May 2020

Antique DOLL Collector May 2020 Vol. 23, No. 5

Annabelle, The One That Got Away Izannah Walker: More History Theatre de la Mode Exhibit Sewing for Your Dolls Metamorphosis, Francois Theimer on a 17th Century Rarity

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An event to remember

You are Invited to

The Ohio National Doll Show October 3rd & 4th 2020

Billye Harris will be providing appraisals for $5 each Appraisal proceeds will benefit the UFDC

Luncheon Jonathan Green $40 12 pm • Tea Time with Rhoda Wade $25 3pm Candlelit dinner with Carol Cameron $75 6 pm • Doll show tickets $7 with early registration, $10 at gate

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Gigi’s Dolls & Sherry’s Teddy www.gigisdolls.com Bears Inc.

18” All Original Hawaiian “Marama” Shirley Temple in mint condition, beautifully painted face, 1937 $525.

19.5” All Original Alexander Dionne Quint Cecile w/ Pin & ‘Human Hair’ label on dress, minty fresh, human hair wig in original set, few small crazes by eyes $325.

6.5” All Bisque Rose O’Neill Scootles, wonderful facial painting & expression $195.

8” All Original SFBJ 60 in Labarde Regional costume on BJ body, MINT, she has never been out of her box, blue sleep eyes, mohair wig $425.

Kammer & Reinhart Faric Dolls 1926-27 Wedding Party of 3 – Bride, Groom & Best Man, very whimsical faces, All Original $795. Set

LAYAW AVAILA AY BLE

31” CM Triste Bebe Jumeau 15, blue paperweight eyes (scratched), applied pierced ears (chipped right earring hole), stiff wrist body, 2.5” hairlines on forehead, HH wig, Jumeau stamp on body $7950.

11” MIB Alexander Kelly #1103 1958 only, blue earrings, auburn All original 17.5” early hair, maise floral dress w/ wrist CM 132 Kling w/ swivel 14” MWB Alexander Ballerina tag, box w/ original $4.99 tag $650. head, shading above blue HP Margarete Face, 1948, pink threaded eyes, pierced ears, satin tutu w/ box (as is) $525. mohair wig, 2 holes at crown, amazing piece, small hairline on left eyelid $1095.

24” Kestner 143 w/ beautiful coloring, blue sleep eyes, HH wig, nice body $695.

8” Alexander Wendy-kins MIB Never Removed From Box – Blonde, Brunette & Auburn w/ Tags in panties, original Higbees $1.98 tags w/ catalogs $185. Each or 3 for $525.

Alexander Cissy “Garden Party” MIB #2120, beautiful facial coloring & brunette hair, one spot on dress $895.

14.5” Madame Alexander Late 1940’s Little Women - All Original w/ High Facial Coloring Beth in Floral Print, floss hair $195.

Meg – in pink w/ floral apron w/ curler box & wrist tag $225.

8” Richwood Sandra Sue Twins All Original in box w/ Higbee $1.98 tag, MIB $225.

8” Parian S & H or ABG Doll House Doll w/ blond molded hair w/ braid, beautiful painting & molding, flat bottom black boots $345.

21.5” Fabulous 1940’s Polish Pair All Original w/ amazing details, beading on both costumes, molded mask faces, blue painted eyes $350. Pair 17” Petite Dolls American Character Doll, MWB #42-7 1940’s, HP, mint condition, beautiful coloring, one small mark on nose $185.

18.5” K star R 115A Baby, blue sleep eyes, original blond mohair wig, professional work on lower torso $1095.

18.5” All Original Scarlett Ohara #401 created by Silk Novelty Corp, NYC, beautiful compo, original $2.95 Higbee tag $185.

20” Petite Dolls American Character Sweet Sue, MWB #722-3 HP, 1947 mint condition w/ beautiful coloring, small scuff on forehead $295.

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 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

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Mary Ann Spinelli Nelling, Inc.

FINE ANTIQUE DOLLS AND ACCESSORIES BUYING & SELLING QUALITY DOLLS FOR OVER 27 YEARS

published by the

www.antiquedollcollector.com

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Antique wooden horse stable from the Angels Attic Museum Collection, w/ three stalls, an antique horse for each, and a vast array of stable gear to maintain their upkeep.

Stable accessories of varying age. 16-1/2”W, 14”T, and 11”D. $2950.

Publications Director: Lisa Brannock Editor-in-Chief: Gay Bryant Production Director: Louann Wilcock Art Director: Lisa Claisse Administration Manager: Lorraine Moricone Social Media Director: Brigid McHugh Jones -------------------------------------------------------------------Contributors: Elizabeth Ann Coleman, Linda Edward, Bradley Justice, Samy Odin and Andy and Becky Ourant --------------------------------------------------------------------Subscription Manager: Jim Lance --------------------------------------------------------------------Subscriptions: adcsubs@gmail.com --------------------------------------------------------------------Display Advertising: Lisa Brannock lbrannock@antiquedollcollector.com phone: 717-517-9217 Monica Bessette monicab@antiquedollcollector.com phone: 717-752-9090 Classified & Emporium Advertising: Louann Wilcock louannw@antiquedollcollector.com phone: 217-419-6314 --------------------------------------------------------------------Design Team Lisa Claisse adclisa@gmail.com Louann Wilcock louannw@antiquedollcollector.com

--------------------------------------------------------------------Marketing: Penguin Communications, Inc.

Sold separately and doing their chores is a 7” SH 886 all bisque w/black stockings (eyefleck) $895.00, and a 4 3/4” Hertwig bisque shoulder head boy with molded hat. $125.00

Please contact us at nellingdolls@gmail.com or visit our website at www.maspinelli.com for details on these and many other items!

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

Visit us at: www.maspinelli.com 4

ANTIQUE DOLL COLLECTOR

APRIL 2020

--------------------------------------------------------------------------Editorial: Gay Bryant, antiquedoll@gmail.com Send all catalogs to this address: Antique Doll Collector, 4800 Hampden Lane, Suite 200, Bethesda, MD 20814 Subscriptions: Send to Antique Doll Collector, P.O. Box 239, Northport, NY 11768.

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Antique Doll Collector (ISSN 1096-8474) is published monthly with a combined issue in July/August (11 times per year) by the Puffin Co., LLC, P.O. Box 239, Northport, NY 11768 Phone: 1-631-261-4100 Periodicals postage paid at Northport, NY. and at additional mailing offices. Contents ©2020 Antique Doll Collector, all rights reserved.

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The Complete Guide to Antique, Vintage and Collectible Dolls

May 2020, Volume 23, Number 5

A Message to the Doll Collecting Community

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VISIT THE ANTIQUE DOLL COLLECTOR DOLL SHOW & SALE

UNIQUE DOLL FROM THE PAST New Research and the Reuben Bates Connection

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THE STORY OF ANNABELLE The One That Got Away

by Bradley Justice

JOY OF SEWING How One Collector Learned to Sew French Fashion Clothes for Dolls

by Debbie Bigness

by Monica Bessette

Staying Connected The recent health events of the world have caused most of us to re-prioritize and build new strategies and routines for our daily lives. It has also caused us to think a lot about what makes a community and why being part of something outside ourselves is so important. In times of confusing news and increased anxiety, especially combined with physical isolation, our need for interaction and community is greater than ever.

Being Connected Matters Fortunately, as doll collectors we have a common connection with others who enjoy the same hobby. We all have friends made through collecting who uphold us when we are feeling the pressures of the day. Let’s draw strength through our hobby.

Stay in touch with your doll friends.

Share a doll story or pattern with them, talk and laugh with them. It’s the medicine we can all benefit from at any time, but especially now.

Make a new outfit for one of your own dolls or for a friend’s. Working creatively is a great way to feel productive and enjoy your day. Doing something for someone else is an added bonus.

Now is the time to innovate and learn something new. Write down a type of doll you would like to know more about and then hit your magazines, books and the internet. Just think, when doll clubs start meeting again you will be all set to share your knowledge! Or, share what you’ve learned with your doll friends now through video or voice.

The main thing is to stay connected. It’s good for you and for every member of our doll collecting community. ‑ From Your Friends at Antique Doll Collector

DEPARTMENTS AND QUEST

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THEATRE DE LA MODE Its Journey to Sam Hill’s Museum

by Mary Senko

ANTIQUE DOLL COLLECTOR

MAY 2020

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METAMORPHOSIS An Antique Rarity Revealed

by FranÇois Theimer

10 The Quest 63 Calendar of 16 Auction News Events 18 Museum News 63 Classified 62 Emporium

1) One Owner Heirloom Bye-lo cuddly 15” mint treasure, magnificent clothes in many beautiful layers. $350 2) Largest 9” Wrestler ‘102’ w/ 5-Strap Bootines - paperweight eyes, shaded lids, square teeth, ‘Bent Arm’ & Fancy Vintage Clothes w/ Chapeau! Hidden minor flaw. $3200 just…$2500

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3) Shelfsize Marklin Carriage - Mint in Box, UFDC very limited-edition w/ Satin Folding Hood. $350 4) Adorable Halbig ‘1299’ Character - 21” sweetie! Dewey bisque, pursed lips, Mint Factory Shoes & Wig, plus Antique Clothes. $850 5) 18” Factory Original Kestner blue eye ‘168’, Factory Wig & Pate, signed BJB, snappy Factory ‘peppermint stripe’ Chemise, Shoes & Kestner Tag! $550 6) Rare Cabinet Gbr. Heubach Pouty - the only infant Heubach ever made! An angel in original period playsuit & Flawless Bisque $595

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7) 13” Rare F. Schmidt Unlisted Mold - true character in this Closed Smiling Mouth, witty infant, w Mint Signed Body & period clothes! $595 4

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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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8) Early ‘Blue Roof’ Gottschalk Townhouse - orig. papers in & out, plus glass windows, the Curtains & Valances, plus Balcony & Glass Front Bays, 19”x12”x10” deep. $1495 vacant.

9) 18” Daisy Mold ‘171’ Kestner mint, w/ very Fancy Antique Clothes & Fancy Leather Shoes, proper Daisy mkd. BJB, head one size up. $850

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10) Cabinet Rare 9.5” Kestner 149 - period clothes, sl. eyes, plaster pate mint Stiff Wrist Body, tiny flaw just $425 11) 12” Lenci Characters - both A/O hat to shoes! LEFT: Early ‘Flat Nose’ Goo-goo eye Imp w/ curly mop & Label $595. RIGHT: Oodles of Blond Curly Ringlets & Goo-goo eyes, lite dust, no moth or wear. Sweet $450

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(212) 787-7279

matrixbymail@gmail.com

12) Rare 18” K*R ‘112’ Glass Eye ‘Elsa’ - Mint & All Original: Factory Wig & Silk Clothes w/ matching Bonnet & Factory leather shoes.

Sensitive modeling & flawless bisque rarely seen on these characters. $8700 13) Swivel Head 18” Wigged version Grace Corry Rockwell Top quality, mint Factory Ensemble rare mint Wig! $2900

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14) 19” Early Closed Mouth Jullien Bebe- elusive w/ Blue PWs, lamb’s wool wig, orig. body, ruched Drop Waist Dress & Leather Factory Shoes. $3200

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15) Neapolitan Black Creche… see #22…$1495 16) 11” French Composition Harem Dancer veiled face & Harem pants! No craze. $225 17) Unsual 13” SFBJ Harem Girl luscious beauty, top quality, Glass Beads & Veil, unusual straw stuffed Balloon Pants.

Exotique…$450 18) 12” Signed Fabric Exotic Dancer - wildly rich variety of fabrics, metallics, and veiled face. $250

19) The Twirp - 11” SFBJ ‘247’ Toddler - Closed mouth, carved teeth, fully jtd. tyke, w/ Slant cut Hips & rare Molded Shoes & Socks. $1200 20) Heubach Courtship - both mint, signed & top quality! 5” ‘Curtsy Girl’ and 13” ‘Dressed Like Daddy’. So innocent! $275 each 21) 15” Adorable SFBJ ‘251’ Toddler - fully jointed! w.dewey sheen, deep dimples, Twinkling Blues, rich Mohair Ringlets $795

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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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22) Exotic 16” Black Creche Royalty Glass Eye Neapolitan, Original frail flowing silk clothes - so rare! $1495 see #15.

23) 5.5” Arms Away ‘D&K’ Half Doll - 7” arm span! Elaborate decorated hair like none other, Signed exotica! $895 24) Rare & All Original 21’ Mint Jumeau Sisters - includes Deluxe Factory Boxes w.tissue, mint Tibetan Mohair Wigs, cork pates, coils, Blue PWs, Closed Mouths, mint Sgnd.

Shoes, Soft Wool Orig.Ensembles with Matching Monogrammed Underwear too! The pair - $7250. A rare moment.

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25) 18” Haute Couture Bru/Huret Era Poupée elaborate Factory Coiffure in orig. set, Suite of Gold Hair Comb, Hat Pin, Earrings, Enameled Watch Fob & Purse. 2-part Vintage Gown w. Train, Chapeau, Bustle & slip, Sgnd.“Huret” Boots!

Magnificent. $4250

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26) Very Rare 33” Exhibition Size Princess Elizabeth Jumeau ‘306’ - fully sgnd. Portrait Head and body, flirty eyes, amazing quality, a few made primarily as window displays for the grand department stores of Europe. $3500

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The Quest A Collecting Column by Linda Edward Born in the USA

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n an antique doll collecting world filled with fabulous French and German dolls its easy to back burner dolls made in the United States but these charming dolls, often “born” out of necessity, add a deeper dimension to any collection.

The first waves of Europeans that came to the shores of the “new world” and those who followed over the next three hundred years were all seeking a better life, a life based on the belief that through their own efforts their dreams could be obtained. This concept of self-empowerment combined with ingenuity and creativity is evident in the story of dolls made in America.

Some of these American-made dolls were created by companies that were founded by people with doll making skills acquired in other lands. Some were started by businessmen looking to expand their productivity. Some were created by women entrepreneurs looking to engage in the marketplace. One by one, the stories of these makers and their dolls enrich the fabric of the hobby we enjoy.

Among offerings of American makers from the mid-19th century through the early decades of the 20th can be found dolls of many varied materials and designs. Some utilizing the products near to hand or the skills of the home sewing room. Some made in emulation of the imported European dolls, others made using new processes and taking design in a fresh direction.

For your consideration is an abbreviated list of just some of the makers worth studying and collecting. Those mentioned here are really just the tip of the iceberg, with many other companies coming up with often ingenious products of their own.

PAPER MACHE • Ludwig Greiner – Philadelphia, PA. Arrived from Germany in the 1830s. Began making dolls in 1840. In 1858 Greiner took out the first US patent relating to doll making.

• Edward S. Judge – Baltimore, MD & Philadelphia, PA. Began making dolls in 1867, was issued patent # 75766 (issued March 24, 1868) for improvements to making paper mache doll heads. In 1875 the company became Judge & Early.

RUBBER • Charles Goodyear – New Haven, CT. In 1844 Goodyear patented the first of his discoveries in improving products made of rubber. Leased rights for the use of his process to the India Rubber Comb company, the New York Rubber Company, and numerous others who used the process to make dolls.

Many earlier American-made dolls emulated the imported china and paper mache dolls from Europe. L to R are: a 15” mortise and tenon jointed doll invented by Joel Ellis, a 22” molded rawhide doll by Darrow, a 22” “Linen Head” doll, and a 13” paper mache doll bearing the 1872 patent extension label of Greiner.

LEATHER • Frank Darrow – Bristol, CT. In 1866, with Deon E. Peck, received a patent, # 52142 for making pressed leather doll shoulder-heads.

• Lucretia Sallee – Decatur, IL. Granted US patent # 46270 on February 7, 1865 for a molded leather doll styled like the China dolls of the era.

CLOTH • Izannah Walker – Central Falls, RI. Began making her molded cloth dolls in the 1840s and she would continue to sell them into the 1880s.

• Molded dolls referred to as “linen heads” – mid-19th century by appearance and materials. Maker and location of manufacturer still unknown.

• Emma Adams & Marietta Adams Ruttan – Oswego, NY. Beginning in 1891 These sisters began a cottage industry making flat-faced rag dolls that would become known as Columbian Rag dolls.

(Continued on page 14)

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ANTIQUE DOLL COLLECTOR

MAY 2020

LOMBRAIL - TEUCQUAM M A I S O N

D E

21 avenue de Balzac 94210-La Varenne St-Hilaire

N° agrément : 2002-152

Paper Catalogue : 15 euros visible on the website : www.theimer.fr & www.lombrail-teucquam.com

V E N T E S

Tél: 01 43 97 91 29 Fax: 01 42 83 68 48

www.lombrail-teucquam.com

email: lt-1@wanadoo.fr

ANTIQUE DOLLS, TOYS, AUTOMATONS & GAMES

Internet Only Auction On

Online Only, Saturday, May 30 at 2 p.m.

www.drouotonline.com/en Register to Participate

Also accepting all absentee bids by telephone, email or postal.

Two “One of a kind” artistic French-Belgium dolls with closed mouth and poured bisque dome heads (1917) Nice French Bébés : Emile Louis JUMEAU, PETIT et DUMOUTIER,,etc... Various dolls, Doll parts, Albert MARQUE works, Parisiennes poupées : E.J.JUMEAU, F.GAULTIER, L.DOLEAC, Dresses by Mlle BEREUX.Miniatures Antique Games, Metal toys, doll furniture, Disguises and Children dresses. Doll Services. Curiosities...and much more

François THEIMER

Expert consultant and historian of French Dolls and Toys (since 1975).

4 rue des Cavaliers 89130 TOUCY Tél: (0033) 03 86 74 31 76 Fax: (0033) 03 86 74 32 13 E.Mail: francois.theimer@wanadoo.fr Website: www.theimer.fr

Anne Demuth

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

Everyone be safe during these troubling times and when it is OK to meet again make an appointment to come and see me anytime!

You’ll be greeted by goodies galore and fabulous opportunities to buy, sell or trade! Choose from my 20 plus year doll collection including hundreds of antique and vintage dolls. Plus, pick through my huge 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.

20” 251 SFBJ Toddler $975

20” Rare Size Jewel Eye 227 SFBJ Character $1175

Rare Greiner C1850 China Head Doll, 20” $2450

Ohh La La! 50’s Madame Alexander Cissy in Original Outfit $995

Rare Huge Size 24” 992 Armand Marseille Baby w/Original Mohair Wig $375

21” Poutiest XII Kestner on Straight-wristed Body with Creamiest Bisque! $3500

24” Big AM 351 Character Baby $350

24” Rare Inkdrawn Cloth Doll, $795

20” Kammer Reinhardt 116 A Toddler Character $1975

Experience pure doll Joy!

Find all of these and more in my eBay Store Anniepoojewels

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167 Kestner $495

Rare 19” Rempel & Brietung by Kestner $595

Rare Kestner 14” Century Baby $450

26” Max Handwerck $450

28” Flirty Kammer Reinhardt Simon Halbig Doll, Nice Large Size $625

20” Kammer Reinhardt #100 Kaiser Baby $525

24” Heinrich Handwerck w/Original Mohair wig, Sleep Eyes $595

1488 Simon Halbig RARE Erika Character Bisque Doll in large 26” Size $5500

French Type Sonneberg Girl w/Mohair Wig 14” $1450

23” George Borgfeldt Bonnie Babe $575

20” Rare Alt Beck Gottschalk Mold #630 $1595

14” 122 Kammer Reinhardt Character Baby $295

Rare Closed Mouth 1428 Simon Halbig Doll 11-½” w/rare glass eyes $595

For more information call: 336.755.1400 or email: dollsbearscookies@yahoo.com Also find us on Facebook: Anne Demuth

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The Quest A Collecting Column by Linda Edward (continued from page 10) • Julia Jones Beecher – Elmira, NY. Missionary rag babies were needle-sculpted stockinette dolls made the help of the sewing circle of the Park Congregational Church from 1893 to 1910.

• Martha Chase – Pawtucket, RI. Made hygienically safe molded cloth dolls. Her company was in business from 1889 until 1981.

• Martha Wellington – Brookline, MA. From 1883 on, made needle-sculpted, painted stockinette dolls based on her patent # 285,448.

• Gertrude Rollinson – Holyoke, MA. From 1916 – 1929 she designed and made or had manufactured for her, cloth dolls with molded faces.

• Ella Gauntt Smith – Roanoke, AL. Designed and manufactured cloth-over-plaster dolls heads which were used on her Alabama Indestructible Dolls from 1900 to 1925.

BISQUE • Ernst Reinhardt – Philadelphia, PA; East Liverpool, OH; Irvington, Metuchen & Perth Amby, NJ. Came to the US from Germany in 1909, Made bisque headed dolls from 1913 – 1930 • Fulper Pottery Co. – Flemington, NJ. From 1918 – 1921 made bisque doll heads for Horsman and other American companies.

Many American women designed and manufactured uniquely designed cloth dolls. Shown here, L to R, are an 18” smiling Alabama baby with the earlier skull pate and applied ears, a cuddly stockinette baby by Martha Wellington and a 16” molded, painted stockinette doll by Martha Chase.

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ANTIQUE DOLL COLLECTOR

MAY 2020

• Paul Revere Pottery – Brighton, MA. During WWI this venture added doll heads to their existing line of products.

WOOD • A Schoenhut & Co. – Philadelphia, PA. Albert Schoenhut came to the US in 1866 and opened his toy making company in 1872. In 1911 received patent 982096 for spring jointed dolls.

• Joel Ellis – Springfield, VT. His Vermont Novelty Works made dolls of rock maple in accordance with his 1873 patent.

• The Jointed Doll Co. – Springfield, VT. Luke Taylor, Henry Mason, Frank Martin, George Sanders and Charles Johnson were all associated with the wooden dolls made by this company.

• Tynietoy – Providence, RI. From about 1919 until 1953 this cottage industry created by Marion Perkins and Amey Vernon to make doll houses and furnishings made articulated wooden doll house dolls.

COMPOSITION • Louis Amberg & Sons – Cincinnati, OH & NYC. Founded in 1878, in the early 20th century they became the first manufacturer to offer all-American made composition dolls.

• E I Horsman – New York, NY. Began selling games in 1865. Went on to manufacture cold pressed, and then heat pressed composition dolls through the first decades of the 20th century.

• Ideal Novelty & Toy Co. – Brooklyn, NY. Founded by Morris and Rose Michtom in 1903, this company added composition character dolls to their line in 1907. They would continue making composition dolls until replacing them with hard plastic and eventually vinyl products.

• Effanbee – New York, NY. Founded by Bernard Fleischaker and Hugo Baum in 1910. The company offered composition character dolls in the early 1910s and by the 1920s was one of the largest makers of composition dolls in the US. • Madame Alexander – New York, NY. Beatrice Alexander began the Alexander Doll Co. in 1912.Her earliest offerings were cloth dolls but during the 1930s and 40s her company made some outstanding composition dolls.

• Georgene Novelties – New York, NY. Georgene and James Averill began their doll business in 1913. Georgene would create dolls under the names Averill Manufacturing Company, Madame Hendren, and Georgene Novelties.

Georgene is credited with developing the first “Mama” style dolls.

American doll makers personified the “can-do” spirit that epitomized the pioneers of the American landscape of the 19th and early 20th centuries. The dolls they created are treasures worthy of places of honor in any collection of antique dolls.

Auction News

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n this time of staying home, our wonderful Auctioneer friends around the world will continue to bring their greatest antique doll offerings to your living room…

GALERIE DE CHARTRES, a French auction house famous for antique dolls, trains and toys, had planned their spring event for April 4th, 2020 but, due to the Covid 19 outbreak, it had to be postponed until May 16th 2020. This Premium Auction of rare dolls and dolls’ houses, has gone virtual, it will a 100% Live Auction.

“Poupées de Collection” is planned for the 16th of May at 10 am and 2 pm. Galerie de Chartres will auction French dolls including Bru, Jumeau, Petit et Dumoutier, Steiner, Schmitt and a wonderful Doll’s House. The online catalog, photos and descriptions are available at www.interencheres. com/meubles-objets-art/poupees-de-collection-267092/. Phone bid and absentee bid are accepted and can be sent to chartres@galeriedechartres.com. Shipping, because of Covid 19, will depend upon national and international security measures.

Another French Auction house will also have a 100% virtual event covering Antique Dolls, Toys, Automatons and Games. French antique doll historian François Theimer has an Online Only Auction at Drouot Live, www. drouotonline.com/en and Interencheres at www.interencheres. com. Register to participate by Saturday, May 30th at 2pm.

Bids are also being taken by phone, email or mail. For more

Ancestral home of Madame Bossard of Luzerne, Switzerland (complements of Theriault’s)

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ANTIQUE DOLL COLLECTOR

MAY 2020

Galerie de Chartres Doll’s House with Schmitt and Long Face in front.

information email francois.theimer@wanadoo.fr or visit www.theimer.fr.

At Theriault’s, you can listen and watch (and bid) live.

Their next event is “Other Kinds of Roses, Different Ways to Dance” on Saturday, June 6th 2020. A highlight in the catalogue for the Marquis event is the very fine collection of Madame Bossard of Luzerne, Switzerland. For more information, see their advertisement in this issue.

Alderfer in PA. is doing regular live online auctions of antique and other fine dolls. Go to www.AlderferAuction. com through June 24th to bid online and for more information.

Sweetbriar in Maryland just announced their plans: They will make their catalogue available to order at www.SweetbriarAuctions.com, absentee and phone bids are welcome. The next sale will be on Sept 5th 2020.

Joyce Kekatos joycedolls@aol.com 917-859-2446 or 718-863-0373 I buy dolls and will sell on consignment. LAYAWAY AVAILABLE • Member UFDC & NADDA

www.grandmasatticdolls.com • Look for me on Ruby Lane!

6” Portrait Jumeau #8 Bebe, mint bisque, somber pw eyes, orig. blonde mohair wig & pate, prig. “head coil”, ALL ORIGINAL, silk & lace dress, 3 pce. attaching camisol, slip & pantaloons, early “signed” Jumeau leather shoes, ant. Fr. lace hat, orig. str. wrist great “signed” Jumeau body, early “Applied Ears”!!

ABSOLUTELY STUNNING!! $8950.

18” Fire A Steiner Bebe, pw eyes with, perfect bisque, orig. mohair wig & Steiner pate, fabulous ornate burgundy silk & lace dress from all ant. fabrics, ant. hat, ant. Fr. leather shoes, crocheted socks, ant. slip & undies, GREAT orig. Steiner body w/Steiner “woman with flag” label at hip, BREATHTAKING!! $4675.

17” W.D. Bebe (Wilheim Dehler), pw eyes, pale bisque, orig. HH wig & pate, magnificent silk & lace costume from ant. fabrics, ant. undies & slip, orig. leather shoes, orig. early str. wrist body, looks just like an EJ without the price tag! GORGEOUS!!

$2950.

5” JDK All Bisque Pouty, perfect bisque overall, sl. eyes, orig. mohair wig, wears darling orig. batiste & lace dress w/ black multi strap boots, orig. perfect all bisque body, early peg strung (a little paint n legs from when they painted her botts), orig. Has DARLING pouting face!! $3100.

ANTIQUE DOLL COLLECTOR

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Museum News Mansion in Miniature A newly-conserved dolls’ house is one of only a handful of surviving 18th-century masterpieces  Opens Saturday 7 March 

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ne of the UK’s rarest dolls’ houses, the centerpiece of a new exhibition at the Yorkshire country house that inspired its creation, Nostell, West Yorkshire, is one of only 12 surviving 18th-century dolls’ houses and the only one that visitors can see in the home it was designed for.

The grand mansion in perfect miniature has been painstakingly conserved down to the last tiny piece of intricate furniture, lavish wallpaper and hallmarked silverware. From 7th March it will be newly displayed in a bespoke, dramatically-lit gallery space so visitors can see every tiny detail as never before.

Specialists from Britain’s

Dolls’ house doors closed. National Trust, David Brunetti

Dolls’ house doors open. National Trust, David Brunetti

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Kitchen.

National Trust, David Brunetti

Footman in hall. National Trust, David Brunetti

National Trust, which cares for Nostell, discovered almost all the interior decoration is original, with dozens of tiny masterpieces made at great expense by specialist carvers, silversmiths, upholsterers and painters in the 1730s.

Experts even uncovered a working servants’ bell and minute kitchen spit during much-needed conservation work to repair years of deterioration, from faded textiles and worn surfaces to woodworm-ridden floorboards – the same agents of deterioration that affect life-sized historic collections.

Nostell’s curator and exhibition creator Simon McCormack said: “Nostell’s miniature house is essentially a time capsule offering a window into the world of the 18thcentury country house.

“Dolls’ houses were not playthings for children in the 18th century. Known as ‘baby houses’, they were part of women’s lives from early teens to adulthood as a key tool in education and self-expression; providing a space to explore design tastes, fashion, social rituals and household management.

“Later hands may have added new details, but this miniature world remains almost frozen in the 1730s when it

Miniature grandfather clock. National Trust, Robert Thrift ANTIQUE DOLL COLLECTOR

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ABOVE: Miniature teapot and cups. National Trust, Robert Thrift LEFT: Miniature porcelain. National Trust, Robert Thrift

was furnished by lady of the house Susannah Winn and her sister Katherine.”

From the overall design to the tiny family crest on the Drawing Room fireplace, the dolls’ house has many similarities to the life-sized house, suggesting it reflects how Susannah hoped her new home would be furnished and run. Crease lines and additional lines of stitch holes suggest some materials were repurposed from the furnishings of Nostell itself.

All of the objects in the 2m-high dolls’ house were made, and are now looked after, exactly as their lifesized equivalents would be. The National Trust’s Textile

Conservation Studio Manager, Maria Jordan, one of the experts who worked on the conservation, marvelled at the dolls’ house’s quality and detail.

Maria said: “The grand beds – just 40cm high – are configured and made just as a real bed would have been made, from the carved headboards and bedframes to the exquisite lace trims, bolsters and valances.

To accompany the newly displayed dolls’ house, a new book, The Nostell Dolls’ House, by curator Simon McCormack, has been published.To find out more and discover the full 2020 program at Nostell visit: www.nationaltrustorg.uk/nostell.

ABOVE: Ornate wallpaper. National Trust, David Brunetti RIGHT: Ornately dressed doll. National Trust, Robert Thrift

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ANTIQUE DOLL COLLECTOR

MAY 2020

Invites You to Join Us for Our Premiere Print and Digital Doll Show & Sale Starring notable Antique, Vintage and Collectible Dolls, Modern Artist Dolls and so much more!

Experience the joy of shopping, buying, and receiving that doll you can’t live without, all in the comfort of home.

We know that meeting and talking to dealers at shows is part of the excitement.

Tapping into their knowledge and enthusiasm is important and fun. Our Doll Show and Sale offers you an opportunity to connect with dealers who are eagerly awaiting a chance to connect with you.

To help achieve that one-on-one connection, we’ve included a photo of each dealer on the following pages along with their selection of dolls, fashions, companions, and accessories for your viewing pleasure.

We encourage you to reach out to our Doll Show and Sale dealers, to ask questions, request additional photos, socialize, and hopefully purchase that special doll.

We’re also taking the Doll Show and Sale on the road, actually online, at antiquecollcollector.com. There will be a dedicated Doll Show tab on our website that brings you to even more eye candy from our dealers. The digital Doll Show and Sale will include the following pages, as well as additional displays from our dealers and chances to win select dolls and more.

Great door prizes with free online registration

Sit Back, Relax and Shop the Show

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How It Works

Antique Doll Collector is delighted to be hosting our first print and digital Doll Show and Sale.

We hope you enjoy looking, learning, and buying the many beautiful dolls on display in the booths on the following pages. ❥❥ Our dealers want to connect with you! View their photos and descriptions, then contact them to ask questions and learn about the doll, bear, miniature, furniture or other companion that piques your interest. Your dealers are waiting to interact with you! Ask questions and you might discover additional offerings of interest available for purchase. We’re all missing the personal connection and treasure hunt quality of doll shows. ❥❥ All dealers provide contact information. Please be in touch with them. They will be delighted to connect with you.

Spread the word on Social Media.

❥❥ Our dealers are exhibiting up to 15 items each.

A maximum of 7 dolls and companions will be displayed on the following pages of the magazine. PLUS, be sure to visit our digital Doll Show & Sale at antiquedollcollector.com/ dollshow/ where each dealer will feature up to 8 additional dolls and related items. ❥❥ When you see something you like, in print or on line, contact the dealer right away to purchase it. If you need additional pictures or have questions, they’ll be happy to oblige. ❥❥ Our digital Doll Show opens May 3 at 10 AM EST. Pre-register at antiquedollcollector.com/ dollshow/ beginning April 27. Registration allows you into the show as many times as you like and automatically enters you into drawings for wonderful dolls and related items.

❥❥ Our Doll Show and Sale will be promoted on Antique Doll Collector’s Facebook pages, Instagram, Twitter, Pinterest, and hopefully by you! Share with friends.

The more the merrier! In addition, the complete Doll Show and Sale supplement will be available FREE for download on issuu.com/antique-doll-collector. ❥❥ Thank you to Gigi’s Dolls and Sherry’s Teddy Bears, Billye Harris of Ashley’s Dolls, and Valerie Fogel’s Beautiful Bébés for their raffle donations.

Go to www.antiquedollcollector.com

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Doll photographs courtesy: Matrix By Mail Inc., Gigi’s Dolls & Sherry’s Teddy Bears Inc. and Elizabeth Christensen

Welcome to the Antique Doll Collector Doll Show and Sale

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participating dealers Booth 101 Mary Ann Spinelli 818-738-4591 | nellingdolls@gmail.com www.maspinelli.com

Booth 301 Marion Maus mmausantiques@gmail.com 443-838-8565

Booth 403 Pat Hatch 978-456-8729 | Pat@pathatchantiques.com www.countryandshakerantiques.com

Booth 102 Beautiful Bebes Antique Dolls Valerie Fogel Beautifulbebes@outlook.com 425-765-4010 www.beautifulbebes.com

Booth 302 Phil May Antiques 732-604-3011 | dollmanofog@aol.com

Booth 404 Margaret Gray Kincaid Tel: 603-938-2344 | Cell: 646-709-4340 margaret.kincaid@gmail.com

Booth 303 Brian Mogren Rediscoveries Vintage 406-490-1655 | mtanaman@aol.com

Booth 201 Gigi’s Dolls & Sherry’s Teddy Bears Inc. 773-594-1540 | questions@gigisdolls.com www.gigisdolls.com

Booth 304 Sara Bernstein’s Dolls 732-536-4101 | santiqbebe@aol.com www.rubylane.com/shops/sarabernsteindolls

Booth 202 Matrix By Mail Inc. 212-787-7279 | matrixbymail@gmail.com

Booth 401 Straw Bear Antiques Ron & Robyn Martin 770-434-9015 strawbearantiques@gmail.com

Booth 203 Grandma’s Attic 718-863-0373 | joycedolls@aol.com www.grandmasatticdolls.com

Booth 402 Anne Demuth 336-755-1400 dollsbearscookies@yahoo.com

Booth 204 Ashley’s Dolls Billye Harris AshleysDolls@gmail.com | 336-266-2608

Booth 601 Nancy McCray Tel: 319-363-3936 | Cell: 319-651-6440 Booth 602 Cats Cradle Glen C. Rollins Cell: 801-361-9212 | Tel: 801-374-1832 glencrollins@gmail.com rubylane.com/shop/catscradle

Booth 501 The Swell Doll Shop Bradley Justice shawstein@aol.com Booth 502 Joan & Lynette Antique Dolls JoanLynetteDolls@sbcglobal.net Joan Farrell 317-283-3623 Lynette Gross 317-844-6459 www.rubylane.com/shop/joanlynetteantiquedolls

Booth 603 Elizabeth Christensen echristensen@woh.rr.com | 937-768-3126 lizsdollhouse.com Booth 604 Dolls of Chester Springs Tory-Beth Radwick-Hall 610-334-4734 | tradwick@aol.com

Booth 503 All Dolled Up Gail Lemmon glemn@frontier.com | 440-396-5386 www.rubylane.com/shop/all-dolled-up

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Booth 504 My Little Dolls Jennifer Moyer Tel: 443-223-4956 Mylittledolls.com

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7 4 1) 10” French Paper Mache Nun, Orig. with provenance..........................................$695 2) 16” Rare Nymphenburg china lady ...................................................................................$4250 3) 14” Earliest Bru Teteur Brevete (hairline) or Nursing Bru. ...........................$8950 4) 10 1/2” Unusual early cloth doll, pressed and painted rubber head. ......$950 5) 9 1/4” Kestner 143 w/ fully jtd. body. .....................................................................................$875 6) 15” Early Barrois fashion w/ bisque arms, orig. wardrobe ............................$8500 7) 5” French all bisque mignonette, bare feet, trunk w/antq. garments...$4250 PLUS...Please contact regarding accessories and furniture!

Booth 101

Mary Ann Spinelli 818-738-4591 | nellingdolls@gmail.com www.maspinelli.com 24

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1) 28” JDK #171 O/M with excell. bisque/body. $695 2) 28” Simon Halbig/ Handwerck excellent! $695 3) 27” Simon Halbig 939 C/M Gorgeous $2985 4) 20” Steiff Bear Wonderful! $325 5) 24” SAMY Excellent! $695 6) 13” Asian Baby by JDK $2800 7) 18” Gretchen w/Glass Eyes $2995

Booth 102

Beautiful Bebes Antique Dolls

Valerie Fogel

Beautifulbebes@outlook.com | 425-765-4010 www.beautifulbebes.com

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7 1) 8.5” German All Bisque #150 $215. 2) 10.5” Wonderful All Original Blond China w/ Alice band $950. 3) 13.5” Hilda 237 / 10 on Toddler body $1450.

4) 12” S & H 939, early 8 ball body $550. 5) 5” All Original French Soldier All Bisque $695. 6) 7.5” K * R 114 Gretchen on bj body $1295. 7) 4.25” German Googlie All Bisque 217, 11 $375. Call for more

Back left to Front right corner: 1) 18” Factory Original Mint Bebe Steiner.! $4500 2) 20” Rare Hybrid Sophia/Lydia China $2995 3) 10” Mint UFDC Artist Doll with Lamb $195 4) 13” Rare Male China with Molded Hat $1600 5) 12” Rare Factory Original French China Call 6) Rare Heubach 7.5” Heubach ‘TISS ME’ Call 7) 8.5” Factory Original ‘Size 0’ Bebe Steiner (parasol NFS) $3400

Booth 202

Booth 201

Matrix By Mail Inc.

Gigi’s Dolls & Sherry’s Teddy Bears Inc.

212-787-7279 | matrixbymail@gmail.com “The Original Mail Order Specialists”

773-594-1540 | questions@gigisdolls.com www.gigisdolls.com

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2 1) 18” K * R 117 “Mein Liebling” $4650. 2) 16” Portrait Jumeau Bebe $6750.

3) 13” Rare Early S&H Closed Mouth $3475. 4) 11” Kestner “Hilda” Toddler #237 $2475. 5) 13” Kestner #143 $1150. 6) 9” French E.D. Bebe $4850.

7) 13” French R.D. Bebe $4450.

Booth 203

Grandma’s Attic

718-863-0373 | joycedolls@aol.com www.grandmasatticdolls.com

1) 14” French Fashion Poupee $1750 2) 8” Papier Mache w/ “Spaniel” Hairdo $650 3) 11” Papier Mache w Glass Eyes $450 4) 15” FG Fashion $1800 5) 9 1/2” German Parian w Antique Gown $395 6) 13” Maggie Bessie Cloth Doll $15,500 7) 11” Papier Mache Apollo’s Knot $1650

Booth 204

Ashley’s Dolls Billye Harris

AshleysDolls@gmail.com | 336-266-2608 Antique DOLL Collector

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7 1) Blue roof Gottschalk 38” H, 22” W, 20” D Call 2) 17” Early round face Steiner w/blue bulging eyes $6500 3) Chase girl 19-1/2” $650 4) S & H 1009 DEP $875 5) 16-1/2” Lydia head paper mache $1990 6) Rare painted blue w/ insect botanical box 3-1/2” $550 7) RD-blue eyes 10” marked 6/0 Call

1) 17” Solemn-faced boy, Heubach, all original Call or email 2) 14” COD, 1469, flapper, perfect $4,250 3) 15” French RD child, perfect $4,950 4) 12” K*R 109 “Elise,” all original, perfect $4,950 5) 12” Bru Breveté, perfect $15,750 6) 15” K*R 115 toddler, “Philip,” perfect $2,750 7) 12” Steiff blank-button teddy $2,250

Booth 301

Booth 302

Marion Maus

Phil May Antiques

mmausantiques@gmail.com Cell: 443-838-8565

732-604-3011 | dollmanofog@aol.com

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Booth 303

Rediscoveries Vintage Brian Mogren

406-490-1655 mtanaman@aol.com Antique DOLL Collector

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1) Nancy Ann Style Show “Breath of Spring “ 1952 $475.

2) German bisque Demalcol googly 11 inches $750.

3) Madame Alexander 8 inch 1960 Billy Goes to the Circus #320 bent knee walker MINT in box $450.

4) Vogue Ginny painted lash skater 1953 with box $375.

5) Ideal Composition 1939 Cinderella 16 inches $325.

6) Kestner 12.5 inch bisque 143 $675.

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1) Beautiful 1933 Lenci, 19”, all orig, outstanding condition $975 2) 23” Columbian cloth doll with oil painted features by Emma Adams. $1800 3) Rare Edwina Fallis Artist Doll 21 inch All original 1920-1930 $1950 4) Rare large Hertel Schwab German Bisque Character 141, 19”, glass sleep eyes. $3945 5) Ella Smith, Alabama Baby, c 1910, 17½” cloth doll w pressed & painted features. $1100 6) 18½” cloth Kamkins in factory orig tagged clothing, w stamp on body. $1475 7) 21” Simon Halbig 1248, identical to the Santa, same lip markings. Beautiful doll. $945

Booth 304

Sara Bernstein’s Dolls

732‑536‑4101 | santiqbebe@aol.com www.rubylane.com/shops/sarabernsteindolls

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18” Kestner 171, “Daisy,” exc. bisque, c1911, compo body $1685. 21” SFBJ “60” Paris, stamped “Jumeau” compo body, orig. costume $685. 13” flapper fashion lady, S&H 1159, exc. bisque, orig. Edwardian costume $1635. 11.5” petite French fashion lady, marked “0,” orig. cork pate & wig $2165. Marklin carriage, some play wear, bonnet/hood replaced w/ antique fabric $1585. 10.5” Googly by A.M. #323, wig pulls under wig, unusual compo toddler body $1185.

13” Jumeau w/ rare working lever-eye mechanism, exc. bisque, c1890 $2335.

Booth 401

Straw Bear Antiques Ron & Robyn Martin 770-434-9015 strawbearantiques@gmail.com

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1) 17” German Bisque Gebruder Heubach RARE Mold #7322 Doll $865 2) 21” German Bisque RARE 2072 Bruno Schmidt Closed Mouth Toddler Doll $1575 3) 15” German Bisque Hertel Schwab 172 Extremely RARE Googly Toddler $4550 4) 16” German Closed Mouth Doll 260 Bahr and Proschild in Velvet Boy’s Suit $1299 5) Extremely RARE 15” C1910 Simon Halbig 1303 DEP Marquis Doll $16700 6) Gorgeous C1909 14” Factory Original German Munich Art Doll $9995 7) Very Rare 16” German Bisque Art Character “Fany” by Armand Marseille $1900

Booth 402

Anne Demuth

336-755-1400 | dollsbearscookies@yahoo.com

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1) 24” antique clothes, painted face doll circa 1880 $950 2) 24” wax head and hands, glass eyes baby doll. She is big and heavy circa 1890. $775 3) 21” St. Nicholas doll, all original, stockinette face, great clothes. 1890-1900 $850 4) 28” unusual painted face doll great body. Circa 1880 $950

Booth 403 Pat Hatch

978-456-8729 | Pat@pathatchantiques.com www.countryandshakerantiques.com

All original Tete Jumeau size 7 $2900; Cute little Tete Jumeau size 5 $2900; Kestner 257 baby $275; French Faux Bamboo bed $350; French Faux Bamboo Wardrobe $250; French Market basket $125; Steiff squirrel $75; Steiff cat $75; Old Paris Tea set $95; French advertising board for Franco Americaine Biscuits $275; All original Tin washstand $450. Dollies need to wash their hands also!

Booth 404

Margaret Gray Kincaid Tel: 603-938-2344 | Cell: 646-709-4340 margaret.kincaid@gmail.com Antique DOLL Collector

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5 1) 16” Jumeau Fashion, $1695.

2) 23” Long Face Schmitt & Fils $15,500.

3) 14.5” Sonneberg Bebe. $1450.

4-5) 8” Grodnertal dolls, $1995, $1495 provenance 6) 26” Flirty Eye Papier Mache $2500.

7) 24” Cloth Doll with Oil Painted Face $945.

Make a replica the Historic Maggie Bessie Cloth doll NC Cloth Doll Pattern $20.00 with shipping Find us on Facebook: The Swell Doll Shop Find us on Ebay: User ID Shawstein Find us on ETSY: SwellDollShop

Booth 502

Booth 501

Joan & Lynette Antique Dolls

The Swell Doll Shop Bradley Justice

JoanLynetteDolls@sbcglobal.net

Joan Farrell 317-283-3623 | Lynette Gross 317-844-6459 www.rubylane.com/shop/joan-lynetteantiquedolls

shawstein@aol.com

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5 7 1) 17” Kestner Pouty Turned Head Lady $950 2) 17” French Fashion Poupee by Francois Gaultier $1895 3) 24” Cubeb Smoker Boudoir Doll $650 4) 22” Monica of Hollywood Super Rare Cloth Body $3995 5) 17” Monica of Hollywood Excellent All Original $1495 6) 16” Arranbee Nancy All Original with Box $395 7) 11” Shirley Temple All Original with Box $495

Booth 503

All Dolled Up Gail Lemmon

glemn@frontier.com | 440-396-5386 www.rubylane.com/shop/all-dolled-up 28

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1. German Regional doll $179 2. Heubach Dancer $199 3. All Bisque PE Googly $199 4. Maree Massey dolls $149 & $49 5. FG French Fashion $1850 6. K*R 101 Marie $1495 7. Mohair Bear on Wheels $179 8. Clothes/ Shoes/ Accessories Call

Booth 504

My Little Dolls Jennifer Moyer 443-223-4956 Mylittledolls.com

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Dolls of Fashion 1) Jumeau wood body fashion $7500 2) Schmitt Sold 3) All original Bride, Dehors type, clothing never removed $7900

A 28” tall English wood doll from the Georgian era $6,800 Surrounded by a collection of French toile tin figures ca 1830-1840.

Large pair $2,900. Rare smaller pair $2,300

Booth 602

Cats Cradle Glen C. Rollins

Booth 601

Nancy McCray

Cell: 801-361-9212 Tel: 801-374-1832 glencrollins@gmail.com rubylane.com/shop/catscradle

Tel:319-363-3936 | Cell: 319-651-6440

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1) 42” K&R Simon Halbig Head. Part of body repainted, set eyes. Ant. clothing. $3500. 2) 15” Porcelain/cloth body boy doll by artist Verena Eisling. All orig, ex cond, fully marked! $365. 3) Gotz LE 31.5” Miss Lily by Tara Heath YR 2000 orig, vinyl head, weighted cloth body. $500. 4) 30” Wax over Porcelain Susan Krey OOAK Doll YR1998 Tagged/Marked $775. 5) Gotz 26” LE Elisabeth Lindner Lorella, orig, vinyl head, weighted cloth body. $265. 6) 22” tagged French Heloise Poupees de Collection “Delphine,” LE#27/60 $1400. 7) OOAK by Anne Hieronymus, 19” Cinderella tagged and signed $1500.

Booth 603

Elizabeth Christensen

echristensen@woh.rr.com | 937-768-3126 lizsdollhouse.com

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1) 17” Sonneberg , incised 57 $1,950 2) 18” Kestner 180, Painted Eyes $2,995 3) 17” Tete Jumeau, Red Label $995 4) 9” Wrestler 102, All Bisque $3,250 5) Tin Carriage & 4” Immobile Baby $595 6) 4” Mignonette, All Bisque $1,895 7) 6-1/2” Baby Bud Googlie $575

Booth 604

Dolls of Chester Springs Tory-Beth Radwick-Hall 610-334-4734 | tradwick@aol.com

Antique DOLL Collector

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THE ONE THAT GOT AWAY

A Story of Annabelle

By Bradley Justice

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Young Alma dressed in a sweet dress made by her mother. Sadly no photo exists of her with her precious Annabelle doll. Annabelle’s wardrobe was vast and was stored in a paste board trunk.

I

grew up in North Carolina and when I decided to be a doll collector at age 11, I am sure it raised some eyebrows. A young boy collecting dolls wasn’t widely embraced by everyone, but one person did encourage it. My “Grandma” Lexie Crawford. She was always excited to see my recent finds and discoveries, tempering them with her childhood memories and memories of dolls she purchased for her three daughters. I should probably back up and let you know that Lexie Crawford was not my grandmother biologically. She was our neighbor, but she was just as much a relative as my own kin, and it was never questioned.

18-inch hard plastic Annabelle by Madame Alexander. Her name is embroidered on her sweater. The pink dress is a princess line dress and has a label that says Madame Alexander Annabelle, by Kate Smith.

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One day when Grandma Lexie was teaching me to sew (her mother had been a dressmaker and pattern maker at the turn of the last century), she shared the story of Annabelle. Annabelle was her daughter’s last doll that was brought by Santa in 1952.

The doll had been purchased at the famous “Sellars” department store in downtown, Burlington, NC, and that Christmas morning she sat under the tree with her cardboard trunk of clothing that she had made herself for the Annabelle doll, including some matching dresses for Annabelle and her daughter Alma. The story continued that when they moved to the house which was across the street from my parents, everything arrived but Annabelle. This went undiscovered for a while as Alma was a teenager at the time, and dolls were the last thing on her mind.

However, when it was finally noticed, it was a very sad day to think that Annabelle had been lost to sands of time.

Press photo of Kate Smith. She had a dynamic voice that led her down a successful path of albums, radio and even a television show.

Stories of Annabelle written by Smith is a charming and whimsical tale of a imaginative little girl. The illustrations were used as inspiration for the Doll’s clothing.

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Kate Smith’s Stories of Annabelle were published by TELL-WELL PRESS from Kansas City, Mo

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I knew that “Annabelle” was a Madame Alexander doll, at the time though, at age 14 or so, I had just assumed that “Annabelle” had been the name that Alma had given the doll. I didn’t realize she came with that name and was called after the character “Annabelle” in the popular children’s book of the time written by Kate Smith. Kate Smith, a famous singer who had a television show “The Kate Smith Show” on NBCTV coast to coast, was popular from the 1930’s -1960’s and is most famous for her rendition of “God Bless America.” She also turned children’s book author and in 1950 created Stories of Annabelle published

by Tell-Well Press of Kansas City, MO. Annabelle a whimsical character of a little girl who allowed her imagination to be

McCall’s Patterns for Dolls Clothes

as small as a bug, or a fairytale princess.

The illustrations were created by Bill and Bernard Martin, and were just as whimsical as the stories.

The Madame Alexander Doll Company, no slouch to realizing the importance of licensing, latched onto the name and created the Annabelle doll.

Smith, who loved dolls as well, was excited for the proposition. The doll had what collectors call the “Maggie face,” using a mold created by the Alexander company the prior year. Available in both 14-inch, 18-inch and 20-inch (and a few other rarer sizes including a 28-inch version in early vinyl.) The doll came dressed in a simple princess line dress trimmed with rickrack and a sweater with her name embroidered on it. The styling

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Pretty in plaid: this hard to find variation of Annabelle is wearing a plaid dress with her name embroidered on the collar. This is a 14-inch version.

was similar to the illustrations in Smith’s book. The combinations were in red and white, pink and aqua, red and navy blue, and turquoise blue and white. There is a 14-inch example wearing a plaid dress with “Annabelle” embroidered across the white pique placket. The doll was popular and came in a variety of ways including trunk sets with additional clothing and accessories. She was available for one year.

As a teenager, I hoped that one day I would find the lost Annabelle. Not just any Annabelle, but Alma’s Annabelle. Whenever I was at a doll show in North Carolina and I found a Maggie-faced doll with a trunk set of handmade clothing, I would carefully inspect for clues that could tie the doll to the description and story I had been told. Perhaps, with the sands of time, it had sifted its way through to collectors and doll dealers who would deliver the doll to me. Grandma Crawford passed away in December of 1992 and the lessons she 34

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had taught me I held close to my heart; and some of the things she had shared with me, the doll clothing patterns that she had used to make the wardrobe I treasured, were clues to help me one day find Annabelle. The patterns were McCall’s #1809 and #1717 and were popular models for that year and even mentioned Annabelle on the pattern itself.

After a few years of collecting dolls, you become a pro when you can determine what pattern was used to create a dress for a doll. I see a lot of clothing using these patterns, the coat is especially recognizable. The patterns that were gifted by Grandma Crawford are tattered and torn, but still have distinct images of the style for the popular dolls of this size.

One day at a thrift store about 30 minutes away from where I grew up, I discovered a trunk in the display case. Inside was a 14-inch Maggie Face Alexander hard plastic doll. This was the doll that was used for Annabelle. She was in nice condition, blonde and her trunk held a large variety clothing, mostly handmade. As I searched the trunk, I found the blue sweater with “Annabelle” embroidered on it. Could this be the one? Could this be the Missing Annabelle? I purchased everything and added to my collection, and I let my mind think that this could be the long-lost Annabelle. Years later, I would sit down with Alma and unpack the doll.

She wistfully looked her over, and held the doll tight to her chest as if to give her a hug. But as she looked into the doll’s face, she let me know that this was not “her” Annabelle, though for a split second the Christmas morning memory of receiving her was flooded back to her mind. A memory that she had not felt in a long time. Alma let me know how she wistfully watched her granddaughters playing with their American Girl dolls and told them the story of Annabelle. “Annabelle was the IT girl, she was a member of the family, she was treasured which is why I think I was so heartbroken when she vanished.”

So, my search will continue. Every time I see a vintage Alexander doll with a handmade wardrobe, I pause to think of the hands that taught me to sew may have created their garments. It is comforting to know that so many talented grandmothers, mothers and friends made wardrobes of wonderful clothing that was enjoyed by many. I am sure whoever has Alma’s Annabelle treasures it. Alma now has a replacement Annabelle that is the same as she had as a little girl, each glimpse of the doll is a walk down memory lane. It may not be the same doll, but she still carries memories of life in the early 50s.

I love a search, and I am constantly on the hunt for a variety of things that may not exist any longer, but it’s the hunt that keeps us going. I am reminded of one of Kate Smith’s famous quotes, “And when all is said and done, there is no greater success in the world than just being happy.”

Illustrations in the Stories of Annabelle book are by Bill and Bernard Martin and have a flair that is steeped with fantasy and idealized “fairy tales.”

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One Collector’s Vision Unearths a

Unique Doll From the Past By Monica Bessette

W

hile reading my original Izannah Walker research notebook in early 2018, I found a name that sheds light on the history of the Reuben Bates doll face mold, and how it came to Rhode Island Historical Society (RIHS) in 1987.

I remembered making note of the name during my first meeting with the Registrar, but my main focus that day was studying the dolls themselves. RIHS had three Walker dolls in their collection at the time; they were all different, but amazingly all the same.

Dolls as they appeared in 1887. Donated to RIHS by: Left, Eloise McCrillis; Center, Unaccessioned; Right, Mrs. Dorothy Tetlow

It was exciting—and terrifying, knowing their historical value—to be able to handle and study them, trying to absorb every detail for comparison, and write it all down for future study.

While waiting for her to retrieve the three dolls, she let me check out a new acquisition—a two-piece iron mold of a doll’s face attributed to Reuben Harlow Neal Bates, ca.1850.

This was the actual Bates mold featured in my favorite doll book, Your Dolls and Mine, A Collectors Handbook, written in 1952 by doll historian and collector Janet 36

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Pagter Johl. It was so similar to a Walker doll, with one eye smaller, a defined nose, and a crooked little smile.

The name hastily scribbled in my notes, taken from the acquisition record, was Margaret Elvin, and she sold the two-piece Bates mold to the RIHS shortly before my initial visit in 1987.

Years after seeing the molds at RIHS and researching the Walker/Bates connection, I finally located her name again and needed to find out quickly how she acquired it.

Knowing nothing about Margaret Elvin, I anxiously searched the web. Thirty-one years had passed. Could I possibly locate her?

My heart sank when Margaret T. Elvin’s obituary turned up on a Massachusetts newspaper’s website.

Undoubtedly written by loving family, the obit gives the highlights of this multi-talented woman’s life.

It was impressive to read she was a trained pianist and vocalist; piano teacher and choir director; quilting instructor; and advocate for the Council on Aging later in life. She and her husband Arthur collected antique postcards, but most important from my perspective, she also “collected antique dolls and made clothing for them.”

Fortunately, her obit also read, “She leaves a son, the Rev. Peter T. Elvin . . .” I was off on another search— this time successful. I phoned Rev. Elvin, hoping he’d be willing to speak with me, and able to share any information about how his mother came to own the Bates mold. I’m so glad I did!

Peter Elvin, a retired Episcopal priest, related how his mother Margaret would gather with fellow Rhode Island friends and doll collectors, Lila Singsen and Mrs. McCrillis to “do dolls,” as he put it. He was 8 to 10 years old at the time, so he went along with his mom. This would have been in the mid-1950s. He recalled being impressed by Mrs. McCrillis, who was much older than his mother, arriving at their gatherings at the Singsen home in a chauffeur driven limo.

I immediately recognized the name as Mrs. Arthur McCrillis of Providence, RI. Her name appeared on another acquisition record I saw the same day as the mold. It was for an Izannah Walker doll donated to RIHS in 1961.

A group of Izannah Walker dolls from the collection of Mrs. William Brand, Mrs. Arthur McCrillis, and Mrs. Edward Singsen, all of Rhode Island. Photo from Your Dolls and Mine, A Collector’s Handbook, 1952. Mrs. Eloise McCrillis’ Walker dolls were Clara, fourth from the right, and Izannah, third from the right.

Mrs. Arthur McCrillis’ doll named Izannah was one of the three original dolls I studied in their collection that fateful day in 1987. Her doll appears in a 1950s Walker doll group photo, also featured in Your Dolls and Mine.

The record notes the doll’s dress was “redesigned by former owner,” Eloise Halsey Brown McCrillis.

In my excited state, trying to ask Mr. Elvin all I needed and wanted to know about his mother Margaret, he asked, “Wouldn’t you like to know how she came to have the mold?” Good question. . . glad he asked!

He remembered the original “Bates” doll and the twopiece iron mold from his visits to the Singsen home. He remembered the head being about the size of a baseball (about 9 inches in circumference). I bet he was dreaming of playing baseball during these dolling sessions!

He wasn’t sure how his mother Margaret acquired the mold from her friend Lila Singsen, but the original doll was not included.

With just the mold (no doll or pattern for the body and limbs), Margaret experimented to produce a head. She used the head to make a finished doll, and made clothing for her as well.

Mr. Elvin suggested this may have occurred in the late 1960s, while he was away at college, or even earlier.

He can’t say for sure. He also didn’t know if his mother’s doll still existed, but he’d make an effort to find out.

As Izannah’s own doll-making skills progressed, she set out to improve her construction techniques. She needed a pattern-maker to turn her modeled heads into the metal dies she’d use going forward.

If her first doll—which I believe was a stockinette soft-sculpture—was made in 1848 for her niece, Mary Helen Smith, and her 1850s dolls have molded heads, it stands to reason that this occurred by the early 1850s.

Reuben Bates was listed as early as the 1836/1837 Providence City Directory as a pattern-maker, which was a skilled trade. It was a natural career progression for someone, like Reuben, who started out as a carpenter.

I firmly believe Izannah Walker commissioned Reuben in the early 1850s to cast the dies for her prototype pressed-head doll, then later commissioned him to cast dies needed to make her dolls in a variety of sizes, etc.

I can’t imagine a fully employed pattern-maker for one of the most successful stove manufacturers in the area deciding to make dolls as a sideline.

How could Izannah have met Reuben Bates?

• Wheaton Bragg and Reuben H.N. Bates were both listed as house carpenters in the 1824 Directory of Providence, RI. They were most likely acquainted through their trade.

• Mary C. Bragg, whose friendship would mark a pivotal point in Izannah’s life, was living in 1824 in the Providence home of her father, Wheaton Bragg.

Did she meet Reuben through her father?

• According to the 1850 Cady Directory of Streets, Mary Bragg lived alone at 60 George St., Providence, RI. She was the only surviving member of her family.

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Reuben H. N. Bates mold and doll named Susie, according to Lila Singsen. Photo from Your Dolls and Mine

• Izannah was in Providence in 1850. A letter posted to her eldest half-sister in December states, “I went to Somerset a week or two after you was here. . .” She was in Somerset in September for the 1850 Census, so she must have left for RI between September and December.

• I believe Mary, who was 11 years older than Izannah, sponsored her move to Providence from Somerset; Izannah being a single woman with no visible means of support. They both had family from Somerset/Swansea, MA, including some inter-family marriages.

• Reuben Bates also lived in Providence in 1850, working as a pattern-maker for Barstow Stove Mfg. Co. • Did Mary introduce Izannah to Reuben when the need for a pattern-maker arose, or did they meet through shared interests?

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Reuben and Amey Bates had seven children from 1831 and 1842: six sons and one daughter. Sadly, by 1845, three sons and their only daughter had died.

In 1848, however, new hope was born in a baby girl they named Susan Angell Bates. Angell was a family name, but I bet they thought of her as their little angel.

She was their only daughter in a family of five children who lived to adulthood.

The original “Bates” doll may be one of a kind— Izannah’s prototype. No one has ever come forward with information about whether any others were made or sold.

This same doll could have been given by Izannah to Reuben for his daughter as a gesture of appreciation.

She’s about 18 inches tall and a little rough around the edges. It seems she was named after Reuben and Amey’s daughter, so if you happen to find her, her name is “Susie.”

Update On Margaret Elvin’s “Bates” Doll Peter Elvin emailed last November to say he found his mother Margaret’s doll tucked away in a seldom used bureau. He also attached a photo. What a thrill it was to see her after all these years, and know she was lost no more.

In a particularly bold move for me, I asked if he’d ever consider selling her to someone who truly appreciates her for what she is. Someone who knows her historical significance and her special place in Rhode Island’s doll history and Izannah Walker’s story. Someone like me???

He promised to contact me after the holidays. He needed to seriously consider it. I waited patiently—well, more like anxiously—but he did reconnect in January.

He consented to sell her to me, and the little doll I’ve named Maggie, in honor of her creator, Margaret Elvin, arrived at her new home in late January, 2020.

ABOVE: 18” Maggie, named in honor of her creator, Mrs. Margaret Thurston Elvin BELOW: A reflective Maggie thinking, “Ahhh, it’s such a comfort to be out and about again.”

Maggie’s dress is a 20th century creation, but her underpinnings are period, handmade drawers and petticoat.

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ABOVE: Referring to this original two-piece “Bates” mold, Janet Johl writes, “This mold is most unusual and interesting for it is of iron and therefore very heavy. One half fitting firmly and tightly on to the other, pressed the features and head into the desired shapes.”

RIGHT: At first glance, the two iron dies that make up the “Bates” mold don’t seem to be a matched set, but Maggie’s actual face, made from this very set of dies, makes it possible to visualize how the doll maker, using a mismatched set of dies, achieved a face and head that appear to turn to the doll’s left.

Margaret made her doll’s head and shoulder plate out of stockinette. From what I can tell, the rest of the body and limbs are made from a tight-weave cotton. She painted the face and body, then coated it with what appears to be varnish. This final step preserved the overall appearance of the stockinette and prevented it from cracking or splitting.

Studying the pair of original iron dies side by side, and comparing them to Maggie’s actual face made from the mold, you can see the die on the left forms the inside base, and the die on the right, which is slanted to the side, forms the outside, front-facing part of the face.

It doesn’t look like they’re a matched set, but from seeing the actual doll, it’s possible to visualize how the doll maker achieved a face and head that appears to turn to the doll’s left.

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The RIHS’ accession record lists the individual dies separately as “Male Doll Head Mold” and “Female Doll Head Mold.” However, they’re male and female in the technical sense, where the male fits into the female, and the two parts create one pressedmask face.

Many thanks to the friendship between Eloise McCrillis, Lila Singsen, and Margaret Elvin; the pages of valuable illustrations and information about Izannah Walker’s goals and aspirations gathered and documented by Janet Johl; and one man’s willingness to share pleasant memories of childhood days spent with his mom and her friends.

Sharing our varied collections is what it’s all about. We have a much better understanding and appreciation of how a few collectors with common interests can make such a difference.

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The Art of

Sewing

By Debbie Bigness

he F.G. French Fashion was exquisite – her hand sewn gown in embroidered emerald silk accenting her tiny waist and the flowing bustle. My complimentary remarks to the owner were countered with “you could do this, Deb.” Was she talking to me? Surely, she didn’t know me.

Me, sew? When our daughters were growing up and needed pants hemmed or a button sewn on, they went straight to my husband. My husband swears that it was simply a matter of survival learning the basics of sewing and growing up in a family of nine. But, I didn’t grow up in a family of nine – or, with a mother who knew how to sew.

My only sewing attempt was in my junior year of high school during talent week. In the early 1970’s our Catholic school dedicated one week a year to talent week – a week where we had the opportunity to share a talent (by teaching it) with our peers. I taught yoga every year during talent week. My classmates Kathy and Kay (they were twins and excellent sewers) taught basic sewing. Our project was a simple cotton “crop top.”

Honest, I paid attention. I toiled over that basic pattern, nervously challenged myself with a simple seam on a sewing machine, and proudly presented my teachers with my attempts at a crop top – one sleeve larger than the other, elastic failing to support the neckline, and an uneven hemline.

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16” Simon and Halbig Belton shoulder head on leather body wearing hand sewn outfit – material from an antique Victorian skirt.

17” doll marked “H 1” wearing handmade dress and caplet with gold braid trim with additional hand sewn dresses.

And here I was, being challenged once again to attempt what I had so pitifully failed at 38 years ago – sewing. Helen was joined by Holly in their encouragement. Delores chimed in, stating that anyone could learn – they would help me. These were three of the best seamstress in our doll club. Could I really learn to sew for my dolls?

I started my research with a basic instructional sewing book from the 1970’s (kind of ironic in a way.)

The women in my club suggested Bleuette patterns as the simplest to begin with. They went over the basics of pattern interpretation (A is sewn to A on the other pattern piece, and so forth.) I progressed from Bleuette patterns to Victorian French Fashion designs. Trust me, there were quite a few projects that resembled my high school crop top – and were greeted with conciliatory laughter by my doll club peers. And the sleeves – oh, how I struggled with those tiny, little sleeves.

Eventually, practice was the motivator for “as-close-toperfect” as I was going to get. I never did get comfortable with the sewing machine, preferring hand sewing to the menacing trill of the sewing machine needle. Fortunately, the diminutive size of doll clothing lends itself to hand sewing anyway.

1880’s embroidery practice quilt.

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Three Alice Leverett costumes found at an estate sale incomplete and finished by me.

Five hand sewn doll outfits looking for a doll to dress.

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There is a certain comfort in sewing. A supreme satisfaction in the finished project. I was taught by my doll club members what fabric to look for – cotton, silks, satins, wool – and the fabrics to stay away from – polyester, nylon, synthetics. Natural fibers when put to a match burn into ash, synthetic materials melt. Vintage fabric was preferred; as well as vintage trim, buttons, and thread. I have always loved estate sales (and who doesn’t) and began my search for the desired fabrics and trims. Full Victorian slips flaunted the pleating I was not capable of reproducing and the antique lace needed for my feminine accents. Victorian shirtwaist provided the fabric for their dollie-sized copies. I scoured flea markets for the tiniest antique buttons – with antique metal buttons being the score of the day!

Numerous local auction houses supply my doll fever with weekly opportunities. I am known as the “doll lady” amongst the auctioneers. When I added vintage clothing and sewing supplies to my auction wish lists, the auctioneers would actually guide me to clothing lots that may be of interest at the previews.

Many of them would greet me at the auction previews with small gifts of lace and miniature buttons that were too small or insignificant to put into an auction lot. My heart smiles whenever I take these items out and incorporate them into one of my sewing projects.

I usually bring all of my sewing projects – good and bad - to my club meetings for my peers to examine. Trust me, I still have only basic sewing skills so the first comment out of my mouth is “please, do not examine the sewing too closely.” They realize the limitations within my sewing attempts but, cheer on my efforts. If the blouse has a pleated front, they know that I have wisely reused the pleats from a Victorian slip. Doll slips with lace inserts are again the product of a repurposed antique slip. Rouched plastrons are garnered from full-sized Victorian plastrons. One entire jacket with matching skirt for a 13” Belton was reimagined from the single sleeve of a Victorian jacket. Once, at an estate sale of a former doll shop owner, I acquired three partially-sewn Alice Leverett outfits. The basic dress has been started with all of the required trim present. However, there were no instructions. I went online and was able to discover photos of each outfit – completed. Using those photos as a guide, I hand sewed each outfit, hat, and accessories. I display them with pride in my doll room on hand made mannequins.

I have accumulated a library of doll-related pattern books. Often, I will peruse three or four books in one evening before choosing 2 or 3 patterns. I use artist tracing paper to copy the patterns and then place the pattern pieces in labeled manila envelopes. More likely than not, I will sew a dress or outfit because of the allure of the intended outcome – not because I actually have a doll the item will fit. My doll club members have come to expect that I will be bringing the outfit on a mannequin – and not on a doll. I have, however, sewn numerous trousseaus for dolls in my collection.

13” Belton dressed in a hand sewn outfit made from the sleeve of an antique shirt waist

A hand sewn dress and nightgown made from antique slips.

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When hand sewing a doll outfit my thoughts usually stray to those young girls 100 years ago muddling their way through the patterns and stitches so that their dollies could have their personal wardrobe. I am sure that my “expertise” at sewing is most likely on the par with most 10 -12 year olds from that time period.

Looking back at the history of the art of sewing, it amazes me that sewing machines have only been available since 1860. Isaac Singer was the first manufacturer to introduce the installment plan – allowing home sewers to purchase

11” Simon and Halbig wearing a hand sewn outfit and riding an 1890’s toy horse with working cryer.

a sewing machine with monthly payments. Prior to that, clothing was hand sewn. Pret-a-porte clothing – premade garments for sale - have been available for centuries, with the upper class depending on professional seamstress for their elaborate clothing. Lower and middle class families depended on the females in the household to hand sew their clothing; premade clothing wasn’t affordable to them. Thus, the importance of dolls and patterns for the future homemakers of this pre-industrial revolution time period.

Reproduction Bleuette with my first attempts at sewing for my dolls

16” Bru wearing original dress with 2 additional original outfits on the left and 5 hand sewn outfits on the right.

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16” with five outfits hand sewn by me.

Home sewers thrived in the early 20th century, providing their families with affordable fashions thanks to the prevalence of patterns and everimproving sewing machines. However, home sewing drastically declined after World War II due to the affordability of “off the rack” clothing.

Unfortunately, where home sewing was once a necessity, it has now become a hobby.

The majority of my doll club members who sew are a decade or two older than me and grew up in a household where 16” Bru with three original outfits. home sewing was the norm. Their expertise with their children’s clothing has developed into a passion for their antique dolls. I will never attain their level of expertise. I am grateful that they encouraged me to try my hand at sewing for my

dolls. It gives me indescribable pleasure. However, as my doll peers age and we lose the beauty in their ability to create sewing masterpieces, I wonder what the future holds for the art of sewing.

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Maryhill Museum of Art Courtesy of MMA

The “Theatre de la Mode” and its Journey to Washington State

By Mary Senko

A

s a young woman leaving Idaho to head west for a job following college graduation, I ended up in Central Washington to teach for several years. I spent many weekends exploring the region, looking for opportunities to learn about the history of the area, and discover hidden treasures. One can always find diamonds with a sandwich, a tank of gas, and cup of coffee for fuel. While on a weekend excursion, much to my surprise, I found Sam Hill’s Maryhill Castle, which is now the Maryhill Museum of Art. I was astounded to view the Maryhill Castle on a lonely cliff, high above the Columbia River with only the small community of Goldendale to the North of it. How in the world, or as many would say, “where in the Sam Hill,” did this museum come from, and why here? It is this Castle in a desolate area of Washington State, where our story begins. We travel a winding road, much as the great road builder Sam Hill did, to the Queen that christened it, the Sugar Heiress that ultimately exerted her influence on friends to help fill it, and one of the most significant groups of Haute Couture fashion dolls (mannequins) in the world’s history, that are held inside it’s concrete walls.

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Sam Hill was the visionary behind building the Maryhill Castle in South Central Washington. (See sidebar) Sam built a business and began development, but that was stalled by limited roads and supplies, and the advent of WWI. To keep his businesses running Sam traveled non-stop, and on one of his trips he became acquainted with Loie Fuller, an exotic dancer, performer, and artist in Paris. Through his friendship with Loie, and her imploring him to help in the WWI effort, he was drawn into helping with the War effort and providing aid to Queen Marie of Romania. Sam had met Queen Marie, who was descended from Czar Alexander II of Russia and Queen Victoria, while selling railroad bonds for the Great Northern Railroad, prior to WWI. Sam was mesmerized by her and became determined to help Romania during WWI. Sam would travel to bring aid to Marie, her troops, and her countrymen, providing supplies, hospital equipment, and food.

Another American, Alma Spreckles who was a friend of Sam’s, joined the effort. Marie, overcome with gratitude, would never forget Sam’s friendship, or that of Loie and Alma, during the Great War. She came to the Castle

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Queen Marie of Romania in regal splendor

Queen Marie’s Gold Room, Courtesy of Maryhill Museum of Art

in 1926 to christen it the “Maryhill Museum,” amid the excitement of thousands that flocked to the Castle to see a “real queen.” Over the years Marie sent many artifacts, treasures, gowns, Rodin’s, her Gold Room and personal mementos - until she died in 1938.

By the late 1930’s, the Depression having hit the West Coast hard, Sam Hill’s Mansion in Seattle lay shuttered, the Museum having few visitors or exposure in South Central Washington and little support, as WWII was raging in Europe. Focus fell from the Museum. It was Zola Brooks, and his cousin Edgar Hill, who joined together to carry on the vision Sam Hill created for a museum of “hope, friendship, and beauty.” They wrote and communicated to each other to keep their spirits rallied and carry on their mission. They were aided by

Queen Marie, and continually wrote to the “Friends of Sam,” to gain support and artifacts for the museum. They reached out to many wealthy friends of Sam Hill, “It’s up to us now,” they both would say, and they did indeed hold the museum together.

Now our story takes another interesting turn….

The Theater de la Mode was a vision for something of “beauty and hope” by the Fashion Designers of Paris.

The Theatre concept emerged as a thing of beauty and splendor, and ultimately would represent the hope of survival of the fashion industry in Paris after years of occupation, deprivation and the ravages of war. The Theater was created in 1944, following the Liberation of Paris from the combined efforts of Haute Couture houses that had been devastated during years of occupation

Vista Overlook of the Gorge – Sam Hill considered this view the most impressive he had ever seen. He felt he could see forever”, Maryhill Museum of Art

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A Paris street scene with smart suits and lovely smart dresses

during WWII. The French Resistance was not the only “resistance” that occurred in France during WWII. French designers stood together against the Nazi’s efforts to “steal the heart of fashion” from Paris. Fashion was not just a part of the cultural dynamic; it was a critical part of the economic vitality of Paris and France. The designers knew that they had to hold onto this “national treasure” as they would need it after the war to return Paris to the “City of Beauty” that it had once been. Couturiers fled occupied France during the War, closed their businesses, and refused to be forced to relocate to Berlin, which was the dream of Hitler. Cotton, silks, and thread, were in short supply, and the Nazis further reduced quantities by seizing all they could. Hitler directed his troops to round up the important designers and move them to Berlin and Vienna, but the French resisted their efforts and refused to be moved. Lucien Lelong, President of the Chambre Syndicale de la Couture Parisienne, proclaimed, “It is in Paris or it is nowhere!” Nearly 70 of the couture houses banded together and vowed to somehow revive and recreate, “something from the ashes,” that had become their industry. They could take “everything from us,” but they could not “take our vision and our dreams.”

Having few resources, the fashion designers toiled in rags and burned out buildings, and pulled together to 50

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Designers used fabrics and created self trims, pleating techniques and more to create new design using fabric pieces they had available

find fabric, supplies, and materials, to create a “Theater of Fashion,” to share with the world! They engaged artists to aid in their effort to revive the industry, and all of Paris pulled together with the hope of creating something magnificent. While the War still raged, many Parisians wore tall hats made of paper, wood, discarded items, anything, to encourage one another and rally their spirits each day as they walked among the ruins. One can only imagine the despair around them and marvel at their strength and courage! “Haute Couture would rise again” they pledged, and they kept their dreams and hopes alive. The firm resolution of all those in Paris to do something to aid in War relief, combined to inspire even the shoe makers, milliners, and others to join in the goal of creating the “Theatre de la mode” as it was eventually named. They talked, dreamed, created, and their vision would pull together Paris to revitalize the center of fashion, and breathe life back into the city after the destruction from the war.

The first step was the creation of 1/3 sized mannequins or “Fashion Dolls,” with wire armature that could be dressed and posed in fabulous costumes.

The wire forms were made from clothes hangers, which became brittle over the years, with only the heads having a shape from crushed plaster, wood chip and

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Evening Glamour in Red,Black and White

paper scraps. Houses such as: Nina Ricci, Balenciaga, Germaine Lecomte, Hermes, Philippe and Gaston, Madeleine Vramant, and many more, used scraps of fabric and their labor of love to create miniature garments for these “Fashion Dolls.” The dolls, which were really mannequins, were dressed in beautiful couture outfits with wonderful “up to the minute” accessories that were all hand crafted. In order to save on supplies, the designers made detailed self- fabric buttons, fabric belts, and utilized every available piece of fabric in new ways with pleating techniques and draping to maximize the design and breathe new life into fashion. Having only scraps to work with, it made sense to dress smaller “dolls,” rather than create large human sized outfits to send throughout Europe and America. Milliners, leather workers, cobblers, and more, joined the efforts to design miniature accessories to accentuate the fashions from the top houses in Paris.

Local artists became enthralled with the idea, and joined in to paint elaborate backdrops to make the mannequins appear to be in street scenes. French cafes, parlors, cabarets and parks were all painted and sculpted to show the beauty of Paris and create a vision of Paris, or

Every design detail was considered from the self fabric covered buttons, belts, and matching hat and shoes

the one the designers knew would once again emerge.

When completed, one set toured Europe with the dream of bringing hope and beauty back to the war ravaged continent, and one set was sent to America.

The “Theater de la Mode”, was exhibited in museums, galleries, and department stores. It was an instant success. When it hit the New York Museum of Art, after the long years of rations and fabric shortages, the public was thrilled to once again see beauty and feel the swelling of inspiration and dreams of fashion. After years of reporting on the horrors of war, journalists clamored to see the exhibit and reported on the inspiration that the mannequins represented. The first exhibit brought 100,000 people out to see it! The sets toured America, stopping in major metropolitan centers to be viewed by thousands. Fashion events were established around the mannequins, fashion shows and fashion features in major magazines and papers were all developed around these mannequins. In the marketing style of American business, the fashion industry started to return. Women were hungry for fashion and the hope of gaining ideas to create or purchase beautiful garments for themselves.

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Martial & Armand label sewn inside the red and fur stole garment

Behind the scenes setting up one of the mannequins

When the tour ended in the last department store, in San Francisco, the “City of Paris Department Store”, no thought was given to the “dolls’” long term historical value. Their value had been realized in millions of francs that were sent to Paris for War Relief, and in fashion inspiration. They were boxed up and stored in the basement. The money that had been raised from the tour was sent to Paris, and the entire grouping of mannequins languished in that store basement. They stayed there from 1945 to 1952, slowly deteriorating. They would have stayed and decayed, had not another visionary stepped forward to save them, and ensure their survival.

City of Paris Department Store, San Francisco Chronicle, 1920’s

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Inspiration for one of the Designs Robert Tonner created for the 2002 UFDC Convention.

It was the sugar Heiress, Alma Bretteville Spreckles, one of the benefactors of the Legion of Honor building in San Francisco, philanthropist, and a long-time friend of Sam Hill’s, that saved the mannequins and donated them to the Maryhill Museum. “Big Alma,” as she was known to many in the San Francisco Scene, was a “Friend of Sam’s,” and had worked with him to aid Queen Marie during WWI. Alma, along with Zola Brooks, worked to secure items for the museum and kept a hope alive that the museum could flourish as one of the legacies of Sam Hill, and a beautiful “vision splendid,” on the high banks of the Columbia River.

Many years after the mannequins had toured the U.S. Alma

City of Paris Department Store Label, Wikipedia.com

May 2020

4/8/20 10:53 AM

Le-Jardin-Marveilleux courtesy of Maryhill Museum of Art

learned they were in the basement of the City of Paris Department Store, and the store was slated to close. Alma, quickly realized the historic significance and value of the Theatre De La Mode, and thought it only fitting to rescue the mannequins and get them placed on permanent exhibit at Maryhill. The backdrops were lost in the department store basement, damaged and broken, but nearly 150 mannequins and their accessories were saved.

Today, under the watchful eye of Anna Goodwin, Director of Collections, they are carefully stored in the Museum and continue to be rotated for visitors to see.

Many doll collectors and fashion students have visited the Theater de la mode over the years, and one more visionary, Robert Tonner, learned of the mannequins and made his way to the remote Castle location to view them near the end of the 1990’s.

Tonner, a talented and creative Doll Artist, Fashion Designer, and creative genius, was inspired by the mannequins and imagined them on display once again.

His concept was to utilize them as the creative piece behind his UFDC 2002 Convention dolls, and incorporate some of the mannequins into a special exhibit during the UFDC Convention. He aided in the mannequins being sent to Paris for refreshing, then returned them to their purpose of promoting “beauty and fashion,” but this

Close up of Le-jardin-Marveilleux

time exhibited at Convention. Robert Tonner created a beautifully bound book and Journal for the Convention, and a select number of mannequins made a splash with their inspired designs.

For doll collectors and doll clothing enthusiasts the mannequins remain a source of inspiration and are an important piece of history. It is to the credit of Sam Hill, Loie Fuller, Queen Marie of Romania, Alma Spreckles, and Robert Tonner that we can still see these beautiful fashion “doll” mannequins and revel in their history today. The Museum remains a treasure on the hills of South Western Washington below Goldendale, and a short trek from Portland, OR up through the Columbia River Gorge.

Credits: Anna Goodwin, Director of Collections, Maryhill Museum of Art; Maryhill Museum of Art History, and DVD Theatre de la, Documentary, Telos Productions and Transatlantic Video, 1991 Kent State University.

Copyrighted, all rights reserved, available through the Maryhill Museum of Art Mary Senko is a member of the UFDC Membership Committee, is Past President of the Tacoma Doll Club, Immediate Past President of the Seattle Doll and Toy Collectors Club, and member in good standing with the Carmel Doll and Toy Study Group.

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4/8/20 10:53 AM

Sam Hill

20th Century Visionary and Adventurer

S

am Hill: Lawyer, created many hardships in the Entrepreneur, Builder and early twentieth century for him.

Visionary, born to Quaker Building the Castle would take parents, grew up to become a years, and after nearly $100,000 powerful lawyer and businessman. in road building efforts, supplies As a lawyer, Sam defended land were finally able to reach this rights against the infamous James desolate area, but the building J. Hill the infamous Railroad stalled with the start of WWI. Tycoon of the Great Northern Sam, who traveled continually, Railroad, and won numerous was a master at developing verdicts against Hill and his friendships far and wide, but company. Though they were wasn’t a master at married life. on opposite sides in court, J.J. His wife Mary took the children respected “the young upstart,” and “to be educated back east,” and they became friendly. At dinner left for Minneapolis rather than Samuel Hill, as depicted in with J.J. and his family, Sam caught be left at home all of the time.

Sunset, The Pacific Monthly, 1913 the eye of J.J.’s daughter Mary, they Sam headed to Europe again to married, and Sam stepped into the “family business.” be with friends, and during one of his trips became He went to work for J.J. selling Railroad bonds, traveling acquainted with Loie Fuller, an exotic dancer, performer, for the 1st of many times to Europe, to sell to royalty, and and artist in Paris. It was his friendship with Loie, and amassed a fortune at a young age. her imploring him to help in the WWI effort, that he was Commerce and the burgeoning economy in the “Lumber” town of Seattle drew the interest of Sam Hill, and the opportunity to build an “Empire in the West,” had great appeal for him. Sam took his new wife Mary and his fledgling family, and headed to Seattle where he proceeded to establish the Seattle Trust Company. Sam met Zola Brooks, who became a faithful friend and his attorney, and with his aid Sam achieved another one of his goals to be his “own boss, and build his own major company.”

It was during this time of growth and prosperity that Sam, an avid adventurer found what he considered to be the Promised Land - in South Central Washington. It was here that Sam determined he would build a castle, which he named “Mayhill”, and prosper in this region that had “rich soil,” and an “abundance of opportunity.” Sadly, this is exactly the spot where hardship hit, as the region required irrigation to produce the “Garden of Eden,” that Sam envisioned, and the difficulties in traveling to the area combined with irrigation engineering issues

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drawn into providing aid to Queen Marie of Romania.

Loie introduced Sam to Queen Marie, who was one of the last of the true Royals, descending from Czar Alexander II of Russia and Queen Victoria. Sam would travel numerous times to bring aid to Marie, her troops, and her countrymen, providing much needed supplies, hospital equipment, food and aid. Marie never forgot his friendship and his help and support during the Great War. She remained a faithful friend to Sam Hill until her death in 1938. It was Sam’s ability to build friendships that led to christening Maryhill Castle as the Maryhill Museum by Queen Marie in 1926, and the donations of large parts of her estate including her Gold Room, Receiving Chair, Royal Gowns, Rodin’s, and more, that contributed to the start of the Maryhill Museum Legacy.

Alma Spreckles, another great philanthropist and “Friend of Sam’s” also aided in the building up of the collections at Maryhill and is credited with saving the Theatre de la Mode from complete destruction when the City of Paris Department Store Closed in 1952.

May 2020

4/8/20 10:54 AM

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METAMORPHOSIS François Theimer shares the secrets behind a fascinating 17th Century French court pastime

I

t was some time in the 17th Century, probably between 1676 and 1678: There was, at the time, a popular fashion in high society for the commissioning and collecting of miniatures as portraits.

It was this trend that inspired a certain ingenious Parisian artist, a Monsieur Savin.1 Savin had an idea that lead him to invent a charming game, a new and precious amusement for the courtiers. He called his highly original creation, Metamorphosis.

His idea was to create a portable game, a kit really, which allowed the players to transform, or metamorphosis, faces and images. The kit used overlay sheets which could transform miniature portraits in the same way that mythological creatures were thought to metamorph. Savin’s kit consisted of fine sheets of mica which were added onto miniature portraits painted on copper sheets by himself and representing his clients, then placed in an oval wooden or metal box, covered in leather with a catch or hook, all designed to be taken on trips, in order to while away long carriage travel hours.

There were several reasons for this amusement being invented at this particular time: • The court of 17th Century France was seeking new and artistic amusements.

• They traveled more and wanted ways to while away the time in their carriages.

• Miniatures portraits were then becoming popular.

• There was a passion for mythology and tales of gods transformed.

At the time, French society was reading translated versions of Ovid’s Metamorphoses. (This is a fifteen-

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volume verse about mythology of the gods). It influenced people’s minds and tastes, introducing new literary tendencies, as seen, for example, by the “Precieuses” trend led by the hosts at the Rambouillet Hôtel, a group which included several famous poets of the time.

These amusing objects, part of the game we are discussing, whose true meanings have almost been lost over time, can appear childish in a modern context.

But, think about the circumstances in which a person used them - to play alone on a journey in a carriage or sedan chair or even on a boat. And, one could also play with other people. If two people played, they could independently play the roles of men and women, each having their own box of “metamorphosis.” Such an amusement fits perfectly with the refined contemporary society that was entertained by the likes of Moliere, Corneille and Racine.

The success of M. Savin’s invention was relatively short-lived, and there are no known portraits dated after 1689. But, in that brief period, many games were made, allowing several examples to be preserved to this day.

The personal nature of the miniature portraits has aided in their conservation. Many have been passed down from generation to generation as family heirlooms from three hundred years ago. Unfortunately no written texts, contemporary chronicles or memoirs have been found to mention these objects. In fact it was not until the 19th century that they are first mentioned.

Since which time these objects have not been extensively discussed by any of the specialist magazines.

Over the past few years, a model has appeared here and there without the published articles furnishing any further details.

The genius of Mr. Savin was that when he created the game he used mica, which has translucent layers, to make the overlays for the painted miniatures, and thus the images could be transformed, morphed, into other images by the players, rendering it synonymous with disguise or travesty: that idea has passed into the language - the verb ‘to travesty’ can now take an abstract form, for example a “travesty of the truth” can mean a lie.

The leather box containing the Metamorphosis and the mica sheets.

In 1888 Edouard Garnier wrote about some extraordinary amusing objects known as Miniature à transformations in the ‘Magasin Pittoresque.’

Thin sheets of transparent mica, which are now much used in industry, notably in military marine buildings whose glass windows shattered under artillery reverberations, were used at the end of the 17th century by an ingenious artist to create an amusement for young ladies which our modern manufacturers have perfected.1 A woman’s portrait was painted on a little oval copper plate clothed à la française in a ball gown.2 This portrait was kept in a flat box that also held a large number of extremely fine mica sheets, upon which were painted a variety of accessories and costumes cleverly arranged so that when placed over the portrait its costume, nationality, even its sex can be transformed, without the mica being visible due to its total transparency. These transforming miniature portraits are extremely rare today. They are the precursor of those little paper models that can be dressed in a thousand different ways that our children know as paper dolls.

The art of miniature portraits, whilst starting in the 17th century, was developed largely in the 17th. It enabled one to carry the portrait of a loved one or family member, lovers had themselves painted in miniature (1760 in the Trévoux’s Dictionary). Miniature paintings were also made in the same style depicting, for example, a favorite dog or a celebrity past or present. The French Academy did not accept the term miniature until 1762 when it was followed by the following note: ...Normally pronounced ‘mignature’. One sometimes calls a painter of miniatures a miniaturist, (Dictionnaire des Arts et Métiers by M. Fournier) This almanac, dating to 1676, shows someone holding a miniature de voyage (travel miniature; see detail in the engraving). It is unfortunately not possible to see if it includes mica. It is none-the-less the only known engraving proving the existence of these objects. This article is illustrated by an engraving that shows one of Mr. Savin’s Metamorphoses.

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There are two sizes: 9 cm for the larger model and 7 cm for the smaller model. They are uniformly oval in shape and close with a hook or press-button. By far the majority portray women but Metamorphosis portraying men do exist.

The examination of a lot of Metamorphoses over the last forty years, in France and elsewhere in the world, has allowed me to note that the large majority are made of copper, including the small models, but that there are exceptions - one example also contains a mirror. This is the most elaborate model currently known.

• All the boxes are covered in leather, which is either embossed or gilded or decorated with studwork.

• Different series can be recognized based on a single model. The Guild of Bookbinders was charged with the production of boxes of this type.

• The paintings were done in oils on copper (for robustness) showing female and male busts (halfportraits). The women are turned to the left and the men to the right.

• A single example is currently known carrying a full-length portrait.

The small-sized models have portraits with different characteristics (hairstyles, costumes etc.). The number of hand-painted Irish crystal sheets or mica varies between 10 and 20 for the busts and 23 for the full-length version.

Some boxes have lost some of their fragile mica overlays over time. Other examples have lost the box and isolated portraits are found here and there with the same characteristics as the boxed models, produced by the same painters and workshops.

A WORD ABOUT MICA The scientific definition is, any of a group of hydrous potassium, aluminum silicate minerals. It is a type of phyllosilicate, exhibiting a two-dimensional sheet or layer structure. Mica is a natural mineral that is also known as Irish Crystal or Jesus Stone, probably because it was used for framing relics. In the 18th century it was also used to manufacture precious items such as fans and sacred almanacs. Mica is composed of an infinite number of flexible transparent layers, like glass, which can be separated from each other. Like other crystalline stones of similar composition this property came to be known as mica in 1735 only. The word signifies a ‘parcel’ and its use was generalized in industry between the 18th and 20th centuries.

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The mica sheets were cut to the size and shape of the miniature portraits. Their transparency gave the effect of a thin glass on which were painted costume accessories, décor, and various hairpieces etc., which disguise the portrait over which they were placed.

Made for nobility, Metamorphosis fitted neatly into this milieu. The portraits are respectful of the strictly regulated dress code, guided by sumptuary law, and in particular, ceremonial dress and hairstyles which gives them the superficial impression of being repetitive. One only must look at the lively family scenes (opposite) to see to what degree fashions were generalized.

As I have noted each metamorphosis carries an individual portrait. They are however difficult to identify unless they carry a dedication (as was the case of a model in Dina Verney’s collection sold by Sotheby’s of London and maybe that found in the Nordiska Museum.

Most metamorphosis carry portraits of anonymous men and women but all were part of the French and European Nobility.

Their precise identification is of little importance, we can still appreciate the look and feel of this fascinating and precious era.

COSTUMES AND DISGUISES The mica overlays provide an infinite variety of disguises. They comply with the French costumes and dress codes of the period imposed by the French Court.

There is also evidence of the influence of Spanish and Dutch fashions. For this France was a catalyst, following the Spanish invasion of southern Holland.

Observers will note the mask that protected the skin from the sun’s rays; patches which were a cosmetic accessory, religious vestments (nuns, monks, priests, cardinals) and court costumes (Queen, Lady in waiting etc.) ceremonial wear, theatrical costumes (particularly from the Hotel de Bourgogne theatre), costumes from distant countries (Turks, Ottomans, Russians) disguises using fruit or flowers, there is even a model showing a person resting on their bed etc.

Notes: 1. Extract from Histoire des Enseignes de Paris by Edouard Fournier (Editions Dentu, Paris) (1884) Chapter XXII, Les Enseignes-adresses des marchands page 301.

2. The author of this 19th century article meant that the models were changed to be more simple, like paper dolls.

3. It is not a ballgown but a gown of the time.

This metamorphosis portrays Dame Catherine Grau, wife of François Daniel Le Comte, Ecuyer, Seigneur des Arts, Du Bus Beaumont. The only example of a recognized Court person. (Courtesy of THERIAULT)

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RIGHT: A full length Miniature (more rare as busts and small sized) with micas with man and woman costumes (Private collection) BELOW: This small model (that you can see over the large one), has a female portrait, also painted on copper. The fullface portrait shows a woman with undone blond hair, she wears a blouse with one side open showing her bare breast. She has 15 hand painted mica overlays. (With thanks to M. Chamonal, Paris)

ABOVE: Family Reunion by Gonzales Coques (Anvers 16141684) like in most ceremonial paintings, the rules of dresses were strictly used with regards to the law.

LEFT: A cardboard cut-out, a hand-painted model showing a young lady with many different costumes; from the beginning of 19th century (from a private collection)

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Another, similar item, an Indian character, with mica overlays showing different regional costumes presented in a original wooden box.

(Private collection)

SOME UNUSUAL MODELS

RIGHT: A rare male model (Private Collection) BELOW: The only known model including a mirror (Private Collection)

DEFINITIONS noun, plural met·a·mor·pho·ses [met-uh-mawr-fuh-seez] Biology: 1. A profound change in form from one stage to the next in the life history of an organism, as from the caterpillar to the pupa and from the pupa to the adult butterfly. Compare complete metamorphosis.

2. A complete change of form, structure, or substance, as transformation by magic or witchcraft.

3. Any complete change in appearance, character, circumstances, etc.

4. A form resulting from any such change.

Pathology: 1. A type of alteration or degeneration in which tissues are changed: fatty metamorphosis of the liver.

2. The resultant form. Botany. the structural or functional modification of a plant organ or structure during its development.

ANTIQUE DOLL COLLECTOR

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SELL A DOLL IN THE

EMPORIUM

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Judy McDonald Dolls sent for approval/ approved

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Original chunky body with straight wrists and schmitt type derriere is in its original finish. Marked with an Incised “13” back of head. Original shoes, socks and undies. A beautiful, sweet girl that has been locked away for 50 yrs...........................................................................$2800.00

SARA BERNSTEIN DOLLS

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1. 23” Outstanding French Trade Gebruder Kuhnlens 44-31 in Fabulous French Antique Dress & Shoes...............................$1895 2. 16.5” Beautiful Cabinet ready French Jullien Bebe................$2850 3. Stunning 24” French Long-Face Jumeau “Bebe Triste” by Carrier-Belleuse size 11........................................................$12,500 4. 15.5” Carl Bergner 2-Faced Doll—All Antique........................$1650

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Calendar of Events Send in your FREE Calendar Listing to: Antique Doll Collector, c/o Calendar, P.O. Box 239, Northport, New York 11768 or email adcsubs@gmail.com If you plan on attending a show, please call the number to verify the date and location as they may change.

ONGOING

4/18/20-10/4/20 ~ Switzerland. Spielzeug Welten Museum Basel. Special exhibition “The Walking Stick with a Secret”. +41 (0)61 225 95 95. sina@swm-basel. ch. www.swmb.museum.

MAY 2020

CANCELLED! 1-3 ~ Charleston, SC. National Antique Doll Dealers Association. 2020 Antique Doll Show & Sale Event. Embassy Suites. Show Chair. Marion Maus. mmausantiques@gmail.com. www.Nadda.org.

2 ~ Maitland, FL. Doll Show. Greater Orlando Doll Club. Venue on the Lake Maitland Civic Center. Barbara Keehbauch. 407-678-5678. bkeehbauch@msn.com

3 ~ Thousand Oaks, CA. Dolls, Toys & Treasures Show. Palm Garden Hotel. National Doll Festival.

Rowbear. nationaldollfestival@charter.net. 831-438-5349.

3 ~ Toronto. The Greater Toronto Doll Show. Holiday Inn. Vintage Doll Club of Southern Ont. Mary Lou. 416-221-3093. www.greatertorontodollshow.com. greatertorontodollshow@gto.net

9 ~ Gaithersburg, MD. Doll Luncheon. Yu Ping May Day Cherry Blossoms Festival. Asbury Methodist Vlg. Hefner Building Auditorium. Dollology Doll Club.

Payment. Ed. 267-230-3167. heastore@aol.com

16 ~ Raleigh, NC. Doll Show. Amran Shriners Temple. www.SoutheasternDollShows.com

17 ~ Madison Heights, MI. Doll Show. UFCW Hall.

Doll Show Productions Presents. www.

DollShowProductions.com.

DATE CHANGE FROM MAR 21-22. 30-31 ~ The Netherlands. Doll, Teddy Bear and Dollhouse Fairs.

Brabanthallen’s-Hertogenbosch in the Netherlands. niesjewolters.nl/Ticketverkoop.html. info@ niesjewolters.nl 31 ~ Galesburg, IL. Doll Show. Kensington. West Central Doll Club. 309-299-0486. jane_easterly@hotmail.com.

JUNE 2020

DATE CHANGE FROM MAY 2-3. 5-6 ~ Westfield, NC. Open house doll sale. Anne Demuth. 336-755-1400. dollsbearscookies@yahoo.com.

6 ~ Missoula, MT. Doll Show. Hilton Garden Inn. Bitterroot Blizzard Doll Club. Kay Schrader. 406-3607214. schrader1501@blackfoot.net 13 ~ Milton, FL. Doll Show. Santa Rosa County Auditorium. Pensacola Doll Study Club. Paula Meyerriecks. 850-292-6074. perpleprsn@aol.com 14 ~ Naperville, IL. The Naperville Doll & Teddy Bear Show. Marriott Hotel, Grand Ballroom. Karla Moreland.

815-356-6125. kmorela@ais.net. www.

KaneCountyDollShow.com

27 ~ Puyallup, WA. Doll Show. Washington State Fairgrounds. Crossroads. Dorothy Drake. www. dolls4all.com

JULY 2020

19-22 ~ Dallas, TX. The 33rd Annual National Doll Festival. Crowne Plaza Dallas Market Center.

Rowbear Presents. 831-438-5349. RowbearPresents@ charter.net. NationalDollFestival.com 21-25 ~ Dallas, TX. United Federation of Dolls Club, Inc. Annual Convention. Hilton Anatole Hotel. 816891-7040. www.ufdc.org

AUGUST 2020

DATE CHANGE FROM APRIL 19. 2 ~ Denver, CO. Toy & Doll Supershow. Denver Mart, I-25 at 58th Ave (Exit east). Dana Cain. 303-347-8252. Dana@DanaCain.com www.tdsupershow.com 9 ~ Clifton, NJ. Dol & Bear Show. Boys & Girls Club of Clifton. JMK Shows. jmkshows@aol.com. 201-2132810. 352-527-6666.

23~ Lynwood, WA. Antique Doll & Toy Market.

Embassy Suites Hotel. Lisa Pepin. pepins4@msn.com.

206-669-7818.

Find more doll events near you at www. antiquedollcollector.com, select “Events” tab.

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The 177th Eastern National Antique to Modern Doll & *Toy Show Gaithersburg

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DEC 5&6 2020

Roger Guthiel Leather Wing Chair

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Sat 10-5 • Sun 10-3

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Francois Gaultier My, what Beautiful Big Eyes you have! This 20” example marked F9G in block letters is truly a delight with her exquisite spiral threaded magnificent blue eyes. Her creamy bisque is excellent & beautifully modeled, framed by an antique mohair wig of long blonde curls.

Stunning faille silks and satins of striking royal blue w/ matching hat make this gorgeous girl a standout!

Articulated wood body in original finish. Visit www.Beautifulbebes. com on May 1st for additional details and pricing!

Bleuette type - This is such a darling doll! She does not have the 2 on her back or the 1 on her feet however, she is exactly 11 inches and marked similarly to many of the Bleuette dolls that we have seen. She is definitely a Bleuette type and made in the same era. Her head is perfect without any flaws, and she looks so darling in her original costume, possibly from the PLEYBEN or PONT-AVEN region of France. She has her original wig and original bonnet. All fingers and toes are present. She has the broom stick type thighs, and her paint on her body is original and in generally good condition! She is such a wonderful example and wears little leather shoes with double buckles.

Don’t let her get away! See her on www.beautifulbebes.com for additional pictures and pricing!

Member UFDC & NADDA

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A7T André Thuillier remains one of the quintessential and most highly revered dollmakers from the golden age of the French Bébé manufacturing era. Although he was not as prolific in his production as of these exquisite dolls as perhaps Jumeau, Bru and others, his tastes were of the finest and most discerning level. Beginning in 1880, Thuillier’s early dolls were on kid bodies with bisque arms; later these doll heads were placed on articulated wood and composition bodies. This lovely A7T is on her original wood and composition body making her a delight to pose. Her pristine, beautiful head is from the mid period. Gorgeous bisque, striking darkly lined spiral threaded blue eyes, and parted lips. She wears a charming ecru and blue frock with matching bonnet and lovely antique leather shoes. A lovely cabinet size at only 16 inches. A treasure to be certain; the gem of a fine collection. Please visit www.beautifulbebes.com on May 1st or after for details and pricing.

3.75” Mignonette , Enamel Painting, and Erhard & Söhne Chair 1. Adorable petite mignonette with glass eyes, swivel neck, all original. $1225 2. Fantastic enameled painting on brass easel doubles as clock with original key. $1725 3. Erhard & Söhne ormolu chair $185

4/14/20 2:22 PM