July/August 2024

Antique DOLL Collector July/August 2024 Vol. 27, No. 7

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Letter From The Editor

“Old-fashioned flowers! I love them all: The morning-glories on the wall, The pansies in their patch of shade, The violets, stolen from a glade, The bleeding hearts and columbine, Have long been garden friends of mine; But memory every summer flocks About a clump of hollyhocks...”

T

his special double issue of Antique DOLL Collector offers a wide variety of articles, which we hope you will enjoy.

Samy Odin takes us on his personal journey in discovering the lovely dolls related to La Poupée Modèle. Linda Edward gives insight into NIADA artist, Helen Bullard’s life and work, and Rebekah Kaufman invites us on a journey to Giengen, Germany, taking us inside Margarete Steiff’s birthplace.

Cynthia Orgeron shares her passion for the Julie Ann dolls of Louisiana, and Eliza de Sola Mendes completes her story of Queen Mary’s Dolls’ House Centenary Celebration by taking us back to 1924 and the British Empire Exhibition.

Elizabeth Ann Coleman draws us into a time when the door to Japan was opened

by Commodore Matthew Perry, a historical event that gave unending opportunities to collectors of dolls and their stories, as well as to the world in general.

Donna Brown writes of the dolls inspired by Vogue’s beloved Baby Ginnette doll.

We offer a book review, Bradley Justice reports on Puppenfest, and so much more.

Did you ever make Hollyhock Dolls during the summers of your childhood?

There are several how-to guides online giving step-by-step instructions on this quiet craft of yesteryear.

And though the garden changed each year And certain blooms would disappear To give their places in the ground To something new that mother found, Some pretty bloom or rosebush rare— The hollyhocks were always there.

-Edgar A. GuestLaurie McGill

Editor-in-Chief

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ANTIQUE DOLL COLLECTOR JULY/AUGUST 2024

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Nelling, Inc.

FINE ANTIQUE DOLLS AND ACCESSORIES BUYING & SELLING QUALITY DOLLS FOR OVER 31 YEARS

Packing for the 2024 UFDC Convention Salesroom in Kansas City MO, July 23-27 at the Marriott Hotel Downtown

What will we find this year?

published by the

www.antiquedollcollector.com Publications Director: Lisa Brannock Editor-in-Chief: Laurie McGill Production Director: Louann Wilcock Art Director: Lisa Claisse Administrative Manager: Valerie Foley Social Media Director: Brigid McHugh Jones Contributors: Elizabeth Ann Coleman, Linda Edward, Bradley Justice, Samy Odin Subscription Manager: Jim Lance Subscriptions: adcsubs@gmail.com Display Advertising: Lisa Brannock: lbrannock@antiquedollcollector.com phone: 631-261-4100 Louann Wilcock: louannw@antiquedollcollector.com phone: 872-216-8842 Advertising Materials Contact: Louann Wilcock: louannw@antiquedollcollector.com phone: 872-216-8842 Editorial: antiquedoll@gmail.com Laurie McGill: lauriem@antiquedollcollector.com phone: 717-517-9217 Send all catalogs to this address: Antique DOLL Collector, 4800 Hampden Lane, Suite 200, Bethesda, MD 20814 Marketing: Penguin Communications, Inc. Subscriptions: Send to Antique DOLL Collector, P.O. Box 349, Herndon, VA 20172. Phone: 631-261-4100 Subscription Rates: One Year $55.95; Two Years $105.95.

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Antique DOLL Collector (ISSN 1096-8474) is published monthly with a combined issue in July/August (11 times per year) by the Puffin Co., LLC, 4800 Hampden Lane, Suite 200, Bethesda, MD 20814 Phone: 631-261-4100 Periodicals postage paid at Northport, NY and at additional mailing offices. Contents ©2024 Antique DOLL Collector, all rights reserved.

Postmaster: Send address changes to Antique DOLL Collector, P.O. Box 349, Herndon, VA 20172.

14” Bru wood body Empress Eugenie fashion lady with orig. wardrobe. $13,950

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

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ANTIQUE DOLL COLLECTOR

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Antique DOLL Collector is not responsible for any inaccuracies in advertisers’ content. An unsolicited manuscript must be accompanied by SASE. Antique DOLL Collector assumes no responsibility for such material. All rights including translations are reserved by the publisher. Requests for permissions and reprints must be made in writing to Antique DOLL Collector. ©2024 by the Puffin Co., LLC.

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JULY/AUGUST 2024

6/14/24 2:12 PM

Valerie Fogel’s

Beautiful Bébés Fine Dolls & Precious Playthings from our Past

www.beautifulbebes.com

Always Buying!

Trades and Consignments Considered Tel: 425.765.4010 Beautifulbebes@outlook.com Breathtakingly Beautiful Thuillier - Magic lives inside this beauty’s soulful blue eyes. She is simply astonishing. A true attic find that has been stowed away for decades. Fifteen shy inches of bliss. Excellent condition with gorgeous bisque and original body and finish. Please call or see her in person at the UFDC Convention in Kansas City booth 314-315.

Beautiful RD - Spectacular beauty graces this 27” Rabery and Delphieu Bebe. She is so realistic and has the loveliest bisque. She is in SUPERB CONDITION. Gorgeous huge espresso paper-weight eyes, creamy pale bisque. This beauty was once owned by the inimitable Bruno Coppo of Italy, a famous and renowned collector-dealer. She is pure magic and lights up the room. $5700 includes SH.

Rare 16” Lovely c. 1867 - So Rare! Adorable stamped Poupée from Aux Rèves de l’Enfantine Boutique. Pressed bisque head with rare flat-cut swivel neck. All original wig, costume and deluxe articulated kid and wooden body with perfect bisque arms. $6250 as shown.

20” François Gaultier Bébé - A luminous example, by François Gaultier. This Bébé is one of the exquisite and highly modeled examples of the transitional FG doll when the mold for the block letter first moved to the scroll. A fabulous doll with an attainable price $3650 plus SH.

There;s no place like home!

9” Pup - He’s a dandy!! Clean and adorable! A Doll’s Best Friend! $375

A favorite candy container - A 14-inch French lamb that is designed to store confections or secrets! Perfect for vignettes or as a standalone display. Excellent condition. $2995

Member UFDC & NADDA

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The Complete Guide to Antique, Vintage and Collectible Dolls

July/August 2024, Volume 27, Number 07

On the Cover

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HELEN BULLARD: Artist and Trailblazer

By Linda Edward

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THE DOLLS DISTRIBUTED BY LA POUPÉE MODÈLE

Featured on the cover of this month’s Antique DOLL Collector are Bébé, Benjamin and Mignon, the articulated bébés made by Jules N. Steiner and distributed by La Poupée Modèle during the 1880s, under the leadership of Mademoiselle Régnault.

Read about these lovely dolls in Samy Odin’s article, “The Dolls Distributed by La Poupée Modèle” beginning on page 28. Author’s Collection.

by Samy Odin

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THERE'S NO PLACE LIKE HOME: Margaret Steiff's Early Years and Business Origins

by Rebekah Kaufman

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

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VOGUE'S BABY GINNETTE AND HER CLONES Baby Ginnette and the Dolls She Inspired

WHEN THE WESTERN WORLD WELCOMED JAPANESE DOLLS

Departments

12 UFDC Dealer Showcase

By Elizabeth Ann Coleman

by Donna W. Brown

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JULIE ANN, A LOUISIANA DOLL

By Cynthia Orgeron

A ROYAL TRIBUTE Queen Mary’s Dolls’ House 100th Year Anniversary Celebration Objects of Desire in the Collections of the Queen’s Dolls’ House

By Eliza de Sola Mendes 6

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JULY/AUGUST 2024

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1) Factory Mint 15” Belton ‘208’ - All Original and pristine from Mohair Wig to Leather Shoes in crisp, brushed Silk Drop Waist Dress w. Matching Chapeau. Perfection! $2200 2) 27” Antique Corset Mannequin - attr. France.

Exquisite mint Orig. Silk Corset w lacing, stays, hooks & sgnd. Garters $1250 3) Immaculate 17.5” Wood Body Poupee - blue PWs, pale bisque & a very fluid jointed body which will pose and sit! $8250

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4) Pristine 19” English Poured Wax named ‘Rose’ signed body, no craze, rooted hair, orig. limbs, picture perfect Classic Clothes incl. broad Silk Hat & Basket. - $1795 5) Expressive 12” Neapolitan Creche - ca: 1790. Early Glass Eyes & Wood Limbs, op/clo mouth w Carved Teeth, Mint Paint & Original Silk Clothes w Leather Hat plus elegant silver sword! $1100 5

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

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

matrixbymail@gmail.com

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6) Rare Cabinet Size 13” Simon Halbig ‘151’ very rare Smiling Character, Closed Mouth w Carved Teeth, dimples, lively eyes, choice oily sheen & fine body. A gem! $4500 7) Very Rare & Tiny 8” Halbig ‘989’ - important 1887 unseen model in equally rare 8” size on original Stiff Wrist Schmidt Body, Hip Length Braided Mohair & Antique Hat, Shoes & Basket. $3995

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8) 8” Key Wind French Rocking Horse - when wound the All Original signed French Bisque boy w his Orig. Hat ‘somewhat rocks’ to n fro on his mache pony! So French. $495 9) 8.5” One Owner Kestner All Bisque large & all original! A pretty ‘150’, bl. sl. eyes, w lashes, Factory Wig & oily sheen. $750 10) So Rare ‘I Love Lucy Baby’ in Box - the early 14” preRicky baby made one year only in 1952 before Ricky was born. Complete w. accessories & blowins in Carry Case!

Mint $750 11) Soviet Era Child Sewing Machine MIB - mint w. Carry Case too and 2-Russian language blow-ins. Rare sewing toy! $250; Russian 15” Fabric Doll - Orig. Clothes w Label. $250 12) Rare Comic Characters! A 13” Little Annie Rooney - Orig. Dress w.

Hang Tag. $450; A vgc.18” Ella Cinders w. Orig. Dress & 2-Labels $495

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13) Factory Mint 19” Signed Kathe Kruse Doll XII Hampelchen - ca:1930, unusual model w Hang Tag & so-called ‘Dangling Legs’. Museum Class rarity! $3000

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14) 24” Mint Signed Martha Chase - totally unplayed! Orig. high shine finish! Prettiest Period Elaborate Clothes. A winner! $750 15) Kammer & Reinhardt Flirty - 19” coy unplayed child in Hip Length Factory Wig, flawless bisque, K*R body & Orig Crisp Period Clothes. $695

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16) E. Heubach 10” Brown Character ‘463’ fired-in color, brn. set eyes, Orig. Top Knot, jewelry & skirt. Special. $450 17) 19” K*R 116 Baby - orig. wig/body, satin bisque with op/clo. mouth, sl. eyes & dainty Period Baby Dress. $895; JDK 260 Toddler 8”- perf.quality color, Factory Wig & adorable old clothes.$550 18) Adorable 13” ‘Ellar’ Baby - amber tint w orig. matching Body & Clothes, tender choice quality w sl. eyes. $495

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(212) 787-7279

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

P.O. Box 1410 NY, NY 10023

matrixbymail@gmail.com

19) Pre-1900 Closed Mouth w PW Eyes - unusual 17” soulful model, lovely sculpting of satin bisque, full ‘Long Face’ cheeks, lambs wool wig, Stiff Wrist Loose Ball Body & Antique Clothes. $1795 20) Museum Class 19” Gebruder Heubach Lady - rare & important unlisted model. A Socket Head on jointed Lady Body! Stunning facial features w high cheekbones, aquiline nose & Closed Lips! Elegant Edwardian Wool Ensemble w Gauntlet Sleeves, paneled skirt & 3-pc. Fur Trio, plus antique jewelry. A ‘one of a kind’ lady doll in mint condition! $6250 21) Elusive Jumeau 17” ‘Eiffel Tower’ Paris Bebe - fully Sgnd.

Head & Body, Shoes & Box Label, orig. coil too! A post 1892 character developed by Jumeau! $5200

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22) 23” Halbig ‘719’ - first of the Halbig mold numbers!

French cut crown, & mint Factory Wig, tender coloring, Original. Stiff Wrist body in luxury Antique Couture.

Classic 1880’s Halbig. $3750 23) Rare 19” Brown 1880’s Halbig ‘739’ w her Doll Factory Wig & Body, rich quality coloring, PW eyes, fancy Silk Ensemble w pinafore & Wired Bonnet.

Luxury $2250 24) see #22

25) see #23 26) All Original 15” Pre-1900 Handwerck ‘79’ - a true heirloom doll nearly perfect in her many layers of antique finery, w Factory Wig & Jtd. Body. A time capsule! Just $350 27) see #21 28) Heubach’s 16” ‘Dolly Dimple’ Character - orig. antique wavy wig frames the buoyant, happy face w. her deep dimples & big Shoe Button eyes!

Edwardian party Dress too! $1400 26

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Some accessories for display only.

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LAYAW AVAILA AY BLE

18” Conta & Boheme circa 1870-80’s, beautiful molding & painting, original body & limbs, blue boots $895.

22” Incised DEPOSE JUMEAU 10, brown PW almond shaped eyes, applied ears, 8 ball body, some touch up on hands, hairline on forehead, eye chip left eye $2150.

7” Kling Parian 1900’s all original Swiss nursemaid costume from Bern $139.95

16” “Nymphenburg Lady” Koniglich Bayerische Porcelain of Nymphenburg, introduced at the 1908 Munich Art Doll Exhibition, cloth body, beautiful arms, missing 1 finger $1150.

8” ABG Parian w/ long blonde curls, beautiful detailing & painting, 1850 – 60’s, original body & limbs $395.

16 ¾” Mary Todd Lincoln Kestner China w/ pink bows, ribbon & snood, 1860 – 70’s, original body & limbs, pink boots w/ green tassels & stocking bows $695.

20.5” ABG Parian 1880’s beautiful blue painted eyes, pierced ears, lovely hair style $895.

23” Pansy II, bl sl eyes, mama /poppa body, original store stock dress & HH wig $295.

7.5” Gebruder Heubach Baby Stuart w/ beautifully painted bonnet, original clothing $595.

7 ¾” ABG “George Sands” Parian w/ beautifully molded & detailed head & shoulder plate, original body & limbs 1850 – 60’s $395.

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14.5” All original Effanbee Patricia Anne of Green Gables, beautiful $145.

18” Ideal Pigtail Sally all original, HH wig $175.

18” Ideal Shirley Temple original clothing, wig & pin, later doll w/ eyeshadow $195.

15” Roche Hannah #176, all bisque jointed body, brown glass eyes, HH wig $295. 8” Beautiful Crescent Bru repro by Sonja Bryer, fabulous silk ensemble $169.50

17.5” All original S & H 1079 DEP 7 ½, br stat eyes, pierced ears $495.

18.5” K * R S & H, sweet face, bl sl eyes, original mohair wig $425.

24” Kestner 171 all original clothing, shoes, HH wig beautiful molding & coloring, blue sl eyes $625.

9.5” ABG 1870’s “George Sands” beautifully molded & painted, light brown hair, blue eyes, shirt front w/ collar & tie, exposed ears, original body & limbs $550.

1916 Jessica McCutcheon 14” Raleigh girl with beautifully painted blue eyes, mohair wig, vintage clothing $225.

13.5” Raleigh girl, molded hair w/ barrette, blue painted eyes, repainted body & some touch up on head (not eyes or mouth), lifting by eyes $125.

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21” Effanbee Dewees Cochran American Child in original outfit, HH wig, replaced vintage shoes, 2 fingers as is, slight crazing $575.

8.5” All Original ABG Parian in cobalt silk dress, 1850 – 60’s $395.

11.5” Conta & Boheme ‘9’ Parian w/ pierced ears, original Parian arms on cloth body /legs $225.

Pongratz hand carved wood 7” Baby w/ wooden head & weighted body in Pongratz wood bed w/ bedding $640.

10” Boy in blue & white plaid overalls, wooden head & hands cloth body, mohair wig $400.

10” All wood Boy in blue knit outfit & hat #DJ036 $1995.

6” Sally Smith Cutts 1988 Lady w/ amazing facial painting, hair w/ curls, bonnet embellished with roses & feathers, jewelry $585. 5 3/4” Sally Smith Cutts 1988 brunette hair w/ bun & curls, black bow& roses, beautifully done necklace $585.

11” Susan Fosnot Stella lt to 900, done for UFDC 2015 Convention $99.50 10” OOAK Susan Fosnot original girl with dolly, beautifully painted $250.

9.5” OOAK artist painted Baby marked w/ Ladybug with F (Susan Fosnot?), sweet expression $125.

9 ¾” Beautiful Alice Parian on Working Autoperipatetikos body, patented July 15th 1862, wonderful condition w/ brass walking feet $895.

UFDC Convention Kansas City, MO Marriott Downtown July 23 – 27, 2024

Looking Forward to Seeing You In The UFDC Showroom Public Hours Fri. July 26, 12 – 6

13” AM 990 All original Toddler, 5 piece body, br sl eyes $155.

9.5” Baehr & Proschild boy character baby, toes as is, bl sl eyecent s $125.

11” Mary Todd Lincoln Kestner China 1860 – 70’s w/ blue bows, beautiful coloring, small nick tip of nose, newer body $255.

15” Effanbee Dewees Cochran Colonial Prosperity all original, missing slip, blue painted eyes, blonde HH wig, slight crazing $250. 10” All Original Effanbee Patsyette George & Martha Washington w/ George Washington 200th Birthday pins, brown painted eyes, slight crazing $155.

22” Heinrich Handwerch 109/12 N DEP, blue sleep eyes, pierced ears, HH wig, beautiful molding & coloring $495.

20” S & H CMB Bergman 7, bl sl eyes, original mohair wig, pierced ears $325.

28” Heinrich Handwerch 119-13, br sl eyes, brunette mohair wig, antique organdy dress, as is rt sleeve $395.

13” All Original French Lutin 5/0

by Verligue 1915, cloth body w/ compo ½ arms and legs, mohair wig, brown painted eyes $225.

4.5” German Dressel & Kister Lady inspired by a portrait of Mme Mole- Raymond by Vigee – Lebrun, chip on hats bow, missing feather $240.

13.5” Alexander All original Snow White, HH wig, some stains on outfit $110.

14” Red Head Ideal P 90 Toni all original $99.95

13” ABG Parian Rare hair color 1870’s, nicely molded shoulder plate w/ pink bow on shirt collar, newer body & limbs $495

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

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

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

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

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There’s No P lace Like Home!

UFDC 2024 in Kansas City, Missouri Come See Us! Booth #314-315 for the 75th Annual UFDC Convention in Kansas City!

Valerie Fogel’s

Beautiful Bébés Antique Dolls “Fine Dolls & Precious Playthings from Our Past” www.beautifulbebes.com | 425.765.4010 beautifulbebes@outlook.com

We will be set up with a fabulous collection of beautiful dolls!

Fritzi’s Antique Dolls

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

All Dolled Up Gail Lemmon

(440) 396-5386 glemn@frontier.com 13100 Durkee Rd. Grafton, OH

Check Out Our eBay Store gigisdolls2010

Gigi’s Dolls &

Sherry’s Teddy Bears

www.gigisdolls.com | 773-594-1540 questions@gigisdolls.com | Member UFDC & NADDA

Mary Ann Spinelli

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

Countess Maree Tarnowska 803-643-1021 Aiken, South Carolina

Visit our shop in Ellicott City, MD

Joan Farrell & Amy Miller Antique Dolls Joan: 317-627-4665 www.JoansAntiqueDolls.com Amy: 317-627-1006 Amy’s Ruby Lane - Treasures from the Attic

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Cat’s Cradle

Glen C. Rollins Provo, Utah 801-374-1832 www.catscradlegallery.com

Jackie’s Dollhouses and Miniatures Jackie Everett

443-695-2780 | jackiemom4@aol.com rubylane.com/shop/jackieeverett

6/18/2024 9:02:27 AM

Can’t wait to see you in the Sales Room!

Porcelain Classics Jennie Sykes

888-823-3383 or 269-331-6122 117 West State Street, Hastings MI 49058

Rebecca Cherry Antiques Rebecca Cherry

703-568-7262 RebeccaECherry@cox.net

Jackie Allington

nickandjackie@gmail.com Looking forward too seeing you in Kansas City!

Visit us at UFDC Booth #605-607!

Straw Bear Antiques Ron & Robyn Martin

Bridgeville, Delaware strawbearantiques@gmail.com

The Port Collection John Paul Port

(360) 710-6520 PO Box 269, LaHonda, CA 94020 jpport@earthlink.net Member UFDC and NADDA

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Walking through the Garden Gate Rhoda Wade

618-387-1255 | rhodawade99@gmail.com www.ramdolls.com

Liz’s Doll House Liz Christensen

lizsdollhouse.com | 937-768-3126 echristensen@woh.rr.com eBay Shop: lizdolling | Facebook:lizsdollhouse

Karla Moreland Presents Antique & Vintage Dolls

815-621-3255 ~ kmorela@ais.net www.KaneCountyDollShow.com Member of NADDA and UFDC

Galerie Samy Odin See you in Kansas City! +33673013051 | galeriesamyodin@gmail.com 6, place Saint-Sauveur, 22100 Dinan

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Samy Odin has moved to Dinan, in Brittany!

You can visit his new gallery in the heart of the old medieval city of DINAN. You can also discover his booth at the UFDC annual convention in Kansas City, July 23-27, 2024.

GALERIE SAMY ODIN

+33673013051 galeriesamyodin@gmail.com

6, place Saint-Sauveur 22100 DINAN

Book Review - The Queen’s Dolls’ House Reviewed by Laurie McGill

Continuing the 100th anniversary celebration of Queen Mary’s Dolls’ House (Windsor Castle, UK), respected British author, photographer, and broadcaster Lucinda Lambton has compiled a new and noteworthy edition of the armchair guided tour appropriately titled—The Queen Dolls’ House.

A beautiful must-have companion to the book, The Miniature Library of Queen Mary’s Dolls’ House, reviewed in the June issue of Antique DOLL Collector, this hardcover edition boasts 132 pages with the majority of the photographs in color.

It is a step back in time to the aristocratic Edwardian era— the aura of “Downton Abbey” compressed between the front and back covers of this 7.87 x 0.7 x 7.97-inch tome honoring tininess.

A history of the dolls’ house origins and its interior design with its working mechanical wonders, its art collection, its library, its garden, and its furnishings are gloriously detailed Available at: Royal Collection Trust: https://www.royalcollectionshop. co.uk/ and Amazon.com Publisher: Royal Collection Trust; New edition (April 23, 2024) ISBN-10 : 1909741906 ISBN-13 : 978-1909741904

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page by page.

From the Introduction, the author takes the reader to Chapter One— “Architecture & Ornament” through Chapter 5—“The Library & Art Collection.”

In between, richly described areas such as “Below Stairs” and “Above Stairs” captivate one’s imagination. Segueing into “Family Life” where the charming nursery and bedrooms are visited, we close the book only to reopen it to slip again into this oneinch-to-the-foot-sized magical world.

For those who are passionate about all-things-small this book will be cherished for years to come.

ANTIQUE DOLL COLLECTOR JULY/AUGUST 2024

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Puppenfest Reviewed by Bradley Justice

Neustadt (Bavarian Doll City) and Sonneberg (World Toy City) are located in the middle of Germany, near Thuringian Forest.

You never know who you will meet at Puppenfest.

Bradley Justice (left) with Marshall Martin (right).

St. Georg Church, Marketplace 12A, Coburg.

T

he International Puppenfestival (Doll Festival) happens each year in Germany. It takes place in the Bavarian Doll City of Neustadt near Coburg and the World Toy City of Sonneberg. The show takes place the week prior to Accension Day, and there are many activities, and shows throughout the surrounding area.

The doll and toy industry has a long tradition in Coburg, and the twin towns of Neustadt and Sonneberg near Thuringian Forest in the middle of Germany. This area was pinnacle to the production of doll and toy production in Germany prior to World War II. For over 25 years, the Puppenfestival has been taking place each spring attracting collectors from around the world.

It is the largest Doll Festival in the world, happening over seven days. The

Continued on page 22

Top Left: This way to Puppen Festival, and Zitzmann is No. 15.

Käthe Kruse dolls are near and dear to this author’s heart.

Shopping carts are available at the front door.

Middle Left: The International Puppenfestival is held annually during the spring in Germany in sister cities: Neustadt and Sonneberg.

Bottom Left: The old timber-adorned buildings only add to the charm of Puppenfest.

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Zitzmann’s Galanterie shop in Sonneberg, Obere Markstrasse 2.

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Marion Maus

Member UFDC, DCA & NADDA (443) 838-8565

See you in Kansas City!

UFDC Sales Room July 23-27, 2024 Ohio National Doll Show & Sale October 6, 2024 See, Touch, Discuss...

WWW.NADDA.ORG

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Puppenfest Reviewed by Bradley Justice (continued from page 18) location is fascinating as so many of the antique dolls, teddy bears, and toys that we collect were produced in this region.

A trip to Puppenfest offers not only a chance to buy, but an immersion in the history of dolls, dollhouses, and German doll manufacturing. There are streets bearing the names of famous doll manufacturers, and if you do a little research you can drive through neighborhoods and see the stately homes where many of the founders of these companies once lived.

Having attended for the last three years, I never miss the chance to marvel at the architecture of the homes that you can see inspired the many dollhouses of the 19th and 20th century.

I love to wander the streets where the many owners of historic

So many dolls! Dolls for every taste and pocketbook abound at Puppenfest.

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doll companies once lived. But my favorite part is always the shopping. There are many opportunities to find dolls throughout the week, visiting the Zitzmann’s “Galanterie” shop, and the historic schoolhouse that becomes populated with dealers of antique and vintage dolls. Haida Direct, a European supplier of doll artist items such as molds, wigs, and bearmaking supplies hosts a variety of doll dealers in their building as well as on their parking lot.

Thursday morning, the streets and town square of Neustadt become a flea market offering antique, modern and artist dolls, along with everything doll and toy related.

The Deutsches Spielzeugmuseum (German Toy Museum), offers a fabulous exhibit of dolls, A doll lover’s vision of heaven. but presents many programs throughout the week of Puppenfestival. This year they even presented a program on the Mattel Barbie® doll.

The Festival week concludes with a show at Franknehalle in Neustadt. This show brings in amazing dealers, artists, and suppliers from across Europe. It was a great opportunity to expand my world of dolls by meeting collectors from Europe, see old friends and purchase an extra suitcase to bring home all of the treasures I discovered.

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Alderfer Auction

July 10, 2024 at 8 PM ET Barbie Auction Online at Alderferauction.com 501 Fairgrounds Road, Hatfield, PA 19440 215.393.3000 | www.alderferauction.com

Theriault’s

Monday, July 22, 2024, Preview 9 AM CT, Auction 11 AM CT Marquis Antique Doll Auction, Hotel Kansas City Hyatt, Kansas City, MO 410.224.3655 | info@theriaults.com www.theriaults.com

Frasher’s

Monday, July 22, 2024, Preview: 9 AM; Auction: 10:30 am “Simply Irresistible” Auction at KCI Expo Center & Holiday Inn Hotel, 11730 NW Ambassador Drive, Kansas City, MO 2323 S Mecklin Sch. Road Oak Grove, MO 64075 816-625-3786 | frasher@aol.com | frashersdollauction.com

Withington Auction

Tuesday-Saturday, July 30-August 6, 2024 Timed Auction on Auction Ninja Tuesday, August 27, 2024 Doll Auction (Tentative) DoubleTree by Hilton, 2 Somerset Pkwy, Nashua, NH 603.478.3232 | withington@conknet.com www.withingtonauction.com

Sweetbriar Auction

Saturday, August 31, 2024 Preview: 8 am; Auction: 10 am Antique & Vintage Doll Auction Crescent Shrine, 700 Highland Drive, Westampton, NJ 410.275.2213 | sweetbriar@live.com | sweetbriarauctions.com

SAS (Special Auction Services)

Tuesday, September 10, 2024 Dolls & Teddy Bears Auction Newbury, UK | +44 (0) 1635 580 595 mail@specialauctionservices.com | specialauctionservices.com

Ladenburger Spielzeugauktion Friday-Saturday, October 11-12, 2024 Fall Auction Friday-Saturday, November 29-30, 2024 Winter Auction 0049 (0) 6203 13014 | mail@spielzeugauktion.de www.spielzeugauktion.de

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The Dolls Distributed by La Poupée Modèle

By Samy Odin

La Poupée Modèle was launched by Henri Thiéry, the same publisher of Le Journal des Demoiselles, a very successful young ladies’ magazine, in November 1863 and published for 61 years, until November 1924.

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y passion for the dolls related to La Poupée Modèle goes back several decades. During the mid-1980s, the first collector “extraordinaire” who tickled my curiosity for this French magazine for children is the late Andrée Petyt, from Bruxelles. This amazing lady was an avid LPM collector and hers was the first private collection I visited where a very extensive number of original issues of the magazine was gathered, together with the patterns and printed fabric sheets to dress the dolls and, of course, the fantastic array of paper dolls, which I will not discuss here, since I already contributed an article about this specific topic for Antique DOLL Collector magazine, featured in the March issue of 2008.

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My father and I used to visit Madame Petyt once a year in her grand home, where she would treat us to classy teas, once even using LPM menu cards!

At the time, I was already studying this topic for my master’s degree and I felt it was amazing to be able to reach out to so many primary sources in one single place, opposed to the slow and fastidious process of getting LPM issues out of the reserves at the Bibliothèque Nationale in Paris.

Madame Petyt was interested in collecting the magazines essentially for the patterns to dress Lily. She did not seem drawn to the articulated bébés much, nor was she really interested in Mignonnette. I remember her telling

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This menu was published as a cardboard appendix to LPM at the very beginning of the 20th century and was meant to be used by the young readers of the magazine for their dolly parties.

This fashion plate was an appendix to the issue of LPM published in March 1867.

It represents Vieille Poupée, an elderly doll who writes a column in the magazine, looking after a group of Lily dolls, all elegantly dressed as a child would be towards the end of the Second Empire.

me how many dolls she happened to buy from private owners, over the years, in order to get the magazines she focused on. Had I known better, then, I could have talked her into not separating the dolls from their magazines and build a more historic database about it.

The seed of curiosity for LPM was grounded in my mind, though, and my own collection started then.

Little by little, my eye got hooked on recognizing the papers and fabric prints published by this French children’s magazine. At the beginning, my attention was focused on the pocket dolls primarily. Unlike Madame Petyt, I was less interested in Lily and her fashions, but Mignonnette and the Bébés hooked me right away, so I diligently looked around, spotting LPM related dolls, fashions, and papers, putting together as many pieces as possible of the gigantic documentary puzzle that this publication represents.

In 1863, Lily was the first doll distributed by LPM. It appeared as a luxury poupée with a bisque head and a fully articulated wooden body, sometimes with bisque forearms. The editor always was extremely vague about describing LPM’s mascot. We know Lily is corresponding to an 18 inch (45 cm) tall size 4 poupée and that the shop that had this doll for sale was Madame Lavallé-Péronne’s, the famous “A la Poupée de Nuremberg” gallery located in the prestigious rue de Choiseul, at n° 21, in the Parisian second district.

This bisque headed poupée in size 4, once on display at the Musée de la Poupée-Paris, came with a wooden body and corresponds to the characteristics of Lily, the mascot of La Poupée Modèle.

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Violette, also displayed for many years in the author’s antique doll museum in Paris, corresponds to the smaller size of Lily. In her wardrobe, mostly home made during the Second Empire, two aprons were cut from the printed fabric sheets distributed by LPM and several of her costumes are based on LPM patterns.

Lilas is an unmarked fashion poupée possibly made by Rohmer in the right dimension to fit the smaller Lily patterns published by LPM. Displayed at the Musée de la Poupée for a special exhibition, it was the topic of a catalog now sold out. (cfr, Bibliography) Lilas’s wardrobe included three miniature issues of LPM.

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We also know that other poupées bearing the label of this shop came with a different type of body, such as leather over wood or simple stuffed leather, with or without bisque forearms. Of course, Madame Lavallée-Péronne’s strategy consisted of attracting an audience as large as possible to her shop and sell any doll that would correspond, more or less, to the dimensions of the patterns and printed fabrics that she provided to the magazine. Not so long after Lily’s first appearance, the range of dolls mentioned

by LPM increased slightly and a second Lily was advertised, smaller this time and corresponding to a size 2, 15 inches (38 cm) in height.

The period going from 1863 to 1877 focused essentially on these fashion dolls, which, as a reminder, were not exclusive items for LPM. In fact, another iconic doll we were privileged to have displayed in our museum for a special exhibition, named Lilas, has the characteristics of some Rohmer made dolls and came with a very extensive wardrobe which included three miniature issues of LPM, distributed during the year of 1864-1865 and which had the dimensions of the smaller Lily.

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The very first articulated bébés launched by LPM in 1877 were made

by Jumeau out of what today’s collectors refer to as the ‘Deluxe Portrait’ mold. This is a picture taken of a pair of Jumeau bébés with a provenance, also displayed for several years in the Paris Doll Museum together with a pair of Mignonnettes also distributed by the magazine.

By the later 1870s two major changes enriched the offer of the dolls supported by this magazine. First came the Bébé Incassable, the unbreakable child doll, during the summer of 1877, and Mignonnette, the all-bisque pocket doll, in August 1878. Of course, Madame Lavallée-Peronne counted at the time among the leading toyshops in Paris and was promoting every remarkable new doll that hit the market. It is very likely that she chose to sell Jumeau’s very first Bebe Incassable as soon as the summer of 1877. I have a factual proof of this statement through a group of dolls that we acquired, long ago, for the Musée de la Poupée-Paris and which were featured on the cover article I wrote for DOLL NEWS during the Spring of 2002. We always kept this group of playthings and magazines together until we closed our museum. Alas, I no longer count these dolls in my current private collection…

Claire and Pauline’s LPM dolls are the first we encountered with an explicit provenance. They are also extensively shown in S. ODIN Fascinating Dolls from Musée de la Poupée-Paris, Reverie, 2008 (pp. 64/65).

The first all bisque Mignonnette was made in France by Gaultier and had bare feet, here photographed with elements of her first pieces of underwear, hand sewn by Mathilde Héritier for an exhibition organized at the Musée de la Poupée Paris and discussed in the book she contributed to UFDC for the 2003 annual journal (cfr. bibliography).

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Ad corresponding to the LPM dolls when Jules Nicolas Steiner was providing the 4 sizes for the articulated bébés.

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So, the first Bébés Incassables for LPM seem to have come from the Jumeau Company, who was then also providing the last Lily dolls, which came unmarked.

By the time M.me Lavallée sold her business to M.lle Régnault, in November 1883, Lily was progressively discontinued and a wider range of articulated bébés was offered instead, as well as variations of the all-bisque pocket dolls, which stopped being made by Gaultier and progressively replaced by Simon & Halbig’s ones.

Of course, “A la Poupée de Nuremberg” was always ‘à la page’ and offered the most popular dolls to the readers of the magazine in a timely manner. This is when the provider for the bébés changed. Jules Nicolas Steiner took over by providing four different articulated bébés: Grand Bebe 18 inches (46 cm) tall, Bebe 16 inches (40 cm) tall, Benjamin 12 inches (30 cm) tall and Mignon 8 inches (21 cm) tall. Patterns, printed fabrics, and paper cardboard sheets were published for each of them, providing for us, doll collectors of today, a very extensive array of opportunities to “play with them.”

Mignonnettes and Mignon photographed with a selection of cardboard prints and fabric prints given as annexes to the subscribers to La Poupée Modèle.

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The first 8-inch Mignon I could add to my collection came in its original cardboard box showing the LPM label, which is an exceptional feature. Shortly after, I had the opportunity of buying another 12-inch Steiner Bébé in a different size corresponding to Benjamin’s and a third in the 16-inch size for Bébé. Each time, these dolls came from families who also had kept issues of LPM. Bingo! All of these Bébés have a head made out of the Figure A mold with a closed mouth and stationary paperweight eyes. Size 1 is for Mignon, size 5 for Benjamin, size 9 for Bébé and size 11 for Grand Bébé.

12-inch Benjamin, like Mignon, is fully marked in the back of the head and has the classic Steiner stamp on the left hip.

16-inch Bébé, 12-inch Benjamin and 8-inch Mignon in its factory original LPM box, all made by Jules N. Steiner using mold Figure A in sizes 9, 5 and 1.

Benjamin

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While studying the articulated bébés of M.lle Régnault’s years, I suddenly realized that another doll I had acquired at auction, a few years earlier, also had the right size for Mignon and that a few issues of LPM had also been offered for sale at the same time, which I had thankfully bought as well! There again, the link was working and leading me in the right direction. This younger Mignon from the turn of the century was already produced by the SFBJ and has a bisque head imported by Simon & Halbig mold #749 in size 3/0.

This second generation of Mignon, which appeared on the market when Fernand Thiéry was the publisher of La Poupée Modèle (1891-1907), already has an open mouth and sleeping eyes, opposed to the closed mouth and stationary eyes seen on older bébés from this magazine.

By 1905, after the earthquake provoked by the publication of La Semaine de Suzette, the editor of LPM needed a new strategy to compete with the rising star on the magazine dolls scene: Bleuette.

LPM’s response was prompt but not very successful: instead of reducing their line of exclusive dolls they widened it, by weakening the impact that each of them already had on the readers.

Grand Bébé and Bébé were kept quiet, while Benjamin and Mignon got more attention. This is when the LPM leader doll Mignonnette, started to lose her battle against Bleuette because of her very small size, what explains that the all-bisque doll stopped being produced in 1915 and disappeared for good in 1917.

Back to 1905, LPM decided to lower the prices of all of their dolls. This is when Simon & Halbig discontinued the production of Mignon’s head made out of mold #739-3/0 in order to replace it with a cheaper one, marked DEP in size 0.

At the same time, a hybrid doll which shared Mignon’s size (21 cm) and Mignonnette’s appearance (all bisque), hit the market; it is called alternatively Mignon or Mignonnette and was always provided by Simon & Halbig using the #886 or #890 molds in size 5.

Mignon from the second generation, around 1900 with a Simon & Halbig #749-3/0 bisque head for the SFBJ presented with a few issues of LPM which came from the same provenance.

Mignon’s marking during the very first years of the 20th century.

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Two Mignons photographed with antique pieces of furniture in their scale in front of a Victorian chromolithography, an ideal way to display LPM dolls.

This other Mignon was on display at the Musée de la Poupée-Paris for a few years and now resides in a private collection.

Close-up of the last Mignon dolls by LPM. Mignon’s head marking during the 1910s.

This pair of Mignons date from the 1910s and have the later DEP bisque head, still provided by Simon & Halbig for SFBJ in size 0.

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This ad shows the sketch of the short-lived hybrid all-bisque doll which looked like Mignonnette but in the size of Mignon.

The last photographic ad for the dolls of LPM clearly shows the features of the SFBJ bébé issued from the classic JUMEAU mold already marked with the SFBJ PARIS inscription.

This later ad was published during WWI years and shows the photograph of Grand Bébé, Bébé and Benjamine, the # fully articulated SFBJ bébés by SFBJ available at that time.

La Poupée Modèle published a myriad of fashion plates, such as this one, showing children and doll fashions which could advertise items for sale at Madame Lavallé’s shop as well as in other toy or fashion shops of the Golden Age of doll making in Paris.

Once World War I hit, LPM was already struggling and so was the SFBJ. The last generation of bébés distributed by LPM after 1915 is photographically documented by the magazine and consists in 100% French made bisque headed bébés marked “SFBJ PARIS” in size 7 for Grand Bebe, size 5 for Bebe and size 2 for Benjamine, which replaced the older Benjamin, Mignon and Mignonnette being discontinued, since they could no longer be imported from Simon & Halbig, for obvious reasons.

This colorful doll fashion plate from the late 1870s gives an imaginary resume of the dolls a young reader of La Poupée Modèle could have gathered then: Lily, Grand Bebe, Bebe, Benjamin, Mignon and Mignonnette. Did ever a child who read this magazine become spoiled to the point of acquiring “all” of the dolls distributed by this paper? We will never know, but for sure we know that a collector today could still make this dream come true…

On this image, ends this very concentrated summary of my research, so far. I will be pleased to discuss more extensively about this thrilling topic with you either at my booth at the UFDC 75th Annual Convention in Kansas City or by email at galeriesamyodin@gmail.com Bibliography La Poupée Modèle, magazine published in Paris between 1863 and 1925.

Odin S. Les Poupées de Claire et de Pauline, DOLL NEWS, Spring 2002 HERITIER M. & ODIN S. Mignonnette, her history, wardrobe, and miniature world 1878-1917, Musée de la Poupée-Paris, 2003 ODIN S. The Paper Dolls in La Poupée Modèle, Antique Doll Collector, March 2008.

ODIN S., Fascinating Dolls from the Musée de la Poupée – Paris, Reverie, 2010

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Helen Bullard, Artist & Trailblazer

By Linda Edward

he mid-twentieth century was a dynamic time for the world of artist-made dolls in America. One of the pioneers in this field was Helen Bullard. Her work provided an income stream for her family and her neighbors, influenced countless other doll artists and was integral to laying the foundation for the recognition of dolls as art.

Bullard was born in Elgin, Illinois on August 15, 1902. Her family later moved to Chicago. After Helen graduated from high school she got a job at the University of Chicago. This position allowed her to take classes at the university, which she did for three years. She married a football coach and they had two daughters; this marriage ended in divorce. In 1932 she and her second husband Josheph Krechniak and her two daughters moved to Tennessee.

A 10-inch Holly doll has simply carved hair accentuated by lightly painted strokes.

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Helen Bullard’s cottage industry Holly Dolls offered many models for collectors. This advertisement appeared in a UFDC convention journal. The cloth tag included on most Holly dolls is seen here.

ABOVE: Portia is a child doll sized 81⁄4 inches tall. She bears the usual Holly Dolls Ozone, Tennessee stamp on her body while her leg is signed by Bullard showing the doll’s name and the year 1962. Photo courtesy of Case Auctions.

LEFT: Although Bullard’s 7-inch Tennessee Mountain Kids proved highly popular with customers the artist soon tired of the repetitive nature of this work saying – “I almost hated them by the time the last one was wigged and freckled.”

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A beautifully executed Nativity set tells the familiar story with a decidedly folk-art flavor. The set was exhibited at the United Federation of Doll Clubs’ conventions in 1952 and again in 1959 where it was awarded a 2nd place ribbon in the competitive exhibit. The figures range from 41⁄4 inches to 111⁄4 inches in height (the donkey bears the initials JH, attribution unknown). Photo courtesy of Case Auctions.

They lived in a log cabin which belonged to friends of theirs. They traded work on the cabin for rent. It was a very rustic lifestyle; they did not have electricity until 1940. In 1932 another daughter was born. The family struggled as Joe tried to support them as a free-lance fiction writer. The two older girls were home schooled. In 1938 Joe had tuberculosis; their youngest daughter died and Helen lost custody of her two older daughters. By 1939 things began to turn around for them with Joe gaining much notoriety in the field of audio publications. In 1940 another daughter was born.

During the 1940s Helen was casting about for something that would fill her need to be creative and provide additional income for her family. She tried her hand at writing fiction but did not meet with much success. In 1949 Helen determined that what she most needed was some sort of business she could do from home. She had seen examples of the wooden folk dolls made at the Pleasant Hill Academy and learned how

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they were made which led her to try carving a wooden girl doll of her own. The first thing she needed to do was teach herself to carve!

When she developed a doll she liked, she taught some of her neighbors how to sew the little dresses for the dolls. In her autobiography My People in Wood Helen related that the dresses were piling up faster than she could use them so she began to teach the women how to carve the bodies as well. Within three months she had developed a full-fledged cottage industry. The dolls were marketed under the name Holly Mountain Dolls but after about two years this was changed to Holly Dolls. Holly Dolls’ products included Miss Holly and the Tennessee Mountain Kids. The first year of the business they took orders for 300 Miss Hollys. The dolls were turned out at a very high rate of production considering that they were all handmade in a very small workshop. Eventually they would make 6,000 Tennessee Mountain Kids.

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In 1951 Helen attended her first United Federation of Doll Clubs (UFDC) convention and for the first time saw other dolls made by artists. Among these were the works of Gertrude Florian, Avis Lee, and Fawn Zeller. She had never before been exposed to the idea of dolls as works of art rather than playthings or souvenirs, and the concept changed her life. Again, in her autobiography she recounted her reaction to seeing Florian’s “Mother and Child in the Rocking Chair”—“I had never seen a doll with inner meaning of a strong personality, and the experience affected my thinking permanently.” After this first

experience Helen joined a local doll club and began writing articles on other doll artists for UFDC’s DOLL NEWS and Elizabeth Andrews Fisher’s Toy Trader magazines.

In 1954 she began to carve one-of-a-kind dolls and small editions for her own satisfaction. She created the Rebels series—a set of women who depicted the awakening spirit of independence that led to the Women’s Rights Movement. She created Barbr’y Allen and her dulcimer, and many other dolls and doll sets depicting historic characters. She carved her own version of the doll Hitty.

This 7-inch doll is Bullard’s rendition of Dorothy P. Lathrop’s famous character “Hitty.” Made in 1954 she is very faithful to the doll as depicted in Lathrop’s book. Photo courtesy of Alderfer Auction.

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Bullard created a series of dolls depicting different eras of fashion of the United States. This 111⁄2 inch set made in 1966 depicts costumes of the year 1736. Photo courtesy of Apple Tree Auction Center. For further study, the University of North Carolina Greensboro has nine sets depicting 1630 through 1900 included in its digital collection at https://library.uncg.edu/info/depts/scua/exhibits/dolls/index.aspx.

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As Bullard moved into other forms of sculpture she continued to evolve and experiment with different styles of expression in her doll making. This 18-inch-tall piece is entitled “Modern Bride.” Photo courtesy of Nye & Co. Auctions.

Folk hero Davey Crockett is 13-inches tall and bears the maker’s signature and the date 1962. Photo courtesy of Leighton Galleries.

The 17th century Scottish folk song Barbara Allen became Barb’ry Allen among the people of the Ozark mountains of America. Bullard’s doll depicting the doomed lover is accompanied by her wooden dulcimer. The doll measures 10 inches in height.

This example was made in 1966. The features on Helen’s dolls were painted but the overall “skintone” of her dolls was left unfinished so that the beauty of the natural wood could show through.

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Her dolls were carved of horse chestnut. She felt that the beauty of her work lay in the simplicity, control, and understated style she preferred. Her dolls had features painted with casein paint and oil-stained hair but the skin was not painted, only sealed with lacquer so that the natural color and beauty of the wood could be seen. She started her doll-making process with blanks of wood cut for her by a local cabinet maker. She then carved the pieces, peg jointed them, painted features, sealed them, and costumed her dolls. She said that rather than trying to create actual portraits of specific people she tried to capture the characteristics and spirit of the time and type of person she was depicting.

In 1958 she studied sculpture with a Paris trained sculptor and after that time did much work in the area of wood sculpture. By 1959 Helen was venturing into

life-sized and larger wooden sculptures although she continued to make dolls as well. In conjunction with the UFDC convention in 1962 Bullard organized a showing of artists dolls which was met with much enthusiasm.

This led her to write to friend and fellow artist Dewees Cochran saying, “I think the time has come for creative dollmaking to come of age, and to be recognized as a definite field.” This would lead Helen, along with Zeller, Florian, and Maggie Head to convene in May of 1963 to develop a set of by-laws and standards for what would become the foundation of the National Institute of American Doll Artists (NIADA). The charter members of NIADA also included Dewees Cochran, Dorothy Heizer, Ellery Thorpe, Martha Thompson, Halle Blakely, Louis Sorensen, and Muriel Bruyere.

Helen Bullard Krechniak died on October 31, 1996.

This 153⁄4-inch gentleman was titled “High Style” by the artist and was made in 1976. This doll came down through the Bullard family before being sold in 2015. He bears the NIADA cloth label.

Shown without his jacket we can see the fabric wrapped wire used for his upper arms. Other Bullard dolls are all wooden with pegged joints. Photo courtesy of Case Auctions.

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Although Helen’s passions would eventually lead her away from dolls to doing her larger sculptures in the later years of her life, her influence on the world of dolls continues to be felt by the dolls she created, the first-hand records of doll artists of the mid-20th

century which she carefully chronicled in her many books and articles and the standards for doll art which she helped establish, securing her place in the sphere of doll art forever.

In addition to the dolls made by this artist we have the benefit of the many books and articles she wrote. These first-hand records of her own work and the work of her contemporary doll artists is invaluable research for today’s collectors. We all benefit from the trail she helped to blaze in the realm of doll art.

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There’s No Place Like Home: Margarete Steiff’s Early Years and Business Origins

By Rebekah Kaufman ppolonia Margarete Steiff (1847–1909), who was called Gretel by friends and family, founded Margarete Steiff GmbH in Giengen, Germany in the late 1800s. Fast forward nearly a century and a half, Steiff remains one of the world’s oldest, most admired, and iconic toy companies on the planet.

Margarete’s successes are extraordinary given her realities and the cultural norms and expectations of her era and geography. These included being female, not marrying and/or having the financial support of a spouse, being wheelchair bound with partial paralysis as a result of contracting polio at age 2 and coming from a rural southern German town with few natural resources and even fewer potential employees. None of these factors worked in her favor.

Despite these strikes, entrepreneurial Margarete launched a home-based sewing company in the 1870s.

She was in her early 20s at the time. She worked with felt, as it was easy to cut and sew, readily available, and she had family connections to suppliers. One of her specialties was making women’s underskirts. She also made children’s clothing and home goods, like sewing baskets, bedside caddies, and other functional pockets.

Because of her disabilities, she turned her sewing machine 180 degrees so she could do most of the work with her strong arm. She made this discovery early on in her business, and it proved to be literally life (and career) altering.

Although home and wheelchair bound, Margarete made it a priority to keep up with culture, fashion, trends, and world events. She was an avid reader of any newspaper or magazine she could get her hands on.

These interests would prove important in the company’s later product development and design strategies.

ABOVE: Margarete’s bathroom with a large, period pottery bathing washbowl and pitcher.

RIGHT: Outside view of Margarete Steiff’s birth house museum, located at 26 Lederstrasse in Giengen an der Brenz, or Giengen on the Brenz River in Germany.

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The street view of Margarete’s special corner viewing window and one of the house’s decorative medallions.

Margarete’s special corner viewing window and her sewing machine.

In December 1879, Margarete saw a pattern for a toy elephant in the woman’s magazine The Modern World. Margarete noted, “At this point in time, a pattern for an elephant landed in my lap. Felt was very suitable for it and I filled it with the most wonderful fleece. Next I made presents of them to the children in the family and samples in varying sizes.” The elephants were an efficient way to use leftover scraps from her clothing and home good production. Everyone loved these little friends.

Her family started selling them on her behalf at area markets. Margarete delivered her first “official” order of elephants in December, 1880. These pachyderms proved so commercially successful that Margarete changed her business model and focused entirely on soft toy production soon after.

It is interesting to note that through 1889, Margarete’s residence and factory were one in the same. She was born in this building, located at 26 Lederstrasse in Giengen an der Brenz, or Giengen on the Brenz River, on July 24, 1847 in the home’s master bedroom. Her parents, Friedrich and Maria, bought the house in 1843. Structural elements

date back to 1635. The building was sold by the Steiff family in 1897, and it would be owned by a number of different people and entities over the following century.

In 2002, the Steiff company purchased this building from the city of Giengen. The house–from top to bottom–was renovated and furnished to match its 1880 appearance and functionality as closely as possible.

Although the actual furnishings displayed in the house today do not have provenance to the Steiff family, they are antiques and were selected to mirror what is known about the family’s taste and preferences. Margarete’s birth house opened as a museum in 2003 and is located about a five minute stroll from the main factory campus.

The outside of the house features a rectangular bronze plaque noting the importance of the site from a historical perspective. It translates from German to, “this building is the birthplace of Margarete Steiff, it was built in the middle of the 17th century, and restored in 2003.” The building’s exterior is also decorated with round architectural medallions featuring classic symbols of the arts and sciences.

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ABOVE: Biedermeier-era desk on display in the museum’s living room area.

LEFT: A large, round decorative medallion on the outside of house featuring an ancient style chordophone.

Now let’s take a tour of some of the highlight spaces within this museum. When you walk into the ground floor of the house from the main entrance, there is a small reception area with lockers for personal items. There you can pick up a self-guided tour brochure; it is available in English or German. The tour starts by heading up a very steep wooden staircase to Margarete’s earliest workspace.

It is amazing to think that Margarete was carried up and down this staircase when coming or going from her home.

One of the most interesting places in this home is this workspace. This room was reconfigured in 1874

by Margarete’s father to include an open, light-filled room for his daughter to sew and do her needlework.

This construction project included creating a specially permitted, double sided “viewing” window in the corner of the room. Margarete would park her wheelchair right there and watch the world go by on Lederstrasse. Today, this room features a replica workbench similar to the 48

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one used by Margarete in the late 1800s, as well as one of her sewing machines–displayed backwards, of course.

Also located in this room is one of Margarete’s metal and leather winter wheelchairs. It is fitted with heavy duty rimmed wheels to manage the slippery Giengen winter weather conditions. Above the wheelchair is a black and white photo of her in a similar vehicle, being pushed by one of her nephews.

Margarete’s bedroom and bathroom are located adjacent to her workspace. Both rooms are tiny, strictly functional, and austere. The bedroom, which was included as part of the of the 1874 building conversion, is furnished with a wooden bed and matching nightstand.

The bathroom has a table, chair, mirror, corner stand, and hanging rack. It also features a large pottery bathing washbowl and pitcher. Her parent’s bedroom, located nearby, is authentically furnished with two beds, a night table, and a dresser.

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ABOVE: Early felt potholders on display at the birth house museum.

RIGHT: Partial view, Margarete’s kitchen area with tan and black tile floors and 19th century accessories.

BELOW: Early felt and velvet animals and novelties on display at the birth house museum.

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ABOVE LEFT: Margarete’s living room area with lovely wooden furniture and a corner heating stove.

ABOVE: The author and a colorful, oversized rendering of Margarete Steiff taken at the Steiff Museum in July, 2023.

LEFT: One of Margarete’s original sewing machines as displayed in her birth house museum.

Another important space on this floor is the family living room. It is decorated with Biedermeier-era (1815– 48) furnishings. This area has an open and welcoming feeling to it. Its period furniture includes a table, chairs, settee, breakfront cabinet, and desk. They are all hand crafted from grained wood, very sturdy, and finely detailed. Typical to the period, this room has a black cast iron stove, called a Kachelofen, situated in the corner of the room. It was used to help heat the house in the winter.

The kitchen area, which retains many of its original tan and black floor tiles, is small and dark. Only one person could work in it comfortably. It has been reimagined with pots, pans, and cooking utensils from the 19th century. Another cast iron stove features prominently in this space. The top of this appliance has a built-in waffle iron. The lid notes its recipe, which includes milk, flour, butter, and yeast.

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actively using her home as her factory. This large, tall, and open space was built with half-timbered construction.

Variously spaced small windows let in just a bit of light year-round for functionality, while at the same time keeping heat loss to a minimum during the cold months.

It is easy to imagine crate upon crate of materials and finished product awaiting distribution lined up in this space more than a century ago.

The last two spaces of note in Margarete’s birth house include her garden and an area on the ground floor which is now a small exhibit hall.

Her backyard garden today features flowering plants, herbs, and vegetables. This peaceful and well-tended place is a complete contrast to the urban sounds and activities happening on the Lederstrasse facing side of the house. There is a legend that the rabbits, squirrels, birds, and other animals that visited this garden inspired Margarete to expand her product line to include those critters.

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ABOVE AND RIGHT: Margarete’s attic used for storage and inventory.

Finally, the ground floor exhibit area features displays that reflect the remarkable achievements and product offerings of the company from the first quarter of the 20th century. They are updated periodically to reflect holidays, anniversaries, and/ or other company or national celebrations. Items are presented in simple, clear glass cabinets with sleek, aluminum lighting fixtures.

Margarete loved dolls, and early examples–including an Uncle Sam, clown, schoolboy, policeman, and postman–have been included in this exhibit area. Key company documents, including patents and legal materials from Europe and the United States, have been shown here. And Richard Steiff, Margarete’s nephew who invented the jointed Teddy bear, was also a phenomenal artist, especially when it came to animals. Some of his paintings, drawings, and sketches have also been on display through this venue.

All photos from the author and taken in July, 2023 in Giengen, Germany.

ABOVE: The framed photo of Margarete in her wheelchair as displayed in the museum’s workspace area.

LEFT: One of Margarete’s wheelchairs displayed in the museum’s workspace area.

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Vogue’s

Baby Ginnette and Her Clones

By Donna W. Brown

T

here is something enchanting about a tiny baby doll that you can hold in the palm of your hand. For years most dolls, including baby dolls, ranged from 14 to 24 inches. Suddenly in the 1950s, Vogue’s 8-inch Ginny toddler doll and her extensive wardrobe took the toy stores by storm.

Every doll manufacturer with the means suddenly was creating hard plastic little girl dolls with fluffy dresses and a variety of accessories. Ginny reigned over the doll industry and Vogue soon added older sister Jill and brother Jeff.

Vogue, always the trendsetter, soon turned their sights on another member of the family, 8-inch baby sister Ginnette, and in 1955 presented her to little girls who instantly fell in love. While Ginny was hard plastic, Ginnette was a cuddly soft vinyl. She was a “drink and wet” doll that came in a diaper, socks and shoes, and with a glass baby bottle. Ginnette’s eyes were painted

Vogue’s Ginnette with sleep eyes and in original outfit.

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blue, had molded brown hair, an open mouth, and a jointed body. For a brief time, Ginnette could shed tears, while others had squeakers in their backs. Ginnettes issued in late 1956 had sleep eyes with molded eyelashes.

Her brother, Baby Jimmy, was released in 1958. He was actually an original Ginnette with painted eyes and molded hair. He had beautiful outfits that could be purchased individually. Jimmy was not well received and was only manufactured for one year.

Throughout doll history, whenever a doll gained popularity competitors rushed to make clones, and Ginnette soon had a market of rivals. Sometimes the quality matched the original doll, but often clone dolls were made more cheaply. If additional clothing was available, the quality and details of their outfits were less elaborate. These dolls were often sold in 5 & 10 cent stores or by mail order advertisements found in newspapers and magazines.

Quizkin with yes-and-no buttons by Madame Alexander, 1953.

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Joanette by Plastic Molded Arts in original dress.

Fortune’s Pamette, all original and marked with name on neck.

Madame Alexander always sold their dolls in upscale department stores and high-end doll shops. In 1956 Madame Alexander produced an 8-inch baby, Little Genius. She had a hard plastic head with a caracul wig, hard plastic body, vinyl limbs, and was a “drink and wet doll.” She is labeled Alex on her back and wears extremely well-made outfits of taffeta and lace.

In 1964 Madame Alexander marketed a similar set of five babies, the Fisher Quints. Though they look like the Little Genius with their heads of hard plastic, they had molded hair. The Quints wore matching pajamas and had vinyl bodies and limbs.

Madame Alexander had produced a boy doll in 1953, the 8-inch Quiz-kin who could nod yes or no by pressing buttons on his back. His head is similar to the Fisher Quints and at first glance, it is easy to take the Quiz-kin as a baby doll. Taking a closer look, you can see that he is the quintessential toddler doll. He is all hard plastic and though his stomach is round and his cheeks chubby, his legs and arms are straight, not slightly bent like most vinyl Ginnette clones.

Cosmopolitan Toy Company had produced highquality Ginger, a competitor to Vogue’s Ginny and she was extremely popular. It was only logical that they would follow suit and in 1956 manufactured an 8-inch baby doll they named Baby Ginger. She was made of vinyl and was a drink and wet doll with painted eyes and sculptured hair. Soon she had short rooted hair and sleep eyes. This version was also sold as a premium from Kellogg’s. For one cereal box top from Rice Krispies or Raisin Bran and one dollar, you received Baby Ginger dressed in a 3-piece yellow play set, shoes, bottle, and

Ideal Boopsie doll, all hard plastic with painted eyes, marked Ideal Pat. Pend. on back.

diaper. Two additional outfits were offered for a box top and a dollar.

Fortune Toy Company sold several different 8-inch toddler dolls and a 9½ inch toddler named Pam. They rivaled Ginny but were less expensive and their clothing was not as detailed or extensive as Ginny’s attire. They also produced a hard plastic 8-inch fashion doll named Pam with a vinyl head with rooted hair.

Two dolls marked Baby Susan on neck. Baby Susan has been attributed to both Marlon Creations and Eegee.

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In 1957 Fortune promoted a new baby doll, Pamette.

She was an 8-inch drink and wet doll with a sweet face.

Pamette was all vinyl and had molded hair, blue sleep eyes, molded eyelashes, an open mouth and jointed body. She is easy to identify because she has Pamette on her neck.

A&H Doll Manufacturer was founded to offer secondtier dolls that were mass-marketed. They included dress-me dolls and display dolls with stationary legs.

They marketed several 8-inch toddler dolls in response to Ginny, the most popular was their Gigi. In 1957 A&H created Lil’ Sister advertised beside Gigi. As an 8-inch drink and wet baby doll, Lil’ Sister had multiple outfits sold individually, but she also was offered in a clear plastic carousel wardrobe that held her clothing and accessories. She is marked Gigi’s Little Sister.

Baby Vicki by Elite Creations followed on the heels of their popular 8-inch toddler doll, Vicki. Baby Vicki was a drink and wet doll of vinyl with molded hair and came with a plastic bottle. Extra outfits were available and were less elaborate than Ginnette’s. The doll is unmarked and difficult to identify.

Deluxe Reading Suzy Cute doll in original stroller, 1964.

Lil’ Sister by A&H marketed as a sibling for their GiGi doll.

Playthings, March 1957.

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Cosmopolitan’s advertisement for Baby Ginger showing doll and eleven outfits sold separately.

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Susans have been found in Plastic Molded Arts was known for their inexpensive original Eegee packaging.

8-inch toddler dolls. The most popular was Joanie Pigtails Previously Eegee had sold a who was sold in magazines and in the Sears Roebuck 10½ inch doll marked Baby catalog in 1954. PMA also sold a Ginnette clone named Susan doll.

Joanette. Some of the Joanettes were all vinyl while other Yet many believe the 8-inch Joanettes found in PMA boxes had hard plastic arms with Baby Susan was sold by Marlon a vinyl head, legs, and body. Joanette was not marked Creations because identical and had simply made clothing. dolls in original Marlon boxes Active Doll Company began selling Baby Minette in have been found to give 1958 as a baby sister for their toddler doll, Mindy. Minette credence to this belief. Unless was a drink and wet baby with sleep eyes and curly found in an original box, it rooted hair. Active Toy Company sold low-end dolls seems impossible to say who that were sold completely dressed. Minette had seven the manufacturer was. Another additional outfits including a christening gown. doll of confusing origin is There were many lower-end 8-inch baby dolls. Baby marked Baby Susan and has Marie was sold by Woolworths. Her features were similar rooted straight blond hair. to those of Ginnette, including a single molded curl on Collecting dolls is often her forehead, but she is unmarked. Virga Creations sold Vogue’s original Ginnette with painted eyes and glass exhilarating. Some collectors a Ginnette clone named Cookie that had molded hair bottle, 1955. desire pristine dolls in their with two rows of a rooted curl on the forehead and is original packaging. Others yearn for played-with dolls unmarked. A similar doll has been found with one row of that need lots of love to bring them back to even a rooted hair and is marked ATc Made in Japan on its back. semblance of their original state. Yet more adventurous Ideal Toy Corporation sold an 8-inch all hard plastic collectors find it intriguing to discover mystery dolls baby, Boopsie, from 1950–55. She had molded hair and that need research and detective work for identification. painted eyes glancing to the side. She came in a cotton Whatever your doll infatuation entails, be assured that diaper closed with a safety pin. Ideal also sold an 8-inch charming little Ginnette clones can easily win your heart.

Little Betsy Wetsy with curly rooted hair for only one year, 1957. Both are marked Ideal.

Vogue continued manufacturing Ginnette until 1969. In 1962 she was given rooted hair in both a pixie cut and a wavy bob. Ginnette clones were still being made and one of the most popular was Deluxe Reading’s Suzy Cute. She was one inch smaller than Ginnette, which added to her charm.

Suzy was a drink and wet baby with rooted blond pixie hairstyle. When her stomach was squeezed her arms reached up to the little girl playing with her.

Creator Henry Ornstein, who was famous for creating Grocery Store Dolls, hired entertainer Louie Armstrong to sing in a Suzy Cute television commercial and soon she was everywhere. Though a mid-level doll with a modest beginning in 1964, she soon had extra clothing, accessories, stroller, bedroom set, carriage and even a swing set. She was sold at Grants and in the Sears Christmas catalog.

Perhaps the most fascinating Ginnette clone has Baby Susan on her neck and has been a mystery to collectors for decades. The 8-inch dolls are made of vinyl with molded painted hair, sleep eyes, open Two inferior Ginnette clones. The doll on the left is unmarked with one row of mouths, slightly bent legs, and bent fingers. Baby rooted hair. Doll on the right is marked with a T in a circle and Japan below it.

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Julie Ann, A Louisiana Doll

By Cynthia Orgeron his little wooden treasure has a wonderful story of a family’s efforts to endure the hardships of the Great Depression. Over the years since I found my first Julie Ann I have compiled information from family members, a historical researcher, and other owners of Julie Ann dolls into this article.

Julie Ann is constructed of both wood and Bakelite.

She is approximately 3-½ inches tall. The dolls are hand-painted in flesh color with painted features, hair, underwear, socks, and shoes. The hair color is painted black, blonde, or brown. Bakelite versions probably had the same hair colors. A black child version of hair is painted black with three small holes drilled for yarn sprouts of hair.

The only boy versions I have seen have brown painted hair and came to me as only the doll, no box or clothes.

If the female dolls are found in the original box, three dresses are enclosed. The style of the dresses varies from a long version to short play style dresses of printed and solid cotton. I feel sure in the beginning of production, the dresses were made of dress scraps from family and friends. The dresses have a draw string around the neck and the waist. Some dolls I have seen have a little bow decoration glued onto the hair or on the dress.

My first Julie Ann came to me from a friend in New Iberia, Lousiana. The doll was the owner’s childhood doll. She felt sure her family would never want the doll, and she knew I would treasure it. This doll is made of wood and costumed in a long dress, possibly Southern Belle style. At that time, I had no idea this little doll was a Louisiana original.

While attending a doll show in Shreveport, Louisiana my husband found our second Julie Ann. To our surprise, this doll was in an original box and the doll was made of Bakelite. A friend observing my husband asked what we had found. I showed her the little treasure.

The original box had a window opening revealing the doll and dresses inside. The box was printed with 56

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the doll’s name and Shreve Island Plantation. When she looked at the box, my friend told me that she knew the owners of the Shreve Island Plantation. I asked if she would contact the owners and ask them to contact me. I explained I was hoping to get information on these Louisiana doll creations.

The printing on the box stated: This is an Original “Julie Ann” REG. U. S. Pat. Off Hand Painted Doll Shreve This is the first Julie Ann I found.

Island Plantation She was given to me to sell by the Shreveport, LA. original owner who lived in New Iberia, A few weeks Louisiana. The owner said it was from her childhood but could not remember later I received an anything about her. interesting telephone call from Mr. Paul Mayer. Mr. Mayer grew up at Shreve Island Plantation.

My research now would begin after that long telephone conversation. This interesting gentleman sent me information on the home, family, and what he This was the second doll I found. remembered of the She is Bakelite. The dolls were sold dolls. It included in various shops. Note the silver photographs and a seal on the box: HAT-LEE Gift Shop, map of Shreve Island. Shreveport, Louisiana.

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Margaret Anan.

Pictured is a map of the Shreve Island Plantation.

Mr. Mayer explained his two brothers would cut out the dolls for “pennies.” The boys’ workshop was an old chicken coop that had been converted into a hobby shop for the family.

The idea for the dolls came from Mr. Mayer’s sister, Julia Mayer Cline and sister-in-law, Margaret Annan Mayer. Combining their two names, their creation became “Julie Ann.” When I asked Mr. Mayer about the Bakelite doll we had found, he had no knowledge of the production of the Bakelite dolls or if his family were the producers of these models.

In 1998 I wrote an Julia Mayer Cline and Margaret Anan were the originators of the article about the Julie Julie Ann dolls. Pictured is Julie Ann dolls for DOLL Mayer Cline.

NEWS’ Spring issue.

Many readers contacted me sharing stories and photos of their dolls after reading about them. Most did not know the dolls were Louisiana created treasures. Most of the owners did not have the original boxes, so they could not identify the little dolls. The dolls are not labeled or signed. After the article appeared, Jan Foulk included Julie Ann in her Blue Book of Doll Values.

Years later I was contacted by Steve Smith who was writing a book on Shreve Island. Mr. Smith also grew up on the island. While researching, he came across my article written for DOLL NEWS. He researched more information on the family and the hardships they endured. He shared his researched information and gave me credit in his book for my information on the Julie Ann dolls.

The history of this remarkable family gives us insight to their work values as they endured hardships of the time. This research will lead us to the discovery of how the Julie Ann doll concept gave them another financial way to survive the Great Depression and to preserve their home.

Shreve Island sits in the middle of the Red River as seen on the map pictured in this article. I credit Steve Smith with the following historical information on the family…

August Mayer, owner of Shreve Island Plantation, was a German-born immigrant to the United States in 1877. After his marriage to Mattie Robards, he established himself in livestock, general farming, and gardening on Shreve Island Plantation. His first crop of four thousand bushels of corn gained him his first step toward successful farming. The corn was ground for white cornmeal. None of the corn went to waste as shucks were used for cattle feed and cobs were used for fuel. Corn brought more profit than cotton during that time.

August Mayer later devised an immense vegetable truck. He grew many acres of potatoes, onions, and cabbage which were sold and loaded onto railroad cars headed for Chicago and New Orleans.

He became president of the Truck Farmers and Fruit Growers Association. He laid out plans for the organization instructing how to plant, pack, and ship their produce. August Mayer raised for selling PolandANTIQUE DOLL COLLECTOR

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China and Duroc Jersey pigs. As his success was reported he also became the chairman of a pork packing company working with Chicago packing houses. Many farm animals were raised as part of their business.

Louisiana weather conditions were ideal for farming and the cattle industry. The cowboy days of Texas were ending cattle drives, and shipping by rail became very important. August did not waste any time getting into the cattle industry. Texas was having trouble with Texas fever caused by field ticks on the cattle. There seemed to be less of a chance for this problem in Louisiana.

August again excelled in the cattle business continuing his connections with Chicago markets, now shipping by rail.

August Mayer passed away in March of 1909 after an illness lasting only two weeks. His wife Mattie then took over the business. She was said “to know more about cattle raising than any two men in the area.” She had been very active in social organizations but became even more involved in them. Mattie was competitive and won many blue ribbons at Louisiana State Fairs. Awards in sugar, corn and honey were just the agriculture awards.

She also won several awards for her short horn cattle.

In 1925 Mattie sold the farm but retained a portion of the land that housed the home. They raised cotton and corn on the remaining farmland. Mattie continued participation in her social organizations. She even endured the moonshiners who lived on the remote southern part of the island.

In 1929 the stock market crashed, and the family changed from farming to manufacturing. One of their manufacturing industries was producing the Julie Ann dolls.

This is where Mr. Smith’s researched history of the family differs from my firsthand information from Mr. Paul Mayer. Mr. Mayer spoke of their property being sold.

He also told me of the family taking on many different ventures to maintain their home. The family raised chickens and sold eggs. The family also continued to farm corn on a smaller scale and sell it. They sold eggs and even garden flowers, working always to save their home and provide for the family needs.

Mr. Mayer’s sister-in-law, Ruth Annan Mayer, was the daughter of an architect. She was gifted in making wood models of her father’s architectural designs so his customers could see the finished designs. This led to the cottage industry of the Julie Ann dolls which were designed by Margaret and Julia Mayer Cline.

Each doll was hand-painted by Julia in early production. Later years, help was obtained from college 58

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art students. This could account for the difference in the style of the facial painting.

A variety of Julie Ann dolls showing the different hair colors and clothing.

As mentioned earlier, The Mayer brothers cut the wood dolls of cypress wood. The Mayer ladies enlisted friends as a sewing circle to produce the doll dresses. The sewing circle would meet on the upstairs porch of the house. I am sure they must have enjoyed each other’s company and talking of the changes going on around them.

These three Julie Ann dolls are of wood. Note the way their shoes are painted.

Most recently I have found two of the wood dolls in what looks like a home-made box with three dresses.

Although I have found several of the wood dolls, this was the first one I had found in the box. The boxes are of

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lightweight cardboard and are flimsy. They are printed Julie Ann and Shreve Island Plantation.

This is a photo of the Plantation House showing the upstairs porch where various lady friends sat and made the doll dresses. (This was an old photograph provided by Mr. Mayer.)

Julie Ann in her original, primitive box.

The Bakelite dolls were probably cut from a large sheet of the product. Each of the dolls had three dresses in the little boxes. Each box was labeled similarly to the early wood doll boxes. The Another Julie Ann in her production of these Bakelite original box. dolls is a mystery to the family. They may have been copied and produced by someone else.

In Mr. Smith’s research he gives names of the local retail shops that sold the Julie Ann dolls. Through my

article in DOLL NEWS, I received many letters from owners of the dolls from all over the United States. I questioned how they obtained the dolls. Many of the owners stated the dolls were sent to them as a gift from a military relative. It is my belief that the dolls were sent from people serving or working at Barksdale Airforce Base. The base was established in 1932. It is possible a base store, or establishments close to the base, sold these little dolls. The date the base was established gives credit to the date of production of Julie Ann dolls.

Pictured in this article are versions of the black doll. I do not know if they were called Julie Ann. I have never found one in an original box. These dolls have painted black hair with small holes drilled in the top of the head to allow for little tuffs of Here are the Black American dolls I have found at various times. The yarn for hair. The dolls one on the right was a gift from a I have found to date are friend; the other two were found at made of cypress wood. doll shows.

Other examples of Black American dolls are pictured here.

This is a close-up of the little holes in one of the Black American doll’s head.

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The boy doll is also made of wood and has lost his arm along the way. I was so happy to add him to my collection of these little Louisiana treasures.

This is the little Black American boy missing his arm.

These two Bakelite dolls are in their original boxes.

Several years after discovering the dolls and some of their history, I decided to ask the family permission to produce the dolls for an upcoming doll luncheon for my Northshore Doll Club. Mr. Mayer gladly agreed and sent me written permission to copy the little dolls for our event. I promised him a copy of my magazine article earlier and now promised to send him one of the dolls I was creating for the event. Mr. Mayer responded after receiving the doll. He was honored and thankful I thought enough of the dolls to preserve their history and to continue to create them.

This is a Julie Ann that I produced for my doll club luncheon, Northshore Doll Club, in 1999. I had permission from Mr. Mayer to produce this doll for special events, such as the Northshore Doll Club’s luncheon.

Another club member and I painted around 100 of the little dolls for the 1998 Northshore Doll Club luncheon.

I painted the majority. The club members made the little dresses. The dresses were presented in a small box resembling a doll trunk.

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Here is Eliza Lou, made for the Minnesota Jamboree Council Luncheon.

I made the doll, and the club produced the box, cape, and precious little dog.

In 2014, I created another little wood doll for the Minnesota Jamboree Council Luncheon. She turned out a bit different from the first ones I created. I used a different person to cut the cypress dolls. Somehow the hairstyle changed a bit. She was still a favorite of those receiving them. The little doll named Eliza Lou came in a labeled box with a cape, an additional dress, a wood dog, and a paper doll.

Occasionally, I volunteer to do Doll Dialogues during UFDC conventions. The dialogues are small group discussions on different doll topics. Julie Ann is one of the dolls I am proud to speak about, especially since she is a Louisiana original. I hope to find out more information to include with the doll’s provenance each time I present her. If you have a Julie Ann and are willing to share a photograph and your story of acquisition, please share it with me.

Julie Ann’s story is such a tribute to women entrepreneurs…women who take on projects to save their families and homes. As doll collectors, we come across many such stories. As a woman, it makes me proud to read, study and learn how women doll makers endured their hardships, yet succeeded!

Contact Cynthia Orgeron at cynthiaorgeron@bellsouth.net.

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When the Western World

By Elizabeth Ann Coleman

Above: Popular American illustrator Frances Brundage saw the 19th century out with her Such a Large Family to Wash which features a dripping wet Japanese ningyō. Used in England in 1899 by Raphael Tuck in a calendar. Color calendar source Net. Center: Commodore Matthew Perry about the time of his Japanese expeditions, 1853-54.

Smithsonian Institution.

Right: Male mitsuore-goshōningyō, one of thirteen naked dolls given to Commodore Perry’s 1854 expedition to Japan . Smithsonian Institution.

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t has always amazed me how insular Americans are. After all we are a country of generations of immigrants, off shoots of ancestors who often set out not knowing where they would end up on this planet but always bringing with them some of their past. Yet it often takes generations to pass before we look back on where we have come from or what are the unique traits of other cultures and just how they might have impacted our own. In school you might have been lucky to learn that an American naval officer, Commodore Matthew Perry, opened Japan not just to his native country but to a fair portion of the west through expeditions in 1853 and 1854. Thanks to the official narrative of Perry’s missions, we know that on March 24, 1854, Izawa Mimasaka-no-kami, a representative of the Japanese Emperor, presented Perry’s party with thirteen naked dolls of the greater ichimatsu family of dolls (ningyō). They are specifically mitsuore gosho-ningyō, which describes their very specific body construction of hard gofun and flat joints at hips, knees, and ankles. This was in an era when in the west many bodies associated with play dolls had devolved from complexly jointed ones associated with English wooden dolls of the 18th century to the elementary movement of swing jointed cloth bodies. The heyday of French doll body innovation was yet to come. And there was no doubt aspects of these Japanese dolls would make an impression on western doll makers and consumers, far more than the credit we associate with their more traceable off-spring – the täuflings. Denizens of late 19th century western nurseries would implore, wheedle or whatever it took to add real Japanese dolls to their internationally populated doll families. And we have inherited pictorial and other evidence to prove the point.

Through the dolls, and numerous other artifacts, Commodore Perry set off a decades long Western craze for all sorts of things Japanese, whose interpreted art style became extremely fashionable and known as Japonisme. But as a doll collector

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Welcomed Japanese Dolls

you should also know at least one the ichimatsu Japanese doll family, a daki-ningyō or play doll, may have snuck away from its island home several years in advance of Perry’s travels. In 1851 Edmund Lindner, a German toy import/export merchant from Sonneberg, Thuringia on a visit to the famous Crystal Palace exhibition in London encountered in one of the city’s legendary toy shops the immigrant Japanese dolls.1 He brought at least one back from London to Sonnenberg and at the behest of his family’s business, Louis Lindner & Son, convinced at least one local manufacturer to fabricate a similarly constructed doll—what became known as a täufling. Four years later Monsieur Natalis Rondot recounted of the subsequent international exhibition, held in Paris in 1855, “Fr. Greffier (François Alphonse Greffier, (a doll manufacturer located in the Parisian quartier of Belleville,) showed some Japanese-style dolls called by the names of ‘bébés; they were of good model, of excellent manufacture and of low price.” Rondot goes on to describe these honorable mention dolls as “very sturdy dolls, they move their arms and legs, and make a plaintive whimper when you press their bellies.”2 In 1908 the American toy trade publication Playthings credits Greffier as being the first to introduce westerners to Japan’s poupées genres (natural dolls). With these two recorded events the Japanese inspired baby doll race was on in the west.

But babies have a way of growing up quickly into enchanting young children.

And here it was not only western interpretations, but dolls imported directly from Japan that demanded a spot at tea tables in western nurseries.

1. This information was unearthed by Jurgen and Marianne Cieslik in a contemporary historical family document recording the activities of Edmund Lindner. The Lindners would become known, not for the täufling they commissioned the making of, but then acted as middlemen for but for the millions of Grodner Tal wooden dolls they distributed.

2. François & Danielle Theimer. The Encyclopedia of French Dolls, vol 1, p. 260

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Left: Illustration from A Cup of Tea by Elizabeth S. Tucker, New York , 1892. Just discernable at the top of his head is this daki boy’s painted and applied blue gofun shaved crown. It also appears the lower portion of his head has been painted grey to emulate additional head shaving (nakasori). Coleman collection.

Above: Free Education by A. Johnson, London Illustrated News, 1893. Following the period fascination for foreign objects and peoples this illustration confirms again the acceptance and role Japanese dolls played in western nurseries at the end of the 19th century. Coleman collection.

Left: Täufling baby doll, German ca.

1860-1895. This doll is constructed in imitation of a Japanese dakiningyō and has composition body parts which are attached with cloth tubes to complete the body. A vertical squeaker is found in the cloth torso.

Private collection.

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Mid Meiji era (ca. 1880-1900) unsexed baby ichimatsu with composite and tinted gofun body parts including swivel head with glass eyes and painted black wisps of hair across forehead on shoulder plate, and unjointed body parts – shoulder plate, lower torso, and limbs – joined by cotton fabric. Paper body wrap. Dressed in festive attire to mark a first birthday celebration, Isshō-mochi, where the baby transports on its back nearly two kilos of rice wrapped in cloth. In this case the same tie dye silk fabric is found in the crown of its cap (kappu), body of its bib (yodarekake), and the shoulder strapped and padded container (furoshiki) on its back. Additionally, the doll wears a printed silk crepe kimono which ties with cords in back- a baby is too young for an obi. Doll 5-3/4 inches, with apparel 6-3/4 inches. Coleman collection.

Illustration from The Jingle of a Jap, by Clara Bell Thurston, Boston, ca. 1890. The male daki-ningyō features addon painted gofun shaved bald spot to top back of head.

Coleman collection.

Charles Deter Weldon, Dreamland, ca. 1883. The importance and popularity of Japanese daki and/or ichimatsu dolls in late 19th century western children’s lives is captured in this engraving after one of Weldon’s Japanese themed paintings. Of particular interest is the depiction of the variety of haircuts Japanese boys might encounter during their youth from babyhood on. Library of Congress.

Sketch by Adney of Japanese daki-ningyō dolls welcoming an Eskimo doll to a toyshop, Harper’s Young People, Dec. 31, 1889. Coleman collection.

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Mary Cassatt, Young girl with Japanese male daki-ningyō doll, ca. 1892. The artist has rendered the doll with an add-on painted gofun shaved bald spot (nakasori) to the top back of its head and reveals in the front opening of its kimono the paper body wrap and the hemline kimono lining. The National Gallery of Art.

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German adaptations of the Japanese immigrants were so popular that orders could not be filled in a timely manner. In Germany, the dolls would be called by their manufacturers and distributers täufling, a term indicating the dolls represented a baby of christening age. In the past doll collectors have also referred to them as “Motschmann” babies after a primary German bossierer3 manufacturer, Christoph Motschmann of Sonneberg.4 While Motschmann’s documented association with these baby dolls is through his patent for a voice mechanism, it should be noted his compositions were very similar in appearance to the gofun finishes on Japanese dolls. Today we recognize the westernized cousins as täufling while the Japanese variants generally fall under the title of daki-ningyō, which roughly translates as a cuddly play doll representing a child of either gender, whether physically gendered or not and independent of any gender associated attire.

These dolls, sometimes without their generally floppy, floating limbs, became popular in 19th century Japan and remained popular as play items there into the 20th century, but their global heyday was the 1880s and 1890s when they became popular denizens of western nurseries. It is next to impossible to differentiate between a clothed mitsuori-ningyō and a daki-ningyō, the former being generally solid except for perhaps soft cloth upper arms while daki are usually composed of more body parts including a cloth mid-torso. The kinship of daki and täufling is unquestionable as are the chronological ages they represent—young children and babies. And with this branch of Japanese dolls hair treatments give us clues to gender, if the dolls are not gendered, and because of numerous prescribed hair treatments, especially for boys, an idea of their chronological age. Almost all boy hair treatments reflect the trait of head shaving, sometimes featuring a ring of hair around a “shaved” crown. To reinforce the importance sometimes an extra piece of painted (grey or grey/blue) gofun is applied. It is not meant to be seen as a separate piece but to be read as in one with the crown and goes by the name nakasori. On other occasions boy’s heads are treated with multiple wisps and tuffs strategically placed to ward off evil or bring good luck.

3. A bossierer made composition dolls of sawdust and dough.

4. Motschmann’s April 1857 patent was not for his dolls, rather a voice mechanism for them.

Left: Mid Meiji era (ca. 1880-1895) Japanese unsexed daki boy featuring a swivel head, shoulder plate, lower torso and ankle and wrist jointed lower appendages of a composite material coated with pigmented gofun. Toes, with white painted nails, separated for geta (sandal) wearing. Glued in human hair radiates from unpainted central crown piercing covered by a glued on blue/grey painted gofun disc imitating a shaved crown (nakasori) Glass eyes, painted lips, squeaker, and stuffed blue cotton cloth joints for body parts.

Paper body wrap tied with twisted paper belt. Wears a grey blue printed silk crepe kimono, and matching under kimono, with scarlet silk crepe facing, under sleeves, and matching bowed obi sash. 20 inches.

Coleman collection.

Above: Mid-Meiji era (ca.1880-1900) Japanese unsexed ichimatsu boy featuring a swivel head, chest plate, lower torso and unjointed lower arms and legs of a composite material coated with pigmented gofun. Human hair emanates from black painted pierced crown and ear level slits.

Glass eyes, painted lips, squeaker, and stuffed cloth joints for body parts. Paper body wrap. Black and white silk crepe kimono with rust cotton edgings and cotton gauze overlaid on gilt paper obi. 10 inches.

Coleman collection.

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A page from child’s printed cotton booklet on the topic of counting and featuring for the number 8 eight girl daki-ningyō. (note joints at ankles). “8” is considered a lucky number in Japan. Book probably American, ca. 1900. Private collection.

Center: A pre-World War I inexpensive female ichimatsu of typical gofun and cloth body parts. Her bald head features a typical girl’s haircut featuring bangs and shoulder length hair. She wears her original printed wool kimono and a replaced obi. The glass pearls of her necklace appear to be contemporary as they have discolored in a typical manner. Coleman collection.

All are traceable back certain to the ishō-ningyō, dolls that were made after the likeness of a theatrical personality. Much like popular culture icons of today the ichimatsu name can be followed back to a popular handsome and adaptive eighteenthcentury kabuki actor, Sanogawa Ichimatsu (1722-1762) who at the time was cast in figural form for his admiring fans.

Over time these adult figures would gradually morph into toys representing young children and babies, which could be dressed and played with, a role they assumed until more recent years when the dolls embraced a more commercially popular feminine gender and once again returned to a mostly static role in a display situation for admiration.

As noted by Rondot, Japanese dolls were inexpensive5, a tradition that lasted for decades. In western nurseries western interpretations—täuflings—sufficed in practically all materials dolls were currently being produced in— compositions, solid wax and wax over, china and bisque, and toward the end of their popularity even wood.

Japanese examples feature gofun6 as the surface material for heads, limbs and body parts. In both interpretations the jointing will vary, some examples having minor attempts, others being potential contortionists. Indeed, one distinctive ichimatsu type is identified as mitsuori for its bendability.

With very few exceptions we know little about actual Japanese dolls in western nurseries after their introduction

Late Meiji period portrait by Robert E. Stuart of Girl with Japanese Doll, 1902. The girl clutches a male daki doll, note the wisps of hair in front of his ears. He represents an older boy with his red obi and his feet are large enough to accommodate pink tabi.

Lyon & Turnbull Auctions.

to the west. Clues begin to emerge in the early 1880s and cascade for about a generation. An 1880 catalogue from Oscar Strasburger & Co. of New York City (successor to the venerable Strasburger & Pfeiffer, importers and commission merchants) throws some light on the status of “genuine” Japanese dolls which they are selling by the dozen, in heights between seven inches and thirteen inches, some bald, some with hair, and dressed in either silk crepe or cotton calico all with trimmings to the apparel. The least costly dolls are in cottons and range from $1.75 to $4.00 a dozen while those in silk crepe, in two sizes only, range from $3.00 per dozen to $4.25 per dozen. The same catalogue has French dolls of the same height selling individually for the same price as a dozen Japanese dolls.

From contemporary artwork we can see what the dolls looked like dressed, and from undressed examples we learn the specific features of their bodies. But all is not that easy.

Indeed, we need to identify, and understand, the devils in the details of construction. From about 1840 to about 1915 some of the dolls were known as daki-ningyō. Indeed they were related to their contemporary huggable ichimatsu but differed in that their wrists and ankles featured functional joints, longer popular ichimatsu are characterized by fixed or jointless ankles and wrists.7 Whatever their jointing these dolls represented small children and babies both in

5. In their initial lives cost was based on quality of both the doll and its apparel. The same assessment is applied to specimens in the secondhand/collector market.

6. Gofun features finely crushed shell, usually oyster, clam or scallop.

7. With appreciation to Alan Pate for sharing his expertise in unraveling the complexities of understanding these nursery-oriented dolls.

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Left: Early Meiji era (ca.1870-1890) Japanese unsexed daki boy featuring a swivel head, chest plate, lower torso and ankle and wrist jointed lower appendages of a composite material coated with pigmented gofun. Toes separated for geta (sandal) wearing. Glued on human hair radiates from unpainted central crown and over gray painted shaved area above ear line, black painted hair wisps in front of ears. Glass eyes, painted lips, squeaker, and stuffed cloth joints for body parts. Paper body wrap. Brown and white cotton yakata (summer weight kimono) with deep pink cotton sleeve and hem edging secured with attached twisted fabric ties rather than an obi which indicates his very young age, five or less. 10 inches. Coleman collection.

Center: Two Japanese daki dolls dressed and named after Chinamen in the nursery collection of Kitty R. St. Nicholas, 1884,vol XI, p.337. Coleman collection.

Right: Photograph of western girl holding a large Japanese daki-ningyō doll dressed in western attire. St. Nicholas, July 1887, p. 688. Coleman collection.

Below: Japanese ningyō dressed in kimono-like attire composed of strands of Libby fiber glass filaments. Produced for distribution at Chicago’s Columbian World’s Fair, 1893. Chicago History Museum.

their faces and bodies and featured head, shoulder plate, and lower torsos of gofun covered composition, as well as lower arms and hands generally articulated at the wrists as well as likewise lower legs and feet. Tubes of cloth joined the gofun parts together to complete the doll. The dolls, depending on their cost were given glass or painted eyes and their coiffeur reflected their age with bald or partially shaved heads with the hair being of either silk or human hair. On numerous occasions the dolls, many of which would be dressed to represent boys, were given a painted domed disk, sometimes painted blue, for the shaved crown of the head. Baby and toddler representations would feature completely shaved heads, sometimes highlighted with strokes of grey. Blue paint on older boys indicated hair stubble. In 1883 Kittie R. of Lowell, (MA?) writes in St Nicholas, a children’s magazine, about her doll family which includes two Japanese daki-ningyō to which she has given Chinese names: Lu Sin and Yung Wing. It turns out Yung Wing was a newsmaker of the day, a successful businessman and more important a diplomat working to strengthen ties between China and the United States. Interestingly both dolls look like they may have been redressed in Chinese attire. And following in redressing is a circa 1886 photograph by Alexander Black which includes a large daki-ningyō dressed in what appears to be a simple western garment and cap. By the 1890s, a decade when the planet began to see itself as being home to a wide and interesting variety of human beings, illustrations in early learning publications began to feature visuals of daki-ningyō. Sadly, for today’s world these dolls were often identified not as Japanese dolls but “Jap” dolls.

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Left: Title and artist undocumented, ca. 1885-1900. Traditional daki-ningyō whose heads were often set on the body so that they often looked slightly up rather than straight ahead, and thus when in the arms of a child into their eyes. Coleman collection.

Above: While by a wide majority 1890s illustrations of western and Japanese dolls are of a peaceful nature a series by an unidentified artist (G B), features a battle between a French bébé and a Japanese ningyō, each identified by variants of flags associated with their countries of origin. Internet.

Left: The subjects of this postcard (ca. 1906) are both easy and hard to define. The girl is obviously a westerner caught up in the Japanisme craze, but the question is her doll a western doll also flaunting the elements of adopting Japanese items of apparel and appearance or is she a female daki-ningyō. In the early years of the 20th century patterns for doll-size kimono were popular in western dressmaking sources. Internet.

Below: Japanese engraving from the 1890s featuring two women inspecting a western bisque headed doll with composition body. The image depicts the Japanese reversal of Japonisme, by the adoption of western tastes and artifacts under the title of bunmeikaika (Civilization and Enlightenment). Museum of Fine Arts, Boston.

Because of the popularity of all things Japanese, merchants like Gumps in San Francisco, founded 1861, and Liberty in London, founded 1875, may well have had specific artisans for the Japanese doll they imported. The basic doll making craftsmen were frequently identified by calligraphic markings on the paper or cloth torso materials or on the lid of the wooden box the doll came in, but they did not usually complete the doll by dressing it. That was the work of other craftspeople and the materials used and the number of garments employed are additional indications of a doll’s economic value. The cheapest will have no hair, painted eyes, and a nearly thread bare cotton kimono only.

Glass eyes and abundant layers of rich silks will sparkle on costlier examples.

In the period of this discussion, ca 1875-1900, whether for a boy or girl doll the garments are generally not gender specific, a kimono suffices.

Paralleling the number of late 19th century surviving Japanese daki dolls is the western bounty of childhood literature featuring both simple line drawings and more complex colorful illustrations. Each reenforces the value of the other in understanding cultural similarities and differences even in a child’s earliest years. And as a consequence, with a little background on these still exotic looking dolls, our interest in them and their role in the global culture of their day becomes even more fascinating and revealing. And we should not forget that there is the other side of the coin, the enduring Japanese fascination for western dolls.

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A ROYAL TRIBUTE

Queen Mary’s Dolls’ House 100th Year Anniversary Celebration Objects of Desire in the Collections of the Queen’s Dolls’ House

By Eliza de Sola Mendes

Queen Mary at her desk in 1922 as the Dolls’ House was being made. Wide World Photos.

Collection Eliza de Sola Mendes.

Introduction

I

Sir Edwin Landseer Lutyens, OM (1869-1944) From a pencil drawing by Edmund Dulac (1882-1953) Illustration from Everybody’s Book of The Queen’s Dolls’ House, Edited by AC Benson and Sir Lawrence Weaver (Daily Telegraph, Methuen, 1924) Private Collection.

n 2024, as we celebrate the centenary of Queen Mary’s Dolls’ House, we can acknowledge British and indeed, worldwide gratitude to Princess Mary Louise (1872-1956) a granddaughter of Queen Victoria (1819-1901) and a cousin of King George V (1865-1936) for conceiving the idea of the dolls’ house as a gift to Queen Mary (1867-1953) and subsequently to the Nation. Princess Mary Louise wrote in her autobiography, My Memories in Six Reigns (Evans Brothers Limited, London, 1956) how the dolls’ house came to be. “One spring my mother and my sister spent Easter at Windsor Castle with King George V and Queen Mary. I joined them for some days later at Cumberland Lodge and found both mother and sister very busy collecting tiny objects d’art for Queen Mary, who was furnishing a dolls’ house. This rather took my fancy and I, and on the impulse of the moment, I said to Thora (her sister Princess Helena Victoria of Schleswig-Holstein (18701948). In July of 1917 King George V changed the name of the British Royal family to Windsor) “I know what I will do: I will ask Sir Edwin Lutyens to design a dolls’ house.”

King George V (1865-1936) and Queen Mary (1867-1953), Postcard. Valentine’s X.I. Series Real Photo Cards Collection Eliza de Sola Mendes.

When asked, the renowned architect of his time, Sir Edwin Landseer Lutyens OM (1869-1944) was so taken with the idea, that following agreement by Queen Mary that she would accept such a gift for the country, as Princess Mary Louise remarks in her memoir, he “drew plans and designs on the table cloth and on every menu card he could lay hands on, and gradually we began to see our ideas turn into reality, and after a week or so he brought a complete set of most elaborate plans which he had drawn up for building the Dolls’ House.”

Though the impetus of Princess Marie Louise (18721956) for the creation of the Queen’s Dolls’ House under the auspices of the legendary Lutyens, was in part to please Queen Mary who loved small things, it was also to thank her for her support of the soldiers during World War I and to now showcase British industry and help boost the mood of the country. The lasting results were quite different.

The dolls’ house would become an above ground time capsule of its era. After the dolls’ house was shown at The British Empire Exhibition in Wembley in 1924-25 it would ANTIQUE DOLL COLLECTOR

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Even in an American publication, Popular Mechanics, (June 1924) attention to scale in the Queen’s Dolls’ House would be noted for would-be makers of dolls’ houses. Collection Eliza de Sola Mendes.

be displayed briefly at the Kensington Olympia rail station (built 1863) for the 1925 Ideal Home Exhibition in a pavilion designed by Lutyens.

In July of 1925, the Queen’s Dolls’ House would go on display in a room designed by Lutyens at Windsor Castle where it still resides.

The Windsor tour brochures would begin to note the dolls’ house for visitors and viewing remains a great highlight of any visit to the Royal Residence. The dolls’ house would be a way to remember the way of life before the war, and yet at the same time, to showcase thoroughly modern inventions like the vacuum cleaner and the motorcar. Today, looking into the rooms, gardens, and garage we can peek back into the untouched world of 100 years ago.

Attention to Scale

Princess Marie Louise (1872-1956) from her autobiography My Life in Six Reigns 1956.

Collection Eliza de Sola Mendes.

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Though he would not know it, Lutyens’ exacting architect’s eye for scale would be the deciding factor for the future of modern miniatures.

Lutyens’ initial concept for Queen Mary’s Dolls’ House inspired an entire industry of miniature artisans and commercial firms who would now work in the one-inch-to-a-foot scale. The scale would continue to develop in popularity through the 20th century, particularly after World War II. Today it remains the standard doll house scale worldwide. Miniaturists would keep to this scale quite up until recent years when some artisans

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are working with even smaller scales with “tour de force” artistry with the aim to make the tiniest object rather than proportionality to scale. Prior to Lutyens setting this standard for The Queen’s Dolls’ House, early dolls’ houses had many scales often all mixed in. Some 19th century German companies in fact, prided themselves in offering several scales of the same miniature furniture sets.

Influencing Other Famous Dolls’ Houses

Some of the most famous miniature collectors, most notably Mrs. Narcissa Niblack Thorne (18821966) in the United States, would be inspired by The Queen’s Dolls’ House.

She created her model rooms in the one-inch-to-a-foot scale that Lutyens had made famous, most notably in the 68 Thorne Rooms housed at The Art Institute, in Chicago. Mrs. Thorne was so taken with The Queen’s Dolls’ House that in 1936 she sent a gift of a miniature Georgian Library to Queen Mary, which is now housed in the Victoria and Albert Museum, in homage to the Queen’s Dolls’ House which had inspired her. American silent film actress Colleen Moore (1899-1988) would work in this scale to create her Fairy Castle first exhibited in 1936 at the Museum of Science and Industry also in Chicago, where it is still on display today.

Like The Queen’s Dolls’ House, the inhabitants were to be imaginary.

Top: Miniature desk set originally owned by American collector Mrs. Narcissa Niblack Thorne, (1882-1966) with a likeness to the miniatures on the desk in the King’s Library of The Queen’s Dolls’ House as seen in Tuck postcards. Private Collection.

The British Empire Exhibition

More than a million visitors would see Queen Mary’s Dolls’ house when it was first exhibited at the British Empire Exhibition in 1924 at Wembley Park, in the suburbs of London for a year and a half.

The Children’s Newspaper that year would remark that over 25 thousand pounds had been raised for charity from visitors to the dolls’ house. Not only could visitors view the dolls’

Above: Bank model of The Queen’s Dolls’ House Cauldon Potteries Ltd and Chubb & Son’s Lock & Safe Co., Ltd, and porcelain model of The Queen’s Dolls’ House Arcadian “Cauldon,” miniature binoculars, souvenir spoons and other porcelain from the British Empire Exhibition.

Note: Not to be outdone, among the various offerings, the exhibition also had its own miniature binoculars with images of the fair inside, a “stanhope” believed made in France. One could imagine it would have been wonderful if one had also been placed in The Queen’s Dolls’ house. Collection Eliza de Sola Mendes.

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Palace of Arts (photograph forefront) with box of additional images of British Empire Exhibition, Wembley. Collection Eliza de Sola Mendes.

The King and Queen Arriving to British Empire Exhibition in Carriage on April 23rd, 1924.

WD & HO Wills.

Cigarette Card Issued by the Imperial Tobacco Company.

Collection Eliza de Sola Mendes.

house, but they could also purchase souvenir items sold at kiosks and receive other items that were given away as advertisements. Commercial houses that made miniatures for the dolls’ house were allowed to make copies for the public. Some of the objects that were made for sale and sold to raise funds for the Queen’s charities including a commemorative tin bank, and porcelain model of the house. Today, these are rare and highly sought after collectibles.

Additionally, commemorative objects made for sale at Wembley included British Empire Exhibition miniature binoculars, postcard sets, and an album by Raphael Tuck & Sons Ltd (1870-1959). In a 1924 article in The Strand Magazine entitled “The Humours of Wembley” the author Fenn Sherie (1896-1944) remarks that visitors were flocking to Wembley to view “The British Empire in miniature.” The author was saying this not only about those necessarily visiting the dolls’ house but the entire fair, encapsulating the global reach of the Empire.

What was it like to attend the British Empire Exhibition in 1924? It must have been a very exciting experience. Visitors could view different exhibits in pavilions from various parts of the British Empire. It was opened on St. George’s Day April 23rd, 1924, by King George V and Queen Mary in Wembley, a suburb of London. The King’s voice would be heard, radio broadcast for the first time opening the exhibition. The exhibition was considered the largest of its kind to have ever been built and to have cost 12 million pounds. More than 25 million visitors would come to see a copy of the entire tomb of Tutankhamun staged by the famed Egyptologist and set designer Arthur Weigall (18801934), elephants, miniature railways, the carousel, butter sculptures, boating and other entertainment as well as the exhibitions of fine and decorative art, industry, and 72

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Above: British Empire Exhibition 1924 Official Guides and The Official Illustrated Catalogue of the Queen’s Dolls’ House (1924).

Collection Eliza de Sola Mendes.

culture. The Queen’s Dolls’ House was housed in the fireproofed “Palace of Arts” in the 216 acres that would include what became Wembley Stadium.

Two million copies of the The British Empire Exhibition 1924 Official Guide were printed for the fair. On page 26-27 there is a description of the dolls’ house, but a rare catalog, The Official Illustrated Catalogue of The Queen’s Dolls’ House (1924) by the Australian born writer and editor J. Murray Allison (1877-1929) listed all the individual British manufacturers who contributed to the dolls’ house as well as individual donors. Lutyens use of one-inch-to-a-foot scale was so novel and lifelike, that Allison was concerned

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readers would not recognize that the photos showed actual miniatures. For the British Empire Exhibition opening, Everybody’s Book of The Queen’s Dolls’ House (1924) by Arthur Christopher (A.C.) Benson, CVO (1862-1925) and Sir Lawrence Weaver, KBE (1876-1930) was published as a condensed version of a two-volume work of only 1,500 editions.

Weaver was Director of United Kingdom Exhibits and the dolls’ house was part of The Palace of Arts.

What miniature replicas from The Queen’s Dolls’ House could visitors to the British Empire Exhibition buy?

Some of the companies championed

by Queen Mary have recognizable names and are still in existence today. Chivers & Sons Ltd (founded c. 1873-1959 under different management today), “Old English” marmalades and jams, and some other companies have held the Royal warrant for decades. Some firms are long gone but we have the miniatures to remember them as part of the United Kingdom in the 1920s.

Those British industries that made the miniatures of the period did sell some copies at Wembley when the dolls’ house was first exhibited and in some other locations. Today eager collectors still wish to find some of these small treasures.

Dame Agnes Lowndes Jekyll DBE, GCStJ (1861-1937), the sister of horticulturist, and garden designer Gertrude Jekyll VMH (1843-1932) who developed the plan for the Queen’s Dolls’ House gardens was put in charge of the miniature kitchen objects. Agnes determined that the products chosen would be the ones which were used in the Royal household. Real wine would be used for bottles, and the wine cellar would have 1,200 bottles of champagne, wine, spirits, and beer. Boxes of tea biscuits, and tea, mustard and chocolate would be stocked. Gertrude had met Lutyens by chance in 1889, and they worked on numerous projects together, including the dolls’ house.

These are some of the items known to have been sold to the public at the time of the Wembley exhibition of the Queen’s Dolls’ House

Miniature Chivers “Old English” marmalade and Chivers strawberry jam.

Collection Val Copley.

Miniature Clark’s Stranded Cotton and J & P Coats Mercer Crochet.

Collection Val Copley.

Below: Linen towels by “Old Bleach.”

Collection Val Copley.

Miniature LMS Railway timetable.

Collection Val Copley.

Miniature Royal Doulton. Collection Val Copley.

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These are some of the items known to have been sold to the public at the time of the Wembley exhibition of the Queen’s Dolls’ House, continued Below: Miniature Cauldon Potteries Service. Three sets, dessert, coffee and breakfast were made by Cauldon Ltd in settings for six for The Queen’s Dolls’ House. Private Collection.

Gramophone Record (and cover) with “God Save the King.”

Collection Claire Quick.

Miniature The Times Newspaper.

Collection Val Copley.

Miniature The Times of India, Country Life Magazine, and Atlas of the British Empire. Collection Eliza de Sola Mendes.

Not sold at Wembley but in the dolls’ house

Above: Miniature Royal Doulton Earthenware Pitchers with Tuck Postcard view of The Royal Kitchen in The Queen’s Dolls’ House. Collection Eliza de Sola Mendes.

Left: Beatrice Elizabeth Hindley flowerpots juxtaposed with Tuck postcards of the gardens in The Queen’s Dolls’ House.

In Princess Mary Louise description of the dolls’ house in her memoirs, she remarks: “The Facade was Georgian and the garden round the house was designed and laid out

by Miss Jekyll.” Viewing the Queen Mary’s Dolls’ House, and its miniature garden designed by Gertrude Jekyll with exquisite miniature flowers made by the sculptress Beatrice Elizabeth Hindley (1882-1973) is a highlight of a visit for doll and miniature collectors worldwide. Some of Hindley’s works can be found in miniature collections today but are very scarce. Collection Eliza de Sola Mendes.

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Miniature Doll Kitchen in the Royal Day Nursery with a similar period example. The Official Illustrated Catalogue of The Queen’s Dolls’ House, Fleetway Press, 1924 makes note of the “doll room” in the nursery.

The origins are not listed. On close inspection, it appears to be a miniature German doll kitchen.

These were made as novelties. Here is a similar one juxtaposed with a Tuck postcard of the Royal Nursery showing the doll room. Collection Eliza de Sola Mendes.

Of note in relation to dolls and commercial advertisement

In considering commercial items made for The Queen’s Dolls’ House and which copies were sold at Wembley, one of the things that surprises some, is that there were to be no dolls in the Queen’s Dolls’ House. It was decided after lengthy debate and with an entire chapter devoted to this dilemma in The Book of The Queen’s Dolls’ House on the decision to not create a doll family for the house. The exceptions were to be two guard dolls and a tiny likely German “peg wooden” or “Grodnertal” doll to be found in the nursery of the dolls’ house, placed to be the doll for the imagined child inhabitants.

The guard dolls also reflected the same association with different manufacturers in the United Kingdom as the miniatures found in the dolls’ house. The dolls were made by a Mr. and Mrs. Kennedy North. Art restorer Stanley Kennedy North (1887-1942) painted the frieze below the murals in the room that houses the dolls’ house. He and his wife, dancer Helen Dorothy (1889-1975) made the dolls. The dolls’ “coats and trousers” were made by Simpson and Sons the Boots by Peal and Co. (1565-1965) and rifles BassettLowke, Ltd. (Founded 1899) The boots were “waterproofed” from expected miniature “rain” by Mills, Ltd. H. M. because all guard dolls, should be ready for any weather!

Another category of miniatures not really spoken of: items in the dolls’ house that were not made for the house, not sold at Wembley but are also rare collectibles. These were items in The Queen’s Dolls’ House that were not from UK firms but from countries including Austria, Germany, and France.

Above: Miniature Austrian bronze flowerpots.

Two sizes similar to those shown in several of rooms of The Queen’s Dolls’ House including The Queen’s Bedroom (Tuck postcard).

Collection Eliza de Sola Mendes.

A 10/16ths of an inch tall peg wooden doll. The Official Illustrated Catalogue of The Queen’s Dolls’ House, Fleetway Press, 1924, does not designate where the doll came from, presumably German origin. This is a similar tiny Grodnertal doll. Collection Eliza de Sola Mendes.

This miniature safety pin was not sold but given away by Selfidge’s to their customers for their 16th anniversary as well as in honor of the Queen’s Dolls’ House.

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Miniature Limoges tea set and Tuck postcard. Note there are two colors shown.

Tray is a similar blue to the set in The Queen’s Dolls’ House.

Set also came in red color. c. 1924.

Collection Eliza de Sola Mendes.

Collectibles today

An interesting initiative in 2012 The Queen’s Dolls’ House Collection was a series of miniatures made with the following statement on their catalog cover: “This is the first collection of miniature masterpieces from The Queen’s Dolls’ House which is on display at Windsor Castle, brought to you by kind permission of Her Majesty, The Queen, under license from The Royal Collection, by The Dolls’ House Emporium.” This took place during the reign of Queen Elizabeth II. Designed in the 1:2 scale of Lutyens it included copies of miniature furniture and accessories from The Queen’s Bedroom, including dressing table, and accessories, bed, desk, and chair. Other pieces included The ‘Tall Boy’ Chest, and The Fireplace and Overmantel. A diorama with the outside of The Queen’s Dolls’ House in which to house the collection was also made. The company was sold in 2015 to Streets Ahead Dolls.

Today’s collectors interested in The Queen’s Dolls’ House can find centenary celebration souvenirs are being sold in the shop of the Royal Collection Trust www.royalcollectionshop.co.uk There is now a Clotted Cream Fudge Tin based on the Miniature tin bank of 1924, a doll tea set and other centenary items. This in addition to the new book, The Miniature Library of Queen Mary’s Dolls’ House by Elizabeth Clark Ashby, Curator of Books and Manuscripts, for The Royal Collection Trust. This book is about Similar Limoges plate as on the wall and Tuck postcard showing Her Majesty’s Boudoir. the miniature library and the twenty new books commissioned c. 1924. Collection Eliza de Sola Mendes

by HM Queen Camilla for the centenary. There is also a newly revised edition of The Queen’s Dolls’ House by Lady Lucinda Lambton for the Royal Collection Trust.

Imagine that in another hundred years in the tricentennial of The Queen’s Dolls House in 2124, these souvenirs will also be collectibles.

Miniature match boxes. These are different firms but One imagines what will be chosen then to similar to the one in The Queen’s Dolls’ House. These commemorate the most famous dolls’ house in were also “giveaways” to promote their products. c. 1924. the world. A fascinating thought for the future.

Collection Eliza de Sola Mendes.

Long may she reign in the hearts and minds of her admirers, The Queen’s Dolls’ House! Three Cheers for her centenary!

Eliza de Sola Mendes is an Independent Decorative Arts Scholar and Visiting Curator, New Haven Museum. She can be reached at menmarks@aol.com

Lion Statue. One of an existing pair, (originally six), a remnant of the British Empire Exhibition of 1924 which stood in front of H.M. Govt Pavillion, and today can be seen at Woburn Safari Park in Bedfordshire, England. Photo courtesy of A. Pinto, a cousin of the author.

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Wedgwood Pitcher, 1924, with the Lion symbol of The British Empire Exposition of 1924. Collection Eliza de Sola Mendes.

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Paula Claydon 914-939-8982

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Saturday September 21, 2024 9:00 am—4:00 pm Hastings, MI

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Calendar of Events Send in your Free Calendar Listing to: Antique DOLL Collector, c/o Calendar, P.O. Box 349, Herndon, Virginia 20172 or events@antiquedollcollector.com If you plan on attending a show, please call the number to verify the date and location as they may change. Auctions in Blue.

19-21 ~ Online. Online Teddy Bear Show.

BearHugs4u.com. Dolores Austin. DoloresJA@ aol.com. 570-313-2327. info@bearhugs4u.com. www.bearhugs4u.com.

20 ~ Sarasota, FL. Doll & Toy Show & Sale.

Venice Doll Club. 9 AM - 2 PM. VFW Post 3233, 124 S. Tuttle Ave. Bruce Zalkin, 941-3020572, fxtoyshows@gmail.com. fxtoyshows.com.

21-24 ~ Kansas City, MO. The 35th Annual National Doll Festival. Harrahs Kansas City Hotel and Casino. 1 Riverboat Drive, North Kansas City. Rowbear Lowman. 831-438-5349.

NationalDollFestival@charter.net.

22 ~ Kansas City, MO. Frasher’s Summer Sale.

Crown Plaza Hotel, 1301 Wyandotte St. 816-625-3786, frasher@aol.com, frashersdollauction.com.

23-27 ~ Kansas City, MO. UFDC “There’s No Place Like Home” 75th Annual Convention .

Kansas City Marriott Downtown. 200 West 12th Street. Hotel: 816-421-6800. UFDC: 816-891-7040. info@ufdc.org.

19-21 ~ Online. Online Charity Sales Event.

Good Bears of the World. 10 am - 5 pm Daily.

Terrie Stong. goodbears1@sbcglobal.net. goodbearsoftheworld.org.

AUGUST 2024

SEPTEMBER 2024

2-5 ~ Online. Bear Blitz Stars Teddy Bear Online Show. Valerie Rogers, 502-423-7827, brtstar1@aol. com. www.bright-star-promotions.com.

6-9 ~ Online. Bear Blitz Stars Teddy Bear Online Show. Valerie Rogers, 502-423-7827, brtstar1@aol.com. www.bright-star-promotions.com.

LONG TERM March 8, 2024 – October 27, 2024 ~ Basel, CH (Switzerland). Plush, Play & Pioneers - Women in toy design. Spielzeug Welten Museum Basel.

Event link: www.spielzeug-welten-museumbasel.ch/en/exhibitions/2024/ plush-play-amp-pioneers-women-in-toydesign.html

JULY 2024 10 ~ Online. Barbie Auction. 8 PM ET. 501 Fairgrounds Rd., Hatfield, PA. 215-393-3000. www.alderferauction.com.

18 ~ Strongsville, OH. Northern Ohio Doll, Mini & Bear Show. Best Western Plus. 15471 Royalton Road, 44136. Eileen. 440-283-5839. phdofdolls@yahoo.com.

24 ~ San Diego, CA. Delightful Dolls of Southern California’s 45th Annual Show & Sale. 10 AM-2 PM. Handlery Hotel, 950 Hotel Circle North. Gloria Osborn. 619-298-2447. globob31@gmail.com.

24 ~ Schertz, TX. Hill Country Doll Show & Sale. 9 am-4 pmSchertz Civic Center, 1400 Schertz Pkwy, 78154. $7 adults, $2 kids. info: 830-606-5868.

25 ~ Lynnwood, WA. Doll Show & Sale.

Antique Doll & Toy Market. Embassy Suites Hotel, 20610 44th Ave. Lisa Pepin. Call/text 206-669-7818. pepins4@msn.com.

Calendar continued on page 48

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SEPTEMBER 14 ~ Burbank, CA. Jewel City Doll Club 45th Annual Doll Show and Sale.

Dolls of all ages, accessories, toys, treasures.

Admission $5.00 and children under 12 free.

Free parking and food for purchase. Burbank Elks Lodge, 2232 N. Hollywood Way. Janie Olds. j.l.olds@ca.rr.com. 562-818-2501.

7 ~ Alexander, NY. Alexander Doll Show & Sale. 9:30 AM - 2:30 PM. Alexander Firemen’s Recreation Hall, 10708 Route 98. Linda V. 585-482-0835 - Lin C. sukeylin@yahoo.com.

14 ~ The Netherlands. The Big Event. Doll, Teddy Bear and Dollhouse Fairs.

Brabanthallen’s-Hertogenbosch in the Netherlands. niesjewolters.nl/Ticketverkoop. html. info@niesjewolters.nl 15 ~ St. Charles, IL. Kane County Doll Show.

Karla Moreland Presents. Kane County Fairgrounds. Prairie Events Center West. 525 S. Randall Rd. Karla Moreland. 815-356-6125. kmorela@ais.net. www.kanecountydollshow.com.

20-22 ~ Online. Online Charity Sales Event.

Good Bears of the World. 10 am - 5 pm Daily.

Terrie Stong. goodbears1@sbcglobal.net. goodbearsoftheworld.org.

21 ~ Albany, NY. Shaker Doll Club Annual Doll & Toy Show & Sale. 10:00 AM - 3:00 PM. St. Sophia’s Greek Orthodox Church, 440 Whitehall Road. Adults: $6. Children 12 & under: FREE. Nancy Kionaga. 518-384-0189.

21 ~ Concord (San Francisco), CA. “Celebrating the World of Dolls” Doll, Bear, Miniature Show & Sale. World Doll Day Shows & Events. 10:00 AM - 3:00 PM. Crowne Plaza

Hotel and Resort, 45 John Glenn Drive.

Featuring Vintage, Collectible, Modern, Antique Dolls, Bears, Toys & Miniatures. Door Prizes, Raffles/Helpers (Benefits Local Charities). Admission at the door: General (13 and up): $10.00; Parking: FREE. Mary Senko.

425-330-1770. Mary.Senko@worlddolldayshows.com. www.WorldDollDayShows.com.

21 ~ Hastings, MI. Sewing Embellishments Workshop for all levels of sewers. Lansing Area Doll Collectors. 9 AM - 4 PM. For information: call or text 586-907-4802.

21 ~ Sarasota, FL. Doll & Toy Show & Sale.

Venice Doll Club. 9 AM - 2 PM. VFW Post 3233, 124 S. Tuttle Ave. Bruce Zalkin. 941-302-0572. fxtoyshows@gmail.com. fxtoyshows.com.

22 ~ Flint, MI. Doll Show & Sale. Flint Barbie Doll Club. Dom Polski Hall, 3415 N. Linden Rd. Sue Ferrier. 810-639-2353. ferrier@centurytel.net.

11-13 ~ Online. Online Teddy Bear Show.

BearHugs4u.com. Dolores Austin. DoloresJA@aol.com.

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

12 ~ Phoenix, AZ. 42nd Valley of the Sun Annual Doll & Bear Show. Shrine Auditorium, 552 N. 40th St. Carol Wesby. 480-890-1854. Tables: Rita Bruns. 480-839-4037. ritabruns@hotmail.com. facebook.com/events/361471593527342/.

Calendar continued on page 80

The Antique Doll & Toy Market 45 TH

YEAR!

OCTOBER 2024

5 ~ Des Moines, IA. Happy Sisters Doll & Toy Show. 11 am - 4 pm. American Legion Hall #374. Betty Peterson. bpcleo@netzero.com.

515-664-4992 (call or text).

SEPTEMBER 29 ~ Wichita, KS. Wichita Doll Show. Wichita Antique Doll Study Club.

Proud member of UFDC. 10 AM-4 PM. Holiday Inn, 549 S Rock Rd. Admission- $5.00 Modern, Vintage, Antique & Paper Dolls, Bears & Accessories. Free Door Side Parking, Educational Seminars, and Prizes. www.facebook.com/WichitaDollShow.

WichitaDollShow@gmail.com.

50 Select Exhibitors!

The Best in Antique & Collectable Dolls Toys • Teddy Bears • Miniatures & More Doll Repair • Free Parking

SUNDAY, AUGUST 25, 2024 11am-4pm $10 EMBASSY SUITES HOTEL 20610 44TH Ave W. Lynnwood WA 98036 Just East of I-5 at exit 181a

SEPTEMBER 15 ~ Lebanon PA. Central Penn Annual Doll Show & Sale. Central Penn Doll Collectors Club (UFDC Club). 10 AM - 4 PM EDT. Lebanon Expo Center, 80 Rocherty Rd. Adults: $5.00; Children under 12: FREE. Dotti G. 309-397-6481. CPDCC.Dotti@gmail.com.

CentralPennDollCollectorsClub.org

Contact Info: Lisa Pepin, 206-669-7818, pepins4@msn.com

SARA BERNSTEIN’S DOLLS

The Spirit of St. Louis Doll Club's 46th Annual

Doll & Bear Show & Sale Sunday, October 13, 2024 10:00 am to 3:00 pm Machinists Hall

12365 St. Charles Rock Road Bridgeton, MO 63044

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

For more info: Connie 314-440-4086 Jeff 314-422-1502

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JULY/AUGUST 2024

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OCTOBER 2023 CONT’D FROM PAGE 79 12 ~ San Diego, CA. Doll Show & Sale. 10:00 AM - 3:00 PM. Doll Collectors of North Park.

Handlery Hotel, 950 Hotel Circle N. Sandy Rice.

Call/Text 619-276-2294. sandy@sandyrice.net.

12 ~ West Minneapolis, MN. 37th Minnesota Doll Jamboree “Displaying out Dolls: Endless Possibilities”. 9AM-3PM. Crown Plaza Hotel, 3131 Campus Dr, Plymouth, MN. Iris Schroeder. 651-621-4875. mndolljamboree.com.

13 ~ Cheektowaga (Buffalo), NY. Niagara Frontier Doll Club’s Annual Doll Show. 4600 Genesee Street Cheektowaga. Joan and/or Nancy. 716-634-4272 or 716-689-6347. njm. yath@yahoo.com. Facebook “Niagara Frontier Doll Club’s Annual Doll Show.”

13 ~ DeWitt (Lansing), MI. Lansing Antique & Collectible Doll Show & Sale. Banquet & Conf Ctr of DeWitt, 1120 Commerce Park Dr.Sandy Johnson Barts. 269-599-1511. SJBbetsys@comcast.net.

Modern, Antique Dolls, Bears, Toys & Miniatures. Door Prizes, Raffles/Helpers (Benefits Local Charities). Admission at the door: General (13 and up): $10.00; Parking: FREE. Mary Senko. 425-330-1770.

Mary.Senko@worlddolldayshows.com. www.WorldDollDayShows.com.

19 ~ Toledo, OH. Toledo Doll & Bear Show & Sale. 9:30 am-3:00 pm (Early bird: 8:00 am).

Total Sports Rossford, 10020 S Compass Drive, 43460. Featuring dealers with a wide variety of Antique, Vintage, Artist, & Modern Dolls, Bears/Critters & so much more. *Door Prizes OCTOBER 13 - Bridgeton (St. Louis), MO. Doll & Bear Show & Sale. The Spirit of St. Louis Doll Club. Machinist Hall, 12365 St. Charles Rock Road. Connie 314-440-4086. clknarr@aol.com. www.stlouisdollclub.com.

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3 ~ Lancaster, PA. Doll, Toy & Teddy Bear Show.

10 AM - 2 PM. Lancaster Farm & Home Center, 1383 Arcadia Rd. Ron Funk. 717-371-0395. jeepboy1945@hotmail.com.

10 ~ Lynnwood, WA. Doll Show & Sale.

Antique Doll & Toy Market. Embassy Suites Hotel, 20610 44th Ave. Lisa Pepin. Call/text 206-669-7818. pepins4@msn.com.

15-17 ~ Online. Online Charity Sales Event.

Good Bears of the World. 10 am - 5 pm Daily.

Terrie Stong. goodbears1@sbcglobal.net. goodbearsoftheworld.org.

16 ~ Arcadia (Pasadena), CA. “Holiday Extravaganza!” Doll, Bear, Miniature Show & Sale.World Doll Day Shows & Events. 10:00 AM - 3:00 PM. Arcadia Masonic Lodge, 50 W. Duarte Rd., 91007. Featuring Vintage, Collectible, Modern, Antique Dolls, Bears, Toys & Miniatures. Door Prizes, Raffles/Helpers (Benefits Local Charities). Admission at the door: General (13 and up): $10.00; Parking: FREE. Mary Senko (425) 330-1770.

Mary.Senko@worlddolldayshows.com. www.WorldDollDayShows.com.

16 ~ Sarasota, FL. Doll & Toy Show & Sale.

Venice Doll Club. 9 AM - 2 PM. VFW Post 3233, 124 S. Tuttle Ave. Bruce Zalkin. 941-302-0572. fxtoyshows@gmail.com. fxtoyshows.com.

ADDRESS

EMAIL

NOVEMBER 2024

3 ~ Santa Rosa, CA. Santa Rosa Holiday Doll Show. Santa Rosa Veterans Memorial Building 1351 Maple Ave. Featuring Antique, Vintage, Collectible, Modern, and Artist Dolls. FREE PARKING $6, $1 off with ad. Kitti Perry.

707-326-0322. santarosadollshow@gmail.com.

Santarosadollshow.blogspot.com.

SUBSCRIBE TODAY Save 44% off the cover price!

STATE

*Fairy Quest* Rest Area *ID/Valuation *Restringing (fee) *Handicap Accessible *FREE Parking. Early Bird: $20 (8:00am/No Discount).

Adults: $8; Children 12 & under: FREE. Be a Seller at Our Show, Visit our website or email for details. Karen: Toledo@DollShows.net.

520-270-0179. AZ MST, www.ToledoDollShow.net.

1-4 ~ Online. Bear Blitz Stars Teddy Bear Online Show. Valerie Rogers. 502-423-7827. brtstar1@aol.com. www.bright-star-promotions.com.

19 ~ Santa Clara, CA. “Celebrating the World of Dolls” Doll, Bear, Miniature Show & Sale.

World Doll Day Shows & Events. 10 AM - 3 PM. American Legion Post 419, 958 Homestead Rd. Featuring Vintage, Collectible,

CITY

OCTOBER 12 ~ Fredericksburg, VA. Now and Then Doll Club of Fredericksburg Doll Show and Sale. 10 am - 4 pm. Adults $6/ children $3. Tickets sold at the door.

Wheelchair accessible. Lunch will be available. Fredericksburg Elks Lodge #875, 11309 Tidewater Trail. Sally Bernard. mustangsally04@verizon.net. 540-720-5644.

Special guests-Doll Doctors. Bring your dolls for repair. Club is affiliated with the nonprofit organization, United Federation of Doll Clubs.

Looking for more doll events? www.antiquedollcollector.com, Events

FIND US AT THE UFDC CONVENTION Publisher’s Preview FRIDAY, JULY 26, 2024

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The international magazine devoted to antique, vintage, artist and iconic mid‑century dolls. Plus, dollhouses, miniatures, bears, patterns and related collectibles.

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Find us at UFDC Publisher’s Preview:

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Enjoy Your Own Doll Show at Home!

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5/23/2024 10:22:20 AM

The Ohio National Doll Show

Save the Date!!!

Special Events October 5th, Doll Show October 6th 2024

Special Meal Events sponsored by the United Federation of Doll Clubs

Brunch with Valerie Fogel “Huret, A Family Affair”

Luncheon with Bradley Justice “Barbie’s 65th Birthday Bash”

Afternoon Tea with Robert Tonner “From Clay to Computer to AI, the Changing Landscape of Doll Design”

Candlelit Dinner with Fritzi Martinez “Decorating Antique Dolls Houses with a Theme”

Held in the Ohio Event Center at the beautiful Cherry Valley Hotel in Newark, Ohio For Hotel Reservations: Call (740) 788-1200 Reference Ohio National 2024 Doll Show for Group Rate.

For more information go to: OhioNationalDollShow.com or contact Gail Lemmon at: (440) 396-5386 or OhioNationalDollShow@gmail.com

A Doll Show Like It Used to Be. JOY!

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