Antique DOLL Collector May 2009 Vol. 12, No. 4
May 2009 Vol. 12, No. 4 $595 / $695 Canada www.antiquedollcollector.com
Simon & Halbig’s
1300 SERIES By Julie Blewis
The Simon & Halbig porcelain factory was established in 1869 by Wilhelm Simon and Carl Halbig. The location chosen for the new venture was Grafenhain, a suburb of Thuringia, Germany, a region well recognized for the outstanding production of German porcelain dolls. Grafenhain was a small community with a population of only 1000-1500 residents and based on the large number of doll heads coming out of the factory it would be reasonable to conclude that just about the entire town was employed by the factory. Carl Halbig became the sole owner after the death of Wilhelm Simon in 1894, and he took on the role of generous benefactor to the small community. His philanthropic endeavors varied from free meals and skates for school children to maintenance of the underground canal system, and providing street lights. Carl Halbig was also a seasoned traveler, which may in part account for some of the exotic character heads that were created in his factory. From these facts one can picture a very charismatic, generous and adventurous man that led the Simon & Halbig factory into the production of some of the finest and most creative doll heads of the time. The factory began manufacturing shoulder heads with creatively modeled hair and ribbons as soon as one year after it was founded. By 1879, the first registration of design patents and a number of doll heads were recorded. In the next forty years the factory was a power house in German doll production until 1920 when it is was purchased by the Kammer & Reinhardt Company (at this time Kammer & Reinhardt was a joint stock company due to a merger with the huge conglomerate Bing Werke). Six years later in 1926 at the age of 86 Carl Halbig passed away. It should be noted that Simon & Halbig never produced doll bodies, with the exception of all bisques, they only manufactured the doll heads. However, the doll heads were very widely distributed to many companies such as Kammer & Reinhardt, Franz Schmidt, Heinrich Handwerck, Bawo & Dotter and Jumeau to name just a few. In fact, most of the highly coveted character heads by doll collectors today are suspected of being produced by Simon & Halbig. There is no doubt that the character series 100 for Kammer & Reinhardt in 1909 came out of the Simon & Halbig factory and is considered among the very best realistic children sculpts ever made. Even the
Photo 1: 1301 20 inches Photo Courtesy Theriault’s Photos 2-3: 1301 19 inches
Photos Courtesy Andy Ourant unless otherwise noted 19
Roberta's DOLL HOUSE Roberta and Ziggy Zygarlowski, 475 17th Ave., Paterson, N.J. 07504 (973) 684-4945 • Fax (973) 523-7585 • CALL TOLL FREE 1-800-569-9739 31
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31. A truly lovely & oh so rare to find Simon & Halbig closed mouth character child - mold #939 - soft as butter bisque w/ first out of the mold quality exceptionally beautiful hand painted facial features w/soft arched feather brows over spiral threaded heather blue paperweight eyes - closed pouty mouth w/ outlined soft amber shading - 17” tall - $2,995. 32. Extremely rare & just as precious as she can be is the very early Simon & Halbig - mold #759 - soft as butter bisque w/ first out of the mold quality - exceptionally beautiful hand painted facial features w/ soft arched feathered brow over enormous chestnut brown paperweight eyes - slightly open smiling mouth with twice shaded amber lips - original early straight wrist body - 22” tall - $2,995. 33. Lovely 1860’s china w/such a beautiful face and an amazing outstanding hairstyle - made by Conta & Boehm - hair is pulled away from the face in large elaborate rolls w/ soft rose pleating on the top - the back has a molded ribbon w/ a lower snood - 15” tall - $2,495. 34. A truly wonderful super large size Kestner character child - mold #142 soft to the touch hand poured bisque with wondrous hand painted facial features - soft arched feathered molded brows over enormous chestnut brown sleep eyes - slightly open mouth with soft rose shading - fully jointed compo body - she’s a great big 36” tall - $2,495. 35. Wonderful open mouth Character Child marked #69 by Handwerck - excellent bisque w/ lovely hand painted facial features - soft arched feathered brows over wistful lashes surrounding heather blue sleep eyes slightly open smiling mouth w/ outlined soft amber shading - original fully jointed body - 24” tall - $995.
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36. Wonderful rare to find shelf size Simon & Halbig #1249 “Santa” - soft as butter bisque with first out of the mold quality - wonderful hand painted facial features with soft arched feathered brows over heather blue sleep eyes - slightly open mouth with soft amber shading - beautiful compo body - 12” tall - $995. 37. Rarely found & always desirable Kammer & Reinhardt - mold #101 “Peter“- soft as butter bisque w/ first out of the mold quality - wondrous hand painted facial features - soft arched feathered brows over heather blue painted eyes - closed exaggerated pouty mouth w/ soft rose shading original fully jointed compo body - 15” tall - $3,995. 38. Rare & wonderful & way too cute is this never to be found all bisque baby by Kammer & Reinhardt - mold #126 - exceptional high quality w/ chestnut brown sleep eyes and the most adorable little all bisque body - detailed open fingers and the cutest little pot belly ever - he comes with his beautiful hand painted cradle - he’s 6-1/2” tall - cradle is 8” x 4-1/2” - $1,295 for all. 39. Two rare & wonderful compo kids: a) “Candy Kid” near mint - all original -super condition - 12 tall - $595. B) Utterly sweet “Three Face Trudy”- she laughs - she cries - she sleeps - 14” tall - $695. 40. Very unique and quite wonderful mystery lad - marked only with the mold # “F3” - solid dome molded bisque head with rare to find flocked hair - wondrous high quality bisque with lovely hand painted facial features - fawn shaded brows over sky blue paperweight eyes - closed mouth with pursed lips - he wants to give you a kiss - to add to his wonderment and delight - he’s on a fully jointed toddler body - 12” tall $1,495.
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41. Once again Zig & I have found the wonderful and the very rare this is an exceptionally large papier maché Taufling baby w/ maker’s signature on foot (Louis Lindner - 1855) - this rarely found “Motschmann Baby” - has such a sweet adorable face - original paint is still intact chestnut brown glass eyes - great condition - yes she still cries - rare wood & cloth body - rare large size - 21” tall - $2,495. 42. Adorable and ever so cute - Kestner #211 baby - super bisque with first out the mold quality - wondrous hand painted facial features - soft arched brows over amazing baby blue sleep eyes - slightly open laughing amber shaded mouth - original plaster pate & wig - original Kestner body - 18” tall $995. 43. Utterly breathtaking Kathe Kruse “Hampelchen” – wonderful near mint condition - no touchup - original clothes and shoes - this is doll VII - doll I face with the dangling leg body - 18” tall $2,995. 44. Wonderful & rare “Kamkins” young lad by Louise R. Kampes studio great condition - nice full wig - original clothes plus pj’s - 18” tall - $1,995. 45. A very lovely and ever so rare china w/ such an usual hairstyle - center parted w/ finger waves going across the top of her head - beautiful brushstrokes along the sides of her face - her hair is pulled away from her face & kept together in the back with a molded hairclip - the entire hairstyle is enraptured in a criss-cross snood - sweet very unusual somewhat elongated face w/ captivating blue eyes - 17” tall - $1,495.
Bisque hipped Steiner with exceptionally fine face painting, light brush-stroked brows and highlighting, so desirable in early dolls.
Very large Figure A Steiner with unusual bisque hands.
This block letter FG on a Gesland body epitomizes the fine French bébé, with her molded tongue, pert nose and her flawless complexion.
A Visit with Janet Gula P by Lynn Murray
etite and gracious, Janet Gula is not unlike the French dolls she so fondly loves. When I caught up with her, she welcomed me to her sunny Florida home, where she retreats from the cold Canadian winter months. The rest of the year Janet and her dolls live on a quiet tree lined street in the oldest neighborhood of Toronto. A visit to Janet’s Canadian home is a treat for anyone who loves art and ceramics, music, antiques or dolls, for this is a house that magically blends all of the Gula collections in harmony. From the beginning, Janet was a little girl who loved her dolls and spent many pleasurable days playing dolls with friends or her cousin, who was the same age. She can still tell you the names of her childhood dolls and the colors of the knitted clothes made for them by her mother. As she grew up her love of dolls never diminished. They were put to one side for a time in favor of education, work and marriage to Bill, who was at law school. Later, the mother of two vivacious little girls, Janet admits her love of dolls influenced the way in which she dressed her children. Through the years of child rearing, her interest in early childhood development remained keen. Her love of Victorian art and antiques touched
A perky little 14” Bru Jne, Janet’s first Bru, wears her hat with attitiude.
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The Mark of the
An early EJ Jumeau Bebe showing the soft paler painting of the features typical of earlier dolls. She has large hand done eye cuts which can be uneven in size adding to her charm. The bisque is pale and translucent.
by Dee Urquhart-Ross
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An early portrait Jumeau of the 2nd series but still with the desirable “wrap around” eyes. Jumeau dolls have delicate features though very dramatic effects are often subtlely obtained by enlarged eye cuts and pale bisque on these earlier dolls. The facial shape is typical of Jumeau with full cheeks and a slightly pointed chin.
An early portrait Jumeau with the pale paintwork, white bisque and almond shaped eyes so typical of early Jumeau bebes. Softness in the features and captivating striated eyes are the things to look for.
have been mulling over the interesting fact that we as dolls of the firms they sought to emulate. Why is it that collectors can spot from a considerable distance the no matter how hard they try, it is not a Bru, it is not an wonderful and supremely individual characterization AT, and we know it instantly. of say a Jumeau as opposed to a Steiner or a Bru face. This is all the more remarkable of course as the dolls This was brought home to me just recently when showing of Kestner or Bru et al, were not decorated by one set some of my own collection to a visitor to my home. “Your of hands or even by one set of workers over the whole dolls are just gorgeous,” she said and seemed interested so history of these firms, but by a passing parade of I started to point out to her, “This is a Jumeau,” adding a bit employees who could presumably have been painting for of the firm’s history, “this a Bru,” etc. Jumeau one year and say Steiner the next. “How on earth do you know the difference?” she asked It becomes even more complex when one thinks that a and I found myself having to explain firm like Gaultier produced heads for the slight variations in face shape, any number of firms, albeit from molds painting detail, etc., that define one provided by those firms. firm’s dolls from the other. She looked I could simply explain to my friend on dubiously as I spoke. that dolls even if not incised with an After she had left I thought more on ED on the back of the head could be this and realized how very inventive easily seen to be the products of the and clever each of those long ago firms Denamur firm by their distinctive were, and of course I include the many An early portrait Jumeau with the huge eyebrow style, tapering to an inside “wrap around” eyes so unique and so German firms of similar date who point and almost meeting in the compelling in this doll. Often small in size also produced dolls that we instantly middle of the forehead. That is an easy these early Jumeau bebes are very sought recognize – the Kestner that could style point to spot. after. The eyes are huge in comparison to the size of the face and really do seem to only come from that firm, the Simon She then could see the difference wrap round the corners of the cheeks. There and Halbig which shouts her identity between an ED and a Rabery and is always a pink blush to the eyelids, finely and strangely enough, the fact that a Delphieu perhaps, which also rejoices in wrought brows and candy cane striping in Sonneburg Bru or a Kestner AT have a squarer face than some other dolls. It the irises. Eyes are often set slightly “off” which adds to the naive charm of these dolls. becomes more complex however when tiny recognizable differences from the
Maker in Doll Faces
The Jumeau “Triste” is a long faced Jumeau which has a far away look like the AT caused by her slightly up-turned eye setting. The Triste has a very individual mouth, full but softly rendered and fine brows set lower to her eyelids which are dusted in mauvish pink. She does have a unique rather thoughtful or slightly sad expression which is very individual and with her longer faced look she is a memorable Jumeau.
A second series portrait Jumeau with the slightly off set eyes of an early doll. Fine paintwork but already the introduction of thicker glossy brow painting is evident. This became the norm and the brows on Jumeau and other bebes became thicker and more feathered as time went on. The arrangement of the features and the shape of the mouth is very typical of Jumeau dolls.
we compare the R&D doll with one by Gaultier marked FG which also has a square face and similar grouping of the eye cuts, nose and mouth spacing and colouring. Yet experienced collectors see the difference at once. What is it then that distinguishes the R&D from the FG? One could get out the callipers and graph paper and probably make a case for minute differences in the spacing of the mouth, philtrum and nose or the gap between the A gorgeous early Circle Dot Bru with the heavy features of these early child dolls with very bulbous almost drooping cheeks which give these dolls a toddler’s charm. She has pale bisque and more delicate brows but shares with all Bru’s the direct gaze and wide spaced eyes so beloved of collectors. The distinctive Bru bodies help with identification but the faces usually speak their makers name instantly!
A classic Tete Jumeau showing the bolder painting of these slightly later Bebes. The brows are heavy and glossy in darker tones of brown and the lips are fuller and also darker than the earlier Jumeau dolls. The face is full but not square and the Jumeau mould was consistent throughout the years with rounded cheeks and a well formed chin. Large applied ears on the bigger dolls are also typical.
eye cuts and the bridge of nose but this is not the heart of the matter of course. The heart of the matter is just that, there is a feeling, a heart to the design of each maker’s dolls which define in some inexplicable way the look and feel of a doll from that manufacturer which tells us in a heartbeat that this is a doll by that maker and no other once we intuitively know what to look for. A later Bru Jne doll with the family resemblance still clearly showing. Bru dolls have a distinctive eye set with a very direct look and widely spaced eyes which give great appeal to the dolls. This one, dressed as a boy, has a lovely detail of the painting of the mouth though lacking the earlier parted lip look on many of the most desirable Bru bebes. The later darker heavier brows date this boy to the late 1880’s. 39
Patoruzú, an unlikely super hero, measures 17 inches plus his feather.
Patagonian landscape with herd of sheep 46
hero doesn’t hold a secret or two? Following the South American taste in dolls for Lencilike products, the original Patoruzú doll was made from felt with details of oil cloth, but the authorship and dates of production of these dolls remains unknown to this author. Production, however, is known to have been done in Argentina, and was specifically authorized by the Syndicate Dante Quinterno. The dolls of Patoruzú and his baby brother Upa were executed in felt identified and advertised as rich or fine paño (felt) Lenci. Patoruzú was offered in four sizes: 67-70, 50, 32 and 28 centimeters and Upa in two sizes: 47 and 31 centimeters. According to contemporary advertising they were sold at the principal department and youth stores with Patoruzú going, according to height, for $38, $25, $6.75 and $2.95 while Upa sold for $28 and $16.50. All legitimate dolls carried a tag of authenticity. Later commercial examples have been produced in plastic. Upon first laying eyes on Patoruzú the viewer may be taken aback by his pendulous proboscis, the almost always open mouth and the startling startled eyes of an owl. But soon a smile crosses the viewer’s face as they realize they have been trapped by the old adage that looks are not everything. Revelation of his personal traits offer deeper understanding: Patoruzú is the perfect man packaged inside human imperfection. He is uncommonly generous, a true friend to the vulnerable, willing to step in when his own safety may be at risk and in matters of the heart he is susceptible to the charms of the opposite sex. He is assertive but modest, straightforward but competitive, stoic but thoughtful; an extrovert with sensitivity and his integrity is as supernatural as his strength. Although some will see a cruel caricature in the physiognomy of Patoruzú and members of his tribe one needs only look at the rest of Quinterno’s characters to see that he was equally harsh but humorous on all. Indeed by popular acclaim Patoruzú became Argentina’s mascot of the quintennial of the founding of the Americas in 1992. Patoruzú’s admirable traits can be laid to his genetic heritage as what is perceived to be a Native American. Uncommonly Patoruzú is blessed with uncommon privilege: he has inherited vast holdings of gold, land and cattle. But with these benefits come obligations in order to win three feathers, an indication of the high status of tribal chieftain. Ever in quest of the feathers Patoruzú practices defense of the oppressed, the power to right wrongs and humility. They were thought to spring from mysterious sources of energy unique to his ancestors and they are applicable when good is anticipated to overcome evil. An early instance of good overcoming evil can be found in the protagonist’s name. He appeared
Super hero in training, baby brother Upa is 12-1/2 inches plus feather.
bearing the Tehuelche Indian name Curugua Curiguagüigua which was immediately deemed unpronounceable by the editor-in-chief of the newspaper who proposed instead Patoruzú, taken from a popular candy of the time derived from the Orozú plant. Like all human life, the life of Patoruzú takes many twists and turns both in and out of publication before it settles. His world is populated with equally colorful and characterful friends and family. Patoruzú himself is an orphan and the last scion of the Cacique Tehuelche tribe of giant Indians. In his travels he is accompanied by a female rhea, a uniquely South American flightless bird looking like a small ostrich. The bird is named Carmela, but is almost immediately replaced by Lorenzo, a male of the rhea species. When Patoruzú comes to Buenos Aries to live in the house of Don Gil (Jilian) Contendo, whose late uncle, Rudecindo, had been appointed guardian of this exceedingly wealthy – he speaks in silver - but naïve orphan. Of equal interest to doll collector’s is Patoruzú’s teen age brother. Hardly a sight for any eyes Upa is shy and naïve, yet more aware of modern ways than his older brother. He uses his mighty big soft belly as a weapon whenever injustice is to be fought. Like Superman, Patoruzú is dressed in yellowgold, blue with touches of red and white. On his black shoulder length hair he wears a band with a single feather in homage to his father, though in theory he is entitled to wear three because of his inherited status as chief. His rolled-up, puffed out cuff pants of blue-like jeans are held at the waist by a leather belt from which the efficient boleadoras (also known as bolas) hang. On his feet are sandals (the soles are splints of wood). His yellow poncho conceals bulging muscles built many years ago from the milk of his wet nurse La Chacha who plays a role in the assorted strips which include Patoruzú; she lives at his Patagonian ranch continuing to feed other characters much sought after empanadas. Baby brother Upa is simply dressed in a short collared palest green shirt, and very short, very red pants held up by tri-part sling-shot suspenders. His feet are bare, but he wears a head band with a single red feather. If you had been lucky enough to follow daily the adventures of Patoruzú you would have learned in 1937 that our Native American Patagonian personality was even more genetically complicated than we might expect in days before genetic testing. In the comics it had been revealed that the Patoruzú’s family had ancient Egyptian origins and their ancestors had been the Pharaoh Patoruzek I and Princess Napta of the 27th dynasty and that their son and heir, Patoruzek II, had left Egypt after a battle along the Nile. Naturally the escape vessel had landed in Patagonia.
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