-Club-191471804222743.

March 19 ~ Hempstead, NY. 40th Annual Doll & Teddy Bear Show and Sale. 10 am to 4 pm.

Hofstra University Sondra & David Mack Student Center, 1000 Hempstead Turnpike (off Hempstead Turnpike in Hempstead). The Doll Study Club of Long Island. www.dollstudy.com

The Doll Works Judit Armitstead (781) 334‑5577 P.O. Box 195, Lynnfield, MA 01940

Old Paris Porcelain Fashion Doll Pitcher & Bowl

2 ~ Erlanger, KY. Doll Show & Sale. Triple Crown Doll Club. Holiday Inn Cincinnati Airport, 1717 Airport Exchange, 41018. Kathy Woods. Call/Text 859-663-8298. kathymsn@zoomtown.com.

4-5~ Online Auction. Catalog of Antique and Vintage Dolls. Alderfer Auctions. 10:00 AM both days. Featuring the Collection of Betty Knauff and the Estate of Henrietta “Henri” Gomez. alderferauction.com.

8 ~ Westampton, NJ. Antique & Vintage Doll Auction. Sweetbriar, PO Box 37, Earleville MD 21919. Crescent Shrine, 700 Highland Dr, 08060, (Exit 45-B & I-295). Dorothy Hunt. 410-275-2213. sweetbriar@live.com. www.SweetbriarAuctions.com.

13 ~ Newbury, UK. Dolls & Teddy Bears Auction. SAS (Special Auction Services). +44 (0) 1635 580 595. mail@specialauctionservices.com. www.specialauctionservices.com.

LANCASTER DOLL, TOY, TEDDY BEAR Antique, Modern, Collectible 2023 Shows & Sales

Show Time 9:00 A.M. - 2:00 PM. Admission at 10:00 A.M. $6.00, With Ad $5.00 Early Bird 9:00 A.M. $10.00 - Children Free Lancaster Farm & Home Center 1383 Arcadia Road • Lancaster, PA 17601

Sunday, April 23, 2023 Sunday, November 5, 2023 Info: Ron Funk, 3045 W Meadowview Dr, Gordonville, PA 17529 (717) 371-0395 Show Location: Take Service Road off Rt 72 South (Manheim Pike) Off Rt 30 & Rt 283

Please visit our website for a fine selection of antique dolls, dollhouse dolls, dollhouse miniatures, teddy bears, all bisque dolls, bathing beauties, kewpies, dresser boxes, snow babies, half dolls, and doll accessories at …

www.TheDollWorks.net

14-17 ~ Online. Bear Blitz Stars Teddy Bear Online Show. Valerie Rogers, 502-423-7827, brtstar1@aol.com. www.bright-star-promotions.com.

15 ~ Birmingham, AL. Springtime with Little Miss Iwate. Shoal Creek Country Club. Jill Sturgeon. 205-427-3613. jackiebruce@hotmail.com.

Bbcurrie@samford.edu. Great day with speaker Alan Scott Pate; souvenir doll by Connie Tognoli.

15 ~ McClellan (Sacramento), CA. Doll Show & Sale. 10 am-3 pm. World Doll Day Shows. The Officers’ Club, 3410 Westover St, McClellan, CA. Mary Senko. 425-330-1770. mary.senko@comcast.net. worlddolldayshows.com.

CANCELLED! 15 ~ Mechanicsville (Richmond), VA. Richmond Doll & Bear Show & Sale. American Legion Post 175, 8700 Bell Creek Rd. Judy Seay. 434-981-3822. mandjseay@embarqmail.com.

15 ~ Riverside, CA. “Dolls Through the Ages” Dolls, BJDs, Barbies, Toys & Bears. The Inland Empire Doll Club. Janet Goeske Senior Center. 257 Sierra St. Linda Ann Brandt. Call/Text 951-217-1936. brandtlindaann@gmail.com 15 ~ Tucson, AZ. “Garden Tea Party.” Doll, Bear & Toy Show & Sale. Tuscon Doll Show.

Tucson Metro Fraternal Order of Police Lodge Hall. 3445 N. Dodge Blvd. Karen Kosies. tucson@dollshows.net. Call/Text 520-270-0179.

15 ~ West Chester (Cincinnati), OH. Fashion Doll Show & Sale. Queen City Beautiful Doll Club. EnterTRAINment Junction Expo Room, 7379 Squire Ct. Margie Schultz. 513-207-8409. askmargie@aol.com.

16 ~ Northglenn (Denver), CO. Toy & Doll Supershow. Dana Cain Events Toy & Doll Supershow. Delta Hotels by Marriott Northglenn Denver, 10 E 120th Ave, 80233.

Dana Cain. 303-347-8252. Dana@DanaCain.com www.tdsupershow.com

Find more doll events go to www.antiquedollcollector.com, select “Events” tab.

SARA BERNSTEIN’S DOLLS

YOUR AD HERE a classified marketplace for antique dolls and related merchandise

BLACK & WHITE PHOTO ADS 3.3” h x 2.4” w $75 FULL COLOR PHOTO ADS 3.3” h x 2.4” w $95

Please include payment with your ad. Larger ads are considered display ads — call us for information.

Monica Bessette at 717-752-9090 or email monicab@antiquedollcollector.com Antique Doll Collector P.O. Box 349, Herndon, VA 20172

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ANTIQUE DOLL COLLECTOR

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Ph. 732‑536‑4101 Email: santiqbebe@aol.com www.rubylane.com/shops/sarabernsteindolls

MARCH 2023

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LAYAW AVAILA AY BLE 16” Glass eyed Character 141 by Hertel Schwab circ 1915, blue sleep eyes, mohair wig $1950.

4.5” German All Bisque w/ swivel head, chips at neck, original wig, blue sleep eyes $195.

23” SFBJ Depose 8 on walking & rt. arm kissing body w/ crier, blue flirty eyes, paint on hands as is $495.

Rare Find 16.5” Hertel & Schwab 172 with painted blue eyes on toddler b j body, sweet expression $995.

5” All Original Mignonette French Solider All Bisque probably German made, marked 13, blue glass eyes, jointed head, w/ 3” x 3” antique fur covered glass eyed horse w/ saddle & trappings $675. Pr. 5.5” French Mignonette blue glass eyed All Bisque jointed head, repair on left boot, beautiful face, mohair wig $800

10” Pair K * R 26 girl & K * R 192 Boy all original in fabulous clothing on bj bodies, girl – blue sl eyes, brunette mohair wig, small ½” neck hairline, Boy – brown sl eyes, blond mohair wig $575. pair. 12 ¾” French E4D Emilie Douillet 1880’s All Original clothing, shoes & socks on 5 piece body, blue stat eyes, small chip on back neck socket $595.

16.5” Walkure Kley & Hahn 282 on taller teen body in original lavender dress, corset and undergarments, leather shoes, 2 fingers as is on right hand, HH wig $495.

8.5” AM 255 Googlie A 610 M on 5 piece compo body, molded shoes & socks $745. w/Bone Dominos game marked Mexico on cover. 4” Steiff Bear w/ remanence of US Zone Germany tag on right arm 1945-55 $155.

10” FG Man 1880 -1900 on leather body, painted black hair & painted blue eyes, vintage shirt, shoes & hat $450.

22” 1850’s Covered Wagon A.W. Kister Pink Luster China on cloth body w/ papier-mache limbs, beautifully molded boots, antique clothing $525.

13” Brown Eyed Kestner High Brow China 1850-60’s on Milliners body fabulous piece, antique style clothing $695.

16.5” 1850’s Papier Mache by Kestner or Voit “Pauline”, blue painted eyes, black painted hair $795.

17” Kestner 245 Hilda on jointed Toddler body, brown sleep eyes, marked M Made in Germany 12, 245, JDK jr, 1914, © Hilda, repaired thumb & pinkie right hand $1650.

15” S & H Glass Eyed, Jointed Head Parian 1870’s w/ molded hair & blue/ gold ribbon w/ bow, beautiful body & clothing $875.

Goodreau Resin BJ Dolls 16” Dressed in Pink w/ Alabaster Resin, little discoloring on left forearm, blue eyes, pink wig $195. 17” Dressed in Fur coat & boots, red hair, hazel eyes $195.

Effanbee All Original Little Lady’s w/ HH wigs - minimal crazing on composition 17” Tan Fur Trimmed coat, hat & muff, plaid dress, blue eyes, Hang Tag $145.

21.5” Elegant White Ballgown w/ black lace top, Hang Tag $165. 15” Beautiful Pink & Black Ball, brown eyes, metal heart tag $115. 15” Fabulous Blue Ball gown w/ organdy floral overskirt, Feather cape $115.

19.5” 1850’s German Glass Eyed Pre Griner on wonderful cloth body w/ antique clothing & leather boots, head is crazed, little touch up by left ear & few paint chips on shoulder plate $475.

17” Long Face Jumaeu Mechanical repro by Janice Smith, fabulous painting, mohair wig, fur cape, hat & muff, brown PW eyes, moves head & arms $395.

17.5” Simon & Halbig 1358 8 Amazing repro by Sally, brown glass eyes, antique mohair wig $325.

6029 N. Northwest Hwy. Chicago, IL 60631 • 773-594-1540 • (800-442-3655 orders only) • Fax 773- 594-1710 Open: Tues., Wed., Sat. 10 a.m. - 5 p.m., Thurs., Fri. 10 a.m. - 6 p.m. Closed Sun. & Mon. Near O’Hare, Park Ridge & Niles

Chicago’s finest selection of Antique, Modern and Collectible Dolls, Barbie, Gene, Alexander, Tonner, Fashion Royalty, Steiff, Dollhouses and Accessories.

Member U.F.D.C. & NADDA • Worldwide Shipping • email: questions@gigisdolls.com • Check Out Our eBay Store - gigisdolls2010

Contact us for Monthly Specials! Tour our shop at: www.gigisdolls.com & join us on Facebook • Now on Ruby Lane

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