September 2023

Antique DOLL Collector September 2023 Vol. 26, No. 9

Liberty of London Royals Literary Dolls We Love An Extraordinary Collection, Reviewed

by Samy Odin Hats & Bonnets the Height of Fashion Strong Museum Event

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LAYAW AVAILA AY BLE

21” Lillie Bell Portrait Jumeau from Pierre Jumeau era, dewy bisque head & shoulderplate, exquisite coloring, cobalt blue glass eyes w/ threading, original blond mohair wig on commercially made cloth body, she is one of the unusual models that is fitted with china “Kintzbach Hands” body style which was patented in 1869 by American Martin Kintzbach. She comes with her trunk, trousseau and accessories – Wedding Gown, green striped silk ensemble, moss green gown, brown fringed jacket & skirt, brown jacket, hat & muff, yellow & black shawl, 2 capes, lt blue dress, black jacket, brown velvet top, pink wool jacket, black velvet vest, nightgown, 8 slips, 3 pantaloons, chemise, corset, bustle, 2 parasols, 4 hats, muff, ermine muff & wrap, jewelry, photo album, books, Lillie Bell calling cards in case, curling iron, gloves & button hook, fan, 2 purses, socks. Everything that is shown and more $13,950.

16.5” C/M Tete Jumeau 6 w/ blue pw eyes, antique clothing & original Depose Paris shoes (one sloe replaced), mohair wig, stiff wrist body, beautiful face $2950.

12” Fashion repro by Lorna Yates 2015, magnificently dressed, compo bj body, blue stat eyes $195. 12.5” AM 640 3/0 DRGM, blue sl eyes, leather body, right hand fingers & thumb chipped, mohair wig $450.

Ideal 1930’s Compo Shirley Temple Dolls 19” Curly Top Shirley in tagged dress, little red bleeding on front, nice composition $175.

18” Flirty eyed Shirley, redressed in copy of Heidi costume, few crazes by eyes $175.

18” Shirley in tagged Molly’es snowsuit, zipper as is, original shoes & socks $175.

13” All original in Our Little Girl music dress w/ pin, beautiful compo $195.

11” All original Shirley in Stand Up And Cheer, nose rub $145.

13” All original in Curly Top outfit with pin, wig a little short $165.

36” Ideal 1960 Shirley Temple, sweet face w/ great coloring, all original in pink dress w/pin & shoes $650.

19.5” Simon & Halbig 1159 on Lady Body, 1159 S & H DEP 7 Germany, brown sl eyes, pierced ears, original mohair wig, antique undergarments & shoes $1095.

17” Wendy Lawton – The Glove Marriage of Anneke Van De Lijn 127/150 on wooden body, with trunk, 3 extra gowns, glove box w/ embroidered gloves, has not been displayed, (mannequins not included) $1095.

16” Kestner 143, F 143 10, brown sl eyes, nice bj body $475. 10.5” Automation Ernst Heubach 1900 – 13/0 on clock work rocking chair, brown stat eyes, jointed arms, works great $250. 15.5” Kestner 168 A ½ 6 ½, w/ brown sleep eyes, square cut teeth, nice BJ body $450.

Alexanders: 18” Queen Elizabeth ll #2020A 1953 hard plastic walker, all original gown, hair in original set, gloves replaced? No crown or bracelets, small nose rub 12” Alice Lester Lovett Emily $295. All Original & Mint 8/50, brown eyes, all bisque 17” Margarete face Bride, bj doll w/jointed waist, very strung hard plastic, beautiful posable in trunk w/ clothing satin gown & blonde hair w/ $475. veil in original set $675. 17” 29.5” Madame Hendren A Red head Maggie in original 29.5” Vintage 1940’s Mini Mae Starr Talking doll w/ outfit, green eyes, sweet hard Store Mannequin with 6 Records – Now I Lay Me, plastic $275. 13.5” Wendy an amazing personality, One, Two, London Bridge, – Ann all compo w/ jointed beautifully molded and Old Mother Hubbard, Little waist body, 1936-37 molded painted, arms come out Boy Blue, tin eyes, HH wig, with square metal pegs like hair w/ great coloring, paint on hands as is & legs, original tagged dress & a regular mannequin has some crazing $625. panties $225. original base $695.

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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Nelling, Inc.

FINE ANTIQUE DOLLS AND ACCESSORIES BUYING & SELLING QUALITY DOLLS FOR OVER 30 YEARS

Thank you UFDC, its members and patrons for a great 2023 Convention!

published by the

www.antiquedollcollector.com Publications Director: Lisa Brannock Editor-in-Chief: Gay Bryant Senior Editor: 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: 717-517-9217 Louann Wilcock: louannw@antiquedollcollector.com phone: 872-216-8842 Advertising Materials Contact: Louann Wilcock: louannw@antiquedollcollector.com phone: 872-216-8842 Marketing: Penguin Communications, Inc. Editorial: Gay Bryant, antiquedoll@gmail.com Send all catalogs to this address: Antique DOLL Collector, 4800 Hampden Lane, Suite 200, Bethesda, MD 20814 Subscriptions: Send to Antique DOLL Collector, P.O. Box 349, Herndon, VA 20172.

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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 ©2023 Antique DOLL Collector, all rights reserved.

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Please see this Bru Jne in authentic Asian costume and wig, and all the rest of our varied merchandise at www.maspinelli.com, or contact us for info.

Exhibiting: September 9 - Jewel City Doll Club Show and Sale, Burbank CA, Burbank Elks Lodge October 8 - Ohio National Doll Show, Newark OH, Cherry Valley Hotel P.O. Box 4327, Burbank CA 91503 • e-mail: nellingdolls@gmail.com Cell: 818-738-4591 Home: 818-562-7839 • Member NADDA and UFDC

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

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SEPTEMBER 2023

8/16/23 10:03 AM

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

Upper Left in group photo: 22” First Series Jumeau Bébé Rapturous Rare First Series Bébé Jumeau circa 1877-1878 with dazzling blue spiral threaded eyes set in deluxe pale excellent bisque.

Thick antique wig (possibly original).

Lavish painting of beautiful features.

Lovely, fine crème antique ensemble is a perfect palette to reflect her beauty. Excellent ball jointed Jumeau body with light refinish. $20,800 Upper Right: 20” Block Letter François Gaultier Bébé - Entrancing F7G Bébé with exceptional modeling and painting of beautiful features. Deep blue spiral threaded eyes, ash blond antique wig, pale blue silk and creamy lace frock crowned with lavish sweetheart chapeau. Pierced ears, antique shoes. $6950

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Member UFDC & NADDA

Middle Row: 16” Incised Depose Jumeau Bébé - Darling brown-eyed child dressed in original seashell pink Ernestine Jumeau costume with matching pale pink parasol. Lush, golden blonde mohair wig, original marked Jumeau shoes, superb French lace bonnet with tiny, pale pink ribbons.

Generally a superb doll in excellent condition. So much originality! $7,295 Bottom Row, Left to Right: Adorable little 9” J.D. Kestner - 143 in original blonde wig and antique pink cotton dress. Shown in darling pink and lace straw bonnet available separately.

Generally wonderful condition with sleep eyes. Doll $895. Bonnet $145

Adorable 12” Block Letter FG - Another beauty in a desirable petite cabinet size. Has a stunning antique golden wig, darling, costume of crème antique silk and French lace with blue silk accents. Blue turquoise earrings, and cream leather shoes complete her ensemble. Early straight wrist, French wood and composition body. Parasol separate. Doll $6,975. Parasol $995 Barely 9” Emile Jumeau Marked 1- So enchanting with her brilliant blue, spiral threaded eyes and original Jumeau chemise. Wee darling in generally wonderful condition! Reach out for additional details. $7995 Adorable 9 ½”German Bébé - Here’s a little cutie that can slip into any free spot in the cabinet or add charm to a vignette! Beautiful face, pierced ears and excellent condition. Domed head and wonderful ensemble. Excellent! $995

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1) Excellent 24” Fully Jtd. Wood Mannequin Lady- ca: 1800. Socket head, Ball Jtd. Waist and Ankles too, long perfect fingers. Only $3500

2) 20” Bru ‘Smiler’ Fashion - vintage statuesque ‘Eugenie’, clean hands, hidden rear hl. This is one of those super stunning Bru faces in Original Couture! Just $2995

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3) 23” Rare “Royal Society” Bed Doll in Box - All Orig!

W. Label, instructional Booklet/Photos, Patterns & Orig. Fabrics too! $495

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4) Important Gibson Lady - Written Provenance & 51-piece documented Trousseau & Accessories in Trunk - a meticulous history records the life span of this doll from its purchase through its history today; as well as the names of those who had sewn the clothing - and which garments! Some orig. Patterns included too!

Historic and Authentic Wardrobe Doll with few equals. $5200

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5) Rare 1894 Charles Dana Gibson Book of Drawings 12” x 18”, numerous pages of garments and lady sketches for costumer and collector.

Excellent! $125 6) 14” Huret Style Enfantine Poupée - precious 1860’s Bru Era cabinet model, early pale bisque, faint prof. rear mend?

Pleated blouse & lambs wool Wig. A jewel! $1895

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7) Outrageous 28” Boutique Original Boudoir - fancy ruffles, Wired Bonnet, Flower Basket & Muff. $295

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

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

8) 12” French Art Doll romantic souvenir in frail peach Silk Gown, mint Mohair Wig & slender Lady Body. $175

matrixbymail@gmail.com

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9) 15” Historic French Empire Style Fashion ca:1915, Art Movement, ‘Ligue de Jouets Francoise’jointed cartón Lady in Mint Orig. Clothes & Wig. $750

10) 27” Continental Antique Corset Mannequin w. the Corset! - Exquisite mint Royal Blue Silk Garment w. lacing, stays, hooks & patented garters!

France (att.) $1250 8

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Book Review - Grandmother Stover’s Dollhouse Miniatures by Patty Cooper Reviewed by Judit Armitstead Many dollhouse miniature collectors are familiar with the name Grandmother Stover’s as a maker of tiny decorative objects for dollhouses during the third quarter of the 1900s.

But do many collectors actually know the sheer volume of miniatures produced by this prolific firm? The business began most likely in 1943, during wartime, when materials were scarce, and those early items were made with a minimum of tools. A majority of the early products were, in fact, handmade and hand-painted. Like many collectors, I did not realize the full scope of the firm, Grandmother Stover’s, Inc., founded by John Stover of Columbus, Ohio, until I read Patty Cooper’s book Grandmother Stover’s Dollhouse Miniatures.

Patty Cooper once again proves her sleuthing skills for digging into the past and finding relevant historical information about companies that made dollhouse furniture and accessories.

The book relays in engaging and informative detail how John Stover began his small dollhouse accessories business which continuously grew until the firm had its own large building and manufactured thousands of tiny objects. He honored his mother, Anna J. Stover, by naming the business after her. She was the doting grandmother of his three young daughters, helped raise the girls, and assisted with the business. Although

Cover of book Grandmother Stover’s Dollhouse Miniatures Patty Cooper, author Primary Category: Crafts & Hobbies Project Option: Standard Portrait, 8×10 in, 20×25 cm # of Pages: 294 Publish Date: Jan 17, 2023 Language: English Available: www.blurb.com/b/11451340

Breadbox & canisters in original packaging

Wood mirror & papier-mâché mirrored shelf, 1st page, bottom handpainted decorations

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The Ohio National Doll Show

Special Events October 7th, Doll Show October 8th, 2023

Held in the Ohio Event Center at the beautiful Cherry Valley Hotel, 2299 Cherry Valley Rd, SE, Newark, OH 43055 For more information go to: OhioNationalDollShow.com or contact Gail Lemmon at: (440) 396-5386 or OhioNationalDollShow@gmail.com

Valerie Fogel’s Beautiful Bebes

Fritzi’s Antique Dolls

Mary Ann Spinelli

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

Buying collections and dolls of merit.

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

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

Beautiful Bébés Antique Dolls

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OCTOBER 2022

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The Perfect Doll and Toy Shopping Experience

Joan’s Antique Dolls Joan Farrell 317.627.4665 www.JoansAntiqueDolls.com

Straw Bear Antiques Ron and Robyn Martin

Gigi’s Dolls & Sherry’s Teddy Bears 6029 N. Northwest Hwy. | Chicago, IL 60631 www.gigisdolls.com | 773-594-1540

“Follow Nancy Drew to our booth

at The Ohio National Doll Show!”

Bridgeville, Delaware

Jennie Sykes Porcelain Classics

UFDC 2022 Featured Artist 888-823-3383 or 269-331-6122 jennie@porcelainclassics.com

Find your favorite dealers at the Ohio National Doll Show!

Marion Maus

Always looking to buy dolls, dollhouses, and miniatures

Nancy McCray

Ellicott City, MD Tel: 443-838-8565 mmausantiques@gmail.com

Cell: 319-651-6440 Tel: 319-363-3936 nancylmccray@gmail.com

Jackie Allington nickandjackie@gmail.com Looking forward too seeing you in Ohio!

Liz’s Doll House Liz Christensen lizsdollhouse.com 937-768-3126 | contactus@lizsdollhouse.com eBay store ID “lizdolling”

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Book Review - Grandmother Stover’s Dollhouse Miniatures by Patty Cooper Reviewed by Judit Armitstead (continued from page 8) “Grandmother Stover” was depicted as a little old lady in a rocking chair on package illustrations, the real grandmother, who was pictured with her granddaughters in the historical section of the book, proved to be a stylish and smart-looking lady. John Stover was not only proficient in creating dollhouse accessories, but he was also clever at Cover of 1950 catalog marketing his products.

Virtually hundreds of tiny items for the dollhouse, many in their original packaging, are pictured in large, clear, color photos. Additionally, many original catalogs illustrating dollhouse accessories available over the years are included in the 293-page book, making it the primary guide for identifying Grandmother Stover’s dollhouse miniatures. Also included is a comparison of Grandmother Stover’s products to similarly made items by other companies, including Dolly Dear.

Some of their most iconic pieces were the early handpainted floral decorated papier-mâché shelves, the very realistic

looking plaster “electric” mixer, toaster, radio, globe, and other items plus wooden bread boxes and canister sets hand painted with flowers and cherries in 1-inch scale. A few examples have been pictured here from the book. These splendid miniatures are highly prized today by collectors.

Page from 1950 catalog A complete dollhouse could be outfitted with accessories for the kitchen, dining room, bedroom, nursery, living room, bathroom, study, game room, and laundry room. Any item one could imagine for a dollhouse was available, including specialty items for holidays, birthdays, and other events. In 1947 even a cloth family of dollhouse dolls made by hand was produced and is pictured in the book.

From Grandmother peeking out the front Plaster “electric” mixer with cord door as if beckoning the reader to enter the world of dollhouse miniatures on the clever package on the front cover of the book to the final pages, the reader encounters hundreds, perhaps even thousands, of minuscule accessories, some very familiar to collectors and some rarities, like the cloth dollhouse dolls, perhaps never seen before. The book may be ordered through Blurb.com. Go to: www.blurb.com/bookstore and search “Grandmother Stover’s.”

Judit Armitstead is a collector, researcher, and writer of dolls, dollhouses, and dollhouse furniture and accessories.

She may be reached through her website: TheDollWorks.net.

Plaster radio, tied on original cardboard

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Judy Henry An Extraordinary Collector of All-Bisque and Miniature Dolls Part 2 – By Samy Odin

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o keep you enjoying Judy Henry’s stellar, all-bisque doll collection, have a look at some more of her treasures here, keeping in mind that this is still only the tip of the iceberg… Happy dolling to all! --Samy Odin

French girl with solid domed head, possibly by Gautier, on a mechanical trike, with two SH barefoot, solid domed, unmarked mignonettes and a Kling mignonette marked 9.

The girl on the left is a closed-mouth Bru face marked 120, the other two girls are marked 102.

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Store, Alsatian girl by Darlene Lane, right is a Kestner 155.

French 5-inch all-bisque in Étrennes box with accessories.

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Above: Mixed group of dolls under 5 inches tall with French furniture and tin accessories.

Left: Simon Halbigs – mignonettes 5 inches.

Second on left with jointed elbows and barefoot Below: Four Mignonettes.

The largest is marked 1 on the foot; the other three are marked 9 on the heads.

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SFBJ boxed set of all-bisque Lilliputians together with a few more SFBJ-made all-bisque dolls and 4 wooden German dolls.

UFDC workshop doll – doll made by Nancy Hall in bridal outfit. Orlando FL 2017.

French 4 ½-inch all-bisque in fan case with accessories.

Max and Moritz Toy Shoppe – Recnagels and Kestners — lots of toys.

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Bakery with Googlies, one a 7-inch 189 all-bisque, and the other a 208 12/0 on compo body marked SWC.

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Delicatessen

Perfume Shop

Sweetshop

S.H. early solid domed all-bisque, unmarked 7-inch with original box and accessories.

Provenance of S.H. above

Simon Halbig Orientals, the largest marked 3.

The small migionette in the center iis unmarked and represents Vietnam (Indochine).

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Kestner Happy-Sad twins. They are loop jointed and marked 785-790 “6”.

The Googlie is marked 112-2. They are next to the lathe-cut animals for the Ark menagerie. How many animals can you see?

Two S.H. 886s in size 5. The middle girl is 949 size 2. They are in front of a faux bamboo Armoire, an étrennes item.

Modern Christmas market stall with a Darlene Lane doll. It’s fun to create your own scenes! The man in the stall is marked GKN 193.

Body study. The second doll from the left is a Kestner 3/0. All the others have body parts marked with Roman numerals.

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Cabinet full of all-bisque.

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French 5 ½-inch all-bisque jointed elbow by Sustrec, with box.

S.H. 881 size 3 with her box and clothes.

Mignonette marked 8 on head, all-bisque body marked with Roman numerals, in a box with accessories.

Judy Henry in the doll room.

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Glorious Hats & Bonnets

by Ann Hays

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This is a well-preserved French color engraving of a hat seller.

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uring the Victorian era, middle- and upper-class women strived to emulate the ideal standard for beauty. The prerequisites for a beautiful woman were to possess pale translucent skin, rosy cheeks, crimson lips, white teeth, sparkling eyes, and a waspishly thin body with elegant collarbones.

A predisposition to fainting was an asset, as well. Hopefully, there would be a chaise or recamier, or a handsome gentleman nearby to catch her as she fainted.

This idea of womanly perfection was akin to the unlikelihood of achieving a figure like today’s Barbie doll. The fact that some Victorian women fainted was attributed to the tight corsets they wore from childhood until they married. The more probable reason was their diet. Breakfast might be an apple and a piece of whole meal bread; lunch was water crest and beetroot and for dinner a few cherries and cabbage.

Wearing hats in Victorian and Edwardian eras was symbolic of the fashionable lady, a status statement, and a form of grace. Initially, hats were for protecting the pale, delicate complexion of the wearer. In addition, a lady of higher status wore gloves and carried a parasol. Many women had to work diligently to maintain the natural pale look. Skin remedies to sustain this image could be very dangerous.

Women who used these solutions coated their faces and arms with enamels and white paints to mask their skin tones in order to replicate a translucent, extremely pale complexion. The process of removing freckles required a mixture of white lead and lead vinegar sulfate for removal purposes. For skin peeling, white lead and a sublimate of mercury were required.

It is amazing that they did not remove their eyebrows, nose, and mouth. An advertisement of the time read: “Dr. James P. Campbell’s Safe Arsenic Complexion Wafers – Guaranteed to be safe and harmless to nobody”

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Here is the recognizable face of a Kestner Bru.

A beautiful “steeple crown” hat adorns this Kestner Bru.

The questions are: Was he a self-appointed doctor?

Would he have quickly moved to another town thus making it impossible to obtain a refund?

Hats were for more than protecting the pale complexion of the wearer. It was the perfect complement for a dress or gown coordinating their colors—a splash of blue here and a splash of yellow there with the addition of flowers or feathers for ornamentation. The molded chapeau completed an ensemble.

This antique color engraving depicts a hat seller offering a large selection of hats. She has found a clever way to display her wares without encumbering herself with a cart or paying for an expensive stall. The French engraving is entitled “Rag Merchant.” She hawks her wares: “Hats for sale! Rags for sale!”

In the 1830s the favorite choice of headwear was a bonnet. This is because women liked hair with large loops and knots. Vegetable oil and bear grease helped hold the hair in place and maintain luster. Victorian bonnets had a large crown trimmed with frills, fruit, and feathers.

Queen Victoria was the fashion icon who inspired the Apollo loop. Hats adapted to current popular hairstyles:

loops, buns, braids and twists. Coils and hair pieces were not uncommon. Barley curls and ringlets were first worn by children and then adopted by women. The placement of the hair was another consideration. At one point, during the 1840s and 1950s women’s hair was piled so high that a tall centered hat was designed to cover it. As a spoof, these hats were named “flowerpots” or “chimney hats.” Not to be outdone, women competed to see who had the highest hat. They reached extreme heights in the 1850s.

The scrumptious ruby red velvet “steeple crown” hat was popular in the mid-1800s. The contoured chapeau is lined with cream silk. The turned-up brim is trimmed in a large ruby-red silk faille bow and matching ostrich-tipped plume. Decorative boxes were designed in the 1800s as protection for these expensive hats. This 19-inch rare Kestner Bru is proud of her couturier-designed promenade jacket dress and hat. Her costume is of café au lait plaid taffeta trimmed with ruby-red silk faille. Her jacket is fitted in the back with a large, centered bustle bow with fringed tassels that make her equally stunning coming or going. The full skirt has a large box pleat at the center and double inverted pleats all around.

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This French Bru fashion is displaying her fantastic couturier-made green and black gown with a complimentary hat. Only the best seamstresses could produce this stunning garment. Everything was hand stitched.

A thoughtful 14-inch Parian shoulder head doll was produced by the German firm of Alt, Beck & Gottschalk (frequently known as ABG). She is wearing her best gown with leg-of-mutton puffed sleeves, which were popular in the late 1840s. During this period, it was fashionable for the lady’s shoulders to look broad and the waist to return to their natural position. Her dress has a gold satin bodice with a blue ribbon motif. The skirt is gold satin with a thin blue gauzy fabric overlay and two rows of blue ribbon near the hemline. Her hat is added as the finishing touch for her attire.

The light blue “Charlotte Cap” fits tightly over her blond waves and descends into loose folds of fabric, covering most of her hair and protecting her neck from the sun. A darker blue ribbon encompasses the cap.

This Bru fashion doll’s ensemble is stunning.

It resembles a haute couturier dress from The House of Worth in Paris, France.

This ABG Parian is proud of her new “Charlotte Hat.” 24

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The back of this doll’s hat protects her pale neck from the sun.

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A rare and beautiful 22-inch German Parian lady is dressed for an afternoon event. Her pale white complexion is to be envied. The couture costume commands attention with her black velvet jacket having enlarged lower sleeves that are trimmed in green, navy blue, and red plaid pleats. The same plaid is replicated in her cinched waistline stomacher with belt. Her rich purple skirt is coordinated with two rows of pleats above the hemline. Her ecru blouse is amazing, with the tiniest pleats imaginable and a lace collar that appears to float around her neck. Purple earrings are added. The finishing touch is a lovely small white hat with an upward-turned circular brim enhanced by a gilded flower. The addition of the hat makes it a perfect ensemble. Hats became smaller after the death of Prince Albert in December 1861. Perhaps this was in deference to Queen Victoria, who went into deep mourning.

A handsome 21-inch French fashion lady is pictured going out in her promenade two-piece dress. She has put on an ornate brown cape to protect her from the morning chill, and a lady never left the house without a chapeau.

The red felt short-brim hat is encircled with chiffon puffs. The hat and the red hand muff add color to her presentation.

Left: This Victorian parian lady is dressed in the latest and most admired style.

Purple and shades of purple were one of the most fashionable and versatile colors of the Victorian era.

Above: The addition of a red hat gives this French Fashion a touch of color.

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Mothers have always loved to dress their children in adorable ensembles.

Who could resist buying this darling 15½-inch Simon & Halbig 1279 character child doll? Her cornflower blue eyes, dimples, and open mouth with teeth reflect her desire to go out and play in the snow. I hope her mother puts her coat on before she rushes outside. Her ecru crocheted dress and pink and white short-sleeved sweater perfectly complement her peach-colored cheeks and lips. Completing this ensemble is a rabbit fur muff adorned with an ecru ribbon bow. Corresponding with the muff is a matching rabbit fur bonnet with an ecru bow on the crown and matching ecru binding encircling her face. Snippets of her blond mohair wig show underneath. If one could not afford to purchase an expensive ensemble, in 1863, Ebenezer Butterick Co. started producing patterns for children and later extended them for ladies.

A charming wire-eyed Steiner (Bourgoin type face) child has been beautifully costumed for a spring or summer season. Her white cotton dress has a 26

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This Steiner automata has the most beautiful complexion.

foliate decorative lace panel with extensions across her shoulders to match. The pink ribbon insertion on her low-waisted dress is picked up again as a decorative ribbon for her delicate lace and net bonnet. Some of her curly mohair wig is showing. The pink is a perfect color to complement her smooth, delicate peaches and cream complexion. Note that she also has pink socks. Perhaps this doll was purchased by a doting grandmother for her grandchild.

This 7½-inch German Parian shoulder head (only) child has a molded two-tone blue bonnet with blue decoration. She is made by Alt, Beck & Gottschalk in the later part of the 19th century. Her molded bonnet and big brown glass eyes make her a special find. The adorable face and dimple in her chin entice one to pinch her cheeks. Even though the ears are exposed, it is believed this is a female child doll. Boys used to be dressed in pink and girls in blue until the 1940s when the colors were reversed.

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What a pretty doll this ABG will make.

What at first appears to be a hat is actually a “coronet” scarf.

A beautiful 5½-inch German Parian shoulder head (only) has a serene face captured in thoughtful concentration.

She has molded blond bangs delineated in hair clusters. Crowning her head is a sculptured purple-ruffled, double-tiered coronet scarf with beautifully defined draping. The shawl is further accented with molded scallops. This rare doll head dates circa 1875. An antique body needs to be found and a talented seamstress to make her a costume to complement the purple on her coronet. This would make a striking presentation.

This 5-inch dollhouse-size German china lady takes center stage in her confection of pink. Her blue eyes and smiling face exude self-confidence. The pink and white striped dress has a two-tiered skirt with an ecru block pattern border and scalloped lace edges. She wears molded black heelless ankle boots. The ecru crocheted cap completes her costume.

Here is a lovely confection in pink and white.

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This mignonette’s petite straw hat has floral decorations. The French know how to do it right.

This doll’s ermine hat bespeaks of a wealthy owner.

Dorothy Heizer’s dolls are highly valued.

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How small can a doll be and still have such perfection? This diminutive German 3½-inch lady wears a molded blue hat trimmed in ermine with a feather. She wears a vintage dress, has bisque arms and legs, and molded ankle boots.

Straw hats were popular in the summer months. Who better models a straw hat than this marvelous 5-3/4-inch French all-bisque 1880s Mignonette (poupée de poche or doll for your pocket)? The doll’s honey blond hair is in braids, and her ensemble is a rich burgundy dress with an ecru lace collar, and molded russet brown bootines, topped off with a straw hat having a turned-up brim on the side. Red and yellow flowers give her hat added color.

Dorothy Heizer is probably the most talented cloth dollmaker of her era (late 1920s-1960s). She set the standard for future generations. This gifted artist replicated the figure of Empress Eugenie inspired by the original portrait by artist Xavier Winterhalter. She meticulously replicated his portrayal of the Empress. Dorothy was a perfectionist and perused New York’s mercantile district to find tiny beads, fabrics of the right hue and trim for her costumes. For Empress Eugenie, Dorothy created a bell-

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shaped garden dress of green mousseline with crisp fabric made of silk and ruffled layers. Seven silk bows adorn the bust line, elbows, and tiers. Multiple crinolines create the gliding effect of the gown. She holds a bouquet of flowers with matching sprays posed on opposing sides of her face. Her blond hair is pulled back in a bun and covered with a short canopy of black lace. A wide-brimmed straw leghorn hat with net veiling trails to the figure’s waist. The hat complements the dress and helps transform the figure into a work of art.

Dorothy used silk crepe for her doll’s skin. She created facial tones by utilizing varied shades of paint.

It sometimes took her 50 or more hours to complete a female figure. Her dolls can be authenticated by a cotton tab sewn into the undergarment and signed “Dorothy Wendell Heizer” in indigo ink.

The Edwardian period ushered in large, brimmed hats anchored to a woman’s hair with a pair of hat pins. As hats became heavier, longer ones were used, sometimes as long as 14 inches. As women became more independent, these bejeweled hat pins were considered a valuable weapon against “mashers” (predatory men).

This was the same period when hats featured bird feathers as well as dead birds. The bird was dyed in rich colors. The practice created beautiful items but endangered certain bird species. The 1918 Migratory Bird Treaty Act helped to protect migratory birds—egrets, hummingbirds, swans, and sandhill cranes, to name a few.

Hats changed as hairstyles changed. The pattern cycle was usually every five or ten years. It was now time for a change in attitudes, hairstyles, hats, and dress. The Gibson Girl era was ushered in. It lasted from the 1890s until World War I. Charles Dana Gibson’s beautiful drawings, sketches, and paintings of the glamourous “new woman” took center stage. His work appeared on magazine covers, inspiring women to achieve this new concept of beauty. Life magazine covers featuring his work seemed to escape the confines of paper.

Women wore puffy bouffant hairstyles that required a wide-brimmed hat, sometimes called the “cartwheel.”

Kestner consulted with Charles Dana Gibson in designing his lovely Gibson Girl lady dolls. This Gibson Girl’s blond hair is swirled up into a puffy top knot, known as a pompadour. Her black hat was designed to accommodate her hairstyle. Flare was accomplished by the addition of a large ostrich plume and a black bow made of netting.

To achieve the desired S-shaped silhouette, it has an ecru lace loosely fitted blouse with leg-of-mutton sleeves. The garment emphasizes her long slender neck. Her waist is corseted to give her a willowy look. The matching striped skirt completes her hourglass figure. A tightly cinched corset allowed women to have an 18-inch waistline.

Pictured is a beautiful rendition of a Gibson Girl by Kestner.

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This Simon & Halbig Gibson Girl doll is lucky to be wearing a professionally made costume designed just for her.

Magnificent and astonishing are words to describe this doll’s hat.

Pictured here is a Currier & Ives humorous depiction of women in 1869 petitioning for the Right to Vote. The picture shows the hairstyles, wonderful hats, and costumes worn during this period.

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This is a one-of-a-kind artist designed flapper doll.

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This is a hard-to-find transformational postcard.

A humorous turn of events.

This gorgeous 23½-inch Simon & Halbig 1159 lady doll has been expertly costumed in the Gibson Girl style. Her prominent blue hat has an upturned wire-framed brim festooned with ostrich features, ribbon, and garlands of pink flowers. The front upturned brim has beautifully gathered white fabric and is replicated in the back. This truly glorious hat is equally stunning in the front and back views. A hat like this quality would have women hurrying to their milliners to copy this design. Her soft blue lacetrimmed silk dress has a high neck and blowsy bodice to accentuate a moderately large bosom. The tiny waist draws the gaze downward to accentuate the larger hips and derriere—the S-curve that was so admired by men.

The Roaring Twenties was a very vibrant time in history that lasted from the early 1920s through 1929.

World War I had ended, and tremendous changes were taking place. In the United States, the 19th Amendment was passed, giving women the right to vote. Victorian women laid the foundation for this legislation as early as the 1860s.

New freedom and knowledge arrived with the ownership of the automobile and a radio in every home.

The fashionable styles for women were cloche hats. In the evening, the flapper dress was dominant—a loose-fitting drop-waist dress with sequins and fringe. The flapper dress was often paired with a Great Gatsby headband.

Paris became the epicenter of art and fashion. This rare 13½-inch French Flapper artist doll wears a black and white tam-style hat. A blue velvet cape covers a cream-colored tiered dress. Her presentation was completed with a long-beaded necklace and molded brown high heel shoes.

It would be remiss if children’s hats were omitted.

The Au Bon Marché transformational postcard shows a boy and girl wearing beach clothing and straw hats from the early 1900s. On top of their sandcastle, sits a Punchinello doll. The postcard has a humorous side to it. By pulling a string, the card transforms into a different scene where a wave has swept away the sandcastle and toppled them into the water.

(Credits to Ken Hays, photographer, and Carol Thompson, seamstress extraordinaire) ANTIQUE DOLL COLLECTOR

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Dolls Depict the

Written Word

By Susan Foreman

everal months ago, I concluded one of my Antique DOLL Collector articles with the words “to be continued” rather than the customary “the end.” And thus, I present this article, part two, about dolls that represent literary characters.

Beginning with the question: What do the French born 17th-century- lawyer-turnedauthor Charles Perrault, the 19th-century German-born scholars Wilhelm and Jacob Grimm, and the 20th-century United Statesborn artist Johnny Gruelle have in common?

They all retold fairy tales that had been passed down from generation to generation. Fairy tales such as “Cinderella” and “Little Red Riding Hood.” The retelling of these stories would eventually lead to the creation of the dolls we cherish today.

We have the French author Charles Perrault (1628– 1703) to thank for laying the foundation for the literary concept known as the fairy tale. In 1697 he published the book Tales and Stories of the Past with Morals. Tales of Mother Goose (Histoires et contes du temps passé, avec des moralités. Contes de ma mère l’Oye), This book included “Little Red Riding Hood” and “Cinderella,” amongst others. The Tales of Mother Goose, although written specifically for children, was extremely sinister and clearly moralizing. In 1729 Perrault’s collection was translated into English by Robert Samber, entitled Histories or Tales of Past Times, Told by Mother Goose.

It was Samber’s translation that would eventually introduce this new literary concept to the United States in 1786.

Mother Goose has continued to entertain children since 1697. \The lovely 1915 edition of Mother Goose in my collection was published by P.F. Volland Company 32

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(a familiar name to Raggedy Ann and Andy collectors), edited by Eulalie Osgood Grover and illustrated by Frederick Richardson. The forward pays tribute to the “respectable French origins, for in 1697, a distinguished French writer, Charles Perrault, published in Paris a little book of familiar stories called “Contes de ma Mere l’Oye”, or “Tales of My Mother Goose”. In addition to fairy tales, Mother Goose would introduce the world to nursery rhymes. The now familiar rhymes such as “Humpty Dumpty” are found within the pages of this 1915 edition.

Madame Alexander’s 1934 Humpty Dumpty with the 1915 Mother Goose book published by P.F. Volland.

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John Gruelle’s 1917 “All About Little Red Riding Hood” with two Nancy Ann dolls—a 1941 model in original box and a 1943-1945 version.

Once again, we turn to Madame Alexander for an example of a one-dimensional image becoming a threedimensional character. In 1934 Madame, in conjunction with “America Puppet Master” and father of modern puppetry in North America, Tony Sarg, created a Humpty Dumpty marionette. While the inspiration for the Madame Alexander marionette was no doubt Lewis Carroll’s book Alice Through The Looking Glass, we have Charles Perrault to thank for introducing Humpty Dumpty to the world. This rare composition marionette is shown with the 1915 Mother Goose book.

Little Red Riding Hood has stood the test of time for centuries. Although the origins of this tale can be traced back to 10th century French peasants, it was Charles Perrault who first published the story. Perrault’s original version of the tale, prior to publishing it in Mother Goose, was written for the late 17th-century French King Louis XIV who in turn shared the story with those attending the extravagant court parties.

The Grimms brothers published their first version of “Little Red Riding Hood” in 1812. The Grimms’ account was written for an adult audience and is extremely gruesome. The Brothers continued to revise the story in later editions resulting in an 1857 version that was notably tamer.

By the time Johnny Gruelle retold the tale in 1917, it was indeed less gruesome although no less frightening.

In all retellings, however, the moral to the story is similar: children do wrong to listen to strangers. When I first acquired the 1917 Little Red Riding Hood book by Johnny Gruelle, I immediately thought of Raggedy Ann and Andy for which he is most famous. However, I soon learned that he was a prolific author and illustrator of many other books.

Dollmakers could not resist creating dolls in the likeness of Little Red Riding Hood with her distinctive, red-hooded cape. Nancy Ann Abbott was especially drawn to dolls depicting fairy tales. Nancy Ann’s initial dream was to become a Hollywood actress. However, this dream was not to be and upon returning to San Francisco to care for her mother and their vast estate she eventually opened a bookstore. Whether in Hollywood or San Francisco her passion for dressing small dolls was apparent and her bookstore was a perfect outlet to sell the dolls. Within just eight months she closed the bookstore and devoted the rest of her life to producing dolls, and many of the dolls depicted characters from books including these two Nancy Ann Storybook Little Red Riding Hoods. Shown with the John Gruelle 1917 book are a circa 1941 pudgy tummy, jointed leg with white boots Nancy Ann in her original box, and a circa 1943–45 Nancy Ann with one piece body and strung arms.

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1950 Big Golden Book (my first Cinderella book), the 1916 John Gruelle Cinderella shown with the Nancy Ann, Madame Alexander, and Ideal doll interpretations of Cinderella.

Cinderella is, indeed, my most favorite story. Perhaps it is because the very first book I read all by myself was the 1950 Big Golden Book edition of Cinderella. To this day if there is a Rodgers and Hammerstein inspired stage performance, an opera by Massenet, or a movie featuring Cinderella, I will be in the audience.

The earliest known telling of the Cinderella story dates between 7BC and 23AD when the Greek geographer Strabo told the story of Rhodopis, a Greek slave girl who married the king of Egypt.

The first literary European version of the story was published in Italy in 1634 by Giambattista Basile, a Neapolitan writer, soldier and government official.

Basile’s story features the Cinderella character named Zezolla, a wicked stepmother, evil stepsisters, magical transformations, a missing slipper, and a hunt by a monarch for the owner of the slipper.

It is Charles Perrault’s 1697 interpretation, under the name Cendrillon ou la petite pantoufle de verre that added several key elements to the story, including the pumpkin, the fairy godmother, and the “glass” slippers.

Of course, we cannot overlook Walt Disney’s Cinderella contribution (and the basis for my “first” book). Walt Disney’s animated version of Cinderella was released on February 15, 1950, and is now considered one of Disney’s classics as well as the most well-known film adaptation.

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Shown with my first Cinderella book, the 1950 Big Golden Book and a 1916 Johnny Gruelle book which miraculously has retained its original dust jacket are three Cinderella dolls—a 14-inch hard plastic Madame Alexander with Margaret face, circa 1950, a Nancy Ann pudgy tummy Cinderella with gold foil wrist tag in the original box with silver label and brochure, circa 1941, and a 1938 18-inch composition Cinderella by Ideal with Magic Eyes in her original box.

Hansel & Gretel, according to folklorist Jack Zipes, dates back to Germany in the late Middle Ages (1250–1500). While folklorists Iona and Peter Opie group the Hansel and Gretel story with European tales especially popular in the Baltic regions about children outwitting ogres into whose hands they have involuntarily fallen.

It is Jacob and Wilhelm Grimm, however, who provide the basis for the tale we know today. From the Brothers Grimm’s pre-publication manuscript of 1810 (Das Brüderchen und das Schwesterchen) to the sixth edition of Kinder- und Hausmärchen (Grimm’s Fairy Tales) in 1850, they continued to make alterations to the story, adding length, visual imagery, and shifting the blame for abandonment from a mother to a stepmother— and what a wicked stepmother she was. Hansel and Gretel’s stepmother is equally as wicked, if not more so, than Cinderella’s.

Hummel’s version of Hansel & Gretel shown with a 1917 John Gruelle book and a 1954 Little Golden Book.

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Whether it is the Brothers Grimm retelling of the tale, the 1917 Johnny Gruelle version or the 1954 Little Golden Book interpretation, they all have one thing in common— Hansel, Gretel, and their father overcame intense hardship to eventually live happily ever after.

In 1950 M.I. Hummel, known primarily for their figurines, introduced dolls made of rubber depicting Hansel and Gretel. Made for just a few years, these dolls with rubber heads on muslin bodies are approximately 16-inches tall and still retain their original paper labels— “Sepple” for the boy, “Gretl” for the girl, and on the reverse of both tags “Goebel M.I. Hummel.” The back of the neck is incised M.I. Hummel.

Pinocchio was first introduced to children by Italian writer Carlo Collodi of Tuscany in 1881. Collodi’s original story was published in the pages of the children’s magazine Il Corriere dei Piccoli and was intended to be a tragedy with Pinocchio exhibiting bad behavior resulting in his eventual execution of all things. In 1883 Collodi published the story as a novel. Thankfully through the years, the story became less violent with Pinocchio ultimately becoming a real, live boy. There are several common factors that have prevailed through all interpretations, however, including Pinocchio being a puppet, his maker is woodcarver Geppetto, and his nose does, indeed, grow longer when he lies.

In the original novel Pinocchio is depicted with a pointy hat, wearing a jacket and a pair of knee-length pants. It is this image that is usually associated with the Italian made wooden Pinocchio toys. In 1940 Walt Disney decided that Pinocchio should be dressed in Tyrolean style lederhosen wearing a hat with a feather attached.

Pinocchio, like so many of the literary characters mentioned in this article, has appeared in film, television and on stage. Pinocchio’s first film debut was in 1911 in an Italian live-action silent film directed by Giulio Antamoro. Without a doubt, though, the best-known film version is Disney’s animated feature which debuted in 1940. The original intention of Disney Studios was to have Pinocchio maintain his rather obnoxious behavior as first written by Collodi. Walt, however, felt that this made the character too unlikeable. Consequently, Pinocchio, although still mischievous, became far more innocent and likable.

Pictured are two Pinocchio books, one 1946 book featuring Collodi’s rendition and the 1939 Big Little Book with Disney’s interpretation. Accompanying the books is a 16-inch Pinocchio made by Charlotte Clark in 1939 to coincide with the Disney film debut, a wooden Italianmade Pinocchio with the original Collodi described

A 1939 Charlotte Clark Pinocchio, a traditional Italian-made wooden Pinocchio, and a cloth Jiminy Cricket are shown with the 1939 Big Little Book and the 1946 Illustrated Junior Library edition of Pinocchio.

pointy hat, and Pinocchio’s “official conscience,” Jiminy Cricket, made of felt by an unknown maker.

Raggedy Ann cannot be overlooked. Having mentioned Raggedy Ann’s creator, Johnny Gruelle, in connection with Cinderella and Little Red Riding Hood, it is essential that this article cover his most famous contribution to literature and the doll world— Raggedy Ann. John Gruelle, born in 1880, was exposed to art and literature at an early age as his father was a portrait and landscape artist associated with the Hoosier Group of American impressionist painters, and the family’s close friend was the poet James Whitcomb Riley. Gruelle’s inspiration for the name “Raggedy Ann” actually came from two of Riley’s works—”Little Orphant Annie” and “The Raggedy Man.” For many years I had assumed that the book idea for Raggedy Ann came before the doll idea. However, in actuality Gruelle received US Patent D47789 for his Raggedy Ann doll on September 7, 1915, but would not publish Raggedy Ann Stories until 1918. Raggedy Andy would join his sister Ann in 1920.

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Raggedy Ann & Andy “look-alikes.”

According to Andrew Tabbat, author of The Collector’s World of Raggedy Ann and Andy, the Raggedy Ann story had its roots in stories Gruelle would make up for his daughter Marcella during her tragic illness leading to her untimely death at age 13 in 1915.

As to the actual origin of the rag doll that inspired the story, Gruelle’s wife, Myrtle recalled, “There was something he wanted from the attic. While he was rummaging around for it, he found an old rag doll his mother had made for his sister.

He said then that the doll would make a good story.” She added that her husband “kept [the doll] in his mind until we had Marcella. He remembered it when he saw her play [with] dolls… He wrote the stories around some of the things she did.

He used to get ideas from watching her.” Andrew Tabbat further notes in his book that, following the death of Marcella, the sorrowful father sought comfort by placing Marcella’s favorite rag doll in his studio “where he could see her cheery smile all day, for, as you must surely know, smiles and happiness are truly catching.”

Gruelle was already working with the prestigious P.F. Volland Company, and it was through them that the world would know Raggedy Ann and Andy. Volland continued to produce the dolls until 1934. In 1935 Exposition Doll & Toy Mfg. Co. assumed production of the dolls while at the same time Molly-E’s was making a version of the doll, although without consent of Gruelle.

The popularity was such that Raggedy Ann and Andy “look-alikes” were prevalent, particularly during the years that Georgene Averill was the licensed maker. Numerous other companies have made Raggedys as well, including Knickerbocker and Applause. Shown with “their” books are 18-inch Ann and Andy “look-alikes,” circa 1940s.

ABOVE: A 1908 edition of The Orphant Annie Book by James Whitcomb Riley.

LEFT: A 1907 edition of The Raggedy Man by James Whitcomb Riley.

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LEFT and BELOW: Madame Alexander’s 1967 Nancy Drew with the 1959 printing of the first Nancy Drew mystery The Secret of the Old Clock.

The 1959 Secret of the Golden Pavilion showing Nancy’s new “flip” hairstyle which was possibly the inspiration for the Madame Alexander doll.

This article would not be complete without mentioning Nancy Drew. After graduating from the Big Golden Books, I became infatuated with Nancy Drew.

I would save my weekly allowance, and when I had enough quarters accumulated, I would venture to Albins Toy Store in Burbank to buy a Nancy Drew book. To this day I love a good old whodunit.

While authored by various writers under the collective pseudonym Carolyn Keene, it was publisher Edward Stratemeyer who initially suggested the idea of Nancy Drew. Following Stratemeyer’s creation of the Hardy Boys in 1926, he felt a similar series for girls, featuring an amateur girl detective, would be popular. In 1930 the first Nancy Drew book, The Secret of the Old Clock appeared.

Three additional titles appeared in 1930 and all met with immediate success. Nancy Drew, like many of the books previously discussed, has been illustrated by numerous artists over the years with her looks constantly updated to reflect current fashion trends. By 1959 Nancy has a “flip” hairstyle as shown on the cover of The Secret of the

Golden Pavilion and is very similar to the hair style on the Madame Alexander Nancy Drew doll.

Due to Nancy’s immense popularity a variety of products have been licensed over the years including Parker Brothers “Nancy Drew Mystery Game” in 1957 and the Madame Alexander doll in 1967. Harriet Stratemeyer Adams, the daughter of Edward Stratemeyer, was the author of The Secret of the Golden Pavilion but disapproved of the doll’s design, believing Nancy’s face to be too childish. The doll was marketed, nevertheless.

Shown here with The Secret of the Old Clock is the 1967 12-inch Madame Alexander Nancy Drew with vinyl head, hard plastic body, wearing her original tweed suit (outfit #1254) and carrying her purse and camera. Note the hairstyle of Nancy Drew on the cover of The Secret of the Golden Pavilion and the Madame Alexander Nancy Drew.

There are numerous other examples that come to my mind, however, due to space I must conclude and proclaim “the end.”

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Liberty of London Royal Dolls A COLLECTOR’S TALE

By Elizabeth Bentley Hamilton, Photography by Eugene Frye he sad news in September 2022 of the death of Her Gracious Majesty, Queen Elizabeth II, touched hearts around the world. As did millions, I held Queen Elizabeth II of England in high regard, and with affection–I deeply value some photographs taken on the two occasions when I had the good fortune to see her. The Queen’s demise caused me to realize that my personal collection of dolls did not contain even one of Her Majesty.

Judit Armitstead, an author and doll dealer in Lynnfield Massachusetts, advised me to remedy the deficiency by seeking the hand-made Liberty of London vintage dolls, of which I knew very little. Following her advice, my granddaughter Corina searched on her computer and found that Kathy’s and Terry’s Dolls on Ruby Lane had the desired dolls.

A delicately painted smile graces the face of the first version of Queen Elizabeth II on her Coronation Day in 1957.

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I soon became the delighted owner of two versions of the doll of Queen Elizabeth on her Coronation Day in 1953, and one of her as a child, dressed for the Coronation of her father King George VI, in 1937. Having now completed my quest, this story should end, but, after examining these intriguing dolls, I discovered I quite liked them. Thus, not knowing to what tangents of research I would be drawn, a new interest was established, and my collection of Liberty of London dolls began.

Previously I concentrated on antique dolls’ houses, their furnishings, and small dolls of the early-to-mid1800s, but I was a novice, with much to learn about a group of fascinating hand-sculpted cloth dolls: Terry Mahoney and Kathy Evans helped me greatly, sharing their knowledge and sending photographs and

The second version of Queen Elizabeth accurately dressed for her Coronation, stands with Prince Phillip, Duke of Edinburgh

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copies of articles to me. One special threepart article, “Liberty of London Dolls” by Linda Holderbaum, published in Antique DOLL Collector magazine in 2016 and 2017, is available on www. antiquedollcollector. com on the back Issue tab. This article sets forth a history of these dolls with numerous examples shown, highlighting their unique features.

Linda, who is currently Editor of the United Federation of Doll Clubs publication DOLL NEWS, also cited the late Margaret Shapley’s doll collection of Liberty King George VI and his Queen Consort, Elizabeth Bowes-Lyon, stand with their daughter, Princess dolls housed in The Elizabeth, and his mother, Queen Mary of Teck, on his Coronation Day in 1937.

Field House Museum in St. Louis, Missouri. The staff of that museum kindly time its inventory increased, and today Liberty of London provided a number of photographs sent to my grandson still carries a wide variety of merchandise in its Regent Jesse’s computer, including ones of the Queen’s Guards Street store. Around 1917, probably to not waste valuable on horseback. These amazing horses are fashioned with fabric, cloth dolls made from discarded remnants made the same care and attention to detail as the most elaborate an appearance. These dolls, credited to the remarkably of dolls. talented seamstress sisters Ada and Kathleen Peat, My last learning aid, though, was a program in were hand-made in a wide range of personalities both which well-known author and doll expert Elizabeth historical and fictional. Certain animals were created Ann Coleman, assisted by researcher Sue Nile, shares as well. knowledge with Michael Canadas of The Carmel Doll Made only into the 1960s, with production halted Shop in a conversation about Liberty of London dolls. during the years of World War II, the quantity (with Founder of the Grovian Doll Museum in Pacific Grove, never a slip in quality) of these hand-made dolls is California, Michael Canadas received a large collection amazing. Although there are exceptions, most Liberty of these dolls and turned to Ann Coleman for her dolls stand 9 inches to 11 inches tall. While silk was used knowledge of their history. This informative presentation, in rare cases, fine linen usually covers their hand-sculpted entitled “Liberty of London Dolls with Elizabeth Ann faces. The majority of dolls have seams on each side of Coleman and Sue Nile,” is available on YouTube: https:// the head, however, some dolls have seams sewn down youtu.be/rqgwDB9K0Ck The knowledge I have now the center of their faces which somehow is not obtrusive. acquired is from the research of others, and I am grateful Although faces were hand-painted with great attention for it. to accuracy and expression, at times delicate stitching Liberty and Company was founded by Arthur Liberty was also employed. Hair made of fine wool was shaped, in 1876 as a shop specializing in beautiful fabrics. Over colored, and styled as appropriate. Bodies were made of

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This photograph of the Queen was taken in 1976 when she and Prince Philip were welcomed on their visit to the University of Virginia.

An Officer in the Grenadier Guards and a Guardsman in the Coldstream Guards.

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My daughters Elizabeth and Catherine (aged 5 and 4) with a Yeoman Warder dressed in his winter uniform, at the Tower in December of 1982

A Yeoman of the Guard wearing his cross-belt and a Yeoman Warder of the Tower of London, holding a partisan.

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Sir Walter Raleigh and Queen Elizabeth I — with an amusing imperious expression.

linen over armature, while hands were made of shaped nylon in a closed position, or stitched into an oval shape, and some were fashioned of leather or felt with cut-out fingers. For the most part gloved hands for the ladies ended in an oval, whereas those for the men have cut-out fingers. Even under the longest gowns, capes, or robes, feet are encased in the appropriate slippers, shoes, or boots made of varying materials.

The fabrics used for clothing, whether simple or ornate, run from attractive to absolutely gorgeous, and no opportunity for trim or jewels was left unheeded.

The Peat sisters studied portraits, as well as the photographs of current personages in order to achieve as recognizable a likeness as possible. It is said that when the Coronation of King George VI was to take place in 1937, permission was granted to portray the members of the Royal Family. The Coronation set was widely sold, as was the set for the Coronation of the late Queen in 1953. The dolls in both extensive sets were also sold individually.

Ada and Kathleen Peat each had their own specialty in which they excelled. Ada made the clothing and decorations, using gold thread, sequins, and varied glass beads on the royal and more elaborate dolls. Kathleen made the bodies, even forming muscles when needed.

Linen Liberty tags were often sewn under robes, and paper hangtags, many with hand-written notes, were tied on arms. In her three-part article on Liberty dolls, Linda Holderbaum shows a Kimport hangtag as well.

With or without tags these interesting dolls are of themselves so distinctive, they are readily identifiable.

Whether to one’s taste or not, the artistry, skill, and

Queen Anne Boleyn and King Henry VIII.

dedication to detail of the Peat sisters evoke respect and admiration.

There is more to learn, and like so many others before me, I have become captivated by Liberty of London dolls. My collection is small, but my Wish List continues to grow. Looking ahead, my daughter Catherine brought an empty cabinet into my living room, and I am thankful.

After my article was written, a surprise package arrived containing Queen Victoria beautifully dressed for her Coronation Day in 1838.

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A Special Event at the

Strong National Museum of Play

By Bradley Justice

Since 2002, The Strong National Museum of Play (Rochester, NY) has been home to the National Toy Hall of Fame. Inductees include Barbie (1999), Raggedy Ann (2002), GI Joe (2004), Raggedy Andy (2007), The Baby Doll (2008), and American Girl Dolls (2021).

O

The Strong has an impressive collection of dolls, some of which are on display in the museum.

Pictured is a display of bisque bébés.

Also on display is an array of Palmer Cox Brownie memorabilia.

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Elizabeth Ann Coleman, Dr. Sabrina Thomas, and Bradley Justice (L-R) spoke at the Strong National Museum of Play’s “Meet the Collectors” event on April 11, 2023. (Not pictured: speaker Dr. Brigitt Rok-Potamkin)

n April 11, 2023, The Strong National Museum of Play in Rochester, New York hosted “Meet the Collectors,” an evening celebration of passionate doll enthusiasts. Four doll collectors were invited to speak about their personal journey as a collector and what inspires them most. The speakers included Dr. Brigitt Rok Potamkin, Dr. Sabrina Thomas, Bradley Justice, and Elizabeth Ann Coleman.

Dr. Brigitt Rok-Potamkin spoke of her love of fashion dolls and her ever-growing Barbie doll collection. She also made a gift to the museum to underwrite the photography of the Strong’s Barbie doll collection to make it accessible online for research and study.

She shared lovely examples of dolls from her collection, including one-of-a-kind artist dolls by Magia 2000, Integrity Toys, and other couture doll creations.

Bradley Justice shared a passion of childhood play with Barbie and the Sunshine Family dolls by Mattel and how it inspired his love of research. As an adult, he discovered that the NiADA artist Martha Armstrong Hand had originally conceived dolls when she worked for Mattel. He shared original sculpts and prototypes from his collection that he donated to The Strong.

Dr. Sabrina Thomas shared her story of becoming a collector quite by accident. Her collection started when she was a young teenager when her mother purchased a handmade cloth doll of color. Her mother was adamant that Sabrina would have a doll that looked like her, and she was given a handmade cloth doll, at an age when she said she was too old for dolls. This started a collection of African American dolls that have also been part of her research.

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A tour of The Strong’s D-1 Storage was offered, which included a visit to the library and archives. {Note: The Strong’s archives hold a complete collection of Playthings magazine, dollhouse/miniature authority Flora Gill Jacob’s papers, the Gruelle (Raggedy Ann) Family Collection spanning the years 1910-1940 / 1895-2008, the Coleman Family (papers and oral histories), as well as other outstanding resources of research for doll collectors.}

A trio of Izannah Walker dolls stands on shelves in storage.

The evening concluded with Elizabeth Ann Coleman sharing her story of a life-long passion for dolls and research. Her presentation included photographs of the doll that started it all and how she and her family studied, researched, wrote, and shared their knowledge of dolls, culminating with the Colemans’ The Collector’s Encyclopedia of Dolls (Crown Publishers, NY, 1968). Elizabeth Ann Coleman shared how some of her research had started with the collection of Margaret Woodbury Strong, the museum’s namesake, and how amazed she (Margaret) would be by what the museum has become.

This amazing evening was held in the Strong National Museum of Play, amongst their many collections of dolls, toys, bears, and other inspiring play objects.

The following day a tour was given of the museum’s vast collection and archive, including their “D-1” storage, a space spanning over 20,000 square feet, housing their archive of objects, including the dolls that are not part of their current display.

It was an amazing opportunity to study and research and share the passion of the dollcollecting hobby.

Dolls were also stored in drawers.

Framed pictures are kept on metal pull-out “walls” or “racks.”

The tour included a visit to The Strong’s Conservation room.

The Strong mansion, Pittsford, NY (pictured), was once filled with dolls, toys, and miniatures.

Eventually, the vast and varied collection became the nucleus of the Margaret Woodbury Strong Museum, Rochester, NY, which opened in 1982, 13 years after Margaret’s death.

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At the Ohio National Doll Show come and see Countess Maree and become the owner of a doll from past centuries. or the lack of a doll the tears did fall.

During the war, I was evacuated from London and throughout the war I did not posses a doll.

Every night when I was in bed, I cried…

Nothing to cuddle and comfort me and help me go to sleep and forget.

I prayed for my mother, hoping it was a lie that she had died.

And nothing to cuddle and comfort me but tear-wet sheets.

So probably that is how my passion for dolls was born. So collectors and dealers, come to Ohio and share my passion!

Please join us on October 7 & 8,

you will have fun and feel that you are in a living museum.

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