October 2024

Antique DOLL Collector October 2024 Vol. 27, No. 10

A New Column, Paper Doll Stories

by Samy Odin Early Male Doll Collectors by Elizabeth Ann Coleman Rare Portrait Jumeau Colorful Kokeshi Tale of Bécassine (with pattern) UFDC Convention Coverage Continues

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Letter From The Editor

O suns and skies and clouds of June, And flowers of June together, Ye cannot rival for one hour October’s bright blue weather… (“October’s Bright Blue Weather” – Helen Hunt Jackson)

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s I write this letter, there is a welcome change in the air. Days are cooler, and the nights are even more so. Leaves are turning a brilliant yellow and orange—gently drifting down, sometimes dancing in circles when the wind catches them as they meet the ground.

In this October issue we welcome Samy Odin as a monthly contributor with a focus on paper dolls. We thank Samy for sharing his expertise on this topic on a recurring basis.

Coverage of the UFDC’s 75th Annual Convention continues with a photo gallery from the ever-popular Sales Room.

Our cover story by Linda Edward celebrates the first-series Portrait Jumeau, spotlighting a stunning example soon to be auctioned by Ladenburger Spielzeugauktion (October 11 & 12).

Susan Foreman takes us on a journey to Japan where we learn the backstory of the popular souvenir, Kokeshi, with a rare peek into how they are made.

Step back in time to the early days of collecting as Elizabeth Ann Coleman shares the story of the gentlemen who laid the pathway for our doll collecting hobby.

Nicki Burley brings us the story of Bécassine with a pattern to dress your bisque Nancy Ann doll in Breton-inspired style.

We hope you enjoy reading this issue as much as we enjoyed putting it together for you. We wish you a magical and merry month and remember to pause and take in October’s bright blue weather.

Happy Autumn!

Laurie McGill Editor-in-Chief

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ANTIQUE DOLL COLLECTOR OCTOBER 2024

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LAYAW AVAILA AY BLE

12” Jeanne Orsini Kiddie Joy German Orsini 1927 baby doll, blue sl eyes, 9” circ beautiful character face, rub on left cheek, original outfit (as is), celluloid hands $1195.

6.5 x 8” 1960’s Steiff Bissie mohair seated beagle, jointed head $99.50

12” AT 3 Fashion repro by Caro Jon 2008, bl glass eyes, beautifully painted & dressed $195. 12.5” CM Jumeau on Gildebrief Bru Fashion Body, head by Marge Anders 2010 $295. 12” Jumeau French Fashion repro by Marge Anders 2008, beautifully dressed $175.

17” Bisque EI Horsman Tynie Baby 1924, bl sl eyes, beautiful molding 8” 1950 Vogue Crib Crowd Easter Bunny all original green & coloring 11.5” circ, cloth body w/ compo hands $695. outfit w/ ears, brown eyes w/ Easter egg $795. 14.5” Alexander McGuffey Ana 1948 all original, hard plastic $395.

German All Bisque Dolls: Rare 6” EI Horsman 1924 Tynie 5” Swivel Head Baby All Bisque, bl sl eyes, #365-18, br sl hairlines lt side of head, sweet eyes $275. 3 ¾” face $400. #98 all original 10” Bru – Kitty by Bernadine w/ mohair wig Wyffles of Wee Ones 1988, all $97.50. 4 ¾” bisque jointed body, Sweet girl w/ bl pw eyes $450. bl stat eyes, 6” Molly repro by 2 strap boots, Wyffles, thumb as orig wig, chip is $145 on lt finger & rt toe, arms loose $165.

14” CM Tete Jumeau 17” on base Automation, LB key, br PW eyes, holding broken doll, works, top of rt arm repaired, redressed $2650.

6.5” Herm Steiner Googlie #133, blue sleep eyes, 5 piece body $395.

5.5” French Mignonette with jointed head & beautiful face, blue sl eyes, repair on left boot $795.

28.5” ABG Dolly Madison 1870-80’s blonde Parian w/ black bow, blue glass eyes, original cloth body w/ leather arms $295.

German Hertwig Bonnet Head Parians w/ blue painted eyes: 11.5” Blonde girl w/ big green hat & gold cross necklace $145. 14” Blond w/ Blue Butterfly bonnet, nice replaced body $125. 14” Blond w/ blue & gold trim bonnet, pink neck bow, original body $110. 11.5” Blonde w/ blue molded hat w/ tassel, molded shoulder plate w/ gold accents, original body $145.

15” Effanbee Dewees Cochran Historical Dolls: 1711 Colonial Prosperity All Original, missing slip, blue painted eyes, HH wig, slight crazing $220. 1682 Quaker Colony All Original, 1 finger broken, nose paint chip $195.

RJ Wright Kate Greenway Series MIB – Done for 1st RJ Wright Convention May 2009 8.5” Molly & Jack AP 3/5, Artist Proofs, beautiful faces & expressive personalities $795.

11.5” Springtime Frolics Rebecca, beautifully painted, dressed in silk, Lt 250, signed tag $475.

14.5” All Original 1946 Ideal Plassie, hard plastic doll in mint condition $185. 18.5” Georgene Nurse Jane Fuzzy Wuzzy 1943 Uncle Wiggly Storybook Character w/tag all original $250. 10 x 8” Steiff Tessie 1950-60’s tagged w/ collar, beautiful mohair $99.50

21” Morimura Baby w/ sweet character face, bl sl eyes, original mohair wig, jointed wrists $205. 5 ¾” Kestner 208 Swivel head all bisque, painted blue eyes $295. 7.5 x 5” Steiff mohair 1960’s Sonny tagged rabbit, jointed head $95.

8” JDK 260 Toddler, br sl eyes, mohair wig, sweet face $280. 8” FS & C 1295 Toddler, Franz Schmidt, brown sl eyes, mohair wig, 2 fingers as is $245.

14” Beautiful Red Head Ideal Toni Walker Doll MIB w/ tag & playwave set $200.

8.5” 1860’s Conta & Boheme China w/ bun & curls, sweet face & size $495.

10.5” Alice Leverett Marie Theresa 2010 UFDC Convention Doll NRFB w/ shoes in box $295.

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

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Publications Director: Lisa Brannock Editor-in-Chief: Laurie McGill Senior Editor: Linda Edward Production Director: Louann Wilcock Art Director: Lisa Claisse Administrative Manager: Valerie Foley Social Media Director: Brigid McHugh Jones Contributors: Elizabeth Ann Coleman, 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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Left to right: #2 Barbie $11,750; #1 Barbie $12,500; #3 Barbie $1,950.

All with their correct stands, shoes, suits and boxes. TM pamphlet for Barbie #2, and all of the ladies have some sort of accessory with them.

No green ears here, they are all winners!

More info and photos on the Miscellaneous Page at www.maspinelli.com.

Exhibiting: October 6 - Ohio National Doll Show, Newark Ohio (near Columbus), Cherry Valley Hotel Exhibition Hall November 16 - World Doll Day Show, Arcadia (Pasadena) CA, Arcadia Masonic Lodge 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 (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.

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OCTOBER 2024

9/13/24 10:28 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

21” Bru Jeune - So expressive!

Generally excellent on wooden body. Marked 8. $15,000

Beautiful 18” Wood Body Poupée - Exquisite presence.

Wonderful condition. $10,500 A Lovely Couple The Gentleman - 18” male fashion on Gesland body with sculpted bisque hands and feet in excellent condition. $6,400 The Lady - Stunning 16” French Fashion in gorgeous original blue silk gown with matching floral chapeaux. Incredible beauty. $5,900 Pretty Bébés - Beautiful 14” Bru Jeune in exquisite condition. $22,000 Pristine F2G. Ten inches of unsurpassed loveliness from important collection. $8,200

French Poupée Peau Beauties Petite 14” fashion with swivel neck and lovely costume complete with pearl earrings and necklace. $2,895

These pictures just taken at a recent show are examples of the dolls coming to the

Ohio National Doll and Toy Show, October 6th at the Cherry Valley Hotel in Newark!

See you there!

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Delightful French Fashion in spectacular original costume accompanied by two inquisitive pups! Excellent! $4,200 16” Teteur Bebe - Generally excellent, adorable Bébé with original (non-working) suckling mechanism. $3,995 Member UFDC & NADDA

9/16/2024 5:43:50 PM

The Complete Guide to Antique, Vintage and Collectible Dolls

October 2024, Volume 27, Number 10

On the Cover

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KOKESHI – THE ULTIMATE SOUVENIR Colorful Kokeshi

By Susan Foreman

THE FRENCH MYSTIQUE: Rare Portrait Jumeau

By Linda Edward

The size 5 (63-centimeter, 24 inch) FirstSeries Portrait Jumeau on this month's cover exemplifies the high standard of the Jumeau company which led to the company being awarded the Gold Medal at the 1878 Paris Exposition Universelle. This doll will be among the offerings of the many fine dolls to be included in the upcoming Ladenburger Spielzeugauktion GmbH auction on October 11 & 12, 2024.

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FOUNDING FATHERS: OF DOLL COLLECTING AND DOLL STUDIES Early Male Doll Collectors

By Elizabeth Ann Coleman

Departments

2 Letter from the Editor 10 New! Paper Doll Stories By Samy Odin 46 Auction Calendar 46 Emporium 47 Events/Classified Ads

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SALES ROOM UFDC Convention Kansas City, Missouri

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DEAR BÉCASSINE! Tale of Bécassine - Pattern Included

By Nicki Burley

SUBSCRIBE TO ANTIQUE DOLL COLLECTOR, GO TO www.antiquedollcollector.com - Subscription information: adcsubs@gmail.com or 631-261-4100 6

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OCTOBER 2024

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1) 26” Very Large Kreuger Santa - good clean condition w Belt, Boots, Beard & Cap! Great by the tree! $550 2) Early Signed 17” Barrois Senior Poupée - Glass Eyes, Mint Factory Wig/Pate, clean firm body w/ ethereal Silk Gown covered in tracery w/ Matching Slippers. $2900 3) Stylish 20” Closed Mouth ‘Bebe Phenix’ - red stamp & incised “Star 92”. ivory bisque, bl. PWs, Orig. Fully Jtd. Body in lovely antique Silver Blue Silk Couture. $2895

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2 4) 1860’s Lady China - 15” All Original! all leather body, heart shaped face, brush marks & blue eyes. Scarce & pretty! $750 5) Pennsylvania Folk Art - 14” x 11’ x 6’ well crafted wooden model ca:1930 fretwork fence, balcony & tower w. secret compartment! $450.

6) Rare Pink Tint 22” Franklin Pierce China ca: 1850 - gold lustre mld. Tie & Collar; orig. body, boots & luxurious suit.Mint. $950 7) Attic Orig. 28” Kestner Closed Mouth - mint head/ fingers, Orig. wig, pate & jtd. kid body. (will sit), Vintage Silk Fashion Gown & Boots.

See #15 - $650 8) Mint 5.5” French Mignonette - Factory Wig and Clothes, bl. PWs., early Blk. Bootines, peg joints. $1895

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(212) 787-7279 7

P.O. Box 1410 NY, NY 10023

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

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9) 6” Over the Knee Black Stocking Halbig - (far right); Orig Knee Length Wig & Clothes, socket head, PWs. Choice 1880’s Mint All Bisque - $1100 10) Rare 11” Cabinet Jumeau Poupée - mint orig.

Pate/Wig; Sgnd. Body, huge bl. PWs, original bronzed Gown w. Matching Chapeau & Handbag.

Gem. $2495 11) 4.5” All Bisque Halloween Party Favor cunning googly Imp with fly-away glazed hair in Orig. Crepe Paper Clothes! A sly smile, clenched fistsand jtd. arms. $350

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12-13) Signed Chinas: Heirloom Brown Hair KPM pair: Pink Tint 21” Male - vintage body,clothes & shoes, finely sculpted quality. 22” Bride w Molded Bunvintage body, w/ lace Gown, Slippers, Bouquet, Garters & Veil. $7500 pair.

14) Artist Made Huret 12” tall, superior bisque socket head, mohair wig, jtd. body. Signed. $350 15) Elegant Kestner Lady lovely large ‘Bru’ mint arms, rich silk gown, segmented body will sit at 17” height. $650

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14 16) Antique 3” t. French Porcelain Set - sgnd.

Luneville, ca: 1890; for doll trunk or dioramas. $125 17) Rare ‘Tak-A-Part’ Doll House 10.5” x 9” x 4.5”.

Two floors in excel color/cond in & out ca.1900 for the cabinet. Can be taken apart! Rare one. $895 18) All Orig. 14” ABG China - all leather body, romantic fine old clothing, garters, shoes, necklace.

So attic antique! $395

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19) 16” Heirloom Victorian Fashion Doll - 1870’s sgnd. Dressel, from Labeled Hat to heeled leather Side Button Boots, bustled back Gown & Handbag w Label in Hat. Museum. $495 20) Original Pennsylvania 21” Halbig Nurse - rarity in factory made doll uniform w 3-labels; The PA Hospital, the clothier & the nurse’s name as well! $575; 4” Nancy Ann Storybook Infant mint in her 12” Factory Gown! $110 21) R.John Wright 8” ‘First Doll’ - MIB w Tissue & Certificate. Very ltd. edition commemorative doll w/ jtd limbs. Important. $350.

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17 19 22) Unusual 11” W. German Santa Tree Topper - ca:1950, mint & sgnd! Belsnickel style covered in red mica w beard & sprig. Excellent $395 23) Totally Adorable 17” Gaultier Bebe - perfect satin bisque,huge bl PWs, French jtd. body & HH wig. All mint ‘jeune fille’. $1350

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

(212) 787-7279

P.O. Box 1410 NY, NY 10023

matrixbymail@gmail.com

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24) Rare 6” Heubach ‘Wolf’ - sgnd.

Bisque Head, orig. dress, mld. shoes Riding Hood -Grandma- & the Wolf! $750

25) See #17 for this extremely rare doll house, sturdy 2-floor cabinet house!

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26) Heubach 17” Pouty w Glass Eyes - all original ‘6970’ German kinder w clo.mo & fully jtd. Sgnd. Body, in her Original Black Forest ensemble. $2495. 8” Corn Husk Doll - $89

28) Extravagant Pair of 17” Kammer & Reinhardt Twins! Original Heirlooms from hip length Matching Factory Wigs w Bows and Dresses to color Matched Leather Shoes. 6-layers of lace finery! Private collection Estate Dolls preserved for more than 100 years. $2495

27) 17” Kathe Kruse Doll 1 - All Original in ‘backdoor’ felt romper, leggings & shoes with Signed Feet, separate thumb & beautiful paint in excel. condition! $2400

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29) Schoneau Hoffmeister 18” Mulatto Child- quality, mint bisque and original body w/ sleep eyes and fussy Period Dress. $650; Very lovely 13” Brown French Bisque -with Glass eyes and such pretty coloring & clothes. $450

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30) 8.5” Mint Horsman ‘Tynie Baby’ - legendary All Bisque, tiny coy features & sparkling blue sl. eyes in her Factory Chemise. $1350; Supersize 16” ‘Ellar’ Asian Baby - fully sgnd, original Ellar Body, Factory Kimono & sl. eyes, ivory sheen bisque. $850

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Paper Doll Stories by Samy Odin

BRIDGES B

ridges, this is what this column is about. Bridges between three- and two-dimensional dolls, bridges that our community can cross in order to better understand the creative process of doll making, bridges that get us from dolly land to arts, history, geography… In one phrase: the consideration of paper dolls as cultural evidence.

For this first column, I thought it would make sense to evoke the paper dolls that explicitly represent threedimensional dolls.

While 3-dimensional (3D) dolls started being made in the very far past, during early civilizations such as the Egyptians or the Mesopotamians, paper dolls are documented only after Gutenberg invented the printing techniques, in Germany, around 1440. Did humans hand draw and distribute paper dolls before the XV century?

There is no evidence of that to this day.

Even though paper dolls first developed as an adult entertainment, destined to a grown-up audience well versed in fashion, it is very likely that they acquired a didactic role to educate children and entertain adults since the 17th century. Among the oldest documented, the portion of a paper doll sheet representing a lady surrounded by a rich set of apparel, including garments and accessories, was possibly printed in Augsburg or Nürnberg around 1680 and is presently in the collections of the Germanishes Nationalmuseum in Nürnberg (note 1). This plaything clearly shows that the focus of this print is fashion related, with no reference to children and their playthings.

A couple of centuries later, it became more frequent to print paper dolls representing an adult figure holding a doll, like this French fashion lady from the early 1850s, which holds a doll in the shape of a grown-up figure, which underlines the play dimension of this artifact (photo 1).

In fact, since the beginning of the 19th century, mentalities had evolved and early commercial paper dolls, such as “Little Fanny,” by British printer Fuller, dated 1810, represented a child holding a doll (note 2).

This unusual version of Fanny, which also dates from the 18-teens, includes a garment where the little girl is holding her 3D doll (photo 2).

The Romantic era brought a larger variety of boxed sets of paper dolls often representing children playing with their doll, such as “The Little Girl’s Doll,” printed in Germany by

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3 G. W. F. and meant to be exported to foreign countries, as the box clearly shows, for it bears inscriptions in German, English, French, and Italian (photo 3). This doll stands 7 inches (18 cm) and shows off eight costumes with matching headwear. It is interesting to note that the very same design in a smaller format was used, possibly by the same printer, for another boxed set known as “The American Lady and her children,” which included a lady doll, a boy and a girl, printed in a lesser quality standard and also including the very same costume showing a 3D doll (photo 4).

Towards the end of the 19th century, the British editor Raphael Tuck published a myriad of paper dolls, including several which feature 3D dolls. “Maid Marjorie” is among the rarest (photo 5). It stands 13 inches (33 cm), has four costumes with matching hats, including one where she holds her dolly and is contained in the original cardboard envelope, showing how Tuck was active worldwide: London-Paris-Berlin-New York and Montreal.

In America, the variety of paper dolls showing off 3D dolls is impressive. Even advertising paper dolls, such as those distributed

by J&P COATS during the last decade of the 19th century represented children sometimes holding a doll or other puppets (photo 6). This process developed to the extent where paper dolls became an ideal advertising medium for solid dolls. Ladies Home Journal, for example, published in July 1909 a paper doll sheet, within Sheila Young’s Lettie Lane series, representing an almost photographic portrait of Daisy, the 3D bisque headed doll produced by Kestner (photo 7). During the following decades, companies such as Käthe Kruse, Lenci or later Mattel understood the advertising power of paper dolls and published their own to support the sales of their threedimensional dolls (photo 8).

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Paper dolls, following a reverse process, even inspired the creation of 3D dolls, like Dolly Dingle, whose threedimensional derived products are countless; note that in this sheet published in Pictorial Review in September 1932, Dolly Dingle visits Switzerland but the cloth doll represented is Bécassine from Brittany! (Photo 9). Grace Drayton must have gotten her traditional European costumes slightly mixed up.

Finally, many paper doll artists, around the world, got inspired by real dolls to create unique artifacts, such as Helen Page, who was masterful in drawing children at play (photo 10).

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Let’s finish this paper with a “mise-en-abyme” story.

The legendary Dorothy Coleman had a play-doll, as a child, named Goldie (photo 11). The doll was dressed to mirror little Dorothy’s wardrobe. Well, to complete this mirroring process, a paper doll was hand drawn by Dorothy herself to represent Goldie and her toilettes (photo 12).

Note 1: see Traumwelt der Puppen, Hirmer, page 217.

Note 2: see the complete set of “Little Fanny” in the permanent collections at Robert C. Williams Museum of Paper-making in Atlanta.

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Anne Demuth

Buying & Selling Fine Antique Dolls

New Location: 5134 Hwy NC 33 W, Tarboro, NC 27886

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9/6/2024 8:02:33 PM

United Federation of Doll Clubs’ Sales Room “No Place Like Home” UFDC’s 75th Annual Convention Kansas City, Missouri, July 23-27, 2024

Over 70 dealers participated in UFDC’s 75th convention to make this year’s sales room one of the best.

Beginning with the Grand Opening on Tuesday evening through the Last Chance on Saturday, attendees delighted in the variety of antique, vintage, and modern dolls, dollhouses, accessories and related items that filled the room.

Congratulations and appreciation to the Sales Room Chair, Gail Lemmon, and to all of the dealers.

Valerie Fogel – Beautiful Bébés Antique Dolls

Nancy McCray

Randy and Marion Maus-Greer

Mary Ann Spinelli

Karla Moreland

Chair of the Sales Room Gail Lemmon (second from left) stands with (L-R) Valerie Fogel, John Paul Port, Billye Harris, and Fritzi Bartelmay Martinez. (Photo taken by Janet Snyder)

Kathy Bass - Kathy’s Antiques

Billye Harris – Ashley’s Dolls

Jackie Everett

Samy Odin – Galerie Samy Odin

Sondra Krueger Antiques Rosemary Kanizer’s Dolls 16

Brian Mogren – Rediscoveries Vintage

ANTIQUE DOLL COLLECTOR

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Alan Scott Pate – Antique Japanese Dolls

Jackie Allington Antique Dolls

OCTOBER 2024

9/13/24 1:25 PM

Fritzi Bartelmay-Martinez – Fritzi’s Antique Dolls

Glen Rollins – Cat’s Cradle

Elizabeth Christensen – Liz’s Doll House

John Paul Port – The Port Collection

Ron and Robyn Martin - Straw Bear Antiques

Joan Farrell – Joan & Amy Antique Dolls

Anne Pruett-Phillips

Diane Drake - Diane’s Doll Shoppe

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9/13/24 1:25 PM

The French Mystique

By Linda Edward

Jumeau’s first-series Portrait model features almond shaped eye cuts and wrap-around paperweight style eyes. This example is marked with a 3 indicating its 52-centimeter (20 ½-inch) size. All photos in this article are courtesy of Ladenburger Spielzeugauktion GmbH.

T

he world of doll collecting over the past 125 years has seen many types of dolls rise, fall, and rise again in popularity among collectors but from the 1940s on, regardless of the trends in collecting the French dolls of the mid-to-late 19th century have always held their appeal. Perhaps the most important and widely sought after dolls being those produced by Jumeau.

The firm’s roots lie in the business established in 1841 when Pierre François Jumeau and his wife Adèle Amélie Aumoitte Jumeau entered into a partnership with Monsieur and Madame Louis Désiré Belton. Belton and Jumeau purchased a factory that produced novelties and dolls. Though short-lived, the partnership dissolving in 1845, this first endeavor led Pierre Jumeau to moving on to open his own doll making business. From the beginning of his new enterprise Jumeau was driven to achieve both technical and aesthetic perfection. This can clearly be seen in the progression of recognition his company found in the many trade expositions in which they participated. In 1849 their product line received a Bronze Medal at the Paris Exposition of Industry. In 1855 they received a Second Place Medal at the Exposition Universelle where reports of the event described their dolls as exhibiting “elegance and good taste.” The 1867 Exposition Universelle saw the firm take home the Silver Medal.

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The Portrait Jumeau dolls featured a straight-wristed molded composition body jointed with separate balls at the shoulders, elbows, hips and knees leading the collector’s term “eight-ball body.”

The Portrait model was made of pressed bisque and had the deep, slanted head cut and cork pate featured on fine French dolls.

Jumeau portrait dolls had either mohair wigs or skin wigs such as the one seen on the is size 6 38-centeimeter (15-inch) example.

Although the company began by making poupées (fashionable lady style) with papier-mâché heads, then moving to purchasing porcelain heads from Françios Gaultier, by 1873 Jumeau was operating his own porcelain factory.

That same year, at the Vienna World’s Fair the press stated, “An energetic and intelligent manufacturer, Jumeau of Paris, owner of the largest and leading doll firm, has freed France of the necessity of going abroad for supplies of porcelain heads.”

In 1874 Pierre’s son Émile-Louis Jumeau took over the management of the company. This was the same year that Émile wed Ernestine Stéphaine Ducruix. Upon their marriage Ernestine was placed in charge of the management of the costuming department for all Jumeau dolls.

Under Émile’s direction the company would continue to grow, developing departments for making eyes, bodies, wigs, and everything else to make a completed doll within their own factory. This consolidation of processes under one firm was a new concept in the French doll trade which had long relied on specialty companies supplying small doll manufacturers with the various components needed. In taking control of all aspects of his product’s manufacture Jumeau was able to fully realize his ideals of quality and beauty. By 1877 ANTIQUE DOLL COLLECTOR

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Under the direction of Madame Jumeau, the company would become known for its artistic and beautifully executed costume designs.

This size 5 (63-centimeter, 24-inch) First-Series Portrait Jumeau exemplifies the high standard of the Jumeau company which led to the company being awarded the Gold Medal at the 1878 Paris Exposition Universelle. A doll that would thrill the heart of any collector today. This doll will be among the offerings of the many fine dolls to be included in the upcoming Ladenburger Spielzeugauktion GmbH auction on October 11 & 12, 2024.

the company was developing a Bébé (child) style of doll.

At the 1878 Exposition Universelle Jumeau received the Gold Medal for his exhibit. The company had new head sculpts created for its dolls including the model known today as the “Triste or “Long-faced” Jumeau which was sculpted by the world-renowned sculptor Albert Ernest Carrier Belleuse. This was the beginning of what many consider to be the “Golden Age” of French doll making. Standing at the forefront of the dolls of this era is the model known to collectors today as the “Portrait Jumeau.” The first Series Portrait Jumeau with its distinctive and entrancing almond-cut eye sockets and finely crafted wrap-around style of glass “paper-weight” eyes exemplified the pinnacle of idealized childhood beauty and innocence of the period. All of which was perfectly enhanced with the exquisite costuming provided under Ernestine Jumeau’s direction. The Jumeau firm had by this point perfected the artistic multistep painting process which led to delicate, fired-on facial features.

The dolls had closed mouths, pierced ears, and came on straight-wristed composition bodies with separate balls at joints. Their pressed bisque heads were marked with size numbers only. They came with beautifully made, well proportioned mohair wigs or with softly curled skin wigs.

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The Jumeau company name became synonymous with quality and beauty as its owner continued to bring out new models along with technical improvements to his doll making process. By the end of the nineteenth century lower-priced German dolls began to impact the French doll making industry and, in an attempt to preserve that industry Jumeau joined with other French companies by selling his business, patents, client list, and brand name to the newly formed Société Francaise de Fabrication de Bébés & Jouets (SFBJ). In 1909 SFBJ also took ownership of the Jumeau factories. Into the new century, despite changes in fashion and the marketplace the name of Jumeau still carried such cache that it continued to be used on lines of bisque and even composition dolls manufactured in the 1940s and early 1950s.

In 1892, Author Pierre du Maroussem in writing a book about the toy industry commented on his experience of viewing the Jumeau showcase saying, “The moment the visitor enters this showcase, he is made aware of the company’s conscientious striving for beauty for its own sake, this undisputed hallmark of the Jumeau firm.” Doll collectors of the 20th and 21st centuries agree with that appraisal as we continue to be moved by the mystique of the Jumeau doll.

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World Doll Day Shows

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Kokeshi - The Ultimate Souvenir

By Susan Foreman

hen I’m asked what kind of dolls I collect, my reply is “eclectic.” I love my French Bébés. My German character dolls bring me great joy. My early American cloth dolls remind me of my own family history. Madame Alexander dolls take me back to my childhood. And then there are my Japanese ningyo. Regardless of the genre, dolls have taught me so much about the time period and the culture for which they were made.

However, I must admit that when it comes to Japanese ningyo I had never given much thought to kokeshi.

That is until I visited Usaburo Kokeshi, one of the most important and by far the largest producer of kokeshi dolls in Japan. My entire thoughts about kokeshi have since changed. While I initially thought “they all look the same,” I now realize each is a unique work of art.

Kokeshi have always been considered a “souvenir.”

However, their history as souvenirs dates back over two hundred years. The first recorded kokeshi were produced in the early 1800s in the Tohoku hot springs (onsen) resort area of the Miyagi Prefecture in northern Japan and sold to visitors of the onsen as souvenirs foretelling good health and fortune. The creation of these lathe turned, hand painted wooden dolls began as a sideline for craftsman of wooden bowls, cups, and other household items. Some reports say they were initially made as toys for children then became souvenir items while other stories state they were souvenirs first and when brought back home the children began to play with them as toys.

Up until 1940 these charming creations were known by many different names depending on the region in which they were made. In 1940 The Tokyo Kokeshi Collectors’ Club consolidated the various names into one term—“Kokeshi.” Today there are two basic types of kokeshi—the traditional (dento) made by a single artisan and the modern or creative (kindai) type that began to flourish after World War II. This latter type can be made either in a factory environment or by an individual artisan. Usaburo Kokeshi which was responsible for opening my eyes to the world of kokeshi has developed what I would call a factory/artisan approach. Although Usaburo uses an assembly line format, individual handwork is still required. Whereas most of Usaburo’s kokeshi are indeed factory produced they still offer exceptional works of art made by individual artists.

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A Kokeshi Stamp issued in 1955 commemorating the 1956 Lunar New Year.

The traditional kokeshi are made by one artisan. In early kokeshi history, in addition to the actual lathe work, sanding, carving and painting, the artist cut down the tree and dried the wood from which his kokeshi would ultimately be made. Although today some traditional makers, following in the footsteps of their ancestors of some 200 years earlier, may still perform all facets of kokeshi creation, most rely on others to cut down the tree and dry the wood. As with other forms of ningyo, creating kokeshi is a master’s art having been learned through apprenticeship. Often the apprentice is the offspring of the master and begins learning the art while still a child. Crafting iron tools is one of the first tasks assigned a kokeshi apprentice. While the basic skills are learned, over time the apprentice will develop a personal style, reaffirming why no two kokeshi look the same.

Although a few apprenticed artisans have moved elsewhere in Japan, the traditional kokeshi are still made in the Tohoku area. An outstanding book entitled Japanese Kokeshi Dolls (Tuttle Publishing, 2021) by Manami Okazaki sums up so well what is required to become

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a master kokeshi artist, “To be a traditional kokeshi kojin (artisan), they must have the approval of their teacher and they need to adhere to that style. While there are playful elements to their work, Naruko artisans for example will never make Tsuchiyu style kokeshi. To qualify as a traditional artisan, whether a member of a family dynasty or an apprentice from outside the family, requires years of training.”

Traditional kokeshi are classified into twelve basic regional styles. The types include: Togatta (the oldest), Tsuchiyu, Naruko, Nanbu, Tsugaru, Yamagata, Sakunami, Yajiro, Kijiyama, Zao, Hijiori and the recent addition Nakanosawa. Each of these types have their own distinguishing characteristics, specifically body shape, facial features (not all eyes or noses are the same), the paint colors and themes.

This Togatta style kokeshi bears the kanji signature which confirms that the artist, Sakuta Eiichi (1929–1997), was 46 years old in 1975 when he made this kokeshi—the same year that it was gifted to me.

My first traditional kokeshi was a gift in 1975 from the then president of Citizen Watch Company in Tokyo. It has taken me fifty years to finally appreciate the importance of this gift. This artist-signed kokeshi is of the Togatta type. Note the body and head shape, the red radial lines on the head, the “split” nose style, the slightly arched double lidded eyes, and the chrysanthemum inspired painting on the body.

Another traditional kokeshi that found its way into my home is of the Yajiro type based on the facial details—her sweet smile, body shape and painting. Yajiro is a small farming village that began making kokeshi during the winter months when unable to farm, selling their dolls to the nearby Kamasaki onsen. While initially a secondary occupation, by the mid-20th century many farmers had turned to Kokeshi making full time.

This Yajiro type kokeshi is signed by the artist Ogura Atsushi (1922–1968) who studied under the master Ogura Kasaburo.

Regardless of where and by whom the kokeshi is made it is believed that the spirit of the artist resonates in each doll, as does the spirit of the tree from whence it is made. The artist takes great care in selecting just the right tree to begin the process. The tree must then be cut during the winter when it has less sap and left outdoors for one to five years to dry and season properly before it can be shaped and carved. This no doubt accounts for the reason many people feel that the spirit of the tree is also apparent in the completed kokeshi.

Like the traditional (dento) kokeshi, the variety of modern (kindai) kokeshi is vast. The husband-and-wife team of Lisa and Jacob Hodson of Ithaca, New York are the perfect example of the modern kokeshi that continues to convey the spirit of the artist and the spirit of the tree from which the doll is created. Jacob has been a wood turner and carver for many years and is inspired by the natural beauty of wood while Lisa is a JapaneseAmerican artist and as a child was always enamored by her mother’s extensive kokeshi collection.

These kindai kokeshi from my collection well illustrate the spirit of their makers Lisa and Jacob Hodson.

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To continue the story of the modern kokeshi I must return to Gunma Prefecture and the Usaburo Kokeshi establishment. The company’s founder, Usaburo Okamoto was born in 1917 and began making kokeshi dolls in 1950. Although he began making the traditional Usaburo Okamoto, 1917–2009. style, soon he developed a technique of carving and painting that created a threedimensional effect to the painted details. To confirm the respect with which Mr. Okamoto was regarded, Emperor Showa purchased one of his masterpieces. In 1979 he established a mass-production system, combining handwork and machines that enables the company to

now produce some 15,000 kokeshi a month compared to a Tohoku maker that might create a dozen kokeshi a day.

It was this production system that I witnessed first-hand.

Usaburo Okamoto remained active in the business until his death in 2009 at the age of 91. The company is now run by the second and third generation.

The photos taken during my Usaburo tour help demonstrate the efficiency within the factory. Custom made machines operated by trained, specialized workers allow for rapid cutting of the woodblocks, crafting of the desired shapes, and polishing of the wood. The one thing, however, that the photos do not convey is the wonderful scent of the cut wood. The painting is done by as many as a dozen artists. And once all the pieces are painted another specialist then assembles the completed pieces resulting in a kokeshi ready for sale. It is amazing to think that just thirty workers, using ten streamlined processes, are able to turn out thousands of kokeshi each month.

And to think that this wood would soon be a kokeshi.

Sawing, Planning, Polishing, Painting (Yoshi Okamoto, painter).

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And finally…. assembling.

Two examples of Usaburo Kokeshi which I purchased illustrate well just how “modern” kokeshi have become. I am sure the traditional makers never dreamed there would be a Mickey Mouse or a Samurai kokeshi. These mass produced Usaburo kokeshi are found throughout Japan.

the age of 22 as an apprentice to his father and is now the general manager of Usaburo. He has received numerous awards and in 2013 was commended as a meritorious person in Gunma prefecture, leading the creative kokeshi industry in the area. My Yuji Okamoto kokeshi has beautifully carved hair, exceptional painting (note the Ichimatsu patterned obi) that does not detract from the beauty of the wood. This Kokeshi definitely conveys the spirit of the artist and the spirit of the tree from whence it was made.

The third Usaburo Kokeshi I added to my collection is a one-of-a-kind work of art, made entirely by a single artist, Yuji Okamoto (Usaburo II), the eldest son of the founder. Yuji Okamoto began crafting kokeshi in 1970 at

ABOVE and RIGHT: Kokeshi artist Yuji Okamoto and maker of oneof-a-kind work of art pictured.

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The importance of kokeshi is further confirmed upon a visit to the small “Kokeshi Temple” in Fukushima.

The temple was originally dedicated to the deity Yakushi-Nyorai, often called a healer, and located where the first hot spring waters of Tsuchiyu Onsen were discovered. After it was damaged in a flood, the temple was rebuilt in 1974 enshrining a lone Tsuchiyu kokeshi doll and the image of the Yakushi-Nyorai deity, Prince Koretaka, who was known as the “Father of Woodcraft” and the inspiration for Tsuchiyu Onsen’s kokeshi doll making.

And imagine my surprise during my 2023 visit to Kyoto to come upon a nearly 40-foot long Kokeshi lying on its side in front of the Higashi Honganji Temple. Made of cloth by Yotta in 2011 it has been featured throughout Japan and was in Kyoto promoting “Artists Fair Kyoto 2023.”

ABOVE and BELOW: This giant cloth kokeshi talks occasionally, saying such phrases as “spring is just around the corner,”; “it’s Instagram worthy,”; and “I am getting sleepy.” Kokeshi have definitely come a long way.

Kokeshi greets visitors at the start of trail to the Temple.

Public displays of kokeshi include four exceptionally large Kokeshi found flanking the bridge over the Matsu River which flows through Togatta Onsen, the area where, according to history, the first kokeshi were made.

These giant Kokeshi, created in 1971, welcome visitors to this hot springs area. The bridge also leads visitors to the Miyagi Zao Kokeshi Museum which has over 5,500 Kokeshi on display.

For those interested in learning more about Kokeshi I highly recommend the excellent book by Manami Okazaki which I quoted previously. Visiting Usaburo Kokeshi and reading Manami Okazaki’s book has definitely piqued my interest and confirmed how much more there is to learn about the amazing world of kokeshi. 

 Note: Additional photos of the variety of Kokeshi, from the traditional Dento found in a Kanazawa Doll Museum and Yokoyama Antiques to the creative Kindai type found at Usaburo on the following page.

Kokeshi Bridge.

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Kokeshi display at Kanazawa Doll Museum.

Antique traditional (Dento) kokeshi at Yokoyama Antiques, Kyoto (above).

LEFT and RIGHT: Artist (Kindai) Creative kokeshi in Usaburo Museum.

This just over 3-inch tall kokeshi has a loosely fitted head to allow movement.

Considered a Kindai type it was made for the Katayamazu Onsen in Kaga-shi.

Sayonara from Usaburo Kokeshi. Vickie Hannig (left) and me…two very creative kokeshi dolls. (Vickie and I can never resist the StandIns for the perfect photo-op.)

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Founding Fathers

of Doll Collecting and Doll Studies

By Elizabeth Ann Coleman

Arthur Maury (1844-1907) Source: Internet

Reprinted and captioned page (late-19th century—early 20th century) from the early 19th century toy catalogue owned by Arthur Maury. Note Napoleon Bonepart’s only son (center) was not made the duc de Reichstadt, an Austro-Hungarian title, until shortly before his death in 1832 at the age of 21.

The title reflects his mother’s heritage as a Hapsburg princess. Coleman ephemera coll

T

oday the world thinks the collecting of dolls is primarily undertaken by females. But in the beginning in the 19th century the primary recorded collectors were men; European men who still espoused a bend towards the cabinet-of-curiosities approach to collecting. They included historical dolls, and related human figures, in their widely diverse collections. Women did not, to any extent, enter the fray to any degree until the 1890s and then it was with dolls as teaching aids—dolls in regional attire or dolls with often presumed, but unproven, ties to the past.

So, let’s meet, as best we can from limited available information in more or less chronological order, some of the recorded founding fathers of doll collecting and the promoters of doll study in print. As might be expected, being a collector did not preclude publication by the gentlemen. While children’s literature goes back several centuries and imagery of children with dolls goes back to classical times adults writing about dolls for adults is a mid-19th century development. The first name on the list has been a bit of a puzzle. It is Maury which has been associated by more recent doll collectors with not a collector but a French distributor’s catalogue roughly dated to about 1815 because it contains a doll dressed in the likeness of Napoleon Bonepart’s only 28

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One of four dolls advertised in The Connoisseur as purchased from the Authur Maury collection and sold by doll collector Mrs. F. Neville Jackson in 1923. Coleman ephemera coll

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son, born 1811.[1] More recent revelations indicate that indeed there was a major Maury collection containing ephemera, particularly postage stamps. We now know the collector’s given name, Arthur. The famous Maury catalog was in his collection and he had no business connections with its contents, rather his money was made on his beloved postage stamps. Maury’s wide-ranging, well-respected collection was known to esteemed contemporary collectors[2] and included French wax females which may have been more of a religious orientation than play items.[3] As might be expected there is one prominent name binding collectors and others with an interest in dolls. It is Henri René d’Allemagne, known for not only his writings but his collection. These gentlemen collectors were mostly what were called at the time dilatants, that is they were educated, sophisticated and not lacking in the where-with-all to indulge in their collecting habits. They also did not discriminate between play dolls and figures with religious and other associations and their collections extended far beyond just dolls and other human figures. A review of d’Allemagne’s book on toys, Histoire des Jouets, reveals most of the illustrated “doll” examples were in the collections of now forgotten men who were very generous in what they considered a doll to be, even embracing an adaptation of a put-together Renaissance life size child.[4] Later research behind this bit of fakery is a real case of who-done-it. D’Allemagne in his time seems to be in the forefront of bringing dolls to the attention of fellow Frenchmen. In 1900 he is the one who not only organizes a museum-like display at the Exposition universelle internationale de 1900, held in Paris, with class 100 but also writes about it, and after the St. Louis International Exhibition of 1904 he has published in 1908 a review of not only the fair but an abbreviated history of toys.[5] His works are notable not only for the rich resources of historic images, but observations on

1979 Christmas card from noted American collector Estelle Winthrop featuring her d’Allemagne collection doll which is pictured in Max von Boehn, Dolls and Puppets plus others.

Coleman ephemera coll

Henri René d’Allemagne (1863 -1950), French historian, librarian, author and collector Source: Wikidata

Title page of d’Allemagne’s landmark, first book including the history of dolls, 1902, Coleman coll

Engraving after Chardin’s Inclination de l’Age, featuring a daughter of Mon Mohan with her 1740s Carmelite nun doll. Ex d’Allemagne coll. Coleman ephemera coll.

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Sixteenth century lady of “quality” wearing a farthingale from the d’Allemagne collection.

Coleman ephemera coll

Detail of d’Allemagne collection from his book Les Jouets á la World’s Fair, 1904. privately printed, Paris 1908. Coleman coll

within memory production, and his connections with other willing-to-share collectors.

We get an idea of the breadth of what these men considered their doll collection to be from photographs of their collections and the pieces attributed to their ownership. We know that most of the French men knew each other. Often they shared interests in other collecting areas: Henri D’Allemagne and Jacques Doucet (1853-1929) each had an interest in historic costume, d’Allemagne as a collector, and Doucet from a business perspective as both one of the top French couturiers of a period when French fashion was at its zenith and as an internationally recognized collector with a superior eye for man’s creativity on a global range. Although we know of Doucet’s interest in dolls what exactly he collected remains unknown but he has left dolls of his own creation for others to collect. Some became part of his couture empire; others promoting French creativity through exhibition pieces. His primary interest, as far as his House was concerned, seems to have been in designing and dressing dolls in historic costume. The first known reference comes in conjunction with the international exhibition held in Amsterdam in 1895 and runs through at least 1917 when the Toledo Museum of Art buys from a Boston charity for $30,000 a selection of twofoot-tall dolls dressed in French costumes from the sixth century to the then present. These dolls were supplemented by ones dressed in Doucet’s fashions for 1910 which would have been displayed in the salons of his House.

A less impactful, early collector is Georges Seville Seligman[6] of Paris. Little is known of him except that he carried a wellknown family name in the early 20th century art and collecting worlds. His refined doll collection was acquired by Mrs. Max (Alice) Schott, of Santa Barbara, California around World War II for her then private doll museum and his collection, as accessed by her, was “one of the finest ever assembled.”[7] A sense of his early treasures can be traced through both articles and books

Jacques Doucet, (1853-1929) French couturier and collector.

Source: Internet

Doll dressed in Servant Costume of Louis XVI Period by the House of Doucet for the Amsterdam Exposition, 1895. Coleman ephemera coll.

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From contemporary descriptions it is hard to tell if Doucet both created the doll and dressed it, or only dressed it as part of a historical series in ca. 1915-16. The doll represents the Empress Eugenie as part of the series purchased by the Toledo Museum in 1917. Photograph from book Dolls by Esther Singleton

Wire and wax figure, one of eighty, dressed for sale in the House of Doucet salon for the 1910 season. The ensemble features a matching broad brimmed and silk faille hat and coat with ruby trim and a navy taffeta dress and matching wraparound slip, and sand suede high laced boots. The base carries a hand inscribed red sticker reading: Doucet. Coleman coll.

that predate World War II. And it will come as no surprise that Seligman also dabbled in collecting historic costumes.

Hailed in his time (ca, 1860 -1927) as THE legendary collector of primarily European arts and crafts of all ages (16th-17th centuries), uses and materials Albert Figdor (18461927), an heir to a vast fortune built on railroads and textiles, was initially a very young collector who did not exclude dolls from what was proclaimed to be the world’s largest private collection ever accumulated. His collection, inherited by family members was so vast, that as recently as June 2024 several hundred more Renaissance items were auctioned.

And like the other men of his generation his interest focused more on the early figures than play dolls if we are to judge by the few images that have made it into publication. His collecting contemporary, no slouch himself, Henri d’Allemagne salutes Figdor not just with words but with an early and expensive color photograph in his book on Toys (1908). Sadly like a similar specimen in d’Allemagne’s own collection this specimen seems to have dropped from sight probably because it has been revealed to be a fake.

Our final, and latest collector in this group is Manuel Rocamora Vidal (1892-1976). He was a Spaniard, operating in the cabinet-of-curio mode of collecting—studying collections of man’s creative endeavors. Like d’Allemagne and Doucet he collected historic costumes which he eventually gave to a costume museum in his hometown of Barcelona. Recognizing that the apparel of dolls frequently represented costume and fashion in miniature he embraced the collection of these artifacts, as well as related automata. The latter remain on

18th century carved European wooden doll or religious figure dressed in silks and metallic trims from the Seligman collection.

Coleman coll

18th century carved wooden gentleman from the Seligman collection as pictured in Singleton, Dolls, plate 38.

Georges Seligman doll pictured in Singleton, Dolls, plate 8.

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Albert Figdor (1846-1927) was an avid generalist art and decorative art collector. Source: Internet

Figdor amassed one of the largest private collections ever assembled and his holdings included dolls. Source: Internet Manuel Rocamora Vidal, (1893-1976) Source: Internet

view in his home, Casa Rocamora, in Barcelona which he acquired in the 1930s. There was an extensive publication covering this remarkable collection.

Now to the early male authors known for their writings, not their collections. They first appear reviewing mid-19th century international exhibitions. Cyr François-Natalis Rondot[8] (18211900) is one whose remarks on the doll display at the Paris Exposition of 1855 will inform the works of future doll historians.

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This just over 30-inch-tall ill-proportioned wooden figure with a child-like head, and apparently without arms or hands, has been vaguely dressed as an adult female from the neck down. Presented as a toy for a nursery it is attired in lavishly embroidered fabric which on close examination indicates that it may not have been a toy—the back of the skirt is of a plain fabric—but probably at best a church figure and at least a totally made-up entity. Figdor collection, d’Allemagne, Histoire des Jouets, opposite p. 100 and p. 102.

The collection of mechanical dolls remains at the Foundation Rocamora in Barcelona, Spain. Like other early collectors Rocomora was drawn to often overlooked artifacts.

Dolls complimented his internationally renowned costume collection and he gave both collections to another local organization prior to 1935 when he moved to his new home in the Foundation setting.

Today the costume related holdings are part of Barcelona’s Design Museum.

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Cyr François-Natalis Rondot (1821-1900) historian and author on the topic of dolls at international exhibitions, including Paris 1855. Source: Wikidata.

Louis Édouard Fournier, (1857-1917), early French author treating the subject of dolls. Source: Wikimedia Commons

Paper cover of Fournier book illustrated by the author, 1888. Coleman coll.

Drawing of Jumeau Bébés dressed as ladies as seen by Clarite at the Jumeau factory, 1892 or early 1893.

Léo Claretie (1862-1924) author on a variety of topics including toy production. Source: Wikidata

This tradition of having a male evaluate the latest in doll making would continue for decades to come.

Rondot appears to have been followed in this tradition

by Louis Édouard Fournier, (1857-1917), a respected French artist and illustrator, even creating the 1888 jacket image for his 1889 book on children’s toys. This book, perhaps the first volume in any language discussing dolls, was published under the name Edouard Fournier, and titled Histoire des Jouets et des Jeux d’Enfants (History of Toys and Games of Childhood). He reviews not only the role of dolls—”the child of a child”—but their history and their current production.

G. (Granville) Stanley Hall, (1844-1924), ground-breaking American psychologist.

Springfield College Archives.

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Fournier’s work is followed in 1893 by Leo Clarité’s volume, Les Jouet – HistoireFabrication (Toys: History [and] Production).

With this publication the gates opened for collecting and studying dolls.

The outlier in this group was a well-respected American educator G. (Granville) Stanley Hall (1844-1924), an early psychologist whose publication, co-authored with a Clark University graduate student, A. (Alexander) Caswell Ellis, carries a basic but intriguing title: A Study of Dolls. Published in 1897 it is not about dolls themselves, but rather their role in childhood development. The Hall publication was such a landmark that even to this day its contents are still widely referenced.

Earlier in this article reference was made to the fact that three of the French men—d’Allemagne, Doucet, and Seligman—shared an interest in historic costume and interestingly two of their names have, over the years, come up in association with the enigmatic so called “French Court” dolls which are often credited as being of 18th century origin.

When I began to do research on this article I was unaware I was missing an important name in the pantheon. The late respected doll dealer Richard Wright first made public the connection with these dolls and d’Allemagne in an Antiques Road Show program in 2001. Wright relates that there was an early (1930s) New York doll dealer and collector by the name of Izole M. Dorgan who had acquired seven of these dolls which she believed were associated with the court of Marie Antionette.[9] There was in Wright’s opinion, just a small problem, or to be exact more, with the dating. Construction techniques were at serious variance with verifiable 18th century examples even including hardware unknown at that time, most particularly the metal staples which look like a miniaturized croquet hoops or wickets. These hooking metal eyes functioned as joints on the dolls and materials associated with the dolls and their apparel did not match existing period apparel survivors nor did the dolls match the aesthetics of the earlier period. More recently the author of this article had queried French doll historian and dealer Samy Odin for his thoughts on the origin of these dolls and he suggested Jacques Doucet who as we have seen is associated with creating a variety of dolls.

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Dolls associated with J. Singher and illustrated in the Bulletin de la Société de l’Histoire du Costume, April-July 1909. The man in the middle matches the description of the carving and clothes of the Winthrop man and the seated figure is related in his carving to the shorter Winthrop man.

Xeroxes Coleman ephemera coll

Both Wright and Odin, a generation younger, agreed the lifelike sexual details featured on these dolls were created for adult amusement, most probably in the early 20th century, even perhaps as early as the late 19th century.

This author, who has examined a number of these dolls has always had trouble swallowing an 18th century origin for both the dolls and their apparel and much preferred to think that these dolls were enhanced stand-ins for some of the actual 18th century dolls collected and written about by the coterie of French collectors and authors.

While reviewing contemporary sources for this article what should turn up but an article on the first exhibition of historic French costume held at the Musée des Arts Décoratifs, Paris in 1909.[10] It is illustrated with three of the “court” dolls, a man, a “woman” and a smaller version man who just happens to look quite childish in his seated position. They are described, in rather uncomplimentary terms, among the contemporary doll offerings at the exhibition: “The dolls of M. Singher with their comical faces and carved with a billhook[11] also show the extent to which attention was paid to certain

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details. As for their costumes, they are fanciful.”

While the text of the article references a “M.” Singher we Americans must remember that the M does not stand in for a given name but references his title of Monsieur or Mister. The name Singher is far more interesting and while the picture captions credit a J. Singher who presently seems untraceable there apparently, according to Samy Odin, was an important, but rather decadent, collector in this early 20th century period, Adolph Singher of Le Mans, who could well have been associated with the production of these dolls. While we may never know the full story behind these dolls the evidence at present points to a background not dissimilar Three dolls associated with J. Singher in to London’s Victoria and Albert Museum once the collection of Estelle Winthrop. The famous “School for Scandal” dolls.

Hermaphrodite dressed as a lady is 13 ½-inches, While we now have a better idea of the origin the middle man 16 inches and the short man is 10 ½-nches. As pictured in the Richard Bourne of these well-known French “Court” dolls, even auction catalogue of Winthrop’s 1979 sales. down to having the name behind these dolls and Coleman col being able to recognize that it is another man who some might well recognize as the first doll artist in the sense he was presenting dolls for the enjoyment of adults, not children. From this brief glimpse into the to take place, either online or early years of doll collecting and study by a group I at doll club meetings. Once am designating as founding fathers we have gone back again we have the idea for to the headwaters of activities still followed by those participation in doll clubs interested in dolls today. And remember the ladies are landing in the laps of founding yet to come. Their story follows a different path.

French fathers, among them While publications have a certain permanence, being Henri d’Allemagne. He collections are generally ephemeral with components was a member and officer in being passed along to future generations in a the first known doll club located in Paris at the turn of kaleidoscopic manner, usually without provenance in the 20th century. While we do not know the founding the case of dolls. At any moment in time today doll date of the organization—Sociéte des Amateurs de Jouets collectors can try to trace the history of certain dolls et Jeux Anciens—we know by 1905 they are publishing through earlier publications, internet sources or perhaps a magazine and that the officers include President Léo the best source, conversations with other like-minded Clariete and Vice-Presidents Henri d’Allemagne and collectors. And where are those conversations likely Arthur Maury.[12]

[1] In early publications the doll is identified at the Duc de Reichstadt, an Austrian title related to his mother’s homeland, and bestowed shortly before his death in 1832 when he was no longer a young boy still wearing dresses.

[2] D’Allemagne and Mrs. F. Neville Jackson both reference the contemporary Maury collection.

[3] Debenham & Freebody exhibition and sale, The Connoisseur, June 1923.

[4] This will be discussed in an upcoming article.

[5] D’Allemagne, Henri, Les Jouets á la World’s Fair, 1904. privately printed, Paris 1908.

[6] As with many names of non- Anglo-Saxon origin Seligman’s surname is often spelled with two n’s.

[7] Alice Schott would share her dolls at the Charles W. Bowers Memorial Museum, Santa Ana, California annual doll shows. Items also went to the Santa Barbara Museum where much of it would remain until 2015 before being sold by Theriault in Forever Young, January 2016.

[8] Rondot, as was customary for his time, wrote on a wide variety of topics and was considered an authority on many of these topics.

[9] Later another remarkable American collector would also have seven of these dolls in her collection but the dolls seem to have been mutually exclusive.

[10] Bulletin de la Societe de la Histoire du Costume, vol 7-8, April-July, 1909, pp. 175-179.

[11] A bill hook is a curve tool primarily used for pruning.

[12] The well-known actress, Sarah Bernhardt, was among the founders of the organization, Doucet would later become an officer.

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Dear Bécassine!

By Nicki Burley

All the charming Becassines that live at my house.

On the right, SFBJ 60 Bleuette wears the 1908 pattern from La Semaine de Suzette. She is holding a Becassine marotte by Lee Feickert and posing with a small cloth Becassine by Connie Tognoli.

Photo by Nicki Burley

Commercial Becassine dolls: 10-inch modern wood doll, two 8-inch 1950s cloth knit dolls by Reine Dégrais, and a 3-inch modern plastic figurine from the reprinted books. Photo by Nicki Burley 36

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s with so many American fans of Bleuette, I discovered Bécassine as an afterthought. I love to sew, and one day I learned there was a doll with over 1000 patterns. Though convinced I could never own a real antique doll—which seems funny now—I was anxious to at least find a reproduction Bleuette and begin making her fabulous wardrobe. For me, this is the story of “how it all began” with dolls, an ever-widening circle of research and the joy of discovering more dolls along the way. Of course Bécassine was there all along, but it took me awhile to see past the patterns and into her charming face. Once I truly saw her, I was smitten.

But who is Bécassine? In America, she is generally a subsidiary to Bleuette–a figure only known for her connection to the adventurous little doll. In France, however, she has been a beloved comic character in her own right for well over a century. She first appeared in a comic at the back of the very first issue of La Semaine de Suzette on February 2, 1905, where

Close-up view of tiny fève favors that are baked into King’s Cakes on Epiphany. They depict Becassine as a baby, child, and young woman. Photo by Nicki Burley

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An early Becassine comic on the front page of La Semaine de Suzette in December 1906, the second year of publication.

Photo by Nicki Burley

The first story of a new Becassine serial by Caumery, Les Cent Metiers de Bécassine, appeared in a February 1920 magazine issue. Photo by Nicki Burley

When the serial concluded, it was arranged in book form with the same title, using the magazine text and illustrations. Photo by Nicki Burley

Bleuette also received her first dress pattern. Editor in chief Jacqueline Riviére intended the silly tale L’erreur d’ Bécassine (Becassine’s Mistake) to be a space filler, but it was such a hit that more stories appeared frequently through 1913, when it became a regular feature until the magazine ceased publication in 1960. The earliest comics were written by Mme. Riviére herself and illustrated by Emile Pinchon in what became the ligne claire art style, most famously practiced by Hergé. It is easy to see Bécassine’s influence on his Tintin comics.

From 1913, the stories were written by Maurice Languereau, who signed his work “Caumery.” He was a business partner in his uncle’s publishing firm, Gautier-Languereau. To Bleuette collectors, the G-L offices are also famously known for their shop on rue Jacob where girls could buy dolls and the ready-made clothing depicted in beautifully illustrated catalogs. Under Languereau’s direction, Bécassine’s world expanded so that readers could follow her from youth to adulthood. Collections of the stories were published in albums, such as the 1920 magazine serial Les Cent Metiers de Bécassine (Becassine’s 100 Trades) which appeared later that year in a single bound volume. Twenty-five volumes were published between 1913—even during World War I, when her stories were very patriotic—and 1939, the beginning of World War II. The Magazine was closed from 1941-1945, however, when France was under Nazi occupation. Interest in Bècassine was not the same after the war, and only three volumes by a new author and artist were published between 1959 and 1962. Years later, a new generation brought a resurgence in her popularity, and Caumery’s last pre-war volume was finally published in 1992. Unfortunately, the books still seem to be available only in French, forming the most serious limitation for American readers. It is easy to see why Bécassine remains such a beloved character in France. In the earliest stories, she is just a servant girl in a grand house, where her naive Another version of the 1908 pattern, worn by Martha country ways lead her to make ridiculous mistakes. But with Caumery’s Nichols’ 6/0 Bleuette. Photo by Martha Waterman Nichols ANTIQUE DOLL COLLECTOR

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Martha’s Rosette models the 1959 pattern “Bonjour Bécassine” which was published in two sizes. G-L advertised their Rosette dolls as Bleuette’s older sister. Photo by Martha Waterman Nichols

Christine Arbelet’s 251 Bleuette, posing with a basket and vintage pony cart, also looks darling in her version of the 1908 pattern. Photo by Christine Arbelet

help we discover where she comes from and who she really is at heart. Her well-meaning, innocent mistakes are more endearing than laughable, and we sympathize with her.

Many characters in the stories genuinely like her, so of course readers do, too. Bécassine is actually the nickname of a Breton girl from the fictional village Clocher-les-Bécasses near Quimper; it turns out her real name is Annaïck Labornez. Her parents and uncle, the mayor, still live there. As a child, she

The 1918 Bécassine pincushion craft is featured on the back cover of Bleuette: vous invite à voir son trousseau by Christine Arbelet.

Photo by Christine Arbelet 38

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was close friends with a boy named Joel, and not so friendly with her cousin Marie Quilloch. After trying many trades, she eventually ends up working for the marchioness Madame de Grand Air in Paris. She became a nursemaid when the family adopted little Loulotte in 1921, corresponding with the birth of Languereau’s own daughter Claude. Loulotte grew along with Claude, and Bécassine dealt with the changing realities of 20th century France.

A modern French cross stitch alphabet design, stitched by Christine Arbelet.

Photo by Christine Arbelet

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Doll artist Connie Tognoli was inspired to make this unique young Bécassine with a pinecone body after seeing vintage examples in an Andrew Tabbot article and a friend’s collection. This back view of the pinecone doll shows that Connie painted the pinecone green to echo the traditional color of Bécassine’s skirt. Her long legs are clad in the familiar striped stockings. Photo by Connie Tognoli

Bécassine’s image has been equally popular. Toys and dolls were quickly made by several firms, though not always with the permission of Gautier-Languereau. G-L’s offerings were mostly related to Bleuette. Readers could dress their dolls like Bécassine using a sewing pattern published in 1908, and beginning in the Winter of 191617 they could buy ready-made costumes. These costumes included a wool dress with velvet trim, an apron and cap, dark socks, and felt house slippers. In the 1920s, girls could buy either wooden clogs or polished leather pumps for the costume, and the 1933-34 catalog introduced Bécassine’s famous red umbrella with a goose head handle. The fact that Bécassine costumes were sold throughout both World Wars speaks volumes about her importance to little girls in desperate times. A final costume pattern appeared in 1959, sized to fit either Bleuette or Rosette, her taller sister.

Occasionally, Bécassine themed crafts were published, such as a cradle with Marie Quilloch (1913), pincushion doll (1918), and a ring toss game (1939).

After World War II, G-L took greater control over the Bécassine image. Instead of Bleuette costumes, catalogs featured actual Bécassine dolls in two sizes, designed by Reine Dégrais, an acquaintance of Mme. Languereau. The catalog pointedly remarked that they were “patented.” The knit fabric dolls were well made, featuring faces hand painted by Mme.

Connie hid a clever surprise inside this doll: the base is made from an oatmeal box. She is ready for a picnic with her apron full of snacks, umbrella, basket, and a travel blanket. Under her skirt are an ice cream freezer, games, magazine, plates, and drinks. Photo by Connie Tognoli

Dégrais. They were dressed in quality fabrics: wool dress with velvet trim; firm cotton apron, cap and lace-trimmed underwear, checked cotton underskirt, wool felt house slippers; and striped red socks made from red and white wool yarn wrapped around the legs. Sold until the magazine ceased publication in 1960, they were eventually offered in four sizes, along with a basket and two sizes of umbrellas. Créations Reine Dégrais continued making the dolls until 1972, when the design was sold to Minerve.

Today, Bécassine can be found all over the place. She continues to inspire modern doll artists, and Bleuette collectors continue to enjoy sewing the magazine costumes for their reproduction and antique dolls. Her reprinted stories are widely available, and collectors can still find antique volumes in lovely condition. Then there are the innumerable novelties: vintage ribbon woven with her image and name, cross stitch pictures, dolls made as candy boxes, tiny fève figurines for King’s Cake at Epiphany, postcards, magnets, plastic figures, children’s dishes…so many lovely things. The first little piece of Bécassine I bought was a birthday cake magnet, and since then my collection—like my love for this darling girl—just multiplies year after year.

I am thankful to Christine Arbelet, Martha Waterman Nichols, Samy Odin, and Connie Tognoli for their articles, photos, and assistance with all things Bécassine.

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Petite Bécassine

Pattern For A Small Bisque Doll

By Nicki Burley - photos by Nicki Burley

I

so many little girls–and f you are looking for a their mothers–they are quick project this fall, easily found at doll shows begin your Becassine and have often lost their collection by costuming clothes along the way. These a vintage bisque Nancy Ann undressed dolls are quite doll. These sweet children inexpensive. Last year, my were designed in 1936 by doll club dressed several Nancy Ann Abbott, whose as storybook characters first dolls were dressed in for luncheon centerpieces, her California apartment. which made excellent Representing characters auction fundraisers at the from children’s rhymes end of the day. and stories, the dolls Nancy Ann doll bodies soon became enormously came in several styles, popular. By 1939 they were but the 5 ½-inch allmade entirely in California; bisque ones we dressed each face was hand painted Two sweet little Becassines with their umbrellas and a stuffed felt goose. were similar to a Frozen so the dolls have unique Charlotte, with fixed legs and head. Their arms were expressions which collectors admire. jointed at the shoulder. They had black painted slippers By the end of the 1940s, Nancy Ann Storybook Dolls and glued mohair wigs. If your doll is different, check Inc. produced more dolls than any other United States the pattern and measurements for a good fit before company; chances are good that someone in your cutting into your material. family had one…or more. Because they were loved by

Materials 10” x 10” green cotton 8” square red cotton ⅛ yd off-white cotton lawn 3” x 8” red & white striped or checked cotton 8” piece of ¼” wide lace Small pieces of black grosgrain ribbon: ⅛”, ¼”, & ½” wide 6” piece of 4mm off-white silk ribbon Size 10 crochet thread

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Supplies

5 ½” Nancy Ann doll Thimble & needles Thread to match fabrics Frixion marking pen or chalk Hemostats, awl, and wire snips Pinking shears 3mm Bamboo skewer 6mm wood bead Yellow craft paint Craft or wood glue

Notes

Seams are ⅛” unless otherwise noted.

Most of the project can be sewn by hand or machine, although finish work will be done by hand.

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Plastron

Pantalets with lace sewn to lower edge, top edge folded down, and center back seam sewn.

Pantalets

Cut a piece of off-white lawn 2 ½” x 8”. Press one long edge ⅛” toward the wrong side. Sew lace to this edge with a running stitch, to secure the hem at the same time.

Cut the pattern pieces from this piece. Press the top edge under ¼”, then unfold the pressed edge.

Sew the leg seams and press toward the back.

Sew the crotch seams, then turn right side out and press.

Fold the top edge down again, then thread a large-eye needle with crochet cotton. Sew a running stitch through the folded edge, beginning and ending at the center FRONT. Put pantalets on the doll, pull up the crochet thread to gather the pantalets, and secure with a bow. Trim excess thread length.

Underskirt

Press one long edge of the 3” x 8” red striped fabric to the back twice: ¼” and then another ⅜”. Pin, stitch the hem, and press again.

Press the other long edge to the back ¼”.

Place the two short edges with right sides together, and sew together with ¼” seam. Trim seam to ⅛” with pinking shears, then press to one side.

Thread a large eye needle with crochet cotton, as for the pantalets. Sew a running stitch through the folded edge, beginning and ending at center BACK. Put petticoat on the doll, pull up the crochet thread to gather the waist, and secure with a bow. Trim excess thread length.

Cut 1 ½” squares from the red cotton and off-white lawn. Fold the white square in half, then sew to one edge of the red square with ¼” seam. Press seam open.

Sew ⅛” grosgrain ribbon along the folded edge of the white lawn, then sew ⅛” or ¼” grosgrain over the seam that joins the 2 colors. ¼” ribbon was used on the sample dress.

Trim the square with pinking shears so that it is 1 ¼” long and measures 1 ¼” across the folded white edge and ¾” across the bottom red edge. Set aside for now.

Bodice

Cut bodice shapes from green cotton. Press sleeve edges ⅛” to the front and baste in place. Sew ¼” grosgrain ribbon along the folded edge.

Place the angled bodice front edges right sides together onto the Plastron, and sew in place with ⅛” seam, then press open to make one bodice piece with a back opening.

Press ⅛” to the wrong side around the neck, and sew in place with tiny running stitches. Make clips in the neck as necessary to help turn the fabric.

Fold the bodice in half with right sides together, then sew the side and underarm seams with ⅛” seam. Make a tiny clip at the underarm turn. Overcast the seam if desired. Use hemostats to turn the bodice right side out, and press the seam if possible. Turn the right side of the bodice to the wrong side ¼”, and press. Set bodice aside for now.

Bodice attached to plastron and sleeves trimmed with ribbon. Sew together along the underarm seam.

Skirt, Apron, and Dress Assembly

Front and back of the plastron, with ribbon sewn on seam and at top.

Trim this piece to measurements in pattern.

Cut a 3 ½” x 9” strip piece of green cotton. Press one long edge to the wrong side twice: ¼” an ¾”. Pin, stitch the hem, and press again.

Sew ½” grosgrain ribbon to the right side of the skirt, ¼” above the lower edge.

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Apron and skirt are gathered together and pulled up to fit the bodice.

Cut a 2 ½” x 4” piece of cotton lawn for the apron. Hem the sides by pressing each short edge ⅛” to the wrong side twice and sewing in place. Hem the lower edge by pressing one long edge to the wrong side twice: ¼” and ½”.

Sew in place.

Mark the center of the apron and the center of the skirt.

Match the marks and baste the apron onto the skirt with both right sides facing up.

Sew two lines of gathering stitches along the top of the skirt and apron, ⅛” and ¼” from the edge, beginning ½” from each short edge. Press ⅜” to the wrong side on the right hand short edge.

Pull up gathers, distribute evenly, and sew to the bodice with ¼” seam, matching folded back edges on the right and raw edges on the left. Trim and overcast the seam, then press up toward the bodice.

Sew a ⅜” deep back seam, then trim with pinking shears and press to the right. Put the dress on the doll over pantalets and petticoat. Pull the folded edge over the raw edge until you like the fit, then whip stitch together.

Sew tiny tucks with an overcast stitch and sew the back seam (all bonnet seams are ⅛”) on each bonnet side. Press the back seams open.

Place bonnet sides right sides together, pin, and sew completely around the front edges. Taper the seam at each dot. Leave the back edge open. Turn the bonnet right side out, carefully poking out the corners on the flaps. Press.

Make quarter marks on the bonnet back and crown, then pin together by matching the quarters. Sew around with tiny running stitches, beginning and ending at the center back seam. Pull up stitches to slightly gather the back of the bonnet, then secure the stitches. There is no need to finish the raw edges. Press the bonnet again.

Fold the flaps up about halfway, and tack the back corner at the “v” where the dot was; they will look like little wings. Alternately, they can be folded up into little rolls and sewn to the bonnet across the entire straight edge.

Place the bonnet on the doll.

Umbrella

Cut the skewer to 3 ½” length, then use craft or wood glue to attach the 6mm wood bead on the cut end to make a “handle.” When dry, paint with yellow craft glue and allow to dry again.

Bonnet

Cut two bonnet sides and one bonnet crown from the remaining lawn. Mark tiny tucks and slash up to the dot on each bonnet side.

After sewing back seams on two bonnet pieces, sew them together along the outside edge.

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Umbrella pieces ready to assemble. An awl is used to pierce the center hole.

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Coat the stick with craft glue and pinch the umbrella folds together.

Little Becassine displays her striped underskirt.

Wrap folds tightly around the stick and secure with a strip of fabric.

Cut a 4” or 4 ½” circle from remaining red cotton, and a small strip about ⅛” wide to wrap around the finished umbrella. Fold the circle in half, then in half again two times, so that you end up with 8 sections. Press. Trim the top curved edge straight, using pinking shears. Open the circle and make a hole in the center with an awl.

Insert the handle’s pointed end into the hole and push through until about ⅜” shows on the outside of the umbrella. Dab glue on the stick and pinch 4 folds onto it, then roll the fabric tightly around the stick until you like the arrangement. Add small dots of glue to the folds as you wrap, to help hold them in place.

Dab glue on the small fabric strip. Attach to the umbrella and wrap tightly around the folds to simulate a strap. Cut away the excess fabric and glue in place. Hold securely with a clip until it dries. You can also tie a ribbon or embroidery floss around the umbrella if preferred.

Your Becassine is now complete. Wrap her hand and umbrella together with a small clear hair tie so she appears to hold it. She can also carry a tiny basket, red checked cloth, or even a felt goose if you like! There are many storybook images online to inspire your choice of accessories.

Back of the costume and cap.

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Nancy Ann Becassine Patterns FOLD

CK

BONNET CROWN Cut 1 White Cotton

FRONT

FRONT

BA

1”

Plastron

SLEEVE

BODICE Cut 2 Green Cotton

BACK

BONNET Cut 2 White Cotton

PANTALETS Cut 2 White Cotton (Reverse 1) After Tracing & Adding Lace

PLASTRON TEMPLATE

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www.sarabernsteindolls.rubylane.com 46

ANTIQUE DOLL COLLECTOR

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Mon. Sep. 30 - Fri., Oct. 11, 2024 50 Forward: American Composition Dolls Mon. Oct. 7 - Fri., Oct. 18, 2024 50 Forward: Nancy Ann Storybook Dolls Fri., Oct. 11, 2024, Preview 9 AM ET, Auction 10 AM ET Ten2Go IN PERSON Auction Sat.-Sun., Nov. 16-17, 2024, Preview 9 AM ET, Auction 11 AM ET Marquis: Doll Auction Weekend Sat.-Sun., Dec. 7-8, 2024, Preview 9 AM ET, Auction 11 AM ET Marquis: Madame Alexander (Saturday), Barbie in Neverland (Sunday) Doll Auction Weekend Sat.-Sun., Jan 11-12, 2025, Preview 9 AM ET, Auction 11 AM ET Marquis: “ROSALIE-A Life of Dolls-Pt 2” Doll Auction Weekend Theriaults Gallery | 410.224.3655 info@theriaults.com | www.theriaults.com Wed., Oct. 2, 2024, Online Auction Two Auctions: 10 AM and 7 PM ET Catalog of Antique and Other Fine Dolls Feat. The Estate of Myer Smith and The Collection of Joan Middleton, et. Al. Bid at alderferauction.com.

Mon., Oct. 7, 2024, Online Auction.

Doll Estate Sale in Newark, Delaware Featuring a collection of Annette Himstedt and Hildegard Gunzel. Bid at AlderferAuction.com.

Wed., Oct. 23, 2024, Online Auction.

Antique Clothing – Museum Collection Featuring Women’s , Men’s, Children’s Clothing, Textiles and Accessories. Bid at AlderferAuction.com.

501 Fairgrounds Road, Hatfield, PA 19440 215.393.3000 | www.alderferauction.com

DOTTA Auction Contact brownlindaellen@gmail.com 352 300 8983 | thetrinckescollection.com Ruby Lane shop The Trinckes Collection

Jackie’s

DOLLHOUSES & MINIATURES

View Quality Dolls at affordable prices. 100’s of pictures and prices at my Ruby Lane Shop...

October (TBD), 2024 Online Auction October Year End Party DoubleTree by Hilton, 2 Somerset Pkwy, Nashua, NH 603.478.3232 | withington@conknet.com www.withingtonauction.com

We look forward to welcoming you to our shop!

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

Sat., Oct. 5, 2024, 10 AM ET, Doors open 8:30 AM Special Previews: Sun. Sep. 29 Noon - 4 PM, Fri., Oct. 4 Noon - 5 PM Live and Online Antique Doll Auction Nazareth Auction Center 330 W. Moorestown Road (Rt. 512), Nazareth, PA www.dottaauction.com | info@dottaauction.com

Ladenburger Spielzeugauktion Fri.-Sat., Oct. 11-12, 2024 Fall Auction Fri.-Sat., Nov. 29-30, 2024 Winter Auction 0049 (0) 6203 13014 | mail@spielzeugauktion.de www.spielzeugauktion.de

Sweetbriar Auction

Sat., Oct. 26, 2024, Auction: 10 AM Preview: 8 AM Antique & Vintage Doll Auction Crescent Shrine, 700 Highland Drive, Westampton, NJ 410.275.2213 | sweetbriar@live.com | sweetbriarauctions.com

SAS (Special Auction Services) Tue.-Wed., Nov. 26-27, 2024 Dolls & Teddy Bears Auction Newbury, UK | +44 (0) 1635 580 595 mail@specialauctionservices.com | specialauctionservices.com

OCTOBER 2024

Please call for an

9/16/2024 11:12:49 AM

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

Some events have additional information online. Check antiquedollcollector.com > events.

LONG TERM Mar 8, 2024 – Oct 27, 2024 ~ Basel, CH (Switzerland). Plush, Play & Pioneers - Women in toy design. Spielzeug Welten Museum Basel. spielzeugwelten-museum-basel.ch/en/exhibitions/2024/ plush-play-amp-pioneers-women-in-toy-design.html Nov 2, 2024 - Feb 2, 2025 ~ Basel, CH (Switzerland). Preview Christmas exhibition.

Spielzeug Welten Museum Basel. Steinenvorstadt 1, CH-4051 Basel. +41 61 225 95 95. info@swm-basel.ch. spielzeug-welten-museum-basel.ch/en/ exhibitions/2024/preview-christmas-exhibition.html.

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).

5 ~ Nazareth PA (Live and Online). Antique Doll Auction. 10 AM EDT. Doors open at 8:30 AM. Special preview dates for Antique Doll Auction: Sun., Sept. 29, Noon-4 PM and Fri., Oct. 4, Noon-5 PM. Dotta Auction Co., Inc., 330 W. Moorestown Rd. James Dotta. Call 610-759-7389. info@dottaauction.com.

5 ~ Salisbury, NC. “New Beginnings” Miniature Luncheon. NC Museum of Dolls, Toys & Miniatures. Country Club of Salisbury, 747 Club Dr. Beth Nance. 704-762-9359. info@ncmdtm.org. ncmdtm.org/event/annualminiature-luncheon-new-beginnings.

5 ~ Hebron, IN. Doll Show & Sale. Charming Treasures Doll & Pony Show by Dancing Whimsy-steria. The Gathering Place, 131 N Main St. Pamela Johnson, Call/Text 219-240-4731. dancingwhimsysteria@gmail.com.

5-6 ~ Newark, OH. Ohio National Doll Show.

Sat., 10 AM - 8:30 PM: Lectures/Meals events.

Sun., 10 AM - 4 PM: Doll Show & Sale. Cherry Valley Hotel & Event Center, 2299 Cherry Valley Rd.SE. Gail Lemmon. 440-396-5386. ohionationaldollshow@gmail.com ohionationaldollshow.com.

6 ~ Sturbridge, MA. Doll and Bear Trunk Sale.

Sturbridge Host Hotel, 366 Main St. Wendy Collins. Call/text 603-969-1699. CollinsGifts14@ aol.com. www.CollinsGifts.com.

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7 ~ Online Auction. Doll Estate Sale in Newark, Delaware. Featuring a collection of Annette Himstedt and Hildegard Gunzel. www.AlderferAuction.com.

9-12 ~ Houston, TX. The Bay Area Doll Club of Texas International “WINTER WONDERLAND” Doll Convention 2024.

Marriott Houston South 9100 Gulf Freeway Rebecca Hisle. 281-614-0077. beccasdolls@ gmail.com. facebook.com/ groups/649160082758365/files/files.

11-13 ~ Online. Online Teddy Bear Show.

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

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

12 ~ Plymouth (West Minneapolis), MN. Doll Conference. Minnesota Doll Jamboree.

“Display Our Dolls: Endless Possibilities.”

Crowne Plaza Hotel 3131 Campus Drive. mndolljamboree@outlook.com. 651-621-4875 (Call/Text). www.mndolljamboree.com.

12 ~ Rickreall (Salem), OR. Wagon Wheel Dollers Show & Sale. Polk County Fairgrounds, 520 Pacific Hwy W. Verni Knight. C/T 541-9792097. wagonwheeldollers@gmail.com.

12 ~ San Diego, CA. Doll Show & Sale. 10 AM 3 PM. Doll Collectors of North Park. Handlery Hotel, 950 Hotel Circle N. Sandy Rice. Call/Text 619-276-2294. sandy@sandyrice.net.

11-14 ~ Houston, TX. “Winter Wonderland” Convention with Show & Sale. Bay Area Doll Club of Texas. Marriott Houston Hobby, 9100 Gulf Freeway. Becca Hisle, Director. 281-9140077. beccasdolls@gmail.com.

12-13 ~ Plymouth, MN. 15th Annual Fall Doll Show & Sale. Dolls & Toys & Bears OH MY! Shows by Bernadette. Crowne Plaza Hotel.

3131 Campus Drive. Bernadette Able. 239-2829499. Dolls_Toys_Bears_OhMy@yahoo.com. dollstoysbearsohmy.wixsite.com/classic-layout.

12 ~ Fredericksburg, VA. Now and Then Doll Club of Fredericksburg Doll Show and Sale. 10 AM - 4 PM. Fredericksburg Elks Lodge #875, 11309 Tidewater Trail. Sally Bernard. mustangsally04@verizon.net. 540-720-5644.

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.

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/.

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.

Calendar continued on page 48

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OCTOBER 2024 CONT’D FROM PAGE 47 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.

13 ~ Dublin, PA. Letitia Penn Doll Club Dublin Show & Sale. 10 AM - 3 PM. Dublin Fire Hall, 194 N. Main St. Earl Bethel. 610-322-7702. ebgeeb@ptd.net.

13 ~ Fullerton, CA. Doll, Teddy Bear, Miniature & Artisan Show & Sale. Titan Student Union Pavillion, Cal State Fullerton, 800 N. State College Blvd., Rowbear Presents.

831-438-5349. RowbearPresents@charter.net 13 ~ Tukwila (Seattle), WA. Queens of the Doll Aisle Doll & Bear Show. 11 AM - 4 PM. Doubletree Southcenter by Hilton, 16500 Southcenter Pkwy.

650-303-4140. joe@queensofthedollaisle.com.

19 ~ Jonesborough, TN. Doll Show & Sale. The Dollhouse. 9:30 AM - 3 PM. Jonesborough Visitor Center, 117 Boone St. Ellen Stafford.

C/T 423-753-0022. ellen@jonesdollhouse.com.

19 ~ Santa Clara, CA. World Doll Day Shows & Events Santa Clara. 10 AM - 3 PM. American Legion Post 419. 958 Homestead Rd., 95050. Mary Senko.

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

19 ~ Shreveport, LA. “In The Enchanted Forest” Doll Luncheon, Show and Sale. North Louisiana Antique Doll and Toy Club. First Baptist Church.

543 Ockley Dr. 10 AM - 3 PM. Robin Grubbs.

318-780-8864. weebeetoys@bellsouth.net.

19 ~ Rossford (Toledo), OH. Toledo Doll & Bear Show & Sale. 9:30 AM-3 PM (Early bird: 8:00 am).Total Sports Rossford, 10020 S Compass Drive, 43460. Karen: Toledo@DollShows.net.

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

More info in ad on this page.

20 ~ Bedford, NH. “It’s a Small Doll World” Doll Day Event includes Buffet Lunch. Granite State Doll Club. 10 AM - 3 PM. Manchester Country

Club, 180 S. River Rd. Zendelle Bouchard. zendelle@hotmail.com. C/T 207-206-9112.

23 ~ Online Auction. Antique Clothing – Museum Collection Featuring Women’s , Men’s, Children’s Clothing, Textiles and Accessories. www.AlderferAuction.com.

The Antique Doll & Toy Market 45 TH

YEAR!

Frizellburg Antique Store’s Christmas Open House Sat.-Sun., Nov. 16th & 17th 11-5 1909 Old Taneytown Rd. Westminster, MD 21158 410-848-0664 or 410-875-2850

Get in the spirit with Antiques, crafts and decorations!!

The fun will last all season long!!

OPEN every Thurs.-Sun. 11-5 (We are closing Jan. for some R&R)

Look forward to seeing everyone!!

NOV 3 ~ Santa Rosa, CA. Santa Rosa Holiday Doll Show. Santa Rosa Veterans Memorial Building 1351 Maple Ave. Kitti Perry. santarosadollshow@ gmail.com. 707-326-0322. Santarosadollshow. blogspot.com. Featuring Antique, Vintage, Collectible, Modern, and Artist Dolls. FREE PARKING $6, $1 off with ad.

NOV 9 ~ Largo (St. Petersburg), FL. 47th Annual Doll & Bear Show & Sale. St. Petersburg Doll Club. 9:30 AM - 3 PM. Adult: $5, Children under 12 free. Largo Event Center (former Minnereg Building). 6340 126th Ave. North, between US Hwy 19 North and 66th St. North. Info: Jo Valente. 727-384-1708.

50 Select Exhibitors!

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

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

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

26 ~ Westampton, NJ. Antique & Vintage Doll Auction. Sweetbriar. Crescent Shrine, 700 Highland Dr. Dorothy Hunt. 410-275-2213. sweetbriar@live.com. SweetbriarAuctions.com.

27 ~ Southbury, CT. 34th Annual Doll Show & Sale. Jenny Lind Doll Club. 10 AM - 3 PM. Southbury Firehouse, 461 Main St. S. Lynda Megura.

203-240-6832 call/text. cabrew@hotmail.com.

More doll events at antiquedollcollector.com > Events

SARA BERNSTEIN’S DOLLS

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

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