June 2019

Fine example of an AT (16 inch)

Cats Cradle O bjects of I nterest A ntiquity & Q uality Provo, Utah

Glen C. Rollins, Prop.

(801) 374-1832

glencrollins@gmail.com rubylane.com/shop/catscradle

Find Glen in Nashville at Rowbear’s National Doll Festival exhibiting across the street from the UFDC Convention.

Valerie Fogel’s

Beautiful Bébés Fine Dolls and Precious Playthings of the Past Tel: 425.765.4010 Beautifulbebes@outlook.com For excellent service contact Beautiful Bebes when Selling or Consigning!

www.bebesatticfinds.rubylane.com

Always Buying. Trades, Consignments, Sales and Estate.

Early Lamb with Squeaker - Adorable antique child’s toy on wheeled wood platform. This wooly is 11” long and 9” tall with true lamb type glass eyes and wonderful clean coat. Head lowers up and down to squeak! $2100

All Original Glass Eye Gretchen - Gorgeous 18” Gretchen marked K*R 114.

Superb doll in pristine condition from head to toe.

Lovely organdy dress with original crispy finish, matching lace edged slip and under garments, original creme leather shoes and knit stockings.

Her wig is utterly fantastic and she has her original cardboard pate. Body is excellent with original finish. First out of mold modeling. Tiny red kiln line on crown rim in the making. These glass eyed examples are hard to locate.

Perfect cabinet size. $6950

Deanna Durbin All original 21” Deanna Durbin.

Simply beautiful in excellent overall condition. Tagged dress, original shoes and button, and superb original wig. What a Doll! $695

Pair Large Bliss Chairs Excellent chairs 12”x 5.25” Wonderful condition and rare size! $585 pair

See Beautiful Bébés at the Antique Doll & Toy Market Lynnwood Washington Embassy Suites Hotel June 9 from 11 AM to 4 PM

See You At The UFDC Convention Salesroom in Nashville!

Marked 10 Bébé - Sparkling blue paper weight eyes and bright expression grace this pretty 21” Jumeau Bébé. Excellent bisque, original human hair wig and cork pate, overall excellent condition.

Red stamp Tete Jumeau. Adorable doll! $2450

Member UFDC & NADDA

Mary Ann Spinelli Nelling, Inc.

FINE ANTIQUE DOLLS AND ACCESSORIES BUYING & SELLING QUALITY DOLLS FOR OVER 26 YEARS

published by the

www.antiquedollcollector.com

---------------------------------------------------------------------------

5” Simon Halbig all bisque wedding couple, both bride and groom all original, bridal gown skirt melting.

Groom with brown and bride with blue glass eyes, swivel necks, jointed at shoulders and hips. $2200. for the pair. ( Lg. top hat prop not included)

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, Samy Odin and Andy and Becky Ourant --------------------------------------------------------------------Subscription Manager: Jim Lance --------------------------------------------------------------------Display Advertising: Lisa Brannock 717-517-9217 antiquedoll@gmail.com Classified & Emporium Advertising: Lorraine Moricone email: adcsubs@gmail.com phone: 631-261-4100 --------------------------------------------------------------------Design Team Lana Carlene lanac@antiquedollcollector.com Lisa Claisse adclisa@gmail.com Louann Wilcock louannw@antiquedollcollector.com

--------------------------------------------------------------------Marketing: Penguin Communications, Inc. --------------------------------------------------------------------------Editorial Office (Send all catalogs and editorial to this address): Antique Doll Collector, 4800 Hampden Lane, Suite 200, Bethesda, MD 20814 phone: 717-517-9217, email antiquedoll@gmail.com Subscriptions: Send to Antique Doll Collector, P.O. Box 239, Northport, NY 11768.

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Postmaster: Send address changes to Antique Doll Collector, P.O. Box 239, Northport, NY 11768.

4” Kewpie all bisque wedding couple, both bride an groom all original. $550. for the pair. Other guests at the wedding priced separately. Please call or write for info. ( Wedding cake prop not included)

Exhibiting: July 23–27 — Looking forward to seeing you in Nashville at the UFDC 70th Annual Convention Salesroom, Gaylord Opryland Resort and Hotel

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

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ANTIQUE DOLL COLLECTOR

JUNE 2019

Antique Doll Collector is not responsible for any inaccuracies in advertisers’ content. An unsolicited manuscript must be accompanied by SASE. Antique Doll Collector assumes no responsibility for such material. All rights including translations are reserved by the publisher. Requests for permissions and reprints must be made in writing to Antique Doll Collector. ©2019 by the Puffin Co., LLC.

MOVING?

Important: We need your old address and your new. The Post Office does not forward magazines. Call 1-888-800-2588 or write to us at: P.O. Box 239, Northport, NY 11768.

The Grovian Doll Museum presents An Educational Workshop:

A Trio Wood, Wax & Papier-mâché Retreat September 12-15, 2019

Y

ou are cordially invited to be a part of an upcoming retreat, “A Trio - Wood, Wax & Papier-mâché.” This educational event will include the presentations of three enthusiastic collectors who have agreed to double as our esteemed instructors. Carol Cameron, of London, England will share her knowledge and love for wooden dolls of all types.

Michael Canadas will focus on wax dolls, and Christine Collins Madrid will discuss papier-mâché dolls of all varieties.

Attendees will be treated to three separate special exhibits, each focusing on our subject dolls, plus there will be plenty of hands-on sharing of the doll types.

The workshop will take place inside the spacious home of the Carmel Doll Shop, which is located at 213 Forest Avenue in Pacific Grove, California. (831) 643-1902

Registered Attendees will Receive: l A Thursday

evening Welcome Reception with delicious food and drink. l Three days of hands-on instruction with Carol Cameron, Michael Canadas and Christine Collins Madrid. l A specially-selected souvenir. l Delicious lunches and dinners on Friday, Saturday, and Sunday are included in the workshop fee. l Saturday night movie screening of “Belinda, The Lovely Cheat.” l A unique tour of the incredibly scenic, world famous Monterey Peninsula. l Private viewing of The Grovian Doll Museum Collection.

All of the above for $795

Space is Limited – Prior Retreat Attendees Will Receive Priority

GrovianWorkshop2019.indd 7

ORDER FORM RESERVATION FOR: A Trio - Wood, Wax & Papier-mâché

Name & Phone email Address

City, StatE, Zip

Credit Card Information: Card#

3 Digit Security Code

Exp. Date Signature

Please complete this order form and send with Credit Card information* or Check made out to The Grovian Doll Museum - $795. Send to: Carmel Doll Shop, 213 Forest Ave., Pacific Grove, CA 93950 *Credit Card charges will appear on your statement as “Legacy Antiques, Pacific Grove, CA”

4/11/19 5:09 PM

The Complete Guide to Antique, Vintage and Collectible Dolls

June 2019, Volume 22, Number 5 Follow us on... facebook.com/antiquedollcollectormagazine pinterest.com/antiquedollcollectormagazine instagram.com/antiquedollcollectormagazine

24

30

38

by Linda Edward

by Margaret Kincaid

by Carol Cameron and Elizabeth Ann Coleman

THE QUEST A Look at What We Collect, and Why

JUMEAU The Quintessential French Doll

42

52

58

by Mary Elizabeth Lampron Groupé

by Laurie Baker

by Sandra McGahey

HERTWIG CHINA GENTLEMAN A Beautiful Restoration

10 Letters 14 Auction News 24 The Quest

19TH CENTURY KITCHEN MINIATURES A German “Frankfurt” Collection

37 Emporium 62 Calendar of Events 62 Classified

SUBSCRIBE TO ANTIQUE DOLL COLLECTOR, GO TO www.antiquedollcollector.com 6

A NORTHERN ITALY MUSEUM AND DOLL TOUR

ANTIQUE DOLL COLLECTOR

JUNE 2019

READER REPORT: MY BARBIE DOLL QUILT

ON THE COVER

Rare A. Marque doll. Museo della Bambola, Bologna.

(212) 787-7279 P.O. Box 1410 NY, NY 10023

1) 20” All Original Kestner 161 mint doll of flawless quality, Factory Signed Body, Wig & Pate plus charming period Clothes & Shoes - A beauty! $695 2 15” Early Topsy-Turvy ca: 1910 one of a kind Americana, great detail and bright colors, Oil Painted Features, expert quality & tailoring, all near mint! $450 3) 16” Neapolitan Creche ‘Philosopher’ - a fabulous Glass Eye Character you probably don’t have - in Original Clothes and excellent condition. $895 4) 7” Doll House Couple in 1 Original Clothes - orig. bodies, perf. limbs; she in silk w. orig. wig; he w. molded mustache. $425 5) Mint 22” Closed Mouth Steiner Bebe w. Rare Blue Lever Eyes - scarce Fre. A Bebe. Signed Eyes,flawless quality, Mint Stiff Wrist Signed Body & Orig.

Mohair wig, lovely Silk Attire. A showpiece! (See #21) A rare one! $4500 6) Large 7” Factory Original Mignonette - wonderful French Clothes, slender French body, uncut Orig. Wig, set glass eyes & Closed Mouth - $1250 7) Wonderful French Delicacy 4 Shoppe - for the cabinet or on the wall! Just 15’ by 18” yet loaded w.

30 Original Miniature French Tins & Packages; great graphics and French Trade Doll; all mint w.

Provenance - $1250 8) 17” Etienne Denamur Bebe by Jumeau - transitional open mouth example, w. vibrant PW Eyes and pretty Smile; quality satin bisque, w. Orig. Wig, Signed Jumeau Body w. Coil, and orig pate.A special example.Just $1295 9) Shirley Antoon 10” Cabinet Schmitt Bebe - exquisite artistry, antique blue PWs, Mohair Wig & Silk Clothes. $395 10) Diminutive 11” Oil Painted 7 Rag - ca:1910, uniquely personable, very pretty colors, 5-part fabric body and Orig.

Clothes - all mint sweetie! $495 11) Unusual 16” Chase Boy - Very Special! Big Puppy Dog Brown Eyes, exceptional expression,gently worn. Original Pink Striped Sailor Suit - Classic Americana. $575 12) 17” Italian Felt Alma - a Lenci type Deco Child in her Orig.

Outfit w. Mohair Wig & Matching Bow. Very gentle age. $195 13) Rare Large Size 12” AM 241 Googly - What a supersize head! w. Original Body, Wig & Clothes; concealed expert repair so not 10 $4000… just $1650

11

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

matrixbymail@gmail.com

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3

5

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14) Victorian Valentine ca: 1875 - with silk fringe, silk ribbon, die-cut, and printed padded silk sentiment. Just 4’” by 6” and unhandled! $49 15) Rare French Closed Mouth ‘Pauline’ - no touch ups! The 1860’s Mache with Glass Eyes, Original Patina, Uncut Inset Wig, fabric body, leather arms.

Ever so stately $1395

(212) 787-7279 P.O. Box 1410 NY, NY 10023

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

matrixbymail@gmail.com 14

15

16) Mint and All Original 20” Jumeau ‘Mariner’ - Closed Mouth w. Blue PWs; fully signed on both head and Stiff Wrist Body, mint Factory Wig, Pate & Coil, wearing classic Nautical Ensemble and Signed Shoes. $3600 17) 18” Brown Eye 1850’s China w. Painted Lower Lashes - and Brown Eyebrows! Great orig. body w. Porc.Arms & Flat Soled Shoes. $1395

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18) Factory Original 14” Roullet et Decamps ‘TA-TA’ - Iconic ‘mechanical’ French Comic Character from the turn of the century with Glass Eyes, as shown in the Roullet et Decamps catalog.

Historic. $1250 17

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19) Rare 15: Heubach 8368 Character - Closed Mouth, round face, round ‘shoe button’ eyes, Perfect Flocked Hair, good bjb w. Period Clothes & Shoes - $1250 20) Rare 20” Bear w.

Musical ‘Chimes’ creamy long hair bear, original eyes, plays Music Box Chimes when torso is pressed. $795. 11” Smallest Size Schoenhut Toddler - in Original Sailor Suit, orig. paint, wig as found, just $375

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21) 22” Mint Wire Eye Steiner - (see photo #5) $4500 22) 18” Mint and Original Oil Painted Rag - brilliant ‘starry eyed’ features, great color, no repaint, fabulous Original Clothes and Shoes! $895 23) All Original Kestner Innocent - a loving ‘214’ Character w/ Big soulful eyes,tender bisque, silken mohair wig & Fine Original Clothes. $750 22

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24) All Original 20” Jumeau Mariner (see #16) - $3600

27) Rare Gustave Vichy ‘Waltzing Parisienne’ A 21” museum class Blue Ribbon Winner -Mint head, Original Elaborate Factory Wig & probably Original Clothes too includes her Hair Comb, Lorgnette and Fan. The original mechanism needs tinkering.

A historic & stunning display of aristocratic Paris - the luxury, style and fashion. Special price. $7500

25) All Original 18” EJ Bebe in Silk Jumeau Factory Couture - Satin pure bisque w. Sparkling Blue PWs, Soft Brows, mauve Shaded Lids, desirable Orig. Lambswool Wig - Body - and Factory Champagne Silk Couture w.

Saucy Bustle Back Jacket and Matching Chapeau! She is the ultimate! $6800

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(212) 787-7279

26

matrixbymail@gmail.com

26) Mint 17” French Carton ‘Farceur’ - This important Polichinelle inspired character ca: 1895 in his Original Clown Suit is bound to amuse your bevy of lovely ladies! His amazing facial modeling and artwork is the classic portrait of French wit! So Rare! $1495

28

28) 22” Pink Tint Rare Brown Eye ‘Kinderkopf’ ca:1840 - rich facial coloring, Brushstroke Hair, wonderful vintage body & clothing, typical crack on plate under clothes. Only half price at $850

29

29) Outstanding Wigged Lippert & Hass of Schlaggenwald Lady - a rare hand pressed ethereal beauty with Pink Tint and Watery Glaze plus Mint Original Wig so rare on Chinas. Includes Tailored Gown, Leather Boots and she can sit too. The exceptional! $2750

Letters THE “COLLECTIBLE” DEBATE Dear Sir/Ms: After waiting a week to gather my thoughts, I feel I need to address an article (The Art of Antique Reproduction Dolls, May 2019) in my May edition of Antique Doll Collector. I was dismayed to see this commentary on reproduction dolls. First, the title of the piece was dishonest and incorrect.

They are not Antique Reproduction Dolls but rather, Reproductions of Antique Dolls. Perhaps a small point but honest is honest.

I notice there were no prices listed for any of these new dolls. I can almost guarantee they are - in many cases - more expensive than most high-quality antique dolls. Perhaps not those by rare or scarce makers but many others that are available to collectors. As a fellow collector and a dealer, I find it offensive and discouraging that they cost as much or more than a genuine antique and that buyers will spend the same on a new doll rather than buy a real antique.

You are not helping to protect or conserve the field of genuine antique dolls by publishing an article on reproductions, no matter the quality. I realize that my opinion will be in the minority but that does not diminish its validity for this field.

My best, (Mrs.) Ellen G. King King›s Antiques Niki Burley, author of the article, responds: 1) The article was published under “collectibles,” which is an aspect of doll collecting supported by the magazine, the official title is Antique Doll Collector, {subtitled: The Complete Guide to Antique, Vintage and Collectible Dolls}. The magazine is one of the last of its kind, actively informing the public primarily about antique, but also some modern dolls.

An attempt is being made to appeal to all types of doll collectors, who all have valid interests.

Continued on page 23 10

ANTIQUE DOLL COLLECTOR

JUNE 2019

Lynette Gross Selling a diverse array of unique and antique dolls Telephone (317) 844-6459 Email LynetteDolls@yahoo.com Visit my online shop open 24 hours, 7 days a week.

Joan & Lynette Antique Dolls joan-lynetteantiquedolls.rubylane.com

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

9.5” Bru Type Belton, sweet cabinet size, blue stat eyes, mohair wig, antique leather shoes $1875.

19.5” S & H 1279 DEP 9, blue sleep eyes, beautiful molding, antique clothing & mohair wig $1595.

16” Kestner JDK 237 H 12 JDK on baby body w/ fur wig, small scuff on right cheek $1395.

17” Kestner Hilda 237 N 1070 Baby, blue sleep eye, original wig & plaster pate, marked J Made in German 13 Geogesch, JDK 15, 237, N1070, some crazing on right arm $1425.

27” CM FG “Scroll” mark French Fashion on Gesland body w/ bisque hands & lower legs, 1887 – 1900, blue pw eyes, pierced ears, beautifully dressed, mohair wig $4850.

9” 1930’s Schoenhut Mr. Peanut, wood jointed w/ replacement cane $145.

19” Effanbee Patsy Ann all original in tagged yellow organdy dress & bonnet, sweet doll $175.

9.25” Blonde Frozen Charlie w/ beautiful blue eyes, amazing sculpting on hands & feet $295.

30” Heinrich Handwerck Simon & Halbig, blue sleep eyes, beautiful antique mohair wig, amazing silk dress $695.

5” German Antique Doll House Grey Haired couple $235.

14” Elisabeth by Maree Massey of Australia, toddler girl, blonde mohair wig, brown eyes, pink silk dress $395.

27” Heinrich Handwerch Simon & Halbig 4, blue sleep eyes, repainted body, dressed beautifully $485.

5.25” German all bisque w/ pink socks original mohair wig $99.95 5” Sweet early Frozen Charlotte type w/ gold boots & jointed arms $95.

5.5” German #208 2x Kestner all bisque w/ brown sleep eyes $150.

14.75” 1850’s Alice in Wonderland Parian type by Kister? or Kestner? Molded curls w/ black ribbon, baking crack on neck & by front sew holes, work done on body $295.

14” Beatrice Perini “Stellina” artist proof #P. d. A. 1999, blue glass eyes, mohair wig, organza & taffeta dress $795.

30” 109-15 DEP Handwerch 6, brown sl eyes, HH wig, beautiful body & fabulous detailing on velvet & silk dress & bonnet $750.

10” Black K * R 126 on baby body w/ star fish hands, repainted arms, brown sleep eyes, fur wig $595.

6 x 4” Steiff 1960’s Polar Bear w/ bell on collar, button in ear $97.50

LAYAW AVAILA AY BLE

20” K * R 126 Simon & Halbig 46 w/ blue flirty eyes on 5 piece toddler body, original mohair wig, 2 fingers as is on left hand, wears lederhosen $595.

5” Steiff mohair 1960’s Duck $45.

25” “Shelby” by English ODACA Artist Gillie Charlson , wax over porcelain, Ed of 20, blue glass eyes, mohair wig $1500.

Now $695.

German Furniture Breakfront, Cabinet 9.25 x 5 x 2.75” w/ green glass doors, towel holder, frame, bench, table, 2 chairs, fish & sausage covered dishes, cutting boards, dishes (1 as is ), holder, rolling pin, masher, funnel (as is), scoop, covered Salz, gravy boat (as is), pitcher & pail (as is), crocks $255.

14” American School Boy marked German 30/ B 3 ½, blond molded hair, blue glass eyes, cloth body $195.

13 x 22” Bing bear on wheels w/ metal band on right leg, growler works, slight wear on mohair, great face $925.00 17” Heubach Koppesdorf # 338 5/0, 1925 w/ blue beautiful molding, blue sleep eyes, original compo arms & legs on newer cloth body $425.

7.5” Pair AM 323 6/0 Googlie Repros, really well done & detailed $450. Pair

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

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

Member U.F.D.C. & NADDA • Worldwide Shipping • email: questions@gigisdolls.com

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

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JUNE 2019

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ANTIQUE DOLL COLLECTOR

JUNE 2019

Auction News

Theriault’s May 4-5

H

alf-dolls were a whole-hit at Theriault’s May 4-5 Marquis auction weekend with record setting prices. The auction was a unique opportunity for bidders to own these rare porcelain treasures from the 50year collection of Hanne Büktas of Vienna, Austria.

April 24-25, 2019 McMasters Harris Apple Tree Premier Doll Auction, Newark, Ohio and online.

A

full house gathered in the spacious and comfortable confines of Apple Tree Auction Gallery both Wednesday and Thursday and online both days for a chance to bid and buy one or more of the fine doll examples. Top consignors were represented and whose dolls were fetching strong prices crossing the auction block at a rapid pace for the spring auction event.

Made in Japan Story Book

Highlights include but not limited to:

• FROM THE JANE MANN COLLECTION: A very rare and sought after “Made in Japan” Story Book doll in her original labeled costume and pink Sunburst box. 5½” Painted Bisque.

SOLD: $2,400 • FROM THE BETTY FORREST COLLECTION: A 5¼” Simon & Halbig All Bisque doll of the French-style with bare foot. SOLD: $2,500 • FROM THE MID-OHIO HISTORICAL DOLL MUSEUM: A 17½” Marked Schmitt Bebe with marked “Schmitt” body. SOLD: $10,450

Simon & Halbig Schmitt

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ANTIQUE DOLL COLLECTOR

JUNE 2019

Auction News The Cobbs Auctioneers, located in The Monadnock Region, Peterborough, NH held a successful Auction for Important Antique Dolls, Doll Houses, Paper Dolls and Steiff/Toy Auction - May 2, 2019

An Exceptional French Bru Jne Doll, 20” tall Sold for $15,000, May 2 2019

An Exceptional and Rare 20” French Bisque Bebe Huret Sold for $16,800; May 2, 2019 ANTIQUE DOLL COLLECTOR

JUNE 2019

15

Auction News

continued

WITHINGTON AUCTION May 8-9-10-11 - Holiday Inn, Nashua, NH The Dolls of Dolores Smith

T

Maggie Bessie Dolls $13,200

The “Googly” Eyed Doll Has it for $22,800 at Alderfer Auction Sale, Second Highest Selling Doll Auction in Alderfer Auction History

Antique Bisque Head French Doll $7,800

here was a full house in attendance at the auction of the Dolores Smith Collection, with mostly familiar faces of doll friends Dolores had made over the years at local doll shows and club meetings. Many doll enthusiasts made the long journey from Texas, Florida, Ohio, Wisconsin, Canada and France.

Withington has chosen to not have the auctions on-line for several reasons: Buyers can save the additional fees charged by these services and keep our buyer’s premium to a minimum, we are auctioneers, not shippers and would rather reward live customers and let them have the opportunity to purchase in house, and most important, we have a full house of live bidders and this human contact is good for business.

The following is a small sampling of the highlights of the sale.

H

atfield, Pennsylvania – Emotions ran high at the April 3rd, as the last doll was sold for $22,800 at the Alderfer Auction highly anticipated Doll Auction. The buyer raised his bidder number passionately competing against online, phone and live bidders. He waited decades for this German “Googly” Eyed doll to come up for sale.This “Googly” Eyed dolled, named Virginia (“Ginny” for short), is an Oscar Hitt German character doll with stunning blue side glance eyes, a closed mouth and brown mohair wig. She was comprised of a bisque head, flange neck and pin joints. Ginny came dressed for the occasion with her five-piece cloth body adorned with antique cotton clothing. Ginny “somehow knew” to be prettily dressed for Googly Eye Doll $22,800 this special day of new ownership. Other items from this sought-after collection from a well-known Lehigh Valley, PA dealer, were a pair of girl and boy Maggie Bessie dolls with a price tag of $13,200. The European dolls took front and center stage leading with lot 3426, a 17” female Van Rozen Doll France Depose, selling for $7,800. Following the trend was the 17” 6EJ, Emile Jumeau, lot 3423, which sold for $5,100. Lot 3409, a 14” 02033 BSW “Wendy” Doll Character sold for $5,400. A Lenci doll with original owner’s Lenci Child’s Dress sold for $3,300 and the unique antique early Steiff blue mohair cat sold for $660. The American Artist, Dorothy Heizer, brought in a winning amount of $3,900 for her 10” “Dorothy Heizer” cloth sculpture doll, lot 3347

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ANTIQUE DOLL COLLECTOR

JUNE 2019

$14,868

$13,570

$10,266

Continued on page 27

Star Struck at the UFDC Convention Salesroom

Beautiful round face Schmidt

Phil May Antiques & Collectables

Ocean Grove, NJ Tel: 732-604-3011 dollmanofog@aol.com

We will be set up with a fabulous collection in the UFDC sales room!

Fritzi’s Antique Dolls

Fritzi’s cell# 630-247-1144 Rick’s cell# 630-247-1219 fritzisantiquedolls@comcast.net Member NADDA and UFDC

Valerie Fogel Beautiful Bébés

Tel: 425-765-4010 www.bebesatticfinds.rubylane.com Beautifulbebes@outlook.com

You’ll find these exceptional dealers in the salesroom!

Ashley’s Dolls Billye Harris

Tel: 336-266-2608 PO Box 273, Whitsett, NC AshleysDolls@gmail.com

All Dolled Up Gail Lemmon glemn@frontier.com 440-396-5386

Samy Odin

contact@cherubins.fr

The 70th Annual Convention - Nashville, TN July 23-27, Tennessee Tuesday, July2019 23•-Nashville, Saturday, July 27, 2019

UFDC Salesroom

Tues: 8:00 – 10:00 p.m. (Grand Opening) Wed & Fri: Noon – 6:00 p.m.

Thurs: 10:00 a.m. – Noon and 2:15 – 6:00 p.m.

Sat: 10:00 a.m. – 3:00 p.m. (Last Chance)

Portrait Juneau known as Elizabeth

Nancy McCray c 319-651-6440

nlmccray@q.com hm 319-363-3936

Valerie Fogel’s Beautiful Bébés 425-765-4010 www.bebesatticfinds.rubylane.com

COME SEE US AT PUBLISHERS PREVIEW

Mary Ann Spinelli Burbank, CA Tel: 818-562-7839 Cell: 818-738-4591 nellingdolls@gmail.com www.maspinelli.com

Robyn and Ron Martin Straw Bear Antiques Atlanta, GA Tel: 770-434-9015 strawbearantiques@gmail.com

Nancy McCray Cell: 319-651-6440 Tel: 319-363-3936 nlmccray@q.com

Visit us at Publishers Preview Saturday, July 27, 10am - Noon.

Margaret Gray Kincaid

Historic Preservation & Antiques Tel: 603-938-2344 Cell: 646-709-4340 265 Forest Street, Bradford, NH margaret.kincaid@gmail.com

• Sign up to win a free • Renew your subscription subscription • Get a free magazine ...or just say hello and tell us what you think!

McHugh’s Brigid McHugh Jones 804-938-6749 McHughsDollsToys@aol.com

Deborah Fratino Deborah Fratino Antiquities debfratino@aol.com

Brian Mogren 83 East Park, Butte, MT Tel: 406-723-2176 mtanaman@aol.com

Jonathan Green Jonathan Green & Co Derpuppenraum@gmail.com 917.543.9140

Ann Pruett-Phillips Tel: 323-660-2191Cell: 323-200-4404 ann@annpruett-phillips.com Rosalie Whyel & Shelley Helzer Tel: 425-455-1116 • dollart@dollart.com

Discover the enchantment!

Laura Turner Small Wonders Antiques/Frizellburg Antique Store Westminster, MD Tel: 410-848-0664, 410-875-2850 frizellburgantiques@yahoo.com

Dorothy Drake

www.crossroadsshows.com

MyJennifer LittleMoyer Dolls Tel: 443-223-4956 myLittleDolls.com

See you at the UFDC Convention!

July 23-27, 2019

Alan Pate Alan Scott Pate Antique Japanese Dolls Tel: 858-775-6717 alanpate@antiquejapanesedolls.com www.antiquejapanesedolls.com

Joan Farrell and Lynette Gross Joan & Lynette Antique Dolls JoanLynetteDolls@sbcglobal.net Indianapolis & Carmel, IN

ANTIQUE DOLL COLLECTOR

JUNE 2019

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Letters continued from page 10 2) Additionally, no misrepresentation in the type of doll was intended -- the doll community in general calls them “antique reproduction dolls,” a term also used by the Doll Artisans Guild (where artists can train and compete) and by UFDC itself in competition. It is how the dolls have been referred to in books and magazines.

Some of the very first antique reproduction dolls are in themselves rare and valuable, such as those by Emma Clear, who ran the Humpty Dumpty Doll Hospital in Redondo Beach, CA in the early days of the doll collecting hobby (the 1940s-50s). These dolls have always been a way to save, study, and share antique dolls with a wider audience.

3) It is certainly possible that SOME reproduction dolls are more costly than SOME other antique dolls, but in general reproductions definitely cost less than their original counterparts. It’s important not to compare apples to oranges in this case—provide comparisons only between one type of repro and its original. Some useful examples include: ***An original Huret may cost $20,000-40,000, while the current artist reproductions on the resin body (itself an exact reproduction of the fragile antique gutta percha body) costs about $650. ***An original Bleuette can cost between $1,200-5,000, while reproductions are $125-350, depending on the artist. ***Antique mignonettes, currently popular because of their small size, cost about $2,000-5,000. Reproductions cost $200-400, again depending on the artist.

Nicki Burley

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The Quest – MORE BISQUE PLEASE Good morning!

I am currently enjoying the April issue of ADC (it arrives late in Norway.) Thank you so much for the new column THE QUEST. And thank you, Linda Edward, for including the emotional value of a collection, calling it «priceless.» Every doll in my collection opens a door to a fond memory, where and when I bought it, from whom I bought it and the happiness I feel every time I look at one of my beloved dolls.

I know I have mentioned this to you before, as I would very much like to know who were the artists behind many of the beautiful bisque dolls. You have written about some Continued on page 37

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23

The Quest A Collecting Column by Linda Edward What’s the Story

This month Linda Edward looks at the history of trends in collecting antique dolls

Early 20th century doll collecting enthusiasts wrote on the dolls they found interesting and helped to lay the foundations for the collecting hobby we enjoy today.

T

he history of doll collecting is sometimes every bit as interesting as the dolls themselves. The delight of collecting miniatures has strong roots in the past, one remembers the “cabinets of curiosity” enjoyed in Holland in the 17th century. In the 19th century costuming dolls to depict famous people or to illustrate fashion both historical and current were popular pastimes for ladies of means.

But it wasn’t really until the early years of the 20th century that the hobby so many of us enjoy really began to blossom on a larger scale. Early authors such as Henri d’Allemagne, Esther Singleton and Laura Starr began to chronicle the known history of dolls and to draw attention to the importance of dolls as historical artefacts. Collectors eagerly traded information in correspondence with each other. Enthusiasts such as Emma Clear, Helen Siebold Walter and the McKim family promoted the hobby through their

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mail order businesses. Researchers such as Janet Johl and Eleanor St George paved the way for serious study which led to the work of the Coleman family and those who followed. In 1936, The Doll Collectors of America, Inc. was founded as a forum for studying and collecting antique dolls, in 1937 the group that would eventually become The United Federation of Doll Clubs, Inc was founded to support and unite collectors of all types of dolls.

Today collecting is a firmly established hobby and all present collectors are links in a chain that reaches both to the past and the future ensuring the survival of the objects we treasure. But doll collector’s interests are never static, there is neverending ebb and flow in the areas of concentration among collectors.

As we look back at the publications of the time, we see that in the early part of the th 20 century the dolls of greatest interest to the majority of collectors were wooden, papier mâché and wax dolls of the first half of the 19th century and to a lesser degree dolls in world costume. The interest in world costume dolls would burgeon in the

The wooden, papier-mâché and wax dolls of the first half of the 19th century delighted the early 20th century collectors as much as they now delight the modern collector.

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1930s. By the 1940s, interest in the china and untinted bisque lady dolls was strong, leading to the growth of the era of reproduction doll making. Interest in the bisque headed dolls of the late 19th and early 20th centuries began to climb in the 1950s.

In the 1960s and 70s the French bisque doll was the pinnacle of desire among collectors of antique dolls, followed by the German bisque doll. The 1980s saw a growing interest in cloth dolls. In the successive decades we have seen interests flow from large dolls to mignonettes to so-called cabinet size dolls. Character dolls became the must have on collector’s bucket lists.

Today areas that were of interest 100 years ago are again cycling around to the consciousness of collectors as early collections have come to auction. Each new area of doll research, accomplished and shared, has brought a corresponding surge in interest and collecting activity for the dolls that relate to that research.

Where collector interest will turn to in the future, only time will tell, but it is easy to see that the world of doll collecting is diverse enough to continue to provide new horizons for collectors and plenty of dolls to seek out for our collections.

The variety of dolls available to collectors for study and enjoyment is vast and will undoubtedly continue to provide the spark that keeps our hobby alive.

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Auction News

continued from page 16

Coming soon!

Exciting doll auction, full of variety, from Treasureseeker Auctions, online on June 2, 2019 through LiveAuctioneers.com and Invaluable.com from 11AM-4PM Pacific Time. Something for everyone…

Early Woodens, French and German Fashion Dolls, Chinas, Fancy Parians, Paper Mache, Wax, Bisque, Composition, Plastic, you name it! Toys too!

Public Preview on June 1st, 11AM-4PM (at our gallery in Pasadena, CA) Sign up to bid now!

MORE NEWS

The British based Auction house SAS Bru Fashion Smiler “Empress www.auctions.specialauctionservices.com Eugenie” C. 1870 announces they have a new online system.

Important Continental Composite & Wood C. 1750

German Papier Mache “Napoleon” C. 1840

ANTIQUE DOLL COLLECTOR

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Treasures from the Archive

Want to read more about Kestner?

Here are some issues from our digital archives: Volume 13, Number 7 August 2010 Kestner, King of Dollmakers • Shell Dolls • Early Hingham Craftsmen • Little Cherub • Doll Treasures in Pioneer Nevada Volume 13, Number 9 October 2010 Old Salem Toy Museum • Kestner Dolls • UFDC Antique Exhibit • American Composition Dolls with Molded Hair • National Doll Festival • Shopping in Brittany, France Volume 14, Number 1 February 2011 Valentines and Old Lace • Rose Percy Returns to Public Service • NADDA in Kansas City, MO. • California Bisque Doll Co. • Kestner’s Screaming Baby • Dorothy Dainty • UFDC Special Exhibits

Volume 14, Number 2 March 2011 Kammer & Reinhardt’s Gramophone Doll • Legacy Doll Museum • The Kestner Bru • Fallis Toy Shop • A Fashion Doll Capeline • Hansel and Gretel

Volume 16, Number 3 April 2013 Gladdie, the Laughing Child • A Visit with Evelyn Phillips • Doll Collectors of America Celebrate J.D. Kestner • Rare Advertising Dolls • Fabulous Mystery Dolls

Volume 15, Number 3 April 2012 NADDA in Boston • UFDC Kestner Exhibit • Jessie McCutcheon Raleigh • Civil War Dolls with Provenance • Silk Mask Dolls of Japan • Stockings for your Poupée • Gaithersburg Doll Show

Volume 17, Number 11 December 2014 Kestner’s Early Papier Mache Dolls • Christmas Fairies • Oh, You Great Big Beautiful Doll! • Early Dollhouses • Crèche Figures • Cartes de Visite of Girls and Their Dolls

Volume 15, Number 4 May 2012 French Fashions • Kestner • Marilu Doll • Victorian Trade Cards • Babs, a Walking Doll • All-Bisques • Schoenhut Dolls

Volume 18, Number 12 January 2016 Synchronicity in Doll Collecting • Cloth Doll Cottage Industry • Kestner • Mary Hoyer Dolls • The Ram’s Head House • Japanese Doll Making Influence • UFDC Special Exhibits

Find these and many other back issues of Antique Doll Collector at our new digital store http://issuu.com/antique-doll-collector 28

ANTIQUE DOLL COLLECTOR

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Jumeau the

Quintessential French Doll

by

Margaret Gray Kincaid

All original Jumeau fashion lady 14 inches tall (author’s collection)

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F

rom childhood I have been fascinated with Jumeau. Though I lived in Paris off and ona as a child, I never even saw an antique Jumeau for sale, though in 1949 I did see that the windows of Au Nain Bleu were still showing pre-war stock of SFBJ dolls in their windows.

It wasn’t until my twenties that I discovered the fascinating world of antique dolls.

Early 19th Century Paris was far from a healthy place. Middle-class children were sent to the country – until Baron Georges-Eugène Haussmann’s rebuilding under Napoleon III allowed them to return to a magnificently engineered city and grow up in a most delightful way. With the rise of the new Borgoisie and the increased interest in childhood, the growth of the doll industry in Paris was tremendous.

Pierre-Francois Jumeau (born 1811) entered the doll business when in 1843 he married the niece of Lucius-Junius Herissey, a major French doll-maker. The dolls made by Herissey had paper mache heads made in Germany, attached to kid bodies made in France. These dolls were never marked and now are referred to as Paulines. Jumeau came from a family which sold fabrics, his family connections helped in the fine costuming of these dolls. They were dressed as fashion dolls, regional dolls, jesters or as babies. Today, even though unmarked, beautifully dressed Pauline dolls can be attributed to the Jumeau early production.

Though his wife, Adele, had died after giving birth to their second son, Emile, by 1846 PierreFrancois Jumeau kept involved in the doll business and eventually ended up the single owner of the Company. He built a new factory at 18 Rue Mauconseil in the first Parisian district. At the 1849 Exhibition, he won a Bronze medal and was commended for the quality and economy of his dolls. The heads were still paper mache imported from Germany: Jumeau was essentially conservative. He made a nice doll he could export inexpensively, he cared about the financial health of his family and viewed taking risks with new ideas as dangerous.

France had some of the best kaolin deposits in Europe, which explains why after the French Revolution some thirty small businesses started up making hand-painted China pieces – and then China heads for dolls. In the 1850s Jumeau started using unmarked glazed porcelain heads.

By 1872, Pierre-Francois founded his own porcelain factory in Montreuil, near Paris. Jumeau developed there the lovely modeled face with tender painting on bisque which became instantly popular. It was brilliant, because his dolls could represent a twelve-year-old child, dressed in shorter skirts, or an eighteen-year-old young lady with a long, sweeping skirt. Jumeau’s fashion dolls were known as Parisiennes.

Premiere Jumeau bébé size 1 on the left, early EJ size 6 bébé on the right (Odin collection) ANTIQUE DOLL COLLECTOR

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First series Portrait Jumeau in size 2/0

Bébé Jumeau Triste in size 9, all factory original (Odin collection)

Pierre-Francois Jumeau won a Silver medal at the 1867 Paris Exhibition. The Exhibitions were important for Jumeau because much of his business was international and the awards were endorsements. It was this international business that sustained the Jumeau doll company after the devastation wrought on France by the Franco Prussian War of 1870.

The new Jumeau Fashion dolls were a great success both at home and abroad. Pierre-Francois made large exhibition dolls for the Vienna Exhibition in 1873. Their success reinforced Jumeau’s international renown. At the same time, Georges, the eldest son, died as he was about to take major responsibilities within the company.

Pierre-Francois was devastated and decided to bring into the business his architect-trained younger son, Emile. By this time, Emile had married Ernestine, a bright, petite woman of tremendous fashion sense, who eventually played a major role in the family business.

Emile turned out to be a brave entrepreneur. Not as conservative as his father, he sniffed the air and immediately got interested in developing a new type of

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*EJA bébé in size 12 (photo by Jean Dalmard from “Fascinating Dolls from Musée de la Poupée-Paris”

play doll: the bébé! Emile took his opportunity and began working on an eight-ball-jointed body made of wood and composition with a more childlike bisque face. The first of these new Jumeau Bébés was not marked and only had a size number. The 17 inch doll, for example bore size number 1, smaller dolls being size 0, 2/0 or 3/0 and larger sizes being 2, 3, 4 up to 5, which brought 22 inches. These dolls were first produced during the winter of 1877 and displayed at the 1878 Exhibition, where Emile Jumeau earned a gold medal. By the next year, the bodies had a blue Jumeau stamp Médaille d’or added in the back. Dolls with this early sizing are known as Premier Bébé Incassable. These early dolls have spiral blown glass eyes which have a different look to the later paperweight eyes.

They were made by hand pressing the porcelain clay into a mold, so this is a more hand-crafted doll and subject to more variations.

By 1881, the size numbering had changed.

Now the smallest size 1 measured 11 inches up to size 9, that replaced the former size 5. These dolls still had the eight-ball-jointed body and are referred to as Second Series Portrait Jumeau bébés. These dolls still have the spiral glass eyes and were beautifully dressed by the company seamstress under the supervision of Ernestine Jumeau. Many dressmakers did their production from home, following strict guidelines to fit the style and colors that changed by the season.

DEPOSE E9J * Incised DEPOSE Jumeau bébé in size 11

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*Bébé Lioretgraph in size 11

Clothes were elaborately tailored with many pleats, tight fit and fancy decoration across the back. The doll’s underwear may even include a little bustle. Some collectors prefer to remove these early tailored yet simpler outfits and replace them with later, more froufrou looking clothing but this seems to detract from the originality of these early and highly appreciated bébés.

Shortly after the 1878 gold medal, Jumeau created his first Bébé Jumeau bearing his own initials followed by the letter A, the famous EJA model that only came in one size, measuring 26 inches.

Satisfied by the success of his new Bébé Jumeau in a bigger size, Emile hired Albert-Ernest Carrier-Belleuse to sculpt a new special luxury doll. Made throughout the 1880s this bébé is known as the long face or Triste. It came in 8 bigger sizes: the smallest 9 is 20 inches tall and the largest, 16, is 35 inches.

Shortly after, the company made another bébé, marked E.J. and bearing a size number over the initials.

These dolls still look similar to the Portrait bébés but come with a different ball-jointed body and paperweight eyes. The early E.J. dolls are better appreciated than their later sisters already marked E.J. DEPOSE and produced in a larger size range, from 1 to 16. This doll has a simplified body with some of the ball joints incorporated into the limbs.

1889 brought a new award, the Diplôme d’Honneur, as well as the personal recognition for Emile through the Legion of Honor. The popularity of the Jumeau dolls reached its peak. This is when Emile Jumeau developed the line of bébés bearing the Tete Jumeau ink stamp. These heads were made in molds with poured slip. This allowed for quicker production and consistent quality. The body of the classic bébé evolved by adding jointed wrists and incorporating all of the ball joints into the limbs. With different dolls for different markets, the Tete Jumeau became one of the most popular dolls in France, for they were wholesaled through big Paris department stores.

During the 1890s Emile Jumeau faced some issues pertaining to his succession. Anatole Danel, who was then number 2 in the Company, left together with Guépratte, the gentleman who had developed the system to make paperweight eyes for Jumeau. They founded the Paris Bébé company in order to satisfy orders coming from the Parisian department stores that Jumeau was not intending to honor. Emile Jumeau, of course, sued them and after a messy fight he won and obtained ownership of the Paris Bébé trademark. This different type of bébé has an Eiffel Tour stamped on the back and, from my personal experience, I can tell that her elbow joints are not as strong as they should be.

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*Stamped TETE JUMEAU bébé in size 5

Classic Jumeau bébé with open mouth and sleeping eyes in size 6

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Stamped TETE JUMEAU bébé in size 7 wearing her factory original presentation chemise (left) and second series portrait Jumeau bébé in size 5 wearing home made lingerie (right)

Following this lawsuit, Jumeau fully caught the department stores market and developed various other brands such as Bébé Français, Bébé Louvre, Bébé Printemps, Bébé Samaritaine… which brought him to fight efficiently against the German doll companies who were threatening his supremacy over the French market.

During the last decade, Jumeau developed various mechanisms applied to his bébés, so that they could walk or speak. The most extraordinary example is the Bébé Phonographe, adapted to the Jumeau bébé by Henri Lioret, who got inspired by the system elaborated in the US by Edison.

By the end of the 1890s, Emile Jumeau had the pride of seeing his Bébé Jumeau awarded the Jouet National label and serenely retired after leading the SFBJ Company for many years, maintaining its position at the forefront of French doll corporations until the late 1950s. Today, Jumeau is remembered as being one of the best and most successful doll makers of all times.

*Paris Bébé in size 12

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*Open mouth classic Jumeau bébé in size 14 ANTIQUE DOLL COLLECTOR

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*All photos with an asterisk are by Jean Dalmard and first published in Samy Odin’s book “Fascinating Dolls from Musée de la Poupée-Paris”, Reverie publishing, 2008.

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1. 22” SFBJ Jumeau w/Pull Strings, Couture Costume! Perfect!................... $1550 2. Rare Beautiful 22” Closed-Mouth Tete Jumeau! Perfect............................. $4550 3. Classic 23” Armand Marseille 390 in lovely pink silk dress. So Sweet.......... $625.

4. 13” Rare Kestner 260 Character! Just adorable!.......................................... $1300 5. 14” Generic German Shoulderhead doll in Antique dress! Sweet!................. $375 6. 11” Ebony Heubach Koppelsdorf 406 Character doll! Very Rare.................. $775 7. 13.5” Kling pouty Character Shoulderhead Boy. Delightful!......................... $350 8. 10” Rare All bisque 429 Character Boy by Bruno Schmidt “Tommy Tucker”.... $675 9. 13” Kestner shoulderhead in antique dress..................................................... $350 ~Layaway Always Available~ Call us at: 718.859.0901 www.rubylane.com/shop/kathylibratysantiques email: KathyLibratysDolls@gmail.com

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18” K*R Mein Liebling 117.

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Letters continued from page 23 in previous articles in ADC, but there must be so many more.

Maybe The Quest could look Into this? It would also be interesting to know more about the team behind the fantastic magazine ADC. Do not be shy; you are doing such a marvellous job for which I thank you every month. Very kind regards from Marianne Juell Skaug. Norway

NO AUCTION NEWS

Dear Antique Doll Collector, In the last couple of issues you have published no auction results. Having these auction results was one of the reasons I subscribe and so enjoy the magazine. Do you plan on reviving them or have you decided not to publish them? It will be a great disappointment if they do not return.

David Krieble, Philadelphia PA

ANTIQUE DOLL COLLECTOR

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37

The Italian Connection

Shopping in Turin, at Il Cassetto della Nonna with proprietress Giovanna Demeglio, Samy Odin and Carol Cameron

Purchase Show and Tell where Samy Odin reveals the S.F.B.J. boy’s head was but one of several that could be attached to the body.

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Reported by Carol Cameron and Elizabeth Ann Coleman

T

he success, or otherwise, of any doll tour relies on a number of things – the dolls, of course; the people; the hotels; the food, the transport; the shopping; the weather and the surroundings – be they made by human endeavor or mother nature.

And so it was with the wonderful recent Cherubins tour of Northern Italy. These various aspects wove themselves into a colorful tapestry that left all of the participants with wonderful memories - and some lovely new treasures!

Bookending our ten-day adventure were train trips from and to Paris with Italian nights in between including the historic and charming overnight locales of Turin, Stresa, Bologna, Cremona and yes Venice. These points were connected by bus travel through countryside, bursting with spring, which brought us to out-of-the-way fascinating collections.

Like the spring flowers, dolls were encountered throughout the trip – in shops, a surprising array of museums, personal collections, flea markets and doll shows. The variety of dolls we saw was truly amazing, most dating from the 19th and 20th centuries. They covered all cultures and most materials.

Among the many highlights were of course an amazing array of cloth dolls by Lenci and other little-known Italian makers, lovely French bébés, wonderful German characters, and delightful big-eyed mid-20th century Italian child and fashion dolls. Some

Former Lenci store, Turin, incorporating Lenci logo and the name of Lenci daughter, Anili. Shop today continues the Anili name but selling apparel and accessories.

were familiar faces, others were completely new - it was a real learning experience for all of us as we encountered the who, when and where of many 20th century Italian dolls. Then there were remarkable examples of toy theatres – in times gone by, a very popular entertainment with the wealthy aristocrats in this part of Italy. The “actors” in these theatres were puppets, marionettes and dolls ingeniously adapted.

Talking of “us”, there were 28 on the trip – a real international group with people from the US, Australia, the UK, Germany, Spain, Switzerland, the Netherlands and France. This melting pot of cultures blended well together and we had LOTS of fun – a definite highlight of the trip. The people we met along the way were gracious and delightful (apart from the grumpy water taxi driver in Venice, but it was VERY early in the morning and we had lots of heavy suitcases!).

We stayed in different styles of hotels but the prize has to go to the 5 star “Grand Hotel des Iles Borromees”, located on the banks of Lake Maggiore and operating since 1863. Its tagline is “Where everything is perfect” – and it was – the bedrooms, the views, the breakfast and oh, the gala banquet……. There were more than a few of us who said “I could get used to this”.

Must photography at the Museum of Toys and Dolls, Santo Stefano Lodigiano

Samy Odin and author/curator Marco Tosa, Museo della Bambola, Bologna ANTIQUE DOLL COLLECTOR

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Sales table, Cremona Doll Show: A Million Toys

Part of special display of Italian cloth dolls at the Cremona Doll Show presented

by Samy Odin and his friend Simonetta Saudino.

Susanna, Silvey, Shelia and Simona, mid 1960s Furga Museum, Canneto Sull’Oglio 40

ANTIQUE DOLL COLLECTOR

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The food – ah the food – reflected the geography and the season. As we travelled to different places, we encountered all sorts of specialties – from Piedmont, Emilia-Romagna, Venice, Pavia and Tuscany - as well as cuisine described as Parmigiano, Country style and Cremonese – not to mention the traditional meal “in the style of the Savoy Court”. Between the food and the lovely local wine, all of us came back home well fed and well watered! Speaking of watered, the sun shone for most of the time, a feature that added greatly to our pleasure.

We have already mentioned travelling by train and coach. But we could not write this without reporting on the adventures in Venice. Between the water taxis, the public ferries and the gondolas, we experienced every mode of transport available. The gondola trips were another highlight of the tour – a very relaxing way of seeing the sights of Venice – another “we could get used to this” moment.

There were opportunities to shop throughout the trip and everyone came home with some new treasures. We had a great “Show and Tell” at the end of the tour, with lots of fun and learning. Once again, we demonstrated how inventive doll collectors can be when it comes to fitting things in their luggage!

Lastly, we were able to draw our eyes away from dolls long enough to admire our surroundings, which were incredible – from the wonderful wisteria in Venice to the gardens in the Palazzos – mother nature was at her best. And the human made architecture was unbelievable – from the cathedrals to the museums – a reminder everywhere of the wonderful history of the area.

We must end this report with a BIG thank you to both Samy Odin and Vanessa Brunel for organizing and executing this first Cherubins tour - and doing it seamlessly. We were clearly well behaved; Samy says he is already planning to do more – so start saving your pennies.

Burgarella composition doll. Collection Borromeo, Rocco Borromeo, Angera

Early composition headed doll, c 1820. Collection Borromeo, Rocco Borromeo, Angera

Italian hard plastic dolls, 1950s Museum of Toys and Dolls, Santo Stefano Lodigiano

A. Marque, Museo della Bambola, Bologna ANTIQUE DOLL COLLECTOR

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41

Hertwig China Gentleman: A Repair Odyssey by Mary Elizabeth Lampron Groupé It’s not every day that one takes a 150 year old doll apart and learns its secrets.

I

n mid-March of 2018, I was looking at china dolls on eBay. I wasn’t looking for anything in particular; I was just browsing. After a while, I came across a doll that really interested me. Part of my interest stemmed from the fact that the doll represented a grown man; a gentleman china. Male china dolls are not, in general, a common sight. While a number of child china dolls exist where the gender may be determined by the beholder, dolls like this one, which are clearly meant to be seen as male, are much less frequently seen. Moreover, after a closer examination of the doll’s face, I realized that the doll had been made by Hertwig & Co.

Hertwig china gentleman doll. Author’s collection

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In 2012, when I was in the UFDC judges training program, I was assigned a research paper about Hertwig shoulderhead dolls, both china and bisque. At the time, I had no interest whatsoever in Hertwig shoulderhead dolls, especially ones dating from 1890 forward, which was the study period of the paper. However, as I dutifully researched this topic, I realized that I knew far less about Hertwig shoulderhead dolls than I had imagined and that there were some wonderful dolls among them. Ever since that time, I have retained an interest in these dolls, collecting models and continuing my research. Therefore, when I realized that the doll looking back at me from the computer screen was a male Hertwig china doll, my interest was piqued. I had not seen a male Hertwig china doll during my research for my judging paper, nor had I seen one since then. This was a very unusual Hertwig china doll.

The photos supplied by the eBay seller were not very good, nor were they comprehensive. For instance, there were no pictures of the doll without his clothes on.

I could see that the doll had a side-parted hairstyle that I thought was from the late 1860’s or early 1870’s. His facial painting, particularly that of the mouth and the eyes, was characteristic of the Hertwig company and made me as certain of his attribution as I could be from a photograph (see Illustration 1).

Illustration 1. Facial painting of eyes and mouth is characteristically that of the Hertwig company.

Illustration 2. The china lower legs, with their simple, heeled, molded boots, were a key to establishing the doll’s age.

I won the eBay auction and awaited the doll’s arrival with a great deal of excitement. However, from the moment I saw the shipping box, my excitement changed to trepidation. The doll is 17 inches tall but had been folded into a box that was only a foot long. My sense of foreboding increased as I unwrapped him, for there was sawdust in the wrappings and on his clothes. I carefully removed the doll’s clothing to see where the sawdust was leaking from. As I describe the damage to the doll’s body in detail below, I will simply say here that the body was extremely badly damaged, with holes in the torso, and an arm and a leg that were almost severed. Fortunately, all the china parts of the doll, consisting of the shoulderhead and the lower arms and legs, were undamaged.

This was the first time I had seen the doll “in person.”

It was also the first time I had been able to see the doll in his entirety, without the hindrance of clothing. I saw that the doll was on an original factory-made body that was somewhat frail. I also saw that the china lower arms and legs were very long, particularly the legs, which went above the knee. Furthermore, the doll had simple, black painted, molded boots with a low heel (see Illustration 2). Such boots allowed me to date the doll to the period between 1866 and 1870. This was very early in the company’s production, as Hertwig was only incorporated in 1864.

Despite the apparent early age and original condition of the doll and my consequent interest in him as part of my field of Hertwig research, I seriously considered sending

Illustration 3. Doll as he first appeared when I undressed him. He is wearing a sewn-on chemise that is a relic from a time when he was incorrectly dressed as a female doll.

the doll back to the seller. I wasn’t entirely sure that I could repair the damage to the doll’s body and I wasn’t certain that I wanted to undertake such a complicated project, even if it should turn out to be successful. I foresaw months of tedious, painstaking repairs. Ultimately, I decided to keep the doll, but by the time I made that decision, I was too busy in my flower garden to work on him, and so he laid in a box awaiting my ministrations.

The poor doll waited a long time, as one gardening project followed another and my apprehension about the difficulty of the repairs grew. Finally, at the end of December 2018, I resolved to begin the repairs. I decided that I would keep a diary of the repairs, as I thought that such a diary would be an important part of the doll’s records. I did not expect it to be published, but when I had completed the repairs, I thought that other collectors, particularly those who own cloth-bodied dolls, would be interested in what I observed when I embarked on my repair odyssey. After all, it’s not every day that one takes a 150 year old doll apart and learns its secrets.

December 29, 2018: Today I began the repairs that need to be done to the cloth body and upper limbs of the Hertwig gentleman china doll. I first took photos of the damage to the doll. This required the help of my husband, David, as both my hands were needed to display the torn limbs, leaving none to take the photos. After the photos were taken, I removed a crude sewn-on chemise (see Illustration 3) that the doll was wearing. The chemise was closely sewn to the body and a seam ripper was required to ANTIQUE DOLL COLLECTOR

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Illustration 4. The chemise has now been freed from the body and lies to one side. The torn left leg was detached so that it wouldn’t suffer more damage when the doll was rolled onto its face.

Illustration 5. The underside of the shoulderhead is marked “32”.

Illustration 6. The top of the body was sealed with a fabric cover that is not original to the doll. This told me that the shoulderhead had been removed at least once before.

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cut the very small stitches. Unfortunately, the body fabric is very fragile, making a certain amount of tearing unavoidable. After I had removed the stitches on the front of the chemise, I stopped to remove the badly torn left leg from the doll. Once the left leg had been removed, I carefully rolled the doll over and continued removing the stitches holding the chemise in place (see Illustration 4). The chemise was removed in intact condition, although I do not plan to put it back on the doll. It is a relic from a time when the doll was incorrectly dressed as a female doll.

Next, I carefully cut the string that affixed the shoulderhead to the torso, placing the shoulderhead to the side for now. I observed that it was poured and that the underside of the shoulderhead was marked “32” in fired on orangish-red numerals (see Illustration 5). The color of the glaze the “32” is written in is the same color that was used to paint the doll’s mouth. It is perhaps significant that the shoulderhead is marked “32,” as the porcelain lower limbs are each marked “16” in incised numerals. The hands are right and left hand specific, with the incised number on the inside of the lower arms. Despite the presence of the incised numbers on the lower legs, they are not right and left side specific. Consequently, the number is on the inside on only one of the legs. On this doll, the number is inside on the right leg. Curiously, the left lower arm and right lower leg are heavily pitted from the kiln but the other arm (which has one kiln speck) and leg, and the shoulderhead, are entirely free from pitting. (The pits are like tiny pinpricks in the porcelain and are without the black kiln smut sometimes seen in kiln pits.)

This doll’s body was apparently repaired in the past and whoever did this repair removed both the legs and the shoulderhead. The legs were probably removed because of wire threaded from the lower torso into the legs. This wire had been cut on the left side and the legs reattached with the fabric of the legs bunched up and caught by the stitches thereto. (I will discuss this wire in more detail later in this diary.) I am not sure why the shoulderhead was removed. However, there was a piece of fabric covering the opening at the top of the body (underneath the shoulderhead) that was clearly not original to the doll (see Illustration 6). I carefully removed the stitching that affixed this piece of fabric to the shoulder and neck area of the body. Underneath it was the customary criss-crossed stitching (see Illustration 7) that I have seen before with Hertwig bodies. Hertwig traditionally left an opening at the top of the body, where the sawdust was contained by stitching that criss-crossed back and forth over the opening. It does not entirely seal in the sawdust, but it seems to keep it in place well enough. I’m not sure why Hertwig chose to finish the top of the body in this manner, rather than cutting the fabric at the top of the body a little longer and sewing the top closed. I suppose that it was a cost-cutting measure, and that the thread was probably cheaper than using more fabric in the body.

I removed the criss-crossed stitching with considerable trepidation. It is not easy to disturb something that has been in place for 150 years or thereabouts. While I was removing the stitching, I observed that the fabric at the top of the body had been gathered. Unlike later Hertwig cloth bodies, where the top of the body was cut out to conform to the

breadth of the shoulderplate, this body was wider at the top than was necessary. This extra width of fabric had been gathered up before the criss-crossed stitching was put in place. The presence of this extra width of fabric surprised me, as Hertwig was very conscious of waste. I am not surprised that this excess fabric was eventually eliminated from the company’s cloth bodies.

When the criss-crossed stitching was entirely removed, I was able to detach the two arms from the body. The right upper arm had a large T-shaped tear, as well as a number of holes in it (see Illustration 8). It would eventually have to be replaced, as the fabric is too fragile to allow me to patch such an extensive area. I also removed the undamaged right leg from the torso and set it to the side for later reattachment. The removal of this leg exposed a piece of wire (see Illustration 9) that had been inserted into the leg to allow the doll to remain in a seated position once the wire was bent. I then emptied the torso’s sawdust into a clean container where it would be kept for eventual reuse in restuffing the body. The torso was extremely firmly packed.

I am very concerned that the present fragile state of the torso will not allow me to repack the sawdust as firmly as it once was. Once the torso was largely emptied of sawdust, I could finally examine the piece of wire that I had seen poking through the fabric of the body’s chest (see Illustration 10).

The wire was shaped like a narrow, upside down “U,” with the top (the U-shaped part) placed high in the chest, where it was embedded in sawdust (see Illustration 11). The doll’s torso is an idealized woman’s shape, as male china dolls were conventionally placed on womens’ bodies. It is also an early shape, with a very narrow waist and exaggerated, somewhat low, hips. The two free ends of the wire, which were turned up slightly, were splayed out and embedded in the sawdust of each hip (see Illustration 12). The purpose of this wire would seem to be what I had speculated when I could only see a portion of it -- to keep the doll’s torso from slumping at the waist, as sometimes happens to china dolls.

I have come to think of this wire as the “posture wire.” I have never seen a “posture wire” before. I wonder if it was an early idea that was discarded either because it was too expensive or was deemed to be unnecessary. Because it is so unique, I would like to put the “posture wire” back in its original place, although I am conscious of the fact that it is made of iron and is rusty. It has already created a hole in the side of the body where it touched the cloth, in addition to the hole it made in the chest. The narrow waist of the body would make it difficult to bury this wire sufficiently in the sawdust to prevent this from happening again. The “posture wire” was not fastened in place; it was simply embedded in the sawdust of the body.

Illustration 7. Underneath the fabric cover that had been added to the doll was the customary crisscrossed stitching that the Hertwig company used to partially seal in the sawdust. It seems to have worked well enough in keeping the sawdust in its place.

Illustration 9. This wire was originally inserted into the right leg (note that the back of the body is uppermost in this picture).

Illustration 11. Here the “posture wire” can be seen still embedded in the sawdust of the body. (The lower wire, seen near the doll’s hip, is a separate “seating wire.”)

Illustration 8. The right arm had a T-shaped tear in it.

Note how the fabric of the upper arm is dark with rot.

Illustration 10. Once the chemise was removed, I could see a rusty U-shaped wire poking through the doll’s chest. I did not know what this wire was for, as I had never seen one before.

Illustration 12. The “posture wire” shown against the empty torso. The wire is laying as it was originally positioned inside the torso, with the upside down “U” in the doll’s chest and the two free ends splayed into the hips.

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Illustration 13. With the chemise pushed up, the damage to the lower torso caused by the U-shaped “seating wire” can be seen. The upside down “U” of the rusted “seating wire” is protruding through the fabric of the body at the red arrow.

Illustration 14. The “seating wire” laying as it was originally positioned inside the torso. The two free ends would have been inserted into the legs. Note that the wire is shorter than it originally was.

Illustration 15. Body turned inside out to show hand stitching.

Illustration 16. The original body torso is on the left. The object in the middle is my first try at a liner for the torso (shown inside out). On the right is the new liner, made of tea-dyed muslin.

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In the bottom of the torso, there was a second U-shaped wire, which had been partially visible through a tear that it had made in the abdomen of the torso (see Illustration 13). This wire, which I refer to as a “seating wire,” was shaped like an upside down “U,” with the “U” embedded in the sawdust of the doll’s abdomen and the two free ends originally threaded into the legs, where they were embedded in the legs’ sawdust.

Once bent, the “seating wire” would have allowed the body to maintain a seated position until the wire was straightened again.

Like the “posture wire,” the “seating wire” was not affixed to the body. It was simply embedded in the sawdust. Through repeated bendings and straightenings, the “seating wire” moved out of place and eventually tore through the cloth. While it was not a very good idea, it was apparently considered a luxury feature and was used in Hertwig’s more deluxe body types and in its more expensive dolls. It is interesting, from an historical perspective, to know that Hertwig was using the “seating wire” so early in its production. I would like to place the “seating wire” back in its original position in the torso (see Illustration 14) and perhaps reinsert it in the right leg (the piece that would have gone into the left leg has been cut off), but I am worried about the damage that the rust from the iron wire has already done to the fabric of the body.

When the sawdust was completely emptied from the body, I gently turned it inside out. Here was a surprise as great as the “posture wire” that I was seeing for the first time. I am far from a stranger to Hertwig cloth bodies, having repaired a number of them before. Those bodies were, without exception, machinesewed. This body had been sewn by hand (see Illustration 15).

Furthermore, the stitches which remain on the legs, where the legs were sewn together against breakage during shipping, make it clear that this was a commerially sewn body, not a homemade one. The find of the hand-sewing makes equally clear that this body was sewn in the early days of the Hertwig company’s existence, before it owned sewing machines or before it owned enough of them to eliminate hand-sewn bodies.

December 30, 2018: On this second day of repairs, I worked primarily on the torso of the doll’s body. I decided that I would try to make a liner for the torso. The liner would go inside the original body, like a pillow inside a pillowcase. Just as the pillow takes all the strain of the stuffing material, so, too, would the new liner take the strain of the sawdust stuffing the doll’s torso.

I was dubious about my ability to make such a liner, as the doll’s torso, with its small waist and wide hips, would be complicated to try and mimic. The torso wasn’t even symmetrical. However, I couldn’t think of a better way to ensure that the original body would continue as part of the doll, so I took some muslin and sketched out a “first draft” to use as a pattern. When sewn, this pattern fit inside the original torso quite well, so I used the pattern to cut another liner from tea-dyed muslin (see Illustration 16).

I sewed the new liner on the machine with Gütermann cotton thread (all sewing, whether by hand or machine, done in repairing this doll was done with Gütermann cotton thread). Then I turned it right side out and pressed it. It awaits its sawdust stuffing.

Once I had decided to use a liner in the torso, I was able to finalize which holes in the torso that I would repair. I decided that I would only repair the three biggest holes (see Illustration 17). The other, smaller holes would have the tea-dyed muslin of the liner behind them and would not show very much. I disliked the idea of using glue on the original body but there was no other way to repair it, as the fabric was far too fragile to sew. I turned the body inside out and patched the inside with tea-dyed muslin (see Illustration 18). I will wait 24 hours for the glue to dry before I turn the body right side out again.

I also repaired the damaged left leg today. It was badly torn right above the point where the porcelain lower leg is attached (see Illustration 19). This, of course, is a tremendous stress point for a cloth limb on a china doll.

On this doll, the tear was so long that the leg was almost severed. Using a piece of tea-dyed muslin, I cut a long, narrow patch and coated it with glue. I then wrapped the patch tightly around the leg, starting just above the groove where the thread is wrapped to attach the porcelain leg (see Illustration 20). (I was careful to not cover the distinctive stitching that Hertwig used on the legs to keep them from knocking together and breaking during shipping.) The patch overlaps slightly at the back of the leg, for strength. When fully dry, this patch should keep the leg securely in place for the future. It should be

Illustration 17. Front of the torso, showing the three large holes that I would repair.

Illustration 18. The torso turned inside out, showing the three tea-dyed muslin patches that were glued from the inside. The round one at the waist (on the left) is hard to spot.

noted that inside the sawdust at the top of the upper leg was a piece of the “seating wire.” As this piece of wire had been severed and cannot be reattached to the U-shaped wire it was once part of, I buried it deeper in the sawdust of the leg where it will not tear a hole in the fabric.

December 31, 2018: Today I turned the repaired torso section of the body right side out and began to insert the liner. To my dismay, the tiniest pull on the old fabric of the torso caused two new holes to appear. These new holes arose from the small holes that were made when the chemise was stitched to the torso. I had to stop, turn the body inside out again, and patch these two new holes on the inside of the body. This means another 24-hour wait until the glue is dry enough to proceed with inserting the liner and restuffing the body.

Meanwhile, I added some sawdust to the top of each upper leg until they were firmly packed. Then I sewed the openings at the top of both of the upper legs closed. Because the fabric is frail and will eventually need to support the stitches that will attach the legs to the torso, as well as the weight of the legs themselves, I reinforced it with some teadyed muslin. A strip of fabric, about 3/8 of an inch wide (which I then folded in half) and about 1¼ inches long, was inserted into the top of each leg. Once the leg opening was sewn closed, the new fabric was completely hidden by the old fabric. I had to sew the right leg’s opening twice, as my first attempt was at an angle instead of being straight across. It was difficult to sew the leg openings closed, as the person who had once sewn them closed after some kind of repair had bunched up the material and it was now creased into that bunched-up shape.

Illustration 19. The left lower leg was almost severed from the upper leg. Note that the tearing occurred at the top of the china lower leg.

This is a tremendous stress point for a cloth limb on a china doll.

Illustration 20. The patched left leg. Note the band of stitching directly above the patch. This is what remains of the stitching that kept the legs from knocking together and breaking during shipping.

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Illustration 21. The two new upper arms are shown next to their torn original counterparts. The damage to the original upper arms was greater than it appears in this picture.

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Illustration 22. Working slowly and carefully, I inserted the new liner into the torso.

Illustration 23. The “posture wire” and the “seating wire,” shown as I positioned them inside the torso (the free ends of the “posture wire” were a little more splayed into the hips than is shown).

Illustration 24. The torso, now stuffed with sawdust. At the top of the torso, in the light colored fabric that has been protected by the shoulderhead, you can see the gathering stitches that pulled in the excess fabric located there.

Illustration 25. Flaps were left at the top of the liner to seal in the sawdust underneath the shoulderhead. The flaps are shown sewn closed. The flaps will not show, as the shoulderhead will cover them.

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Finally, I machine-sewed the replacement for the badly torn right upper arm, using tea-dyed muslin. I feel terrible about not being able to salvage the original upper arm, but the damage is just too great and the fabric too frail to repair. When the new upper arm was sewn, I inserted the porcelain lower arm and tied it in place. I then stuffed it with the sawdust taken from the original upper arm. Next, I tried to gently fix the left upper arm, which was no longer completely tied into place in the arm’s groove. However, when I tried to turn the upper arm inside out, it tore, necessitating the replacement of the left upper arm as well. (The left upper arm was made in exactly the same manner as the right upper arm.) While it is true that I was nervous about the fragility of the original left upper arm, I am still sad that I had to replace it, too. On the other hand, the replacement upper arms (see Illustration 21) are well-made and sturdy and will serve the doll well for many years to come. Interestingly, I observed that the two arms, though both marked “16”, are slightly different, in both the shape of the hand and the thickness of the arm. The differences are very slight and I doubt that I would have noticed them but for the close work I did replacing the upper arms.

January 1, 2019: At long last, the torso is patched and its patches (now numbering five) dry. I turned the torso right side out and inserted the liner I had made (see Illustration 22), being extremely careful not to pull on the original torso during the insertion and cause further tearing. Working slowly, I filled the liner with the torso’s original sawdust. I used my wooden turning stick and my fingers to tamp the sawdust firmly into place. For the sake of historical accuracy, I reinserted both the “posture wire” and the “seating wire” into the torso. I did not try to reinsert the shortened “seating wire” back into the legs, but left it all up in the torso (see Illustration 23). When the torso/liner was almost filled with sawdust, I hand-gathered the top edge of the torso, taking care to also sew through the liner for strength (see Illustration 24). I gathered up the top edge of the torso/liner and continued to stuff in sawdust until the correct shape was achieved to properly support the shoulderhead. When I made the liner, I cut it long at the top to allow for flaps that could later be sewn closed to contain the sawdust. Hertwig used criss-crossed stitching for this purpose, but I wanted something that was a little more leak-proof than that. Accordingly, after the torso/liner was full of sawdust, I folded in these flaps and hand-sewed the top opening securely closed (see Illustration 25). The flaps will not show, as the shoulderhead will cover them.

The next step will be positioning the upper arms in their place atop the body.

The doll already has a long-sleeved shirt and his arms must be a precise length in order for the shirt to fit properly. I could position the arms today, but unfortunately, I placed the shirt in a basin to soak in enzyme cleaner before I considered that I would need it to position the upper arms.

I will have to wait until the shirt is clean and dry before I can continue.

January 2, 2019: Today I positioned the arms atop the body. I used the newly washed shirt to check their length and then sewed them into place. Then I glued the shoulderhead to the inverted body, using large rubberbands to hold the shoulderhead in place (see Illustration 26). (The body was inverted so that gravity would cause the sawdust to fill up the space between the shoulderplates, creating a snug fit.) The shoulderhead will need to dry for 24 hours. The Hertwig company apparently always glued its shoulderheads in place, whether or not the shoulderplate had sew-holes.

I imagine that it was less expensive to glue the shoulderheads in place than to sew them.

January 3, 2019: With the shoulderhead securely glued in place, the final repair needed was the reattachment of the legs. I took pains to catch the thread in the liner of the torso so that the weight of the legs was not all depending from the frail fabric of the original body. With the repairs successfully completed (see Illustration 27), I re-dressed the doll and placed him on a doll stand (see Illustration 28). He is now happily ensconced in the doll cabinet, where he regales the other china dolls with tales of his adventures.

Illustration 26. The arms have been positioned and sewn into place at the top of the torso.

The shoulderhead is glued and is being held in place on the inverted torso by rubberbands.

Illustration 27. The completely repaired and reassembled doll.

Mary Elizabeth Lampron GroupÊ ŠMarch 2019 Dedicated to my dear friend Stephen Rowan, who gave me the idea for this article.

Illustration 28. The completed doll is dressed and placed on a stand.

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What’s Cookin’ ?

A Fully-Appointed German Doll Kitchen

By Laurie Baker

I

(Theriault’s photo from Google Images)

n the past, as in today, young girls were given toys that would prepare them for their future roles as adult women. Dollhouses, tea sets, irons and ironing boards, sewing machines, and things for the kitchen would allow them to practice their homemaking skills. Play would mirror their real lives to come.

In the latter decades of the nineteenth century, German manufacturers elevated the well-stocked doll kitchen to an art form! Small German dolls were used in the scenes, so the little girl could reenact daily life in a kitchen as realistic as her mother’s. Doll kitchens were most often given as Christmas gifts, to be played with only on special occasions.

“When the supplies in the doll kitchen were used up, they cooked for days and weeks with supplies from the big kitchen...” When winter gave way to spring, “The kitchen was carefully packed and put in the attic, and only in winter, shortly before Christmas, did the parents secretly bring it downstairs. Spruced up and filled again with goodies, it stood under the Christmas tree, bringing renewed excitement year after year.” (Doll Kitchens 1800-1900 by Eva Stille.)

My doll collection was exclusively dedicated to French fashion dolls, their furniture and accessories. The thought of an antique German doll kitchen was not even in the long-range plans. Or so I thought.

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While browsing the internet one day, I ran across an antique Marklin stove from the Etsy shop, ShabbyGoesLucky. It had a complete set of copper pans and a water reservoir, with a spigot that worked. It was the best I had seen, with embossed brass oven doors, brass scrollwork on the front and sides, and a protective, brass bar in front. All that was missing was a small round grill in the front. It even had a small baking sheet in the oven. I was smitten!

More amazing still, the kerosene burner assembly was intact, and could actually work. My first thought: Who would possibly put children, kerosene, matches and a hot exhaust flue, in the same room?? What could possibly go wrong?! But yes, little girls of the day played with the stove, “cooked” on it, and went through the motions of their mothers, on a smaller scale. A point and a click later, and the stove began its journey from Germany to Colorado.

I still had no intention of creating a kitchen. I just wanted that miniature stove, but when I mentioned to two treasured friends that I had the stove, they were ecstatic! Joy Kelleher of Special Joys, and Jan Peterson of “AuBonMarche1800”on Ruby Lane, leapt to the challenge. Things began arriving at my door in boxes, LOTS of things, of such detail and variety that I was awestruck. So, I guess I was having a kitchen after all. Finding a copy of Eva Stille’s definitive book, Doll Kitchens 1800-1980, and using friends’ kitchens as my inspiration, and I was set to begin!

Eva Stille describes the history of German doll kitchens in great detail, but I was particularly interested in the “Frankfurt Doll Kitchens.” The name does not refer as much to where they were manufactured, but to the fact that there were a large number of middle-class people in the city of Frankfurt who could afford such a luxury.

She describes a large “room box” kitchen, sometimes on legs and some with side doors that opened and closed.

These were narrow and long, with side walls allowing for utensils and shelves, the stove would be in the center with cabinets and racks on either side. Some were threesided long, narrow rooms with flooring.

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“Most of these kitchens also had other characteristics in common: wall shelves on the left side and around the corner, with a corner cabinet under them, a sink with a drainboard in front, another set of wall shelves on the right, with a bench or small cabinet underneath. A kitchen cabinet on the rear wall at right, and the iron stove in the middle, usually under a flue. The floor is a checkerboard pattern, walls and furniture in subdued colors, often finished in a beer glaze.” (Doll Kitchens) I refer the reader to Eva Stille’s book for further detailed descriptions and photographs.

German doll kitchens are larger in scale than the 1:12 dollhouse scale. Good thing. I am not agile with really small things. A local flooring-and-tile store provided one-inch, natural marble tiles and compatible grout for the floor. The weight of the flooring, which was mounted on plywood, required using the lowest cabinet level for the kitchen. Foamboard back and side walls were covered with fabric, for “wallpaper.” I did what I could, with minimal woodworking experience on the trims, to create the three walls necessary for a proper kitchen. I raised the floor level two inches, so small things would not get lost behind the wide trim of the cabinet’s front-sliding door. The room was finished.

Thanks to the internet, I was able to find an 8-inch Simon and Halbig K Star R little girl, with sleep eyes, on a 5-piece compo body with a swivel head. Next came a 10-inch Recknagel little boy, with sleep eyes, on a crude 5-piece body with swivel head.

Then a 10-inch Heubach girl on a 5-piece compo body and with a swivel head, followed. She could sleep, too, but had better keep an eye on the other kids...And so the cooks were ready for action!

Sondra Krueger supplied the small-scale, French faux bamboo table and four matching upholstered chairs, and matching marble-topped server. Jan Peterson and her husband, Pete, supplied the faux bamboo pantry, superbly-detailed step- back cupboard, and wall shelf, all in scale. No small amount of work went into the restoration of those pieces. Pete is a genius!

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My original thought was that my friends’ doll kitchens were hopelessly over-crowded. I was planning to follow my own “less is more” credo. That lasted a day. If that.

There are so many things available for kitchens, and so reasonably priced, that it was next to impossible to say no to a small waffle iron, a set of French “faux foods” on little porcelain plates, dishes, pots and pans, shelves, meat grinder, copper molds, coffee grinder, antique braided rug in ...well, you see where this is going. I found Meissen Blue Onion dishes and tools, and a plethora of German paintedtin kitchen accessories, French yellow bowls that were only made for one year, and assorted serving dishes and bowls.

The only modern addition is a samovar, in case anyone wants coffee.

The more rare accessories include a Meissen Blue Onion porcelain wall shelf with 6 intact cooking tools and matching breadboard. The “tile” wall shelf with hanging utensils stands ready for use, next to the stovetop, and is a miniature version of the one Monet had in his house in Giverny.

Simmering on the stove, under Big Brother’s watchful eye, is a pot full of chicken and vegetables, with beef in the frying pan.

Another favorite is a 3-part stacking pan set with handle. It is made of blue painted tin, and is full of small porcelain vegetables and fruits.

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The Sisters at the table have their supper waiting, with their napkins in German tin napkin rings, their dishes, a bowl of French wax pears, and a cake, for dessert. A small cruet set provides any additional seasoning they might require.

A tin wall shelf and cup are at the ready, if required for a cool drink of water, after an afternoon slaving over a hot stove!

Just about every inch of wall space is occupied. Crowded kitchen? Indeed.

So much for “less is more.�

Antique kitchen towels and oven tongs hang at the ready from the stove rail.

Need to time the meal to the minute, or fry eggs sunnyside-up? The nearby clock with pendulum can help.

The step-back cupboard can store many things inside the lower doors and behind the upper glass doors. It has a handy work space for piling up more foods and fun things, including a tin of doll-size cookie cutters, a basket of fresh eggs, and fresh fish, beef roast, and a ham.

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The pantry is fully stocked with dishes, bowls, tinware, flour sifter, a canister set, and a few cookbooks.

(Big Sister and Big Brother can read.

Little Sister is learning.)

A German, dark wood shelf is the perfect place for copper molds and a German painted-tin oil lamp with reflector.

Now, when people enter the doll room for the first time, their focus is on... the kitchen! Brus, Barrois, and Jumeau and FG fashion dolls and their things are eclipsed by it, and the sheer number of things, with dolls tending to their chores. What were once special Christmas playthings for little girls and their dolls have become items to search out and display, well over one hundred years later. Sound familiar?

As my collection continues to take a turn from its original focus, it just proves to me that collections are fluid. They are only limited by space, imagination, inspiration and budget. Now is an excellent time to collect for a kitchen.

Things are plentiful, and affordable.

If you choose be the architect of your German own doll kitchen, with a dizzying arrays of assessories, it might be a good idea to keep Eva Stille’s words at hand: “At first glance, the correspondence between ‘big’ and ‘small’ in the world of adults and the play world of children is astounding....Doll kitchens do not reproduce THE kitchen of a certain time, but ONE type of kitchen among many....”

She is giving us permission to follow our own instincts and create the kitchen that works for us and our dolls. I will warn you: Once you start, you are in for the duration.

For me, it all started with that stove.

When I sent photos of my finished kitchen to the Etsy seller in Germany, she thanked me and said it reminded her of her childhood. That was my validation.

Is a kitchen ever truly finished? I don’t know. However, next week, I am expecting a box containing an oak and copper doll-kitchen water station, called a lavabo, with a water reservoir and basin beneath. Oh, wait. There is one more thing: a little set of copper measuring cups on a wall hanger, on the way from France.

I swear I can smell cooking in my doll kitchen, sometimes. Hey, I did not put any kerosene in that burner...Uhoh!

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READER REPORT:

C

My Barbie Doll

by Sandra McGahey

hildhood memories are such an important part of our lives. They mold us into the person we become and continue to remain with us throughout our lives.

Barbie arrived at the New York Toy Fair on March 9, 1959. She was eleven and a half inches tall and wore a black and white bathing suit with black mules. The doll was made by Mattel and created by Ruth Handler.

My journey to own one of those fabulous dolls began one evening after school in 1959 while watching the MICKEY MOUSE CLUB. The black and white TV commercial aired the Barbie doll for the first time. She had a blonde ponytail and wore her signature bathing suit. Many outfits with tiny accessories flashed across the screen too quickly for me to remember all the details. She looked so grown up, had many dresses with matching accessories and the detail that I will always remember are the tiny zippers that were sewn into some of the clothes. I was so excited I could hardly breathe! My determination to own one of these dolls was unstoppable! Barbie encourages young girls to feel that they can be anything they

Barbie’s big blue case and all her lovely clothes. She is wearing my bracelet from the Barbie Fan Club.

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My first Barbie doll wearing her black and white bathing suit. (Reproduction box) Doesn’t look like a day for a swim!

Barbie’s first original dress which had a zipper was “Cruise Stripe Dress” #918. Now she is ready for a lifetime of adventures.

“Red Flare” #939 is the perfect outfit for the holiday season. Barbie is greeting her friend who is wearing “American Airline Stewardess” #984.

This is my version of “Silken Flame” and “Garden Party” that I made when I was eleven.

want to be. She has led many young people to forge ahead and follow their dreams. Back then, that is exactly what I decided to do.

In the spring of 1962, my mother became very ill and could not get out of bed. Now, at the age of ten, running the household was my job while my father was at work.

Going to school, cooking, cleaning, washing clothes, grocery shopping and taking care of my mother and little brother became my daily routine.

I received a quarter every week for these tasks and by the middle of August my mother had improved. And I had saved three dollars! My grandmother purchased the Barbie for me from Shoppers Fair, a local discount store at the time.

When I received my Titan Ponytail #5 Barbie wearing the popular bathing suit, I was speechless! I had waited three years to get that doll!

The change I was given back from my three dollars went toward her first original dress. In the meantime, I had to learn to sew, which my Aunt Pat took the time to help me learn. My grandmother taught me to crochet when I was seven so that skill was already mastered. My friend Nancy taught me to knit with two pencils when the teacher wasn’t looking. With all my acquired skills I began making doll clothes from scraps of material given to me by relatives and friends.

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Barbie added “Friday Nite Date” #979 to her blue closet when I won the Fifth Grade Spelling Bee. The following year after winning the School Spelling Bee, “Orange Blossom” #987 was hung in her case.

Many years have passed since then, but coming across my blue Barbie Doll case twelve years ago sparked another adventure. Using all the crafting skills I learned as a child I decided to design a quilt incorporating all my memories of my beloved Barbie.

It took several months before I designed a plan that satisfied me. Finding the appropriate material was my next hurdle.

Acquiring the main pieces of each outfit used was the most expensive challenge I faced. Approximately, twelve years later, I had completed my masterpiece! Each quilt block represents a memory of my life which was connected to Barbie. All accessories on the quilt were handmade by me. The tagged piece of the outfit is original.

The first outfit to be included on my quilt was “Cruise Stripe Dress.” (#918) It was purchased with the leftover money from my doll. A sheath dress with a red and white striped top, navy skirt, accented with a white belt and black shoes.

Her first original outfit which had a zipper! The next outfit was “Barbie-Q-Outfit.” (#962) A rose sundress with a full skirt accented with white lace trim. A white apron, chef hat and shoes were included, plus she had to have all those utensils to cook delicious meals!

Wearing her second dress, “Friday Nite Date” (#979) featured “Barbie-Q Outfit” #962, she is barbecuing on a hot a lovely blue corduroy jumper with felt summer day. appliques and a white cotton puffed

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Celebrating birthdays with friends and sharing cake is a great way to enjoy that special day. Barbie is wearing “Suburban Shopper” #969. Her friends are wearing “Movie Date” #933 and “Masquerade” #944.

sleeve blouse with an attached petticoat. Two orange sodas with straws sat on a black tray. Black open-toed shoes were included. “Orange Blossom” (#987) was a buttercup sheath dress which had a lacy full skirted over-dress. Her bridesmaid dress included white shoes, a bouquet of flowers, white gloves and a cute tulle hat to match her sheath. These outfits were earned by winning the fifth-grade spelling bee and the school spelling bee in sixth grade.

Christmas presents from Santa included “Red Flare” (#939) a red velvet tent coat with puffed sleeves and long white gloves. The coat and clutch bag were lined in white satin. Red open-toed shoes and a pillbox hat with a cute bow made this a classic 60’s look. “American Airlines Stewardess” (#984) consisted of a navy fitted suit and Airlines insignia pin. A white nylon body blouse with tiny buttons fit perfectly under her jacket. Shoes, cap and zippered flight bag was included. This was one of my favorite pieces because I wanted to be an airline stewardess at this point in my life.

“Movie Date” (#933) is the perfect “date” dress. It has thin blue-and-white stripes with a sheer organdy overskirt. Little bows were added to the bodice and hem.

“Suburban Shopper” (#969) is a wonderful summer dress with a zipper. A large straw hat, white shoes, telephone, straw tote and a necklace made this outfit great for hours of creative play. “Masquerade” (#944) a black and yellow costume, had netting at the neckline and hipline.

Black shoes with yellow pompoms, hat, mask, tights, and invitation make this set a Halloween hit! These were birthday presents from my cousins.

“Floral Petticoat” (#921) was the perfect undergarment for Barbie’s full skirt dresses. The petticoat, panties and bra were embroidered. A pink mirror, brush and comb were handy accessories. A cozy yellow terrycloth robe was the main item for “Singing in the Shower” (#988). Everything needed for a relaxing shower was included: soap, back brush, washcloth, towel, shower cap a round box of talc with a fluffy blue puff and matching yellow scuffs. “Fancy Free” (#943) is a royal blue and red cotton dress trimmed with white ric-rac. A great choice for a fun day!

These were outfits I purchased using my babysitting money.

Some of the other outfits sewn on my quilt were ones that my friends had for their dolls. The last remaining outfits were the wishes and dreams of a little girl who hoped that one Christmas or birthday she would receive these beautiful clothes to hang in Barbie’s blue closet!

This is “My Love of Barbie Quilt.” The tagged piece of the outfit is original. Shoes are embroidered on the quilt. The accessories are crocheted, made of felt, lace, sewn from various materials or embroidered.

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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 10/18-4/20/19 ~ Switzerland. Hats Off To Hats Exhibition. Spielzeug Welten Museum. www. swmb.museum.

JUNE 2019 2 ~ Belleville, IL. Doll, Bear, Miniature & Dollhouse Collectible Show. Belle-Clair Expo Center. Kay Weber. 618-233-0940. 618-558-2092.

2 ~ Bismarck, ND. Doll Show. Bismarck Municipal Country Club. Bismarck Doll Friends Doll Club. 701-258-7869.

2 ~ Concord, CA. Doll Show. Crown Plaza Hotel. 101 Doll Study Club. Anne Lien.

415-342-8655. stilly5@yahoo.com.

2 ~ Pasadena, CA. ~ Lifetime Antique Doll & Toy Collection Auction. treasureseekerauction. com. info@treasureseekerauction.com.

626-529-5775.

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2 ~ Sturbridge, MA. Doll, Bear & Folk Art Show. Sturbridge Host Hotel. Wendy Collins.

603-969-1699. CollinsGifts14@aol.com 6 ~ Kissimmee, FL. Doll Convention. Park Inn

by Radisson. Fire-Flies Golden Age of Dolls.

Cynthia Harris. 321-431-3133. charris779@aol.com. fire-fliesdollconvention.com 8 ~ Missoula, MT. Doll, Toy, Teddy Bear & Miniatures Show. Hilton Garden Inn. Bitterroot Blizzard Doll Club. Kay Schrader. 406-360-7214, weekends only. schrader1501@blackfoot.net 9 ~ Fullerton, CA. Dolls, Bears & Collectibles Show. Hotel Fullerton. Rowbear Presents.

Rowbear Lowman. 831-438-5349.

9 ~ Lynnwood, WA. Doll Show. Embassy Suites Hotel. Lisa Pepin. 206-362-8723. pepins4@msn.com. Antique Doll & Toy Market.

9 ~ Naperville, IL. Doll & Teddy Bear Show.

Naperville Marriott Hotel. Karla Moreland.

815-356-6125. www.NapervilleDollShow.com

Calendar continued on page 63

14 ~ Annapolis, MD. ~ Ten2Go Auction.

Crowne Plaza. Theriualts. 410-224-3655. www.theriaults.com 15 ~ Milton, FL. Doll, Bear & Toy Show. Santa Rosa County Auditorium. Pensacola Doll Study Club. Eve Paquet. 860-841-6866 or Paula.

850-292-6074. perpleprsn@aol.com 15 ~ Raleigh-Durham-Chapel Hill, NC. Triangle Doll & Toy Show. Amran Shriners Temple. www.SoutheasternDollShows.com 22 ~ Anaheim, CA. Doll Estate Sale. 1304 S. Westchester Dr. Sherryl Shirran. sherrylks@aol.com.

714-343-4865.

22 ~ Puyallup, WA. Doll Show. Washington State Fairgrounds & Event Center. alisadollshow@gmail.com. 253-961-8131. www.dolls4all.com 29 ~ Germany. Steiff Auction. Ladenburger Spielzeugauktion GmbH. 0049(0)6203-13014. www.spielzeugauktion.de

JULY 2019

15-21 ~ Kansas City, MO. Artist Doll Conference & Doll Making School. Hotel Phillips. National Institute of American Doll Artists. (NIADA). Gracie Coleman. 704-5170114. gcoleman110@carolina.rr.com. niada.org

AUGUST 2019 11 ~ Buena Park, CA. Doll Show featuring Barbie Dolls. Holiday Inn. 310-386-4211.

17 ~ Florence, SC. Doll Show. SiMT. Pee Dee Doll Club. Angie. 843-731-2107. ahayek73@aol.com 17 ~ Huntsville, AL. Doll Show. Jaycees Building. Twickenham Doll Club. Sonya Heim.

256-585-5436. sonyah4@netzero.com 18 ~ Strongsville, OH. Doll Show. Strongsville Holiday Inn. Eileen Green. 440-283-5839. phdofdolls@yahoo.com 24 ~ Casper, WY. Doll, Toy, Teddy Bear & Miniature Show. United Federation of Doll Clubs, Region 6. Kay Schrader. 406-360-7214. schrader1501@blackfoot.net

Calendar continued on page 64

GAITHERSBURG Antiques Doll Show

HUNDREDS of S E L L I N G TA B L E S …

DEC 7&8 Sat 10-5 • Sun 10-3

The 176th Eastern National Antique to Modern Doll & *Toy Show 2019 Established 1972

21-24 ~ Nashville, TN. Sale of Fine Rare Dolls, Toys, Bears, Miniatures and More. The Inn at Opryland. National Doll Festival. Rowbear.

831-438-5349. www.nationaldollfestival. com. DollFestival@aol.com.

22 ~ Nashville, TN. Marquis Antique Doll Auction. Westin Hotel. Theriaults. 410-2243655. www.theriaults.com 23-27 ~ Nashville, TN. UFDC 70th Annual Convention. www.ufdc.org. ©

Admission $10 Good 2 Days

Save $2 on one ticket with a copy of this ad.

Email us for Coupons and Maps

THE FAIRGROUNDS

16 Chestnut St. Gaithersburg, MD 20877 Building 6 / Exhibit Halls / Air Conditioned and Heated

12 Miles North West of Washington DC (I‑270) Exit 10 to red light, turn left, follow fairgrounds signs.

Hotels: HOLIDAY INN 301.948.8900 HILTON 301.977.8900 3 International Airports Ronald Reagan Washington National (DCA) Dulles International (IAD) Baltimore / Washington International (BWI)

SFB EVENTS / S. BELLMAN 239-440-3184 sbellman714@gmail.com Follow us on Facebook at Eastern National Doll Show - Gaithersburg

*LIMITED Number of Toys and Games ANTIQUE DOLL COLLECTOR

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24 ~ Schertz, TX. Doll Show. Schertz Civic Center. Dorothy Meredith. 830-606-5868.

25 ~ Dedham, MA. Doll & Bear Show. Holiday Inn Dedham Hotel. Wendy Collins. 603-9691699. CollinsGifts14@aol.com 25 ~ Fort Wayne, IN. Doll Show. Ft. Wayne Armory. Doll Show Productions. Sharon Napier. 586-731-3072. lildolls@excite.com 25 ~ Lynnwood, WA. Doll Show. Embassy Suites Hotel. Antique Doll & Toy Market. Lisa Pepin. 206-362-8723. pepins4@msn.com

MISSOULA MONTANA Doll, Toy, Teddy Bear & Miniatures SHOW AND SALE

Saturday, June 8, 2019

10 AM to 4 PM Hilton Garden Inn, 3720 N. Reserve St., Missoula, MT 59808 Call Hilton Garden at 406-532-5300 for reservations Admission: Adults $5 - Children Under 6 Free Dolls, Bears, Toys, Clothes, Miniatures, Furniture, Accessories and Much More Exhibits, Raffle Items, Door Prizes

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

For Table Reservations and Information Contact: Kay Schrader, PO Box 70, Darby, MT 59829 Phone (weekends only) 406-360-7214 Email (anytime) schrader1501@blackfoot.net

YOUR AD HERE

a classified marketplace for antique dolls and related merchandise

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

SARA BERNSTEIN’S DOLLS

FULL COLOR PHOTO ADS Lynnfield Highboy

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

www.TheDollWorks.net

3.3” h x 2.4” w $95

Please include payment with your ad.

Larger ads are considered display ads — call us for information. 1‑888‑800‑2588.

Antique Doll Collector, P.O. Box 239, Northport, NY 11768 adcsubs@gmail.com or louannw@antiquedollcollector.com

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To find more doll events near you go to our website at www.antiquedollcollector.com and click on “Events” tab.

Also, sign up on our email list to have the most up to date info on upcoming events. Just email louannw@antiquedollcollector.com with the subject line “sign me up for doll events.”

s ’ i z t i r FAntique Dolls

Buying entire collections of antique dolls and dolls of merit.

Fritzi’s cell# 630-247-1144 Rick’s cell# 630-247-1219

fritzisantiquedolls@comcast.net Member of UFDC and NADDA

Nashville here we come! We will be set up in the UFDC sales room with a fabulous collection of French and German dolls! Can’t wait to see you!

After all it’s all about UFDC!

COME SEE US...

Sunday, June 9, 2019 Naperville Doll & Teddy Bear Show Chicago Marriott Naperville 1801 N Naper Blvd, Naperville, IL

July 23-27, 2019 “Star Struck” The 70th Annual UFDC Convention

UFDC