December 2018

Antique DOLL Collector December 2018 Vol. 21, No. 11

11/27/18 10:52 AM

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JANUARY 12-13, 2019

Landmark, The Margaret Lumia Collection of Fine Antique Dolls Saturday, January 12, 2019 — Only rarely do collections appear with such significance that they can rightfully be labeled legendary or lodestar.

Or “Landmark”. Which is the auction title of the collection of Margaret Lumia. Chosen with a discerning eye, acquired with a dogged persistence, and nurtured carefully during their time in her care, her dolls offer today’s collectors a rare opportunity to see — and, perhaps win — a magnificent treasure from time past. The collection ranges from very fine early wood and paper mache to superb French bébés and poupées, to the rarest of the German bisque art characters, mostly all in original costumes. Too, there are furnished dollhouses, miniature treasures, outstanding early doll furniture, and more. x If you can not attend the auction, online, telephone, and absentee bidding are available. To order a catalog or for more information call 410-224-3655 or visit www.theriaults.com.

the dollmasters

PO Box 151 • Annapolis, Maryland 21404

Facebook.com/TheriaultsDolls

Tel: 410-224-3655, M-F 9AM-5PM EST

Twitter.com/TheriaultsDolls

Fax: 410-224-2515 • www.theriaults.com

Pinterest.com/TheriaultsDolls YouTube.com/TheriaultsDolls Instagram.com/TheriaultsDolls

AN IMPORTANT MARQUIS ANTIQUE DOLL A U C T I O N W E E K E N D at t h e f as h ion I S L A N D H O T E L in N ewport B eac h , C A L I F O R N I A Landmark, The Margaret Lumia Collection of Fine Antique Dolls • Saturday, January 12, 2019

Madame Alexander, The Rodney Waller Collection: Part One • Sunday, January 13, 2019

Madame Alexander, The Rodney Waller Collection

See inside this issue of ADC for more photos and articles featuring dolls from the January 12-13, 2019 Marquis Antique Auction!

Sunday, January 13, 2019 — Time has come for Beatrice Alexander, signature American dollmaker and designer, to take her rightful place among antique dolls. Nearly 90 years have passed since her dolls first appeared, and for more than a half century she stood as a symbol of excellence, ingenuity, and marketing mastery in the world of American dolls. Collector Rodney Waller noted this many years ago, and began a quest to find the rarest of the rarest of her dolls, prizing originality and excellence of condition as well as rarity. This is Part One of his twopart auction, featuring the cloth and composition dolls, 1930-1948, of Madame Alexander. x If you can not attend the auction, online, telephone, and absentee bidding are available. To order a catalog or for more information call 410-224-3655 or visit www.theriaults.com.

For information or to order catalogs call 410-224-3655 or www.theriaults.com

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

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Publications Director: Lisa Brannock Editor-in-Chief: Gay Bryant Art & Production Director: Lisa Claisse Administration Manager: Lorraine Moricone Social Media Director: Brigid McHugh Jones -------------------------------------------------------------------Contributors: Elizabeth Ann Coleman, Samy Odin and Andy and Becky Ourant --------------------------------------------------------------------Subscription Manager: Jim Lance --------------------------------------------------------------------Display Advertising: Lisa Brannock 717-517-9217 antiquedoll@gmail.com Classified & Emporium Advertising: Lorraine Moricone email: adcsubs@gmail.com phone: 631-261-4100 Graphic Design: Lisa Claisse email: adclisa@gmail.com phone: 631-208-7244

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Subscriptions: Send to Antique Doll Collector, P.O. Box 239, Northport, NY 11768.

Phone: 1-888-800-2588 or 1-631-261-4100 Subscription Rates: One Year $44.95; Two Years $84.95.

First class delivery in U.S. add $30 per year.

Outside the U.S. add $35 per year.

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Do not send cash. Credit cards accepted.

I buy dolls and will sell on consignment.

LAYAWAY AVAILABLE • Member UFDC & NADDA

Antique Doll Collector (ISSN 1096-8474) is published monthly by the Puffin Co., LLC, P.O. Box 239, Northport, NY 11768 Phone: 1-631-261-4100

23” Rare Earliest Mark Portrait Jumeau #4 Bebe, mint pale early pressed bisque, almond shaped threaded pw eyes, early mauve blush under brows, ant. mohair wig & orig. cork pate, wears ant. maroon silk & lace Jumeau dress, orig. 2 piece undie & camisol set, ant.

EJ Jumeau shoes w/big rosettes, orig. 8 ball jointed str. wrist Portrait Jumeau body w/ desirable large hands. Rare & almost never seen any more in this large size.

BREATHTAKING!!! CALL OR WRITE FOR PRICE!!

5” All Bisque Barefoot Kestner Pouty, sl. eyes, perfect bisque, “swivel neck”, orig. mohair wig w/ JDK plaster pate & sewn in headband, darling silk & lace dress from ant. fabrics, orig. JDK all bisque body w/2 clenched fists. ADORABLE!! $2775.

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

5” All Bisque Mini Orsini “Mimi”, perfect bisque, sl. eyes & mohair wig, darling ornate lace & ribbon dress made from ant. fabrics, orig. Orsini body w/”Mimi” Chest label, has the face of a real sweet character & a pointed right finger, just the cutest little “Mimi”, EVER!!!! $2150.

16” S & H #1009 DEP Boy, sl. eyes, beautiful bisque, 4 upper teeth, orig. mohair wig, his orig. jacket & knickers, matching barette, old shoes, orig. S&H body, head mark incl. DEP mark, made for the French Trade. He is an ABSOLUTELY BEAUTIFUL little boy!! $995.

Check my website for fuller descriptions and additional photos.

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Periodicals postage paid at Northport, NY. and at additional mailing offices. Contents ©2018 Antique Doll Collector, all rights reserved.

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

Antique Doll Collector is not responsible for any inaccuracies in advertisers’ content. An unsolicited manuscript must be accompanied by SASE. Antique Doll Collector assumes no responsibility for such material. All rights including translations are reserved by the publisher. Requests for permissions and reprints must be made in writing to Antique Doll Collector. ©2018 by the Puffin Co., LLC. Antique Doll Collector. 0010-882. Issued every 4 weeks. 12 issues annually, $44.95 per year. Publication and mailing address: Puffin Co. LLC, 15 Hillside Place, Northport, NY 11768. 631-261-4100. Publisher, Puffin Company LLC; Managing Editor, Gay Bryant. Owners: Lisa Brannock, Arpine Stein, David Yurman, Ken Sutak. Average no. copies each issue during preceding 12 months: total no. 4221; paid subscriptions mailed outside county 2517; paid distribution outside mails 593; paid distribution by other classes mailed through the USPS 431; total paid 3541; free distribution by mail 50; free distribution outside the mail, 65; total distribution 3656; copies not distributed 565; total 3656; percent paid and/or requested 97%. No. copies of single issue published nearest to filing date: 4210; paid subscriptions mailed outside county 2497; paid distribution outside mails, 413; paid distribution by other classes mailed through the USPS 411; total paid distribution 3321; free distribution by mail 45; free distribution outside the mail 100; total distribution 3466; copies not distributed 744, total 4210; percent paid 96%.

DECEMBER 2018

11/15/18 7:48 AM

The Grovian Doll Museum presents:

Jardin du Luxembourg A Denise Buese Sewing Workshop

March 21-24, 2019

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nder Denise Buese’s skillful direction, attendees will create a classic Huret Dress to fit the 15” Darlene Lane Huret on a jointed body, the model that features a head based on the antique original in the Grovian Doll Museum’s Collection.

The third in a series, “Jardin du Luxembourg” is the sewing project that attendees will create from a luscious cotton print - an exclusive to The Grovian Doll Museum.

The workshop will take place inside the spacious home of the Carmel Doll Shop, which is located at 213 Forest Avenue in Pacific Grove, California. (831) 643-1902 A limited number of kits will be available for purchase after the conclusion of the workshop.

Registered Attendees will Receive: u A Thursday evening Welcome Reception with delicious food and drink. u A complete Denise Buese kit to create a Huret Dress and Chapeau for the Darlene Lane doll. u Three days of personal instruction from the respected costumer, Denise Buese. u Delicious lunches and dinners on Friday, Saturday, and Sunday are also included in the workshop fee. u Special shopping opportunities tailored just for registrants of this workshop will be made available. u Private viewing of The Grovian Doll Museum Collection.

All of the above for $650.

Space is Limited

Priority is extended to previous Workshop Registrants

www.carmeldollshop.com

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ORDER FORM: Reservation For A Denise Buese Sewing Workshop

NAME / PHONE ADDRESS

CITY, STATE, ZIP

CREDIT CARD INFORMATION: CARD# & EXP. DATE

3 DIGIT SECURITY CODE & SIGNATURE

Please complete this order form and send with Credit Card information or Check made out to The Grovian Doll Museum. $650. Credit card charges will appear as “Legacy Antiques.”

Send to: Carmel Doll Shop, 213 Forest Ave., Pacific Grove, CA 93950

11/14/18 9:23 PM

The Complete Guide to Antique, Vintage and Collectible Dolls

December 2018, Volume 21, Number 11 Follow us on... facebook.com/antiquedollcollectormagazine pinterest.com/antiquedollcollectormagazine instagram.com/antiquedollcollectormagazine

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THE OVERLOOKED CLOTH DOLLS OF MADAME ALEXANDER

By Florence Theriault

EARLY WOODEN DOLLS FROM THE LANDMARK COLLECTION OF MARGARET LUMIA

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TINTED CHINA DOLLS

By Martha Waterman Nichols

06 Auction Gallery 08 Museum News 45 Emporium

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2018 UFDC COMPETITIVE EXHIBITION BLUE RIBBON WINNERS PART 3

62 Calendar 63 Classified

TO SUBSCRIBE GO TO www.antiquedollcollector.com

About The Cover

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THE HISTORY OF THE HAT

By Deborah Biggness

46

A TAUFLING BABY PRESERVED

By Georgina Brown

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AT HER MAJESTY’S SERVICE: YEOMAN GUARD DOLLS

By Rhoda Seidenberg

One of the rarest models of the Jumeau firm is the stunningly beautiful E.J.A., circa 1882, featured in the Landmark Margaret Lumia Collection at Theriault’s Marquis January Auction Weekend in Newport Beach, California, January 12-13, 2019.

The Lumia dolls are featured the 2019 Theriault’s Calendar.

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BALLERINA DOLLS OF THE 1950S

By Donna W. Brown

DECEMBER 2018

11/15/18 8:43 AM

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

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

matrixbymail@gmail.com

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1) 22” One of a Kind Artist Pedlar Dollby the talented Nicol Sayre in mint condition.

Uniquely artistic creation features 5 more Mache Dolls; plus UFDC Blue & Best in Show Ribbons! $695

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2) A Delicate 15” Bru Jeune ‘4’ w. Chevrot Body & Boutique Label - The most expressive face of any in an adorable Cabinet Size. What life!

Flawless head, brown PWs, Orig. Body w.

Mint Fingers and Wooden Lower Legs; Boutique Ensemble w. Label and its Matching Hat! Size ‘4’ Satin Shoes. A jewel of a Bebe! $18,500

4) A Luxurious Furnished Room Box - An elaborate 8-pc.Biedermeier Parlor Suite in walnut and ebony with bronze mounts, carved wooden dado; orig.

Gold Stenciled Wallpaper, floor, curtain/valance, 2-glass windows and more. 13” x 13” x 23”; Dolls, Tree and Cat not included.

Breathtaking home to your finest $2250

Happy Holidays

5 ) Majestic & Rare 20” Haute Couture Jumeau ‘9X’ - So rare-so elegant ! The E.J. sister, w. mint blond wig, smoldering Hazel PWs, Shaded eyelids, Applied Pierced-in Ears, and 8-Ball Stiff Wrist Signed Body. Dramatic high style tailoring & antique shoes!

Rarely offered and never like this one! just $5800

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3) 29” Pristine ‘Long Face’ Jumeau w. Historic Clothes Museum class Bebe wears the celebrated childhood ensemble of England’s Queen Mary. With blue Paperweight Eyes & Shaded Lids & satin smooth bisque, she has the original Signed Stiff Wrist Body & paint, Orig. Cork Pate, French Human Hair Tresses, and the luxurious Coat & Dress Ensemble fit for a Queen! $19,600

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6) 27” Pre-1900 Holiday Halbig - The French Export doll under the tree! A luxurious Victorian Beauty in All Heirloom Clothes & Wig, big brown PWs, mint body plus crimson Crushed Velvet Coat w. Ermine Collar, Hat & Muff! Completely stunning! $1200

11/14/18 9:51 AM

The Naples Doll Club 2019 Annual Doll Show and Sale Friday, January 18, 2019 Noon to 5pm Saturday, January 19, 2019 10am to 4pm

Auction Gallery

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September Galerie de Chartre Ivoire Auction

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ovely items went on sale at the Galerie de Chartre Ivoire auction event in Paris September 2018. The collection included dolls ranging from rare Barbies to Jumeaux to very early dolls, as well as doll houses, toys and bears. The event was live and online. For more information go to www.interencheres.com or www.ivoire-chartres.com.

To be held at: New Hope Event Center 7675 Davis Blvd., Naples, FL 34104 Admission: Both Days $8 Saturday Only $5 Children Under 12 $3 (proceeds benefit local charities) Doll Appraisals $5 per doll

For Dealer/Travel Info contact Myrna Eby mydolls_2@yahoo.com General Information Contact Bonnie Basch 440-572-1223

THE BEST IN DOLLS AND DOLL RELATED ITEMS!

Beautiful baby Schmitt with pressed bisque head, 4� closed mouth, brown eyes, pierced ears, curls, articulated body with fixed wrists and flat buttock marked with the crest. Brown mohair wig, original linen dress and hat in lace, white leather shoes with angel size 10.

H. 64 cm. 6,800 euros

Rare jewelry box from the mid 19th century. Oval-shaped, leather cover, with a necklace and two amethyst-style glass earrings. 4,100 euros 6

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DECEMBER 2018

Germany. The poultry dealer. Superb wooden shop painted on all four sides, with 30 animals in polychrome composition. Late 19th century. 33x24 cm - H. 34 cm. 5,400 euros

Set of 19 puppets with carved and painted wooden heads, wool hair, wooden hands with original clothes. H. 50 cm.

Mid 19th Century. 3,400 euros More Auction Gallery on page 51

11/14/18 9:15 PM

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

Fabulous Collection of 5 Early Mini Penny Woodens 3 ladies & 2 men 1- 1.25”, 3 – 1”, 1- ½” wonderfully detailed, jointed arms & legs, in vintage box $395.

All original 17.5” early CM 132 Kling w/ swivel head, shading above blue threaded eyes, pierced ears, mohair wig, 2 holes at crown, amazing piece, small hairline on left eyelid $1495.

20” Kammer & Reinhart 101 Peter w/ blue painted eyes, mohair wig, repainted lower legs, middle finger missing left hand, w/ Steiff giraffe $2195.

12” Simon & Halbig 1428 4 Baby, blue sleep eyes, great molding & coloring, 1 finger as is, HH wig $675.

5” Jaymar? Wood jointed bird $65.

4” Jaymar Whimpy from Popeye Cartoons $79.95

19” 1930’s Lenci All Original w fabulous oil painted canvas face (crazed), Laura model, red mohair wig, brown eyes, amazing clothing $495.

30” Kestner 171, brown sleep eyes, plaster pate, beautiful molding $595.

Now $545.

8” Circ Grace Storey Putnam Byelo Baby, celluloid hands, blue sleep eyes $150.

18” C/M w/ molded teeth Kestner, brown st eyes, HH wig, original undergarments & leather shoes, some repair on legs $255.

16” & 12”seated OOAK Julie Fischer “Beautiful Red Headed Sisters” in cernit, Signed, fabulous detailing on faces, hands & shoes, sweetly dressed w/chair, big sister HH wig, little sister mohair wig w/ toys $695.

24.5” Kestner 168 w/ square cut teeth, blue sleep eyes, antique dress, mohair wig, small flake right eye $345.

23” ABG #1362 “Sweet Nell” Alt, Beck Gottschalck pierced ears, antique clothes & mohair wig $280.

25” CM German ABG Turned Head Sholuderhead, kid body, blue glass eyes, mohair wig, antique clothing $425.

Now $325.

All Original NIADA Artist Dewees Cochran Latex Dolls from Grow Up Series 18” Peter Ponsett marked PP ’60 7 $1195.

15.5” Susan Stormalong age 12 marked DC SS – 54 #3 $1095.

12.25” Peter Ponsett age 3 marked DC PP ’54 27 $1295.

All original in box 27” Ideal Flirty Eyed Shirley Temple in 1934 knife pleated aqua organdy dress w/ pin & picture, doll has lived in the box, she has some crazing on face & a few cracks by right eye, few cracks on upper right arm, mint mohair wig, few spots on dress $365.

15.5” C/M German Dome head shoulder plate Kestner w/ brown glass eyes, pierced ears, HH wig, sweet size $265.

13.5” Elisabeth Pongratz handcarved wooden doll, 1980’s from West German, hand painted facial features & beautiful blue eyes, knit outfit $1295.

19” Set of NIADA Martha Thompson Little Women - Jo, Beth, Meg & Amy, 1950’s, beautifully detailed & dressed (some fading) $875.

17.5” Tete Jumeau w/ stamped head and body, blue pw eyes, mohair wig, antique French boots $5950. Now $4795.

LAYAW AVAILA AY BLE

25” Hand Carved Wood Lashelle #2 1989 by Lesli Neuenswander, wooden head, jointed arms & legs on leather body, shoulderplate has carved name, dress tagged, hand painted eyes, HH wig, leather gloves & shoes $495.

21” Heinrich Handwerck Simon & Halbig w/ pretty bisque, professionally repainted body, brown sleep eyes, antique clothing & mohair wig $275.

14.5” Kathe Kruse II H Friedebald 1950-60’s, MIB $450. Now $350.

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

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

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

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

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11/13/18 2:49 PM

MUSEUM NEWS CHRISTMAS TREE ART FOR THE HOLIDAYS Art Glass – tree decorations from around 1920 17 November 2018 – 10 February 2019

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his year, the Basle Toy Museum has a delightful small Christmas show dedicated to a special and little-known tree decoration - Art Glass figures from the 1920s period. This specialized glass work developed into handcrafted glass decorative objects that were influenced by Art Deco.

The figures mostly consist of delicate hollow glass animals. They normally would stand on dressers as knick-knacks, and often they were equipped with melted-on glass hooks or metal fasteners. Then, in the 1920s these figures were also made as Christmas decorations.

Such decorations were usually made of white, translucent glass. They were hand-blown in Lauscha (Thuringia) and the surrounding towns. A wide variety of animals, such as dogs, geese, deer, cranes, elephants, and giraffes were also made using colored translucent glass with stripes or reflective glass. Sparkly and textured glass, which were commonly used in traditional Christmas decorations until that time, were consciously avoided for this new kind of glass decoration. The point was to emphasize the beauty of the material, that is, the glass.

These extraordinary, extremely delicate Christmas decorations are freshly staged in a special exhibition at the Museum. Using the exhibits on loan from collector Alfred Dünnenberger of Switzerland, the Museum has been able to decorate five Christmas trees with glass animals and other glass ornaments.

The blue color of the trees comes together with the glass decorations to form a unique whole celebration of holiday art.

Facts & Figures for the Spielzeugen Welten Museum, Basel, Switzerland

Opening hours: Toy World’s Museum of Basle is open Tuesday to Sunday from 10 to 18 and in December, daily from 10 to 18. Ristorante la Sosta and Boutique, Steinenvorstadt 1, CH.4051 Basel or go to www.swmb.museum.

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11/15/18 10:55 AM

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See You Downstairs at Gaithersburg!

McHugh’s Dolls, Richmond, VA Mchughsdollstoys@aol.com • 804-938-6749 Now Selling on Rubylane 10

Antique DOLL Collector

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December 2018

11/15/18 9:58 AM

Valerie Fogel’s

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

www.bebesatticfinds.rubylane.com

Always Buying. Trades, Consignments, Sales and Estate.

Deluxe 18” Wood Body Fashion ~ Spectacular 18 inch French fashion in all original silk costume and exemplary mohair wig in complex style.

Excellent pale bisque, sea green enamel eyes, and lovely expression. $8950

Tiny 7.25” Pouty Kestner ~ Adorable little girl with sweet brown sleep eyes on articulated composition body. This tiny princess is wearing a pale yellow antique dress and has been blessed with a wonderful mohair wig made by DSB although she has her original wig that will accompany her. She has such a charming expression with her little pout. So hard to find! Dog and extras not included. $2395

Superb 17” Earliest Glazed China Huret ~ Exquisite doll with superior painting of delicate features. Excellent quality pink China with wonderful lustrous sheen and warm expression.

Fabulous long pink-tint arms with lovely detail to hands. Sturdy kid leather body. Beautifully costumed, having two additional antique costumes (not shown) and some charming newer adds.

Exceptional quality! $18,500 12” Simon Halbig ~ If you have been looking for an all original, perfectly petite early doll, this darling fits the bill! Completely original costume with layers of matching petticoats and pantaloons. Silk dress with dark red soutache.

Wonderful face w/ huge brown eyes, and defined features Including full lips and gentle expression. One pointer finger tip chipped, otherwise excellent bisque.

Marked 148-1 $1095

Petite 12” F3G ~ Superb little Bébé in original chemise, antique wig, tiny antique marked 3 shoes with rosettes. Beautiful face with big brown eyes. $7200

See us at the Eastern National Doll and Toy Show in Gaithersburg, Maryland December 1 and 2 booth 244

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11/13/18 2:46 PM

EARLY WOODEN DOLLS from the Landmark Collection of Margaret Lumia

A regal 24” English wooden doll, circa 1775, proudly wears her original gown, undergarments, shoes, and hidden coin purse. A mark of her aristocratic history is the attention to detail such as her neatly-shaped legs.

Dainty and demure at 18”, the 18th century English wooden lady wears layers and layers of costume, each layer portrayed in the Lumia auction catalog.

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Standing 28”tall and wearing her elaborate original costume which disguises the “cage skirt” body, the 18th century lady has a splendid head with bowed demeanor, carved of bone with carved bone hands having delicate fingers.

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he tradition of wooden doll making dates back many, many centuries, although our current knowledge of its history mostly dates from the early 1700s. Why has the use of wood in doll making been unceasing since then? Many factors, yes, but the dominant reason may be just one word: availability.

Historically, whatever medium is used to create dolls is directly related to easily accessible resources. Thus, for example, the production of bisque dolls developed in those areas of Germany where porcelain firms already existed along with abundant natural supplies for creating fine porcelain. And the making of wooden dolls is clearly tied to those areas where wood has been in easy and ready supply. Notable, for example, is the region known as Grodnertal in the Alps, a region which has included Northern Italy, parts of Austria, and, sometimes parts of Germany. Heavily-wooded, for centuries it provided a seemingly endless supply of forest, as well as being inhabited by craftsmen whose artistic carving skills were passed down with each generation. Too, the forests of England, as well as that of New England, provided such ready sources of wood that important dollmaking centers developed there, too.

December 2018

11/15/18 9:51 AM

Left to right: Two 18th century wooden lady dolls depict intriguing details. On the left, the lady has painted decorations of necklace and cap, while the lady on the right features exceptional artistry of body pose and beautifully-carved skirt draping.

A larger example from the so-called Clapham series is a majestic 30” tall with all original painting, wearing her original corset.

A series of English wooden dolls, late 1600s, of which the most notable were those known as Lord and Lady Clapham, bear distinctive features including the shape of the head, the complexion color and dramatic cheek blush. brows and upper lashes with “dot” accents, and nose shape. This beautifullypreserved doll is an example.

Variations of wooden dolls appeared in 18th century models.

Here are two child models which are rare to find. On the left, the impishly smiling child has head and lower limbs of carved bone. The expressive features of the child on the right are similar to those created a century and a half later during the bisque doll art character movement. Both dolls have well-articulated wooden bodies.

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French wooden dolls known as “court royale” represented specific persons in the late 18th century French royal court, and are notable not only for their historic references, but also for their exceptional original costumes and specifically-detailed bodies which hint at scandalous doings.

Right: The Schoenhut firm of Philadelphia created some few special commission dolls such as this example known as The Stetson Man.

If availability was the key in the use of wood for dollmaking, other factors were important, too. There was the durability of the wood doll, able to withstand rough child play. There was the fact that, unlike porcelain dolls, one did not need a major commercial operation, but indeed, a doll could be created in an artist’s private workshop or whittling, on the steps of one’s own cottage.

Wooden dollmaking varied extremely, ranging from the superb sculpting and painted finish of some unique examples such as the English dolls commissioned by the aristocratic families, to the sometimes-erotic fabled French court dolls, to commercial play production such as that of Schoenhut, to charming hand-whittled folk dolls. There were, too, villages in Switzerland in which entire wooden doll industries arose, as well as wooden dolls created for Italian and German Christmas scenes, notable for such expressive features that, 14

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A very rare and splendid Grodnertal lady with articulated wooden body having unusual overlay kid at lower torso and upper limbs, stands proudly at 28”. A profile view reveals rare shape of head and aristocratic shape of nose, exquisite painting of hair, and painted details of yoke.

Another 28” Grodnertal lady shown in profile to reveal variations in facial modeling and painting of hair.

Beautifully-sculpted face of the all-wooden doll, early 1800s, is enhanced by her swivel neck decorated with a painted wooden necklace.

had they been made of bisque, would be declared “art movement characters” by today’s collectors.

The three centers of the wooden doll industry in the German/Austria area during the 18th and 19th centuries were Grodner Tal, Sonneberg, and Oberammergau/Bavaria. The dolls produced in the former two regions were not only of the same style, but, according to German doll scholars, Marianne and Jurgen Cieslik, are virtually indistinguishable from each other. Each created dolls from about 1” to 36”, and each distributed their dolls by “verlagers” who organized home-workers of simple doll parts with deliverers of the parts to small factories where the assembled doll was created, and, eventually, to wholesale buyers in a complicated but wellfunctioning system. A journal, Untrodden Peaks and Unfrequented Valleys, written by Amelia Edwards, a British woman, in 1872, describes travels in that area along with references to doll making. And a delightful reference in the Cieslik’s German Doll Encyclopedia tells the story of Ernestine Brand, a deliverer, whose job Antique DOLL Collector

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Left: The 19” all-wooden doll features swivel waist, swivel neck, accentuated hips and modeled bosom with painted bodice.

Right: Dating from the early 1800s, these all-wooden dolls were originally designed as artist models with elaborate articulation, but also came into use as dolls and costume mannequins.

The Lumia collection features wonderful examples ranging in size from 12”-38”.

was to carry doll parts on her back in a large wicker basket, from remote villages, over hilltops and creek beds, in heavy snow drifts and bitter cold. Born in 1825, she spent 50 years transporting goods on her back from Schalkau to Sonneberg 3 times a week, until her death, with wicker basket on her back, at the age of 76; at the time of her death in 1901, it was noted by Kurt Neumann, the then-custodian of the Sonneberg Toy Museum, that “she did not refuse something that gave force to her heart in the form of a glass of beer or liquor”.

Production of wooden dolls in England and France seem to have differed from that of the German regions. In both cases, the dolls appear to have been mostly created for the aristocratic or wealthy classes, likely created on special commission, and with special attention to 16

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costuming fashioned by noted couturiers and milliners. In a few cherished instances, it is possible to trace a complete provenance of such a doll. The royal court dolls of France had their own special niche, designed to tell or hint at stories, often scandalous, about the persons and exploits of the royalty and their peers.

— Florence Theriault The landmark doll collection of Margaret Lumia contains superb examples of early wooden dolls in all of these categories, most in original costumes, along with early furnishings, accoutrements, and related costumes. The dolls are presented in an extraordinary auction, titled “Still” on Saturday, January 12, 2019 at Theriault’s annual January auction event in Newport Beach, CA. For more auction information visit www.theriaults.com.

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Tinted China Dolls

By Martha Waterman Nichols

Four types of porcelain dolls.

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id you realize that there are just four kinds of porcelain doll heads? There are tinted and glazed porcelain heads—they are known as pink tint or tinted china dolls. The other kinds are untinted and unglazed, commonly called “Parian” dolls; untinted and glazed, which are ordinary china head dolls; and finally, tinted and unglazed, which are bisque dolls.

Doll expert, Mildred Seeley, estimated that 10 per cent of all china head dolls are tinted. Tinted chinas can be pink or cream colored. They were made in the 1840s and 1850s, but by the mid 1860s they had mostly disappeared. In general, they were made over the 20 year period of 1845 to 1865. Because of their earlier dates, perhaps fewer have survived. They were made in a wide range of sizes and molds, and by well-known companies like Kestner and Kister, as well as by lesser-known makers, like Kloster Veilsdorf.

Pink-tinted “covered wagon” china by the Kister factory with their distinctive eyebrow and lip painting. This doll has an original hard-stuffed muslin body with brown kid leather hands and ballerina cloth feet.

An early cream-tinted china showing the Kestner painting style: white highlights on left side of iris; small, unpainted gap between lips; partially outlined iris. Cheek blush looks more prominent due to the underlying tint.

Authenticated by Mary Krombholz, this rare pink-tinted china

by Kloster Veilsdorf has the distinctive partial red eye-lid line and the large, almost square eye highlight of that factory.

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Showing her “covered wagon” hairstyle, this pink-tinted china has the painting style of early Kestner chinas: eye highlight on left, outlined iris, and small lip gap. She has an original leather body with wood arms and legs in the milliner model style.

The peaked “gothic part” in the painted hair of this creamtinted Kister china was popular until about 1858. Her waved hairstyle and molded eyes suggest an early date. The tint covers the whites of the eyes on this china, and her head is slightly turned.

Another simple hairstyle of an early date is this short, wavy one belonging to a rare brown-eyed, cream-tinted 10.5 inch china with unusual dark red lip and eyelid paint.

Her part is painted on, and her hair molding has deep “comb marks.” Her maker is still unknown.

Short, curly hair with “gothic part” and wispy brush-strokes around her face is the simple hairstyle of this early pink-tinted china by Kister. She was found with only one original tinted china spoon hand (but now has replaced antique arms) and china legs with flat painted boots. Her tint is grainy, when seen magnified in close-up photos.

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Hairstyles of tinted chinas reflect the fashion of the times in which they were made. Many had the “covered wagon” style of center part with sausage curls. Some had what I call the “gothic part” in their hair—it mimics the shape of a gothic window. It was a popular style until the late 1850s. Some have a short, wavy or curly hairstyle—a younger girl’s coiffure. A rare few are boy chinas with a short, tousled hairstyle. In general, the tinted chinas have simple hairstyles.

Also made by Kestner, this cream-tinted china has an all-over tint, including her hair part and her eye whites. Did you notice her “gothic part?”

It can be a little hard to tell if a china head is actually tinted, but if you hold a perfectly white card or paper against the china’s face or shoulder plate, the tint is more obvious. Often the shoulder plate is a little more tinted than the face. Also, the inside of the head will be un-tinted white porcelain. It will contrast with the tinted outside of the head.

China heads are made of white porcelain, including the tinted chinas. Tint was washed over the porcelain before the head was painted. After the hair and facial features were painted, a clear glaze covered the tint and the painting, giving the head the shiny finish that china dolls have. On some larger, more elaborate tinted china heads, the whites of the eyes were left un-tinted, but usually the pink This Kestner pink-tinted china reveals that the whites of her eyes are untinted, a step which took extra care and effort at the factory.

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or cream tint covers the whole head, including the whites of the eyes and the unpainted part in the hair.

Sometimes you will notice the cheek blush seems a little more intense on tinted chinas due to the underwash of pink or cream. Some of the tint may have collected at the edge of the shoulder plate. Seen close up, or magnified, the tint often looks grainy.

Some china doll arms of this era, which generally have “spoon” hands, were also tinted to match the heads, but the legs were not because the white color of the legs was meant to represent white stockings.

Many tinted chinas had cloth bodies with leather arms, and “ballerina” cloth feet. Pressed-into-themold china heads were made during the same time period as tinted chinas—from the earliest china dates up to the mid-1860s—and eventually disappeared in favor of poured china heads. Because of their small size, most china limbs were poured,

An all-original cloth body with white kid leather arms and ballerina feet accompanies the Kloster Veilsdorf pink-tinted china. Her stitched leather hands mimic china spoon hands.

She wears a melting original sprigged cotton pagoda-sleeve dress with piping and ruched bodice, circa 1855.

Kister made this pink-tinted china. Her lovely, well-molded hands and arms are tinted china, but her legs are white, to represent her stockings, above painted flat boots. Her cloth body and china limbs are original, her wool dress a handmade antique.

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This is a closer view of the Kister’s pink-tinted china arm with spoon hand.

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Harsh down-lighting shows up the slightly lumpy texture of a cream-tinted china’s pressed-into-themold porcelain.

The same Kister shows how pressed chinas have more noticeable mold lines.

Now you know to look for it, you can still see the pressed porcelain characteristics in better lighting.

This Kister china has an unusual asymmetrical hairstyle.

but not all. Pressed china heads can also be tinted china heads. They can be identified by the slightly lumpy, uneven surface both inside and out. They may have slightly more obvious mold seam-lines.

Inside a pressed china head, you can often see fingerprints fired into the porcelain. Poured china heads, on the other hand, are smooth outside and inside, and of even thickness. The same is true for pressed or poured tinted arms; pressed arms are uneven inside, while poured arms are smooth and even.

One lone surviving pink-tinted arm. You can see the grainy tint has settled into the finger lines. At the top of the arm, a narrow strip shows unglazed pink tint. The arm has two prominent mold lines.

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Pink tint or tinted chinas have been mistakenly called “pink luster.” Pink luster (or lustre) was a pretty glaze on earthenware and china dishes made from the 1790s to about 1850, mainly in Wales and the north of England. The pink luster finish was created by adding a solution of copper over a pink glaze to make it iridescent. Lusterware was also made using solutions of gold, platinum, or silver.

China heads were not glazed with this metalliclooking copper-over-pink finish, but the erroneous name persisted due to a misunderstanding of the term. The correct term now is “tinted china dolls.”

Tinted chinas are among the oldest chinas, and they may be the least common of the four types of porcelain heads, or second only to Parians, but they are appreciated all the more for that.

An 18th century pink lustre china cup and saucer, with the metallic copper glaze showing along the rims.

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Inside the pink-tinted arm, you can see the uneven thickness and tool marks indicative of a pressedinto-the-mold china arm.

The reproduction legs of a pink-tinted china added by a doll doctor who gave her pink lustre boots. Pink lustre glaze was never used on china doll heads—it is far too dark a pink, as well as being iridescent through the use of copper. The term “pink lustre” was misapplied to tinted chinas for years.

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Expect Mark to arrive in person to discuss your collection and take you through the complete auction process; from packing and transportation to prompt payment. No detail or concern is too small. You’ll receive his expert, personal attention from start to finish.

Mark Harris is delighted to take your queries about consigning. Contact him today and join the increasing number of happy buyers and sellers who have chosen McMasters Harris Apple Tree.

Accepting consignments now for Premier February 2019 Auction Mark Harris, auctioneer 740-877-5357

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McMasters Harris Apple Tree Doll Auctions - 1625 West Church Street, Newark, OH 43055 Visit our auctions online.

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The Overlooked Cloth Dolls of Madame Alexander By Florence Theriault

The earliest version, 1929, of Alexander’s cloth Alice in Wonderland with flat face and whimsically painted features is wearing her original dress.

By 1933, the Alice in Wonderland dolls had mask pressed faces.

Their hand-painted production is apparent by the differences in these two dolls, and the larger has real upper lashes while the smaller’s lashes are painted. Costumes are original.

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eatrice Alexander is a name often ignored in the litany of women who created notable cloth dolls in the early 1900s. In America, for example, following on the footsteps of Martha Chase who created cloth dolls until her death in 1925, there was Louise Kampes whose Kamkins doll was all the rage in Atlantic City during the 1920s and Mollye Goldman whose focus was on the stylish or show costumes created for her cloth dolls. Internationally, the cloth dolls of Kathe Kruse in Germany, Lenci in Italy, and Reynal in France are anxiously sought by today’s collectors. The cloth doll, in fact, has become a major collecting genre for antique doll collectors.

So why not the cloth dolls made by Madame Alexander made during this same era? Likely, it is because her later dolls of composition and mid-century plastic, the dolls that earned her prestige at the time, and that command highest prices today, are so favored among collectors that her cloth dolls are overlooked.

Which, of course, means that these cloth doll “sleepers” are opportunity for today’s collectors seeking budgetlimited opportunity.

Cloth dolls were the initial creations of Alexander.

The original dolls, made about 1923, were handstitched, painted and costumed by Beatrice and her sisters, drawing upon their knowledge of dolls and fashion garnered from their father’s doll hospital in New York City. Madame Alexander’s own records indicate that the earliest dolls were “Nurse” or “Red Cross Nurse”.

Interestingly, her first registered trademark, August 13, 1930, was for the cloth doll “Alice in Wonderland”; only 25 years earlier Martha Chase had made cloth character dolls, including Alice, inspired by the Lewis Carroll book, and it is possible that the Chase dolls were known to Beatrice through her father’s doll hospital and had served as source to young Beatrice.

At any rate, it is definitely known that Beatrice Alexander was a voracious devotee of literature, and the books that had inspired the young Beatrice, who had arrived in America at the age of one year with her immigrant mother, found their way into doll form from the very beginning of her production. Beginning in the early 1930s, and continuing through-out her life, she created imaginative dolls inspired by storybook

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Five variations of the beloved Little Shaver cloth doll by Alexander show variations in size, color of hair, and color and decorations of costume.

Jeanette MacDonald presented in a classic costume from her early film, Rose Marie.

Below: Tag on the Jeanette MacDonald doll.

Katherine Hepburn as presented by Madame Alexander has Hepburn’s signature side-glancing eyes. The firm made portrait dolls of Hepburn in both standard child size, and in this very rare boudoir style that was likely designed for the adult market. The costume is tagged “Babbie” from her 1934 film, The Little Minister.

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Above: Three cloth baby dolls by Madame Alexander with identical faces, yet the two smaller are the trademarked “So-Lite” dolls of 1940 with very lightweight bodies and yarn hair, and the larger is the 1942 Little Shaver baby with silky floss hair and firmly-stuffed cloth body.

Right: Bobby-Q and Susie-Q, the perennial schoolmates with saucy hats and school supplies were made in a variety of costumes and hair colors.

Below: Beau and Belle Bunny from Alexander’s line of whimsical animal people are shown with Susie-Q, an indication of their stylistic similarities in costume and presentation.

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characters. In addition to Alice in Wonderland, there were the dolls from Charles Dickens’ novels, David Copperfield, Oliver Twist, Christmas Carol and The Old Curiosity Shop. And there were the Little Women, inspired by the beloved novel of Louisa Mae Alcott, which were among the earliest dolls by the firm, and continued without pause for more than 50 years.

Early Hollywood film stars served as inspiration for cloth dolls by Madame Alexander. Two important examples were Katherine Hepburn as Babbie from her role in the 1934 film, The Little Minister, whose handpainted facial expression bears an uncanny, albeit caricature-like, resemblance to the beloved actress, and Jeanette MacDonald doll inspired by her role in the 1928 silent film, Rose Marie.

As the firm developed, the cloth dolls often took whimsical turns. There was Little Shaver, whose design Madame Alexander purchased from its creator, Elsie Shaver, and which was delightfully created in a variety of colors and sizes, and there was Bobby-Q and his schoolmate friend, Susie-Q. And later there were the wonderful series of Clarabell Clowns, circa 1951, whose imaginative designs and vibrant colors are compelling when preserved in original condition; the clown was inspired by the children’s TV show, Howdy Doody, which was released in 1947.

The cloth animals created by Madame Alexander took several turns, sometimes presented as “people animals” in costumed standing poses, and sometimes

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Three variations of Alexander’s 1934 Little Nell, inspired by Charles Dickens novel, The Old Curiosity Shop.

Clarabel the Clown, circa 1950, was inspired by the Howdy Doody show which had been released in 1947. With fanciful decorations, it is probable that each is uniquely created.

Three little lads, David Copperfield, Oliver Twist, and Tiny Tim, from novels by Charles Dickens were among the Alexander cloth dolls inspired by that author.

Little Emily from David Copperfield and Oliver Twist were two cloth dolls made by Madame Alexander inspired by the books of the 19th century author.

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The four Little Women dolls, based on characters from the Louisa Mae Alcott novel, were mainstays of the Alexander firm for more than 80 years. Shown here are her earliest versions of those dolls, made in 1933 and each in its original box.

The whimsical “animal people” of Madame Alexander include velveteen Dottie Dumbunnie, and two plush bunnies from the Posey Pets series with extravagant decoration of faces and original costumes.

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Two black poodles from the Posy Pets series have sophisticated charm, he with his monocle and she with her fancy necklace.

as actual animals, albeit fancifully decorated.

Among the first was the velveteen rabbit, Dottie Dumbunnie of 1938 who was quickly followed by the pressed cloth Beau and Belle rabbit people of 1940. In 1951 the Alexander firm presented her delightful Posey Pet series, some with detailed people costumes, and others, such as a series of black poodles including the long-lashed lady poodle named ZaZa, decorated with jewelry, monocles and other whimsical accents that seem more aimed at the lady’s boudoir market than child’s play.

And always, the beloved baby doll owned a place of stature for Madame Alexander. In the early 1940s, she presented a very soft and lightweight yarn-haired baby doll marketed as So-Lite, and that it was! The doll is very rare to find today.

For collectors aiming to acquire an acrossthe-board selection of cloth dolls, 1920s-1950s, it is apparent that the cloth dolls of Madame Alexander need take their rightful place alongside dolls by Lenci, Kathe Kruse, and Raynal.

The dolls shown in this article, and 400 more of composition or cloth, are all from The Rodney Waller Collection of Madame Alexander Dolls which will be auctioned by Theriault’s in January, 2019. A hardbound full-color catalog of the dolls is available.

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In Memory of Dolores Smith - 1940 - 2018 Doll Specialist for Withington Auction, Inc. 1999 - 2018

I

t is with great sadness that we announce the passing of our dear doll friend, Dolores Smith. She was kind and gentle, so humble as she skillfully produced and directed the doll auctions at Withingtons’ for 19 years. You may have never met her in person, but so many in the doll network knew her from her doll shop on Ruby Lane. She was always willing to share the knowledge and expertise gathered over her lifetime of doll collecting and continued to be a mentor to many “Doll Newbies” until the end. We will miss you Dolores, the doll world will never be the same without you.

“Please know that your “Doll Family” shares your sadness at the loss of our Very Special Delores. Over the years her charming self has been the guiding light for all of us in her doll world. We all have appreciated her guidance and cherished her interest in our dolls, as well as our lives. Her tireless hours and days, her “Labor of Love”, for Withingtons’ will never be equaled.” J.K. “It is not often we come across people like Delores... she was like no one else I’ve ever met. So many words come to mind as I write this: Sweet, kind, gracious, humble, generous, thoughtful, giving, loyal and hardworking. She treated people like she did her dolls - gently and kindly. Her sweet disposition through her difficult times never waned. I wish we could have shared our Dolores with the rest of the world, we all need a Dolores at some point in our lives. She is still in the Doll Business- just a new location.” L.S. Antique DOLL Collector

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December 2018

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2018 UF DC Competitive Exhibition Blue Ribbon Winners - Part 3 German Doll with Bisque Head, 1875-1930

Black, Mulatto, Asian-toned skin, no Caucasian. Doll to be in ethnic clothes.

1. Gail Cook

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Simon & Halbig mold #1079. Head must be marked. Can be in ethnic clothes.

2. Margaret Hein K*R character dolls, molds 101-114. Head must be marked. Can be in ethnic clothes.

3. Susan Rood Mein Leibling mold# 117 or 117A, no 117N. 4. Caroline Larson Kestner character dolls, mold #177-190 or mold #s 206, 208, 212, glass or painted eyes.

5. Gail Cook Heubach character children or babies, open or closed mouth, baby bent-limb, toddler, or child’s body, glass or painted eyes.

6. Gail Cook Armand Marseille mold #390, in ethnic, folklore, or regional costume.

7. Victoria Christopherson, 8. Donna Wirth, 9. Suzanne McGinn Belton/Sonneberg, open or closed mouth.

10. Harlene Soucy

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Any child doll that is not a Kestner, Simon & Halbig, K*R, Heubach, Armand Marseille, or Sonnenberg, closed mouth. Must be marked as to maker or mold numbers.

11. Lenell Chace Baby, with or without wig, molded or painted hair, open or closed mouth, toddler or bentlimb baby body, Simon & Halbig or K*R. 12. Mary Shaffer, 13. Carol Wesby Kestner “Hilda,” wigged or with painted hair, bent-limb baby body or toddler body. All Hildas must be in this category.

14. Harlene Soucy, 15. Carol Reom, 16. Barbara L. Patrick Baby doll, wigged or with painted hair, toddler or bent-limb baby body, other than Kestner, S&H, K*R in other previous categories. Can be Schmidt, Recknagel, etc.

17. Carol Reom Googly, painted or glass eyes, toddler or baby bent-limb compo body, no Kestners.

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All Bisque Kestner, seven inches or over, glass eyes, 1890-1930.

1. Claudia Daubert, 2. Belle Anne Curry French mignonette, any size, glass eyes, 1890-1930.

3. Sharon Lee French or German black skin tone painted or glass eyes, some jointing, 1890-1930.

4. Carol Sherwin Kewpie, some jointing or no jointing.

5. Judy Dennis, 6. Robin Hochteil, 7. Carol Reom Googly all bisque with time exaggerated round or side-glancing eyes and some jointing 18901940. All bisque googlies must be in this class.

8. Ila Marvel, 9. Wendy Feuer

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Nancy Ann Storybook Doll, made in Japan, “Around the World� series.

10. Robin Hochteil, 11. Elise Adams, 12. Judy A. Day Nancy Ann Storybook Doll, includes American molds up to and including pudgy tummy.

Storybook series.

13. Elise Adams Nancy Ann Storybook Doll, frozen legs, Dolls of the Month.

14. Judy A. Day

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All Bisque continued

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It’s Easy To Join UFDC

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If you collect dolls, you owe it to yourself to belong to the UFDC! For membership information contact: UFDC, Inc., 10900 North Pomona Ave., Kansas City, MO 64153 Phone 816-891-7040 Fax 816-891-8360 Visit www.ufdc.org

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Bathing Beauties Bathing beauty, one-piece figure of china or bisque, nude, no accessories in hands, with or without molded shoes.

1. Gail Cook Bathing beauty, one-piece figure of china or bisque, molded costume, molded or applied accessories in hand/ hands, with or without molded shoes.

2. Pat Knutson

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Half-Dolls Half-doll, known as pincushion type, china or bisque, bust only, nude, no accessories in hands, with or without molded or applied accessories in hair.

1. Rose Marie Souza Half-doll, known as pincushion type, china or bisque, complete, original factory assemblage, such as a pincushion, brush, lamp, tea cozy, powder jar, etc.

Bust must be attached to the assembly, not molded as part of it. If used, legs must be separated from torso by cotton, wire, etc.

2. Margaret Hein

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Hard Plastic

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Alexander doll, 21 inches or under, any face, dressed as royalty.

1. Georgia Shields Alexander International, 8” bent knee walker, single doll.

2. Julie Huelsbeck, 3. Diane McCarthy Alexander Cissette, 10-11 inches, 19571973, must have bent knees. Includes Portrette series.

4. Diane McCarthy, 5. Sherri Van Opijnen Arranbee Nanette or Nancy Lee, 1950’s.

6. Alice Toovey, 7. Judith Grant American Character Sweet Sue, Sweet Suzanne, American Beauty, any size, 1950’s.

8. Georgia Shields, 9. Kathy Monier Nancy Ann Style Show, 1952-1957.

10 Sallie Howard, 11. Elaine Goulden Nancy Ann Muffy, 8 inches, bent knee walker, 1950s.

12 Suzanne Swanton

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Nancy Ann Muffy and Debbie pair must be in identical outfits. Circa 1957-1971.

13. Robin Hochteil Effanbee Honey, or Honey Girl, early 1950’s.

14. Sallie Howard, 15. Suzanne Swanton

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Hard Plastic

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continued

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Celluloid

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German, marked, in ethnic, regional, or provincial costume.

Excludes Kathe Kruse.

1. Margo Delaughter Molded clothes, all makers, must be marked.

2. Victoria Christopherson

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Any celluloid, unmarked.

3. Pat Knutson Kathe Kruse, 1940-1960.

4. Patricia Morley

ANTIQUE DOLL COLLECTOR

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Specialty Dolls Candy containers, any material or year.

1. Diane Boettger, 2. Carol Hansen, 3. Janie Olds Doll made by Native American of Southwest tribe, excludes Katchina, and Zuni beaded doll.

4. Gayle Castaneda Skookums, composition head, painted features.

5. Becky Fuhrman, 6. Sherri Van Opijnen, 7. Stella Brooker Doll designed by Joseph Kallus, including Betty Boop, Joy, Margie.

Must be composition or wood.

8. Carol Reom Multi-faced doll, commercially made, any medium, 1920-present 9. Robin Tichner Samurai, any medium, can come with animal, 1910-present 10. Dotty West

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Geisha, any medium, 16 inches and under.

11. Sally Freeman Kimport doll in folklore costume, must have Kimport label.

18 inches and under.

12. Roberta Heintz 169. European ethnic pair.

Dolls must be from the country of origin. A 3x5 card must be included with information on country.

13. Lynn Elliott, 14. Sally Freeman Ethnic pair, any country, excluding Europe and Africa.

Must be made in country of origin 15. Sharilyn Whitaker, 16. Sally Freeman, 17. Gayle Castaneda

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Eskimo, or any doll representing an adult or child of the far north.

18. Colleen Eckman, 19. Carol Hansen, 20. Carol Wesby, 21. Kathleen Zell Fortune telling doll, any year, any medium. All fortune tellers must be in this category.

22. Kathleen Zell, 23. Jennifer Gibbs African doll, representing any country in Africa, must be made in country of origin, under 18 inches.

24. Pat Knutson, 25. Carolyn Allen

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That’s our holiday gift to you… a full year of

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at our lowest price of the year, $39.95!

This special offer is available to new subscribers as well as renewals! (New issues will be added to your current subscription.) It also makes a special gift for a fellow collector.

Don’t delay, this offer is only available in December!

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The History of the Hat

by Deborah Biggness

hen I think of distinctive hats, my first thought goes to Church hats, glorious in their bright colors, broad brims, feathers and ostentatious bows, African America women have been designing and wearing these since the 1800’s as an expression of individuality. Kentucky Derby hats fit the bill as well. Decorative, stylish, and unique – these hats have been a staple since the first Kentucky Derby in 1875.

The founder of the Kentucky Derby, Meriwether Lewis Clark Jr., wanted to change the immoral reputation of the Derby race-track so he loaded up a wagon of high society women who went door-to-door encouraging their peers to attend a picnic being held at the Kentucky Derby. Their efforts worked. Hundreds of wealthy women showed up at the Kentucky Derby dressed to see and be seen. Decorative hats remain a staple at the Derby to this day.

Antique straw hat adorned with silk flowers, brown And then, of course, there are grosgrain ribbon and lace. the fascinators. Described in 1860 as a lightweight, crocheted scarf or hood worn about the head. The term regained a bit of a revival with

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Brown wool hat decorated with an ostrich feather.

Intricate child’s Victorian straw bonnet with cream velvet ribbon, jet glass bead and silk red flower trim

the introduction of the feather-capped cocktail hats in the 1930’s. The current fascinator is described as a small, ornamental head piece that fits on a headband or comb and is usually worn on the right side of the head. These bits of millinery art were branded as “fascinators” by London milliners Stephen Jones and Phillip Treacy in the 1970’s.

However, as a doll collector, our first thought of hats strays to the bits of artistry sitting atop our French Fashions delicate heads. The French Fashions millinery heyday endured for only a short period of time – primarily from 1860-1900. Those of us invested in the couture of these fascinating dolls collect literature, patterns, and materials - allowing us to replicate that which failed to withstand the test of time. However, you have to ask, how did these necessary bits of fashion evolve?

Two Victorian floral French doll hatboxes and one German doll hatbox Victorian brown velvet with red velvet trim child’s bonnet Antique DOLL Collector

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Victorian child’s straw boaters

Until the Middle Ages, hats were meant to protect – from the sun, the weather, and the wind. However, in the Middle Ages the Christian Church decreed that a woman’s head must be covered any time they were to be seen in public. Thus, the beginning of an earnest millinery business – eventually moving the milliners out of their homes and into an established profession.

Fashion also dictates millinery creations, of course. In the 18th century huge wigs and mountainous hairstyles were in fashion – which birthed the “Calash.” The Calash – from the French word caliche, meaning carriage top - was designed to protect these high hairstyles from the weather. It was an ingenious – and outlandish – collapsible bonnet made of strips of wood and whalebone sewn into channels. Ribbons was sewn into the front, allowing the wearer to grasp the ribbons to keep the hat in place as they walked.

By the 19th century, hairstyles returned to a more practical form – and the hats followed suit. Straw bonnets with “bonnet board” – designs pressed into cardboard by a roller – provided the practicality needed to protect a woman’s face from the sun.

By the 1850’s, the brim receded exposing more of the face and hair.

However, a “bavolette” - a ribbon frill – was used on the back of the bonnet to cover the neck. The neck was considered an erogenous zone in the mid 19th century, requiring coverage in public settings.

Fashion took a turn in the 1860’s with the prominence of the parasol.

Photo of a CALASH BONNET.

Embroidered lawn child’s bonnet with satin burgundy ribbon and bavolette covering the back of the neck 42

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The parasol was soon an accessory for every outfit, negating the need for a functional hat. Hats, by that time, were purely ornamental. Hats decreased dramatically in size becoming mere triangles of straw or silk with wide ribbons that framed the face. The fashionable hats of this time included; Spoon bonnets, Franchons, circular Pork Pies, peaked Tyroleans, and little “doll hats” that were worn perched on the front of the head decorated with cockades of feathers. Feathers, ribbons, faux flowers, and beading were the accents of choice for an individual’s favorite hat.

The popularity and extravagance of the simple hat was historically at its peak Grey velvet hat decorated with ostrich during this time period. The extravagant plumes – and costly – hats required protection – from travel, dust, and for proper and safe storage. The hat box became a necessity when purchasing a new hat. Hat boxes – often fitted to the size and shape of the purchased hat – were provided by the milliner to the customer at the time of purchase. The hat boxes were often designed as advertisements for the millinery shop as well. In the 1840’s, it cost more to bring your large hat box on a train than it did for the passage of the woman owning the hat.

Masculine-style hats entered a woman’s wardrobe in the 1880’s - about the same time as women were allowed to participate in sports. These masculine hats included Boaters and Trilbys.

From 1900-1907 in the early Edwardian period, it was fashionable for a woman’s silhouette to resemble an S-shape. Hats were worn atop of piled-high hair, positioned to sit projecting over the face. Blouses were pouched over the waist, ending in a trained skirt, giving the overall appearance of an “S” shape.

1880’s French fashion beige silk bonnet with green braid trim with matching promenade gown

1920”s straw bonnet with lace, burgundy ribbon and silk flower trim Antique DOLL Collector

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After 1908 a woman’s silhouette became slender – and hats adversely increased in girth. By 1911, hat brims extended past women’s shoulders, requiring the use of hat pins to keep the large hats in place.

The hatpin also had other uses, to ward off unwanted advances.

During WW1 hats became smaller and more utilitarian. A fancy hat was considered unpatriotic – making the wearer seem more concerned with their personal appearance than the concerns of the war.

The roaring 20’s with the short skirts and even shorter hairstyles brought about the Cloche hat. The crown deepened and brims were optional or minimized.

By the 1930’s, crowns once again became shallow to accommodate popular curly hairstyles. Broad brimmed sunhats, Cartwheels, and Pancakes competed with the Fedora, Beret, and Bowler – the latter complementing the pants suits, now THE fashion statement in women’s wardrobes.

1940’s child’s church bonnet, white wired twill with black pleated brim and butterfly lace accent

WW2 brought about a completely different mindset compared to WW1. Hat materials were one of the few commercial items not rationed during WW2. Women’s fashionable hats were dubbed by the French as a “Piece de Resistance.” Women designed and wore them with pride as a stand against Nazi occupation.

By the 1950’s and 60’s, the desire for fashionable hats declined. The Cartwheel, Turban, and pillbox hats remained favorable. Men’s hats returned to favor, creating competition among many of the popular hat companies. One of the popular promotions was the invention of the miniature hat box and hat. The hat box was an advertisement for the company. Stetson, Dobbs, Knox, and Adams Hats, to name just a few, used this unique method to increase sales. Often mistakenly referred to as salesman’s samples by collectors – they actually were a stylish gift certificate. The recipient of the miniature hat and hat box could go to the specified hat shop and trade them in for a real hat.

1960’s advertising hatboxes with graphic designs.

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1940’s pancake sunhat

1950s miniature hatbox “Gift Certificate”

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A Taufling Baby Preserved

By Georgina Brown

Undressed, the old rag used to stuff her lower cotton torso is visible.

Although crude, this helped to support her upper legs that had been eaten away by Carpet beetle larvae. The upper torso (front and back) had old repairs of linen cloth glued firmly into place. The original cotton twill sections that hold the body together were luckily in good condition, as were the lower arms, legs, hands and feet.

Taufling doll on arrival dressed in her cotton baby dress trimmed with old Broderie Anglaise.

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lot of broken and repaired antique dolls are sold on the internet these days, dolls from collections that are being refined or have been sitting in attics or cupboards for decades and are no longer wanted. Although they aren’t always perfect they do provide opportunities for collectors who either cannot afford that special doll in pristine condition or are happy to look after or repair a doll, so they can be enjoyed by future generations.

I have never really been a big fan of baby dolls, preferring dolls representing children or ladies especially the beautiful China heads. However, after many years of collecting I have become interested in the charming early dolls made of papier-mâché and the first time I saw a picture of a “Taufling” baby I just had to have one! There was something about that sweet round innocent face, the almond shaped eyes and the construction of the doll that intrigued me. Now to buy a “Taufling “ baby doll in good condition you would expect to pay several hundred dollars, so when a damaged one appeared for sale on Ebay offered at a very low price I jumped at the chance to buy it.

Briefly, the “Taufling” baby doll was based on a Japanese doll that had its limbs, upper torso and lower trunk joined together by cloth or leather to replicate the floppy body of an infant. Separate hands and feet of composition held by wires or chords completed the loose limb look. According to the authoritative book by Christiane Grafnitz “German Papier-mâché dolls, 1760 1860”, this doll caught the attention of Sonneberg businessman Edmund Linder 46

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The back of the doll showing the old repair and the sections eaten away by carpet beetle.

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This photo shows the variety of ingredients that were used to construct the doll. Under a hand lens the old papier-mâché reveals a mixture of sand, grain husks and fibers.

who was returning from a business trip when he spotted a Japanese doll in a toy shop in Brussels. Intrigued by its unusual limb construction he went back to Sonneberg and gave instructions for the production of similar dolls, thus in 1851 the first true baby doll was born! The dolls turned out to be a huge success and were copied by other doll manufacturers, so it is not always possible to identify the original maker if the doll is unmarked. The “Taufling” baby was also produced in wax over composition, wood, bisque and glazed china. They had “voice boxes” inserted inside the tummy which ranged from simple squeakers to more complex mechanisms that opened and closed the mouth and cried “Mamma” and “Papa”. These dolls are also referred to as “Motschmann” babies as Charles Motschmann (also from Sonneberg) made similar baby dolls at a later date.

In due course my doll arrived in the post and I unwrapped it with excitement and care. It was as delightful as all the photos had shown, 13” tall with a sweet baby face, fixed black pupil-less glass eyes, wispy black curls finely painted on either side of the head and center back and the loose limbs of a new born baby (“Taufling” means unchristened child). The seller I had bought the doll from had been very detailed in the describing the damage (with many photos) so I was quite prepared for that. What I wasn’t prepared for were the many shed skins of Carpet beetle larvae that fell out of the hollow head and torso onto the surrounding tissue paper!

Could these have been the cause of the extensive damage to the neck, head and trunk of this doll? Carpet beetle larvae are notorious for causing such damage, the adults lay their eggs in cupboards, beneath floorboards, inside storage boxes etc. Then the newly hatched grubs find a nice dark quiet place to munch away on items made from organic materials such as wood, cloth, fur, blankets and even dolls!!

The larvae can take several months to develop depending on the species, casting off their skins as they grow. The only way to destroy any living larvae or eggs is to use an insecticide (moth balls are just not strong enough) or by freezing, neither of which I was prepared to use on this poor little baby. Insecticides are toxic and freezing could cause cracking to the paint and fragile glass eyes, a risk I wasn’t prepared to take. As the doll had been owned by the seller for the past 40 years and was already damaged when bought, this gave me some hope, perhaps the larval damage was old and the risk of any further infestation long gone? Now when living beetle larvae feed they pass tiny pellets (droppings) called “frass”, so I decided the best plan was to keep my doll in “quarantine”, wrapped in white acid free tissue and watch out for any fresh “frass” appearing. In this way I would be alerted to any new insect activity and act accordingly...

Meanwhile I examined my doll more closely… There was an old repair to a crushed area on the torso (perhaps the original owner had pressed the

Close up of the old cloth repair firmly glued into place.

Back of the neck repair ready for final layers of glassine paper.

The front of the neck showing the area eaten away by beetle larvae. Here it is being filled in with homemade papier-mâché.

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Beginning to look happier!

The lower torso now filled in with cotton wool which holds the legs in position and protects the voice box.

Back of head showing finished and unpainted repair.

squeaker just a little too firmly!). The mender had made a neat patch of heavy linen or calico to cover this and it was glued on securely. I didn’t want to undo this old repair as it was part of its history and removing it could have caused more damage. Perhaps a doting parent or family member had repaired it? The head was very loose, due to three sections missing from the inside edges of the neck and back of the head. The tip of her nose had a minor dent. The arms and legs were in good condition with hollow forearms and legs of wood and separate hands and feet made of a hard composition. The worst damage was to the center back and front of the lower trunk which had been completely eaten away. The legs and what remained of the outer thighs were held on to the body by an elastic band wrapped around an old cotton rag that had been stuffed into the torso. Two small square pieces of cotton cloth had been pinned and roughly sewn around the legs and waist to cover the damage, holding the lower torso together and forming a diaper. The doll was dressed in a cotton dress with some melting to the bodice and edged with beautiful old Broderie Anglaise trim. Under this was a simple white cotton shift petticoat. Luckily the twill cotton sections that held the doll together seemed to be intact.

Keeping in mind that I shouldn’t do anything to this doll that couldn’t be undone, I first took several photos so that I had a record of any changes made. Then I removed all the carpet beetle larvae skins (about 25 in all!). This was easily done as the dolls head, attached inside by a cotton chord running from the top of the head to a little cross bar of wood inside the torso, was loose enough for me to get a good look inside with the help of a small torch. Next, I removed the cotton diaper and rubber band from the lower trunk so that I could see the extent of the damage to the tops of the legs. The papier-mâché was just 2 mm thick in this area but very hard and examining it under a strong hand lens I was able to see it was composed of sand crystals with embedded brown grain husks and microscopic fibers.

The early manufacturers of these dolls used different recipes (often secret!) to make their papier-mâché. The main ingredients being paper or carton, ground chalk, sand or plaster of Paris mixed with glue or starch along with other bulking ingredients such as rye meal, fiber waste or the 48

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With a new linen diaper in place, only the original old repair is visible.

waste products from factories. Tobacco juice, snuff, garlic or bitter apple gourd were also added to make the mixture less palatable to rodents and insects. Perhaps the beetle larvae that chewed my doll had developed a taste for this or else it had lost its potency with time?

I love the challenge of restoring a doll and gave a lot of thought to what I should or should not do next, my aim being to preserve what was left and keep repairs to a minimum. It would be so easy to do more damage than what I started with. The missing sections of papier-mâché from the neck and head I decided to repair as the head flopped forward and backward in an alarming way. I knew that the “Taufling baby head was supposed to be floppy but not to this degree!

Using thin unbleached cardboard (the inner tube from a paper towel roll had just the right amount of curve) I

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The voice box showing the hole in the paper bellows.

This was probably made when the old rag was stuffed into the doll.

Now covered, it works nicely!

cut out small sections slightly larger than the sections missing on the inside of the neck and secured them in place using a clear watersoluble wallpaper glue (Ph neutral). This gave me a firm base to fill with a homemade papier-mâché, the final layers being 2 or 3 smoother layers of “Glassine” paper, a semitransparent paper, cut to fit. This gave a nice sheen finish similar to that of the dolls face. I made sure each section repaired was completely dry (left for at least 2 days) before moving on to the next. The repairs to the missing sections of the The detail on her cotton baby dress showing old neck and head set nice and hard and stabilized the head. I left these Swiss white work embroidery. unpainted so that the repairs could be easily seen and if required, undone at a later date. The cotton twill torso had been stuffed with an old cotton rag which I was at first reluctant to remove but decided to go ahead as more beetle larvae could have been lurking inside! Thankfully the rag pulled out easily and turned out to be a 30cm square cut from an old garment. I was relieved to see that there were no more Carpet beetle remains and even more pleased to see the original squeaker box still securely in place. This was made up of two rectangles of wood measuring 60 x 25 mm, each 4mm thick, with thin brown paper glued between them to form the bellows. The bellows had a hole in it, possibly made when the rag had been stuffed inside the tummy, so I sealed this with two layers of acid free tissue glued with water soluble glue. When this dried I gently pressed the tummy and was delighted to hear a very charming bleat (like a little lamb), this baby had its voice back!

The legs were a different matter, I decided to protect what remained of the leg tops instead of trying to fill them it with papier-mâché. I carefully reinforced the area below the squeaker with enough 100% cotton wool to provide support for what remained of the leg tops and secured them all together with two linen squares sewn around the top of the legs and waist and finally pinned with tiny gold safety pins. This looked like a baby’s diaper and gave the whole area firm support and preserved the remains of the lower trunk. The doll was quite dirty, but I look on this as the patina of its long life, after all it had survived 150 years! So, did not attempt to clean it. With careful hand washing in mild soap the fragile dress turned from a dirty brown to a beautiful ecru color. The melting on the sleeves of the dress I reinforced with cotton net patches. Finally, to protect the Looking very sweet in her “new” bonnet of antique Venetian point lace.

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My beautiful Taufling baby! Her old dress now protected by a cape of vintage Broderie Anglaise.

lovely little painted curls on its head and cover the neck repair I made a little bonnet of antique cotton lace and a cape of old cotton Broderie Anglaise.

By preserving this little doll, I have learnt a lot about the manufacture of these charming papier-mâché babies. My “Taufling” baby now looks more delightful than ever and takes pride of place in my doll collection.

References: “European Dolls 1800 - 1930” by Jurgen and Marianne Cieslik. Christie’s South Kensington Collectors Guides. 1979 “German Papier-mâché Dolls 1760 - 1860”, by Christiane Frafnitz. Verlag Puppen & Spielzeug. 1994.

“German papier-mâché Dolls” by Mary Hillier, The Best of Doll Reader, Volume 3. 1988.

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At Her Majesty’s Service:

Yeoman Guard Dolls

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by Rhoda Seidenberg Photos by D.M. Seidenberg unless noted otherwise

trip to London usually includes touring on a double-decker bus, changing of the guards at Buckingham Palace, a trip to the Tower of London. As the tour bus crosses over Tower Bridge, the guides prepare you for the gory stories of executions, brilliance of the crown jewels, and Warder Guards often confused with the Royal Yeoman Guards, who serve as body guards in ceremonial events. As a belated nod to the recent nuptials of Prince Harry to Meghan Markle, this article will examine the history of the royal yeoman guards, who are often called beefeaters and their namesake dolls.

History of the Guards and their Costumes The Royal Yeoman of Her Majesty’s Body Guard are on the oldest and longest serving body guards in the world. The history of the guards and their costumes are intertwined. Their uniforms developed around major events of the British monarchy. One of the first references Figure 1 – The Insignia of Henry VII of England of the yeoman guards was during showing the crown on top the time of Henry VII, the victor of of the hawthorn tree. the War of the Roses or the war of the House of Lancaster and York in 1485. According to royal historical records, Henry’s personal body guards found Richard III’s crown on top of a hawthorn bush and placed it on Henry’s head proclaiming him king of England. The symbol of Henry VII was a crown resting on top of a hawthorn tree flanked by his initial H R (Henri Rex). [Figure 1] Henry VII’s private guards were now known as Yeoman Guards. The etymology of the title yeoman has many attributions including that it refers to the wooden archery they used--the wood in question would be the yew tree; or that it meant a young man from the OE yeng.

Nevertheless these guards were elevated from being laborers to a landed gentry’s type, suitable for service to the monarchy. An early illustration of the yeoman guards under Henry VII depicts them in green and white tunics with reddish stockings. [Figure 2] Figure 2 – This Player’s cigarette card depicts the titular character of Gilbert and Sullivan’s Yeoman of the Guard. Though the uniform is not quite green and white like the earliest mention of the yeoman’s uniform, the operetta was set during the Tudor reign.

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Figure 3 – The Field of the Cloth of Gold, [RCIN 405794] Permission of The Royal Collection/© Her Majesty Queen Elizabeth II 2018. This 16th century painting depicts scarlet uniforms worn under Henry VIII.

In the 16th century painting, The Field of the Cloth of Gold, which commemorates the meeting between Henry VIII and Francis I, a battalion of yeoman guards escort the British monarch towards this historic meeting. [Figure 3] It would seem from this painting that under Henry VIII, the uniforms for the royal body guards were similar to those worn today. The uniform was designed in the Tudor style which favored scarlet red. The yeoman guards were dressed in scarlet tunics and stockings, not the green and white outfit mentioned previously. The style of the tunic called Tudor style was actually a style known in other European countries during the Figure 4 – Detail from The Field of Renaissance. The tunics were trimmed with the Cloth of Gold showing crown and wide gold and black ribbons. The royal crown insignia of the Yeoman guards. can be seen on the front and back of the yeoman tunics. [Figure 4] The yeomen were soldiers and therefore they carried arms.

Early yeomen were armed with bows, swords, and partizans (spears). [Figure 5] Under the reign of Elizabeth I, the uniform is transformed with a white lace ruff collar. The additional of the Elizabethan ruff was purely an aesthetic choice of the virgin queen, who was often depicted in paintings wear elaborate lace collars.

The chrisom color of the uniforms would be maintained from this period to the present. Other aesthetic additions would be facial hair under Queen Victoria, who wanted her Yeoman guards to appear manly with mustache and beard.

Today’s uniforms incorporate all the changes over the centuries. [Figure 6] The Yeoman Guard’s uniform consist of the flat velvet hat, trimmed with silk red, white, and blue ribbons. The jacket or doublet, is scarlet wool decorated with deep blue velvet and gold lace on the peplum section and the cuffs. The ruff is three layers of silk lace. The breeches are red wool and trimmed like the doublet. The center of the doublet is embroidered the Figure 6 – Player’s cigarette card depicting the standard yeoman uniform.

Figure 5 – The Partizan of Yeoman guards under Queen Elizabeth II is marked with her initials.

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superimposed roses over flora representing Scotland (the thistle) and Northern Ireland (the shamrock). The design is topped with the royal crown. Queen Elizabeth II adopted the St. Edward’s crown over the Tudor crown favored by her great grandfather, Edward VII. Flanking the central design are the monarch’s initials. The guards wear merino wool stockings and black patent-leather shoes punctuated with red, white, and blue rosettes and white gloves. A relic from their military days is the partizan (spear), which has a steel head spear embellished with the royal heraldic emblem and the monarch’s initials and sabre sword. The Figure 7—This doll, listed as Beefeater feature that distinguishes the Yeoman in 1937-8 Dean’s Rag Book catalogue, was made to celebrate the coronation of Guards from the Tower Warder Guards is George VI, Queen Elizabeth’s father. the diagonal sash which originally held a firearm. The beefeater nickname was coined by Count Cosimo, the Grand Duke of Tuscany, who noted on a visit the British court, that guards ate large amount of beef.

British Dolls

Dean’s Rag Book The Royal family has had a long association with dolls and soft toys since the Victorian age. Queen Mary, the grandmother to Elizabeth II, loved buying dolls from British companies such as Dean’s Rag Book and Norah Wellings. For the coronation of her son, King George VI, Dean’s Rag Book made doll called Beefeater in the 1937 catalogue. [Figure 7] The doll was made in 1937 with a limited run for that year only and came in 15 inch size. Though it is called Beefeater, this all felt wears the traditional red Yeoman Guard uniform complete with shoulder sash or belt.

The front of the jacket is embroidered with a crown that sits above the superimposed Tudor Rose over the thistle and shamrock.

Around the neck is a white ruff, which was instituted by Queen Elizabeth I. The initials of the monarch, in this case is George VI, are missing.

In 1952, Dean’s produced another doll dressed as a Warder Guard in honor of the coronation of Elizabeth II and was presented in the 1953 catalogue.

[Figure 8] The doll is dressed similarly to the earlier one with the exception of its composition head. Like the earlier doll, the monarch’s initials are absent.

Alpha-Farnell The Dean’s label was dark green pre-World War II. J. K. Farmell (also known as Alpha Farnell) famously made a series of portrait dolls to honor the coronation of Edward VIII. History and the future king had other plans, The Farnell Company was in a quandary when Edward VIII abdicated the thrown, leaving the crown to fall to brother, George VI. They quickly scrapped the other dolls and made new ones to resemble the new king. [Figure 9] Along with dolls dressed in regimental uniforms, Farnell made 54

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a Yeoman doll with a face that at first glance looks like the king, but a second look it is not a true portrait of George VI. Of course, the mustache and beard obscures the features. This Farnell Yeoman doll is very rare and hard to find. The facial hair adds to the rarity because most members of the Royal family don’t sport whiskers except Prince Harry. This doll bears the king’s initials, an attention to detail also given to dolls made by Liberty of London.

Liberty of London Liberty of London is a store known more for its fabrics than they are for dolls. The store created a series of British monarchs and famous literary characters during 1930s. Liberty dolls Figure 8—Dean’s made doll to commemorate Queen Elizabeth’s coronation. featured the coronation of George VI He is also called Beefeater. complete with his mother Queen Mary, his spouse, Queen Elizabeth, and the royal princesses: Elizabeth and Margaret Rose as little girls. A Yeoman doll that featured his initials was made Figure 9—J. K. Farnell company made these dolls to celebrate the installation of George VI, shown here in his uniform with a Yeoman guard that looks slightly like the king.

Dean’s white foot label found on the 1952 Beefeater doll.

J. K. Farnell Yeoman Guard doll made for George VI. Antique DOLL Collector

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during his reign. The Liberty Yeoman is dressed in his proper uniform with diagonal shoulder sash, the royal insignia and initials GR. [Figure 10] He sports a scruffy beard and mustache and wears a black velvet hat trimmed with red, white, and blue ribbon. He is holding the partisan with heraldic lions and initials GR. Ilse Ottenberg The British sounding firm, Ottenberg of Derby had interesting origins. Ilse (nee Kimel) and her husband Richard worked for Ilse’s father, Albert Kimel. The Nazi regime forced the family to immigrate to England in 1938. Ilse’s father was not so fortunate. He was arrested and eventually killed by the Gestapo. Once in England, the Ottenbergs were considered enemy combatants and were interned with other German nationals, who were mostly Jews. Ilse and Richard began to make historical dolls, which like Liberty of London, were based upon British personalities, royal and literary. Ottenberg dolls are not easy to find but one can see an occasional Warder guard doll. [Figure 11] This fellow is missing his hat, but is made in the trademark Ottenberg style: well-constructed composition with sensitive painted features. The doll is complete with a metal sword and faux white leather gloves.

It goes without saying that one would expect British companies to make Yeoman or Warder dolls. The following dolls were made by the Italian firm, Eros and the Spanish firm Klumpe.

Eros from Italy Eros is an Italian company that made cloth dolls in the style of Lenci. The firm made touristtrade dolls dressed in Italian provincial Figure 10—This Liberty of London doll was made costumes. This doll was for George VI. Notice the initials GR on the front of the doublet. possibly made as an export for the Anglo market. The doll is dressed as a Warder guard complete with felttipped partizan. [Figure 12] The most distinguished feature is his bushy blond beard and mustache.

Klumpe from Spain Klumpe of Barcelona not only made Spanish character dolls, but also dolls representing other European nationalities. This doll has the 56

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Figure 12—The Italian firm Eros made this for the Anglo tourist market. Notice how his whiskers obscure his face.

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trademark Klumpe mustache and mischievous grin. [Figure 13] The uniform is not quite accurate. The crown is a plastic embellishment glued to the chest.

Three ruby colored jewels replace the traditional embroidery. The monarch’s monogram is missing, but there is little doubt the doll was that made during the reign of the Queen.

The era of finely made Yeoman dolls is sadly over. Perhaps the future coronations of the Prince of Wales and the Duke of Cambridge will be incentive for new doll artists.

Figure 11--Warder doll made

by Ottenberg of Derby with paper label. Notice the fine facial painting and the detailed partizan.

Figure 13—Like Eros, the Spanish firm, Klumpe made this doll for the tourist trade.

References Hewerdine, Anita. Yeoman of the Guard 1485-1547. London: London School of Economics and Political Science, 1998.

PhD dissertation.

Miller, Neil. The Dean’s Rag Book Company Limited: The First 100 Years.

Pontypool, Gwent: Jeremy Mills Publishing, 2002.

Norton, William. Yeoman of the Guard. n.d. 2018. http://yeomenoftheguard. com Paget, Julian. Yeoman of the Guard: 500 Years of Service, 1485-1985. London: Blandford, 1984.

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Ballerina Dolls of the 1950s

by Donna W. Brown

I

n the 1950s, young girls wearing tutus of pink netting over black leotards swarmed to dance studios to learn ballet, spinning and twirling as little girls are inclined to do. They held wooden railings attached to large mirrors as they stretched and posed hoping to be as beautiful as the dancers in the Nutcracker, which was first performed by the New York City Ballet in 1954.

The popularity of everything ballet exploded in the 1950s.

Chenille bed spreads, handkerchiefs, ashtrays, wall plaques and paint by number kits all featured graceful ballerinas. Sterling silver ballerina charm bracelets and ballerina brooches decorated with rhinestones were all the rage, while many little girls had a musical jewelry box with a spinning ballerina who appeared when the lid was opened. Little Ballerina was a 1958 children’s book by Dorothy Grider and Tina Ballerina was a musical story on Peter Pan Records.

Ballerina items of all types were sold in department stores and dime stores across the country, yet none compared to the demand for beautiful ballerina dolls. Many of the prevalent doll manufacturers quickly produced their hard plastic dolls as ballerinas.

Madame Alexander’s earliest Margot Ballerina,1953-55, poses with the 1958 children’s book by Dorothy Grider, Little Ballerina.

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Littlest Angel by Arranbee, 1954-57, dressed as a ballerina and 1959 Whitman paper dolls, Little Ballerina.

McCall ballerina dress pattern for Mary Hoyer and other hard plastic dolls.

Early Ginny Doll by Vogue with the Peter Pan record, Tina Ballerina.

Madame Alexander turned their Margaret doll into Nina Ballerina from 1949 to 1951 and she was dressed in a satin and tulle dress with silver trim. They created a Margot ballerina from their Maggie doll in 1949 and a variety of Wendy-Kins were sold as ballerinas throughout the 1950s.

Arranbee offered a silver trimmed pink ballerina costume for their hard-plastic toddler doll, Littlest Angel, from 1954 to 1957. She was 12 inches tall, had flat feet, jointed knees and sold for $2.98. In addition to their Littlest Angel, Arranbee also sold their very popular Nanette doll as a ballerina in several sizes starting in1955.

Niresk Novelty Company’s mail order and catalog ballerina with original box and brochure.

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Valentine ballerina doll with extensive wardrobe. Sears & Roebuck catalogue, 1958.

Valentine Valentina and Doreena Ballet Tour dolls, Worth wholesale catalogue, 1957.

Two Valentine ballerina dolls. Standing is an early 1950s hard plastic doll with a vinyl head. Seated is a later doll, fully jointed with vinyl head and arms.

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Voque’s 8-inch Ginny doll was first a ballerina in 1951 as she wore a silver tutu, silver shoes and silver head band with flowers. Over the next few years her ballerina costume changed to pink, blue, yellow and the rare 1953 rainbow tutu. Cosmopolitan’s Ginger had similar dresses in the early 1950s.

By the mid 1950s, ballerina dolls continued their success, but dolls were changing. Many doll manufacturers began giving hard plastic dolls vinyl heads with rooted hair. Some added vinyl arms and even pointed the toes on their ballerinas. Later they replaced both pointed toes and flat feet with jointed ankles, so the dolls could also wear street clothes. Manufacturers added arched arms, swivel waists, jointed knees and advertised their dolls as posable ballerinas.

In the late fifties, Madame Alexander manufactured their hard plastic Elise doll with jointed vinyl arms and jointed ankles to give her the ballerina stance and she was dressed in pink satin and tulle.

Madame Alexander also sold a 10-inch Cissette ballerina with jointed knees and high heel feet.

In 1956, the Paris Doll Company sold a ballerina doll named Nadia.

She was a 20-inch hard plastic ballerina with a vinyl head and rooted hair in a ponytail. She wore pink plastic ballet slippers and had jointed knees and ankles. The following year Horsman acquired Nadia and sold her under their name. The Belle Doll & Toy Corporation made a hard plastic ballerina with a vinyl head. She was an all jointed walker and came dressed in various ballet costumes.

Valentine was the most prolific ballerina doll manufacturer and offered several different styles made of hard plastic with vinyl heads and rooted hair styled in a bun, short curls or a ponytail. The Valentine ballerinas were many sizes from 10 ½ inches to 24 inches tall, some wore pink Capezio ballet shoes, named after the famous dance shoe company, and their tulle dresses were usually adorned with either gold or silver.

One Valentine doll, Concertina, contained a music box inside her body that played Swan Lake’s Dance, Ballerina, Dance. Concertina, like Valentine’s Doreena doll, was 20 inches tall, hard plastic with a vinyl head and vinyl arms. She had jointed ankles and knees, so she

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Vintage 1950s rhinestone ballerina pin and sterling silver ballerina charm.

Valentine Ballerina with original case and partial wardrobe, late 1950s.

could make “hundreds of poses by the touch of the finger.” In 1956, Doreena came in a 36-piece Ballet Tour set that had a cardboard stage. She had an extensive wardrobe which included ballet outfits for the Blue Danube, Swan Lake, Nutcracker and a practice leotard.

The price was a hefty $29.95.

An unnamed Valentine Ballerina came in a velvet ballet dress, had feathers in her hair and a box with a mirrored interior. Her wardrobe included sleepwear, street clothes, practice leotard and stockings in addition to her ballerina costume. The very well-advertised Valentine ballerina, Aida, had a flatter face and was 19 inches tall.

She wore Capezio shoes and her box said, “With a salute to the S. Hurok presentation of the color opera film Aida.” Her wrist hang tag warned, “Little girls should know it is not healthy to do toe (pointe) dancing at too early an age. It takes years of extensive training to prepare a body for balancing on toes. A small child’s bones are too soft for pointe work.”

Valentine ballerina dolls were sold in local stores and through Sears & Roebuck, Spiegel and many other catalogs. One ballerina exclusively made for Sears was a 10 ½-inch Happi Time ballerina with a vinyl head and rooted hair. In 1957, Sears offered the Walking Valentine Ballerina Holiday Doll, with both a vinyl head and arms.

She was 18 inches tall, wore a blue tulle dress and came with a large selection of clothing. Chicago Distributor, Niresk Industries, sold a ballerina doll, Nina Ballerina, identical to Valentine ballerinas, through catalogues and mail order.

Some little girls had talented mothers who turned their Mary Hoyer, Ideal Toni and other popular hard plastic dolls into very special ballerinas. Simplicity and McCall both offered patterns in sizes to fit most hard plastic dolls for a mere 35 cents.

With the end of the decade came a change to doll manufacturing.

Hard plastic dolls were totally replaced with all vinyl dolls. Little girls quickly moved on to the much smaller adult fashion dolls leaving their large ballerinas to be tucked away in a closet or left on the shelf. Yet today, collectors have found that the original allure of the hard plastic ballerinas of the 1950s is hard to resist.

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Valentine’s Aida ballerina wearing Capezio shoes with original box, 1953.

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

ONGOING

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

11-2018 thru 3-2019 ~ Philadelphia, PA. Exhibition starring four extraordinary miniature dolls and their extravagant wardrobes. Philadelphia Museum of Art.

11/17/18-2/10/19 ~ Switzerland. Christmas Tree Art for the Holidays Art Glass - tree decorations from around 1920. Basle Toy Museum. www.swmb.museum.

DECEMBER 2018

1 ~ France. Doll’s Collection Auction. Dec.2.

Automata & Mechanical Music Auction.

Galerie De Chartres. Auctioneers. 33 (0)2 37 88 28 28. (F)33(0)2 37 88 28 20. chartres@galeriedechartres.com.

1-2 ~ Gaithersburg, MD. Doll & Toy Show.

The Fairgrounds. SFB Events / S. Bellman 239-440-3184 sbellman714@gmail.com.

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8 ~ Philadelphia, PA. Follow the Star a Neapolitan Christmas. William Penn Inn/ Gwynedd. Letitia Penn Club Luncheon.

Irene Muzslay. 215-256-6046. ibmrcm@verizon.net.

8 ~ Virginia Beach, VA. Doll Show. Bayside Rec. Ctr. Alexis Roeber. 757-385-5941. aroeber@vbgov.com.

11 ~ Spencer, NC. Tea with Mrs. Claus & Doll Museum Tour. 704-762-9359.

NCMDTM.com.

JANUARY 2019

12 ~ Newport Beach, CA. Landmark, The Margaret Lumia Dollection of Fine Antique Dolls Auction. Fashion Island Hotel.

Theriault’s. 410-224-3655. info@theriaults.com. www.theriaults.com.

13 ~ Hauppauge, NY. Doll Show. Radisson Hotel. Patchogue Doll Fanciers Club. Mary Voegele. 631- 981- 9332. maryv24@verizon.net.

13 ~ Newport Beach, CA. Madame Alexander, The Rodney Waller Collection.

Doll Auction. Fashion Island Hotel.

Theriault’s. 410-224-3655. info@theriaults.com. www.theriaults.com.

18-19 ~ Naples, FL. Doll Show. New Hope Event Center. www.NaplesDollClub.com.

Bonnie Basch. 440-572-1223. razzdazz28@aol.com.

26 ~ Chandler, AZ. Doll Show. St. Katherine’s Greek Orthodox Community Center. Dolls & Friends Doll Club. Mary Curik. 505-379-4534. pinemtn@pinemountaindolls.com.

Vicki Lafferty. 480-464-2899. dollsandfriendsdollclub@cox.net.

26 ~ Clackamas, OR. Doll Show. Monarch Hotel. Crossroads Doll & Teddy Bear Events.

Dorothy Drake. www.crossroadsshows.com.

26 ~ Palm Springs, FL. Doll & Bear Show.

St. Luke Catholic Church. Gold Coast Doll Study and Sunshine Doll Club of Florida.

Donna. dolznberz@aol.com. 561-386-5932.

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27 ~ Naperville, IL. Doll & Teddy Bear Show. Marriott Hotel. Karla Moreland.

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

24 ~ Strongsville, OH. Doll & Bear Show.

Strongsville Holiday Inn. Eileen Green.

440-283-5839. phdofdolls@yahoo.com.

FEBRUARY 2019

MARCH 2019

2 ~ Leesburg, FL. Doll Show. Morrison United Methodist Church. Janelle Sundeenl.

352-728-1832. magicofdolls@gmail.com.

Orange Blossom & Hills & Lake Doll Collectors Clubs.

2 ~ Westampton, NJ. Antique & Vintage Doll Auction. Crescent Shrine, 700 Highland Dr. Dorothy Hunt. 410-275-2213. www.SweetbriarAuctions.com.

3 ~ Fullerton, CA. Antique and Collectible Dolls, Bears & Accessories. Rowbear Presents. 831-438-5349.

RowbearPresents@charter.net.

9 ~ Fort Myers, FL. Doll Show. Araba Temple. Fort Myers Doll Club & Cape Coral Doll Guild. Marilia Hall. 239-540-8628.

Sharon. 239-267-1483. magicofdolls@gmail.com.

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

10 ~ Lynnwood, WA. Doll Show.

Embassy Suites. Lisa Pepin. 206-362-8723. pepins4@msn.com.

15-17 ~ Monterey/Seaside, CA. Dolls by the Seaside Event. Jeff Doung. 510-531-8972. www.bayareadollcluborg.blogspot.com.

16 ~ Largo, FL. Doll Show. Minnreg Building. St. Petersburg Doll Club. Ilene Delk. 727-347-7556. rdelk2@tampabay.rr.com.

Jo Valente. 727-384-1708.

23 ~ Naples, FL. Doll Show. Wyndemere Golf & County Club. Martha Simmons. marthabs.428@gmail.com. 239-694-4802.

23 ~ Roseville, CA. Doll & Teddy Bear Event. Placer County Fairgrounds.

Crossroads. Dorothy Drake. www.crossroadsshows.com.

1-3 ~ Dubuque, IA. Antique Spectacular Vintage Market. QCCA EXPO CENTER. Kim Schilling, Melting Pot Productions, Inc. 712-326-9964. Kim.spectacular@gmail.com.

2 ~ Cocoa, FL. Doll, Bear, Miniature & Toy Show. Holiday Inn. Florida Space Coast Doll Club. Joanne Collazo. 856-266-2518. creativejojo@aol.com.

2 ~ Escondido, CA. Doll Show. Church of the Resurrection. Cameo Doll Club. Patricia Morley. 949-521-6090. pattimorley@cox.net.

2 ~ Fletcher/Asheville, NC. Doll & Bear Show. WNC Agricultural Boone Building.

Southeastern Doll Shows. Jackie Stone.

828-505-2287. www.SoutheasternDollShows.com.

9 ~ Lakeland, FL. Doll & Bear Show. Lake Mirror Center. Tropical Doll Study Club.

Vicki MacTavish. 315-481-8116. Diane Milla.

863-644-1144. millandiane@gmail.com. thecondies@aol.com.

9 ~ Port Charlotte, FL. Doll & Bear Show.

Charlotte Harbor Event Center. Pt. Charlotte Doll Club of Florida. Sheila West.

941-255-0340. 401-699-3750. sheilawest11@yahoo.com.

10 ~ Dewitt, MI. Doll Show. Banquet & Conference Center of Dewitt. Sandy Johnson Barts. 269-599-1511.

14-16 ~ Houston, TX. Doll Convention Show & Sale. Marriott Houston Hobby. Bay Area Doll Club of Texas. Becca Hisle.

281-614-0077. beccasdolls@gmail.com.

16 ~ Naples, FL. Marquis Antique Doll Auction. Hyatt Regency. Theriault’s.

410-224-3655. info@theriaults.com. www.theriaults.com.

GAITHERSBURG Antiques Doll Show

HUNDREDS of SELLING TABLES…

DEC 1&2 Sat 10-5 • Sun 10-3

The 175th Eastern National Antique to Modern Doll & *Toy Show 2018 Established 1972

©

Calendar continued on page 64

Admission $10 Good 2 Days

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

Email us for Coupons and Maps

THE FAIRGROUNDS

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

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

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

SFB EVENTS / S. BELLMAN 239-440-3184 sbellman714@gmail.com

*LIMITED Number of Toys and Games ANTIQUE DOLL COLLECTOR

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SARA BERNSTEIN’S DOLLS

MARCH 2019 continued from page 63 16-17 ~ Puyallup, WA. Doll & Teddy Bear Show. Washington State Fairgrounds.

Crossroads. Dorothy Drake. www.crossroadsshows.com.

16 ~ Venice, FL. Doll Show. Woodmere Park.

Venice Doll Club of Florida. Patty Andrews.

941-493-6089. Holly Hamm. hollyhamm70@gmail.com.

10 Sami Court, Englishtown, NJ 07726 Ph. 732‑536‑4101 Email: santiqbebe@aol.com www.rubylane.com/shops/sarabernsteindolls

21-24 ~ Pacific Grove, CA. The Grovian Doll Museum presents Jardin du Luxembourg.

A Denise Buese Sewing Workshop.

Registration. Carmel Doll Shop.

831-643-1902. www.carmeldollshop.com.

22-24 ~ Dubuque, IA. Antique Spectacular Vintage Market. Grand River Center. Kim Schilling, Melting Pot Productions, Inc. 712-326-9964. Kim.spectacular@gmail.com.

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

106 W. Main St., Carlisle, KY 40311 859‑289‑3344 Open Wednesday, Thursday, Friday 11-4 Open by appointment at other times, call 859-707-6123

6 3/4” German Chubby Great Quality

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

www.TheDollWorks.net

Visit us at www.kydollandtoymuseum.com Like us on Facebook at ky doll and toy museum

YOUR AD HERE

a classified marketplace for antique dolls and related merchandise

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

FULL COLOR PHOTO ADS 3.3” h x 2.4” w $95

Please include payment with your ad.

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

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

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23 ~ Madison, WI. Doll Show. Exhibition Hall at the Alliant Energy Center. Madison Area Doll Club. Vicki. 608-279-5298. dollcoll@charter.net. Nancy. 608-271-1546. nancyawolf@gmail.com.

23 ~ Sharonville, OH. Doll Show.

Sharonville Convention Ctr. Triple Crown Doll Club. 513-675-8382.

3CrownDollShow@gmail.com.

30 ~ West Chester/Cincinnati, OH. Doll Show. EnterTRAINment Junction Expo.

Queen City Beautiful Doll Club. Margie Schultz. 513-207-8409. askmargie@aol.com.

APRIL 2019

6 ~ Lynnwood, WA. Doll, Teddy Bear & Miniature & Toy Show. Embassy Suites. Joy Hill. 425-712-1575. Trevino746@aol.com.

7 ~ Dedham, MA. Doll & Bear Show.

Holiday Inn Boston Hotel. Collins Gifts. Wendy Collins. 603-969-1699.

CollinsGifts14@aol.com.

7 ~ Maumee/Toledo, OH. Doll, Bear & Toy Show. Lucas County Rec. Ctr. Sandy Bullock.

734-282-0152. www.ToledoDollShow.com.

13 ~ Jonesborough, TN. Doll Show.

Jonesborough Visitor Ctr. The Dollhouse.

Ellen Stafford. 423-753-0022.

12-14 ~ Rock Island, IL. Antique Spectacular Vintage Market. Five Sullivan Brothers Convention Center. Kim Schilling, Melting Pot Productions, Inc. 712-326-9964.

Kim.spectacular@gmail.com.

25-27 ~ Seattle, WA. Doll & Teddy Bear Show. Double Tree Hotel. Crossroads.

Dorothy Drake. www.crossroadsshows.com.

27 ~ Fairport, NY. Doll Show. St. John of Rochester Parish. Henrietta Doll Lovers Club. Dottie. 585-889-2015. odailey622@aol.com.

27 ~ Nashville, TN. Doll & Bear Show.

Mt. Juliet Community Center.

Jackie Stone. 828-505-2287. www.SoutheasternDollShows.com.

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

Also, sign up on our email list to have the most up to date info on upcoming events.

Just email adclisa@gmail.com with the subject line “sign me up for doll events.”

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DECEMBER 2018

11/14/18 3:14 PM

Buying entire collections of antique dolls and dolls of merit.

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

fritzisantiquedolls@comcast.net Member of UFDC and NADDA

s ’ i z t i Frntique Dolls A

Come see us at these fine shows:

Dec 1-2 – Gaithersburg, MD. Doll & Toy Show. The Fairgrounds Jan 5-6 – Peoria IL. Antique Show Expo Gardens Jan 18-19 – Naples, FL. Doll Show New Hope Event Center www.NaplesDollClub.com

Feb 23 – Naples, FL. Wyndemere Golf & County Club

UFDC

fritzi.dec18.indd 3

(This is a luncheon show call Martha Simmons 239-994-0070 for details.)

11/15/18 9:51 AM

JANUARY 12-13, 2019 AN IMPORTANT MARQUIS ANTIQUE DOLL A U C T I O N at t h e f as h ion I S L A N D H O T E L in N ewport B eac h , C A L I F O R N I A

SATURDAY, JANUARY 12, 2019 SUNDAY, JANUARY 13, 2019 Landmark, The Margaret Lumia Collection of Fine Antique Dolls

Madame Alexander, The Rodney Waller Collection: Part One

Only rarely do collections appear with such significance that they can rightfully be labeled legendary or lodestar. Or “Landmark”. Which is the auction title of the collection of Margaret Lumia.

Chosen with a discerning eye, acquired with a dogged persistence, and nurtured carefully during their time in her care, her dolls offer today’s collectors a rare opportunity to see — and, perhaps win — a magnificent treasure from time past. The collection ranges from very fine early wood and paper mache to superb French bébés and poupées, to the rarest of the German bisque art characters, mostly all in original costumes. Too, there are furnished dollhouses, miniature treasures, outstanding early doll furniture, and more. x

Time has come for Beatrice Alexander, signature American dollmaker and designer, to take her rightful place among antique dolls. Nearly 90 years have passed since her dolls first appeared, and for more than a half century she stood as a symbol of excellence, ingenuity, and marketing mastery in the world of American dolls. Collector Rodney Waller noted this many years ago, and began a quest to find the rarest of the rarest of her dolls, prizing originality and excellence of condition as well as rarity. This is Part One of his two-part auction, featuring the cloth and composition dolls, 19301948, of Madame Alexander. You can order both catalogs today by calling 410-224-3655 or visit www.theriaults.com. x

If you can not attend the auction, online, telephone, and absentee bidding are available. To order a catalog or for more information call 410-224-3655 or visit www.theriaults.com.

the dollmasters

PO Box 151 • Annapolis, Maryland 21404

Facebook.com/TheriaultsDolls

Tel: 410-224-3655, M-F 9AM-5PM EST

Twitter.com/TheriaultsDolls

Fax: 410-224-2515 • www.theriaults.com

Pinterest.com/TheriaultsDolls YouTube.com/TheriaultsDolls Instagram.com/TheriaultsDolls