Jul/Aug 2025

Samy Odin’s Paper Dolls by the Seaside Gail Cook, Collector Extraordinaire Bécassine Dolls Papier-mâché Boys Through the Year

Awaji Puppetry Marion Maus– Her Home, Her Collection WPA Dolls Plassie vs.

Baby Coos A Summer Pattern for Bleuette

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Letter From The Editor

A doll is a storyteller, woven with memories of playtime and cherished moments.

The Doll (Louise Boulanger, 2015) Dear Readers, Recently I attended one of Stuart Holbrook’s Table Talk Doll Club Tour events. As usual, Stuart, the President of Theriault’s, was charming, hilarious, and full of fun stories. One of the takeaways for me was: tell the stories of the dolls in your collection. If someone shudders when he or she sees your collection (resulting from the negative impact of the Chuckie and Annabelle films), try to connect with them by telling them something relatable about the dolls. Tell them the doll’s story.

Stuart brings us our cover article for this, our annual double issue of ADC, where he tells the story of legendary doll collector, Gail Cook.

For years Gail has generously shared her dolls at national conventions, regional conferences, the Dallas Museum of Art, and the Dallas Arboretum, as well as graciously granting in-home tours of her museumquality collection.

In addition to his recurring Paper Doll Stories column, Samy Odin honors Bécassine, the beloved French character that began as a comic strip and became a doll in 1905. ADC paid a special visit to Marion Maus, who opened her beautiful historic Maryland home, allowing us to photograph her superb collection of dolls and dollhouses. Marion’s lifelong love of dolls will surely touch your heart.

Vickie Hannig takes us on a journey to Japan where we learn the art of Awaji Puppetry. Linda Holderbaum draws us back to the days of President Franklin Delano Roosevelt and the W.P.A. program, spotlighting the composition, papier-mâché, and composition-coveredwith-cloth dolls. Joy Harrington gives us a creative and descriptive pictorial of two incredibly special papier-mâché boy dolls dressed for different seasons of the year. Jane Foster discusses the Ideal Plassie doll vs.the Ideal Baby Coos doll. And, our talented pattern designer, Nicki Burley, has created a tennis outfit for Bleuette, the “always elegant, always stylish” French doll and friend of Bécassine.

We look forward to seeing you in Norfolk, Virginia this summer for the 76th Annual UFDC Convention. Look for us at Publisher’s Preview on Friday, July 25.

Every doll has a story to tell, waiting to be discovered by an attentive observer.

The Doll (Louise Boulanger, 2015)

Laurie McGill Editor-in-Chief

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Valerie Fogel’s

Beautiful Bébés Fine Dolls & Precious Playthings from our Past

www.beautifulbebes.com

Always Buying!

Trades and Consignments Considered Tel: 425.765.4010 Beautifulbebes@outlook.com

Here comes trouble! Trouble wrapped up as a charming little confection with great big innocent eyes belying the mischief on her mind! Adorable 11” Googly in overall excellent original condition. Sleep eyes and adorable pink organdy dress and original Ash blonde wig! Perfect cabinet size! $4900

Another incredible example from Maison Doleac. A 17.5” precious beauty w/ an exceptional face & gentle expression. Lovely blue enamel eyes & tender painting of features. She is crowned in an exceptional auburn wig created and styled by DSB. (These wigs offered at the UFDC Salesroom) Elegant bisque arms and feet grace this harder to find example. Priceless. $8200

Swing by Booth 501 in the UFDC Salesroom at the Marriott Waterside Hotel for a Swell Selection!

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Meet a regal 18” beauty, once part of the renowned Dorothy McGonagle collection. In time Mlle. made her way to a beautiful home overlooking the Allegheny river, where she has reigned for quite some time. She is crowned with an elaborate coiffure of golden mohair & wears a deeply sensitive expression behind her blue enamel eyes. Her pale peach gown is a froth of luscious layers of organdy. Mlle. is modeling a beautiful painted silk fan (disp. only) & her articulated wood body allows her to pose with ease. A treasure! $7200

Mademoiselle Doleac is the epitome of elegant beauty & grace. A 17.5” extraordinarily rare doll, seldom seen w/ lovely painted features rather than the classic enamel eyes. The painting of her expressive face is magical & tender. Her beauty is framed by an original blonde wig, crowned with a velvet and silk chapeau carefully coordinated with her sleek aubergine & golden gown. Rare and desirable. $8200

Member UFDC & NADDA

6/16/25 5:30 PM

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FINE ANTIQUE DOLLS AND ACCESSORIES BUYING & SELLING QUALITY DOLLS FOR OVER 32 YEARS

published by the

www.antiquedollcollector.com Publications Director: Lisa Brannock Editor-in-Chief: Laurie McGill Senior Editor: Linda Edward Production Director: Louann Wilcock Art Director: Lisa Claisse Administrative Manager: Valerie Foley Social Media Director: Brigid McHugh Jones Contributors: Elizabeth Ann Coleman, Bradley Justice, Samy Odin Subscription Manager: Valerie Foley Subscriptions: adcsubs@gmail.com Display Advertising: Lisa Brannock: lbrannock@antiquedollcollector.com phone: 631-261-4100 Louann Wilcock: louannw@antiquedollcollector.com phone: 872-216-8842 Advertising Materials Contact: Louann Wilcock: louannw@antiquedollcollector.com phone: 872-216-8842 Editorial: antiquedoll@gmail.com Laurie McGill: lauriem@antiquedollcollector.com phone: 717-517-9217 Send all catalogs to this address: Antique DOLL Collector, 4800 Hampden Lane, Suite 200, Bethesda, MD 20814 Marketing: Penguin Communications, Inc. Subscriptions: Send to Antique DOLL Collector, P.O. Box 349, Herndon, VA 20172. Phone: 631-261-4100 Subscription Rates: One Year $59.95; Two Years $109.95.

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Antique DOLL Collector (ISSN 1096-8474) is published monthly with a combined issue in July/August (11 times per year) by the Puffin Co., LLC, 4800 Hampden Lane, Suite 200, Bethesda, MD 20814 Phone: 631-261-4100 Periodicals postage paid at Northport, NY and at additional mailing offices. Contents ©2025 Antique DOLL Collector, all rights reserved.

The Art of Shopping

Visit us in the UFDC Salesroom, Booth 301!

Exhibiting: July 22 - 26 - UFDC United Federation of Doll Clubs National Convention Salesroom, Norfolk VA, Norfolk Waterside Marriott Hotel August 15 - 16 (Fri. and Sat.) - All-American Collectors Show for Toys and Dolls, Glendale CA, Glendale Civic Auditorium P.O. Box 4327, Burbank CA 91503 • e-mail: nellingdolls@gmail.com Cell: 818-738-4591 Home: 818-562-7839 • Member NADDA and UFDC

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Antique DOLL Collector is not responsible for any inaccuracies in advertisers’ content. An unsolicited manuscript must be accompanied by SASE. Antique DOLL Collector assumes no responsibility for such material. All rights including translations are reserved by the publisher. Requests for permissions and reprints must be made in writing to Antique DOLL Collector. ©2025 by the Puffin Co., LLC.

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JULY/AUGUST 2025

6/16/25 4:55 PM

Valerie Fogel’s

Beautiful Bébés Fine Dolls & Precious Playthings from our Past

www.beautifulbebes.com

Always Buying!

Trades and Consignments Considered Tel: 425.765.4010 Beautifulbebes@outlook.com

Exquisite 15” smoky eyed & rarely seen beauty.

Attributed to EB, w/ a beautifully sculpted face, narrow chin, & luminous eyes. Her head & shoulder plate are perfect. She resides on an articulated Gesland body, w/ beautiful, sculpted hands, & perfectly sculpted lower legs.

Although, it’s certain she was not originally on this type of a French body, it’s understandable why she would’ve inherited it. Her ecru silk costume is original, and she will come with two wigs, one has been with her for decades, & a lovely ginger mohair by the consummate artisan Diana Shorey Boettger. $5200

Swing by Booth 501 in the UFDC Salesroom at the Marriott Waterside Hotel for a Swell Selection!

Fantastic modeling of this incredible 11” little boy w/ spectacular painted features including amber eyes & crisply modeled hair. Rare to find, he is every bit as beautiful in person as one can possibly imagine. Comes with his adorable sock monkey. Excellent condition. Don’t miss this “once in a blue” opportunity. $6700.

This wee one owns the case! It’s hard to see any other doll when she is standing there! Such a precious Bébé! Marked 4/0 she is 11 inches of pure sweetness. She resides on a wonderful French wood & composition body. Her red velvet frock and feather-festooned chapeau perfectly compliment her beautiful espresso eyes! Excellent! $7300

Member UFDC & NADDA

As collectors, we seek the rare and unusual. Richard Wright had an advanced eye!

He was a young boy when he was first stirred with passion to seek out and collect the best examples he could find. This beauty was one of those acquisitions. A rare and fine example of a decorated china in the image of the Empress Eugenie known as Morning Glory. Notice the tiny fine tendrils of curls about her temples and next to her ears. Exquisite. This doll is in completely original condition. Superb from head to toe. Early and regal. $5200

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6/16/25 5:25 PM

The Complete Guide to Antique, Vintage and Collectible Dolls

July/August 2025 Volume 28, Number 7

On the Cover

36

THE INIMITABLE GAIL COOK COLLETION

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52

CLOTHES MAKE THE BOYS, BOYS MAKE THE CLOTHES

THE DOLLS OF THE W.P.A.

by Joy Harrington

by Stuart Holbrook

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by Linda Holderbaum

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A VISIT WITH MARION MAUS COLLECTOR AND DEALER

Our cover this month pictures one of the rarest of the bébés by Schmitt et Fils, circa 1880. This beautiful doll with rare painted teeth is from the prestigious collection of Gail Cook. A selection of Gail's dolls will be presented at Theriault's Marquis auction on Sunday, July 20, at the Norfolk Hilton The Main, Norfolk, Virginia.

IN CELEBRATION OF BÉCASSINE DOLLS

by Samy Odin

Departments

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80

84

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Letter from the Editor

10

Paper Doll Stories

by Samy Odin

16

NADDA Review

34

Auction News

93

Emporium

93

Auction Calendar

95

Events/Classified Ads Follow us on...

AWAJI PUPPETRY: Ritual Roots and Rebirth

by Vickie Hannig

IDEAL TOY COMPANY'S Plassie and Baby Coos

by Jane Foster

BLEUETTE COUTURE Pattern Included

by Nicki Burley

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

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JULY/AUGUST 2025

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1) Unique 17” SFBJ ‘233’ Screamer - A special French character, lovely mint bisque, rare flocked hair, 8 carved teeth/ tongue, Original Body & Clothes. Deluxe! $1500 2) Very Rare 11” SFBJ ‘272’ Enfant - Baby collectors! Here is one you never see - not even in the SFBJ Book! Top quality, Mint and Original too!

Just $550

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

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

matrixbymail@gmail.com

3 3) 26” Transitional Jumeau w.

Incised ‘look’ - 1886 Closed Mouth, Fully Sgnd. Head, Coil & Stiff Wrist Body, Factory Pate, Wig & Sgnd Shoes, early appl’d ears & shaded lids! A lovely important Tete! $2295 4) 15” Jumeau Fashion in Factory Couture -Including Matching Shoes & Hat - mint quality bisque, perfect posture, very clean w some usual age wear overall - $1750

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7) Breathtaking Early Period 21” Rabery et Delphieu - mint Pressed Bisque, Orig. Coil, upper/lower Early Square Teeth, sgnd. RD Stiff Wrist body & mint Factory Chemise. A winner! $2250 8) Large & Scarce 7” Asian All Bisque - amber tint socket head, molded slippers, orig. Braided Queue, period silks, plus antique miniature Rickshaw. $1595; Sitting All Bisque Jtd. Kestner Baby - $155 9) Beautiful J.D.Kestner Asian majestic yet playful 16” baby w amber tint bisque, Factory Wig & Body in elegant ivory silk/brocade Vintage Ensemble! $2250

5) 27” French Style Display Armoire - 2-doors, one is mirrored, 5-shelves w silk lining, a drawer plus space for 16” doll or trousseaux. 7” deep,17” across.

Stunning! $750 (Armoire only) 6) Hertwig Bisque Bride Fashion - exquisite 7.5” cabinet gem, jtd. arms, wire mount beneath original Satin Gown, Wax Bouquet & Bustle Train. $295

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

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

matrixbymail@gmail.com

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12 10) 34” Monumental French Papier Mache - Stunning Glass Eye beauty, no craze! Brushstroke Hair, parted lips/ teeth, Original Fancy Braided Wig & Clothes, Silk Slippers, rcov’d(?) French cut body. A staggering antique miraculously preserved. $2995 11) Grand 23” French Glass Eye China Fashion - Huret style, pink tint, Blue Enamel eyes, French cut crown, a typical firing flaw, Cork Pate, French Body wired fingers, typical aging/repairs Orig Silk Corset So worthy of your finest dressing! Not $4500 just $2500 12) Mint 18” cir. Bisque Milliner’s Lady Head - Glass Eyes 9.5” tall. A rare patent by Botteaux made by Marseilles.

From the Margaret Strong Museum with inventory digits.

Brilliant display piece. Another rarity! $1495

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13) French China Sewing project! (See #11) 14) Museum Class French Mache - showing brush stroked hair beneath wig. (See #10) 15) 10” Brown Heubach Lad - ‘7667’ - Great ethnic creation, fired in color, side-glance eyes, closed mouth, Orig Romper. $625; De Fuisseaux du Baudour - unusual, fine Belgium bisque character, 9” shelf size Orig. wig, period dress & quality body. $595

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15 16) Small 8” German Bisque Asian - well-made amber tint, Orig Wig, Glass Eyes, quality body w. pretty Molded Asian Slippers. $275; The 11” Door of Hope Monk - early pear wood model includes wood arms plus clean old layers of clothes incl. hat & slippers. $650

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17) Project Doll! Mechanical Kicking Steiner - Lafosse Era, mint head, PW eyes, original body with Maison Nadaud Boutique Label & Alexandre Factory Shoes.

Just needs tinkering & fine clothes! Only $795 16

18) Rare Gottschalck Garden Party House - Self-contained! - front opens down to reveal a Garden with Gazebo, Flowerbed & Tree Swing! plus a front opening 2-room Red Roof Cottage w. Attic! A novel Gottschalck playhouse to display your own dolls! Figures & metal swing sold separately. Abundant fun & uses! Closes up for storage. $795 19) Outstanding 1850’s French Heirloom- great Bonnet (see #10) 19

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20) 16” Jumeau Poupée - (See #4) 21) 5” French Mignonette with Bare Feet - stunning miniature, glass eyes, luxury Silk Frock with Matching Chapeau. $1795; Fancy Tin Vanity $295 22) Scarce 15” French Trade Handwerck ‘189’ Sublimely elegant in Boutique Original Rose Print w her Silk Fringed Chapeau & Leather Shoes. Plus Jumeau Brows & the early mint body. Superb! $650 23) Antique Blown Glass Ornament - very collectible and whimsical 7” Hot Air Balloon, w. gold Metallic Filigree & net decor. Delicate, mint & rare! $250

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24) Authentic 18” Wood Body Poupee with Swivel Waist- Glorious kid over wood jointed fashion, mint head, clean & fluid body, important Period Ensemble of seasonal ‘Robe d’ete’ w Straw Sun bonnet, 4 Underlayers, Heeled Shoes, pierced Folding Fan & Woven Basket for seashells! Stunning modeling with exquisite lip treatment! The real thing! $7500 25) 20” Stylish Carriage-trade Poupée features ivory pure bisque, ice blue PWs, dewy complexion & beautiful presentation in form fitting Vintage Silk Gown w. Chapeau for her formal evening out. $1795 26) 17” Rare 1870’s Halbig Lad with Signed Plate - pure stain bisque w Blue PWs & Clo/ mo in vintage Linen suit with Leather Boots, leather gusset body & wired fingers $1495 27) Stunning 21” Parian with Ornately Decorated Mint Plate - gracious in her gorgeous Heirloom Gown & Stitched Bootines with a most artistic scrolled plate w. Molded Ruffles. $895

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Paper Doll Stories by Samy Odin

Paper Dolls by the Seaside

Photos 1-5

T

he presence of mariner costumes is constant in the wardrobe of paper dolls representing children from the second half of the nineteenth century. Rare, though, are the sets specifically focused on beach attire.

An excellent example in this genre is “Lieschen am See Strand” (Lizzy at the Lake Beach) by Meissner & Buch.

Founded in Leipzig in 1861, M&B, like several other major German publishers of that generation, opened offices in London, Milano, Paris, Bruxelles and the United States with the purpose of exporting its products more easily.

Essentially known for printing playing cards, Meissner & Buch also specialized in postcards, art prints and paper dolls and other educational playthings. The high quality of their chromolithographic prints is still highly revered today.

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This boxed set includes a graceful 10-inch doll, a beach hut, seven outfits, a few hats and accessories. As in other similar boxed sets from this company, the inside of the lid shows the content of the set, even though this is not always accurate, in fact the beach hut and the skates are not featured in this summary. (Photos 1, 2, 3, 4, 5) Another boxed German set bearing the AEB logo, which I could not identify yet, features two dolls: a brunette and a chestnut blonde, wearing a turn of the century extensive wardrobe that includes one beach outfit for each of the dolls. Note the pointed rectangular tabs, a quite unusual feature.

(Photo 6) This other set of bathing paper dolls must have come as a sheet, possibly printed in Germany at the very beginning of the twentieth century. Each doll wears a swimsuit and has an extra outfit suitable for the seashore. (Photo 7) After the end of World War I, the “Polly Pratt” series of paper dolls by Sheila Young was published in the pages of Good Housekeeping magazine. “Polly Visits Friends at the Seashore” appeared in the August 1922 issue. Interestingly, one of the boy characters is represented from the back, a second one traditionally facing front, and Polly is drawn in profile. Each doll can wear two beach outfits. (Photo 8) In the same magazine, Berta and Elmer Hader were asked to draw exclusive paper dolls. The couple was especially known for illustrating children’s books. The design of this doll is clever, for the doll can be turned into a walking doll by substituting her legs with the fingers of the child who plays with it, as suggested in the band above the page.

(Photo 9) Among the dolls featured in a set by the German printer S&C, distributed during the 1920s in the United States by Samuel Gabriel, Harald came in two sizes, together with a small wardrobe of three pieces of apparel, two of which are intended to be worn by the sea. The smaller set, n. 350, came in a flat cardboard box titled “Play with Us” while the bigger format belongs to the “Doll Dressing” Series, which came in an envelope bearing n.

347. (Photo 10)

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Photo 7

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Photo 9 ANTIQUE DOLL COLLECTOR

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Photo 10

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Another small set by S&C from the 1920s represents a brunette child “Dolly at the Window,” whose wardrobe includes a striped blue and white swimsuit with contrasting color black foulard, bearing reference 4b, slipped into an envelope numbered 362. (Photo 11) In France, Imagerie Pellerin from Epinal published a colorful sheet during the early 1930s representing “Nicole à la Mer” (Nicole at the Seaside). The doll wears two pieces of apparel suitable for the beach as well as a regional costume typical of the Atlantic coast of France with the proper tool to pick up seashells.

(Photo 12) The last paper doll sheet I selected for this column is uncut and comes from Italy. Piccoli was a Milano based publisher who printed a very diverse collection of paper dolls over the years, including this beachside themed one, of which I kept also a cut copy, especially dear to my heart, since it belonged to my father, who played with it as a child shortly after World War II. (Photo 13) All the paper dolls shown here are featured in the author’s collection. Samy Odin can be reached at galeriesamyodin@gmail.com

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The Ohio National Doll Show

Save the Date!!!

Special Events October 4th, Doll Show October 5th 2025

Held in the Ohio Event Center at the beautiful Cherry Valley Hotel in Newark, Ohio For Hotel Reservations: Call (740) 788-1200 Reference Ohio National 2025 Doll Show for Group Rate.

Special events held October 4th, 2025 CAROL CAMERON

VIRTUAL DOLL CONVENTION

“It All Began with Izannah Walker, The Story of American Cloth Dolls 1840’s - 1930’s”

Twilight Tales “A Dark Academia Gala Dinner Event” with Robert Tonner, Rachel Hoffman & The VDC Crew

Presents:

Presents:

UFDC Sponsored Afternoon Programs ~ Free Admission “The Kamkins Cloth Doll” presented by Donelle Denery “The Mohair Bear” presented by John Paul Port For more information go to: OhioNationalDollShow.com or contact Gail Lemmon at: (440) 396-5386 or OhioNationalDollShow@gmail.com

A Doll Show Like It Used to Be. JOY! Ohio National.March25.indd 15

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2025 NADDA Annual Antique Doll Show

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May 16 - 17, 2025

n a blustery Friday, enthusiastic doll collectors and dealers arrived in Chicago for a fun filled May weekend to attend the annual National Antique Doll Dealers Association (NADDA) show. As is always the case with NADDA events, this year’s show offered a plethora of interesting doll experiences… including a trip to Fritzi Martinez’s home to see her excellent collection, a visit to the legendary doll shop Gigi’s Dolls and Sherry’s Teddy Bears, and, a wonderful sewing workshop by Alicia Carver, as well as a sales room filled with dolls to delight. Gail Lemmon, in her final year as NADDA president, created an exceptional show reflected in the many beautiful and interesting dolls and objects brought by the outstanding dealers.

The May 2026 show will be in historic Alexandria, Virginia. Robyn Martin is following Gail as NADDA president. Onward to Virginia!

Left: Out-going President, Gail Lemmon, All Dolled Up Above: Ron and Robyn Martin, Straw Bear Antiques, showed a stunning Simon Halbig mold 1159 Lady doll.

Above: Valerie Fogel, Beautiful Bébés Left: Marion Maus Greer, Marion Maus Antiques

Far Left: Gigi’s Dolls and Sherry’s Teddy Bears, hosted an Open House prior to the Friday night preview sale Left: Alicia and Charles Carver, Signature Dolls, hosted “A Stroll in Hyde Park,” a two-day Sewing Workshop with instructor Val Hays Above: Fritzi Bartelmay-Martinez, Fritzi’s Antique Dolls, hosted a bus trip to a Great Gatsby Gala featuring a tour of her beautiful home and fabulous doll collection.

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Large Japanese doll, Alan Scott Pate, Antique Japanese Dolls

Jackie Allington, GPS Bahamas, smiles for the camera with an armful of English Wooden dolls.

Karla Moreland, Karla Moreland Presents Antique and Vintage Dolls

All Dolled Up, 19th century Crèche figures shared table space in Gail Lemmon’s booth with a set of cloth Palmer Cox Brownies.

Joan Farrell and Amy Miller, La Poupée Chérie showed a lovely assortment of French Bébés.

Kathy Bass, Kathy’s Antiques

Sue Brightwell

Top Left: Nancy McCray, Kathy Bass, and Jackie Allington Top Middle: Rosemary Kanizer, Rosemary Kanizer’s Dolls Top Right: Mary Ann Spinelli, Nelling Inc. Lower Right: Sue Kallen Lower Middle: Marion Maus, Marion Maus Antiques Lower Far Right: Nancy McCray ANTIQUE DOLL COLLECTOR JULY/AUGUST 2025

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LAYAW AVAILA AY BLE

15” Glass Eyed K * R 114 w/ blue sleep eyes, HH wig, antique clothing & pouty expression $3595.

5” German #128 all bisque Flapper w/ Colleen Moore hairstyle $195.

11.25” Black German 217 DEP possibly F & W Goebel, brown stat eyes, original wig & clothing, stiff wrist body $325.

Not Pictured: 5x5” Fully tagged Steiff 1950’s velvet horse w/ mohair mane & tail $69.95

25” Ideal Shirley Temple w/ flirty eyes, professionally repainted & beautifully dressed All Original 7.5” French UNIS 60 in Ethnic costume, in vintage dress, original pin & shoes $395. loose stringing Strawberry blonde, blue sleep eyes, factory hairline at rim $195. Blonde in Blue headscarf and Turkish salvar pants, blue sl eyes 12” Beautiful $250.

Hummel RJ Wright Marta & Flowers, tag 6.75” Seated 35/250 $495.

Heubach Baby w/ molded bonnet & top, w/ arms up, great detailing $295.

13” German DIP 3 Swain & Company Toddler, brown sleep eyes, orig mohair wig, antique clothing $525.

8.5” D.V 0 green stamp S & Co Geschutz Germany, Swain & Co Lori looking bald head baby, blue sleep eyes, beautiful molding & coloring & baby body, vintage clothing $495.

12” Jeanne Orsini Kiddie Joy German Orsini 1927 baby doll, blue sl eyes, 9” circ beautiful character face, rub on left cheek, original outfit (as is), celluloid hands $1050

8” JDK 260 on 5 piece body, brown sl eyes, mohair wig, sweet face $265.

7” Kestner 143, brown stat eyes, orig mohair wig, compo body w/ jointed legs, hairline $375.

18.5” S & H 1339 L L &S 6 ½ Lindner & Sohne 1908, brown sleep eyes, pierced ears $585.

19” Beautiful Steiff Mohair Peggy Penguin, fully tagged, 1950-60’s, great personality $185.

12” RJ Wright Hummel Freidrick w/ Umbrella 35/150 $495.

20” German Pumpkin Head ( 1864 Jennie Hunter, on stomach) compo / wood arms, right thumb missing, wooden legs w/ painted red boots, blue glass eyes, head as is $250.

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19.5” CM Kestner 13, brown sl eyes, original mohair wig, Clothing? & shoes, stiff wrist body, sm eye chip corner rt eye $1025.

19.5” Heubach SANTA 7 ½ w/ Sunburst Mark, blue sleep eyes, original wig, shoes & socks $1425.

12.5” Seated German later mechanical automation, possibly sold through Marshall Fields in Chicago 1930 – 40’s, works well- hands go up & down, turns to left to see herself in the mirror $295.

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23” Kestner 161 H 12, brown sl eyes, original mohair wig & clothing $495. 6.5” Herm Steiner Googlie 133, blue sl eyes, 5 piece body $395.

17” French DEP on beautiful working wind up walking body, blue sleep eyes, HH wig, appears to be all original, except shoes, pierced ears, straight arms w/ jointed wrists, beautiful molding & painting, not original key $1095.

16 ¾” Mary Todd Lincoln Kestner China w/ Pink ribbon, bows & snood 1860-70’s, original body & limbs, pink boots w/ green tassels & stockings beautifully molded & painted $695.

21.5” All Original Kestner DEP 10 154, brown sl eyes, blonde mohair wig, wonderful clothing, muff & scarf $295.

14.5” Early Kestner 7 with beautiful molding & painting, blue spiral stat eyes, HH wig, plaster pate, antique clothing $550.

18” Alexander all original Binnie Walker in black & white dress w/ yellow pinafore, box w/ curlers & comb $195.

15” Fany 231 DRGM 248 A2M on toddler body, blue sleep eyes, HH wig, small black spot on nose $2250.

8.5” R.J. Wright Magical Hour Raggedy Ann 275/400, MIB w/ COA, Sweet piece all original $295.

3.5” Adorable R.J. Wright “Little Jack Horner” from Nursery Rhyme Series 10/150 MIB, all original $425.

14” Beautiful Set of Alexander Little Women 1950’s, Mint w/ boxes, Fashion Academy Award Tags, w/ hat boxes or curler boxes, two wrist tags, Jo is a Walker, interesting materials on Amy & Marmee, They have lived in their boxes, high coloring & no fading $750.

17” CM ‘D’ Depose Tete Jumeau, blue PW eyes, faint hairline above rt eye, HH wig $1695.

18.5” All orig Kathe Kruse signed on foot 1969 w/ tag $295.

12.5” JD Kestner Made in Germany 7, brown sl eyes, baby body $137.50 11.75” Mon Cheri LP Louis Leon Prieur, black pupiless eyes, pierced ears, painting as is lf hand & torso $325.

16.5” Effanbee Patsy Joan All original in polka dot dress, beautiful compo, clear green eyes, Effanbee bracelet $150.

Looking forward to seeing you in Norfolk, VA Booth #602

18” Handwerch Simon & Halbig 109 7 1/4, bl sl eyes $345.

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

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

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

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

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Dolls & All That Jazz!

Visit these

Salesroom Schedule

exceptional dealers in the Salesroom!

Tues

7:30 PM - 10:30 PM (Grand Opening)

Wed

Noon - 6:00 PM

Thurs 10:00 AM - 6:00 PM Fri

Noon - 6:00 PM (Public Day and Publishers Preview)

Sat

10:00 AM – 3:00 PM (Last Chance)

Valerie Fogel’s

Beautiful Bébés Antique Dolls Can’t wait to see you at UFDC in NORFOLK!

www.beautifulbebes.com (425) 765-4010 beautifulbebes@outlook.com www.beautifulbebes@outlook.com

Gigi’s Dolls & Sherry’s Teddy Bears Check Out Our eBay Store gigisdolls2010

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

Jackie Everett Dollhouses & Miniatures Please visit our Booth #203 or our shop in Ellicott City, MD Joan: (317) 627-4665 Amy: (317) 627-1006 info@lapoupeecherie.net NADDA and UFDC Corporate members

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

Mary Ann Spinelli Visit us in the UFDC Salesroom, Booth 301!

Booth #301 Burbank, CA Cell: (818) 738-4591 Tel: (818) 562-7839 nellingdolls@gmail.com www.maspinelli.com

Fritzi’s Antique Dolls Bringing a beautiful collection to convention all price ranges!

Can’t wait to see you at Booth 100, first booth in left front corner!

Fritzi: (630) 247-1144 Rick: (630) 247-1219 fritzisantiquedolls@comcast.net Member NADDA and UFDC

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Can’t wait to

Marion Maus Always looking to buy dolls, dollhouses, and miniatures

Booth #303 Ellicott City, MD (443) 838-8565 mmausantiques@gmail.com Member UFDC, DCA, and NADDA

Straw Bear Antiques Ron & Robyn Martin

Margaret Gray Kincaid

see you in the Sales Room for the 76th annual

UFDC

Convention!

Alan Scott Pate Antique Japanese Dolls

Booth #103 Bradford, NH (646) 709-4340 margaret.kincaid@gmail.com Member UFDC, DCA, and NADDA

The Port Collection John Paul Port

Cheers!

Come celebrate UFDC with us at Booth #101!

Bridgeville, DE strawbearantiques@gmail.com (404) 360-5456

PO Box 699, Acworth, GA 30101 (858) 775-6717 info@antiquejapanesedolls.com

Ashley’s Dolls Billye Harris

Nancy McCray

aka “The Pink Princess” AshleysDolls.com AshleysDolls@gmail.com PO Box 273, Whitsett, NC 27377

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

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

Karla Moreland Presents Antique & Vintage Dolls

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

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Jackie Allington

Porcelain Classics Jennifer Osner Textiles

nickandjackie@gmail.com

Looking forward too seeing you in Norfolk!

Ruby Lane Shop www.etsy.com/shop/textileartlace josner@mac.com (415) 290-7289

Take a stroll through the Salesroom floor

by Jennie Sykes

Restorations, Reproductions, Antiques (269) 331-6122 jennie@porcelainclassics.com

Brian Mogren

and discover all the fabulous dealers!

See you at the Convention!

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

Diane’s Doll Shoppe Rebecca Cherry Antiques

Booth # 814 (703) 568-7262 RebeccaECherry@cox.net

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See you at UFDC in Norfolk, Booth #302.

www.dianesdollshoppe.com.

(203) 531-3370

Walking through the Garden Gate Rhoda Wade

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

6/18/2025 10:09:15 PM

Marion Maus

Dolls, Doll House Miniatures, Doll Houses

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Member UFDC, DCA & NADDA

443-838-8565 6/19/2025 3:01:55 PM

Beautiful 19 inch Jules Steiner figure A, marked F A 11. Flawless French Bisque with mesmerizing blue eyes.

Stunning 23 inch Bru Jne 10, signed bru comp and wood body. Partial exposed tongue, parted lips, lovely brown eyes, perfect bisque head. Well costumed, complete with antique french human hair wig.

Two gorgeous all bisque Kestners.

Pushing 9”, if standing on their “tippy toes”.

Creamy bisque with stunning facial features.

Complete with antique beautiful costumes.

Kathy’s Antiques (319) 533-1869

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Naples, Florida

Kbass95841@aol.com

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Margaret Gray Kincaid Bradford, New Hampshire

Bru Jne Size 10 Chevrot after 1886, 25 inches tall, Blue Eyes, Original clothes and shoes Antique Santa print $115 Antique large Vanity $325, 14 inches to table top Antique child’s tea set $150 Lobster on brass tray $150 R John Wright bears $350 each, Loo, Tucker, Toodles in original packaging

Also selling: Antique French and German dolls from my collection, Antique European children’s and doll clothes, antique doll and furniture & accessories, old Paris China: children’s and doll tea sets & accessories, Tasha Tudor books, old fabrics.

UFDC Booth # 103 • Margaret.kincaid@gmail.com • 646-709-4340 ADC-Master-Ads-JULAUG25.indd 25

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Anne Demuth

Buying & Selling Fine Antique Dolls

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

Only 13 miles from Greenville, 30 miles from Rocky Mount and 1 hour from Raleigh

Looking forward to seeing you at the

Norfolk Doll Dreamer’s Market – July 21-23!

Sheraton Norfolk Waterside Hotel, 777 Waterside Drive, Downtown Norfolk, VA 23510

Experience Pure Doll Joy!

New Estates just in! Buy my latest treasures in a charming setting, or buy online in my eBay store: Anniepoojewels Please call or text me to make an appointment or get more information: 336.755.1400 Choose from a large selection of antique and vintage dolls, doll dresses, shoes, pantaloons, chemise, slips, bonnets, ribbons and more including doll furniture, doll kitchenware, and dollhouses.

Email: dollsbearscookies@yahoo.com

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NORFOLK DOLL DREAMER’S MARKET

July 21-23, 2025 • Monday 10-9 • Tuesday 10-5 • Wednesday 10-4 •

General Admission:

$10 Good for all three days!

Sheraton Norfolk Waterside Hotel In The Monticello Ballroom 777 Waterside Drive • Downtown Norfolk, VA 23510 A LOVELY ARRAY OF ANTIQUE AND VINTAGE DOLLS. PLUS, PAPER DOLLS, PATTERNS, ACCESSORIES, MINIATURES, TEDDY BEARS, TOYS. ANTIQUE, VINTAGE, ORIGINAL & DESIGNER COSTUMES. UFDC Note: A Short Walk From Marriott Waterside Garage Closest Parking is at Waterside Garage For show information call Anne Demuth: (336) 755-1400 or Email: DollsBearsCookies@yahoo.com

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NORFOLK DOLL DREAMER’S MARKET JULY 21-23, 2025 • Sheraton Norfolk Waterside Hotel, Norfolk, VA

LOOKING FORWARD TO SEEING YOU AT THE NORFOLK DOLL DREAMER’S MARKET – JULY 21-23!

“Lady With a Past ”

OOAK Historic Art Dolls Theresa Merritt — Doll Artisan www.etsy.com/shop/ladywithapastdolls dollmaker@bellsouth.net

MARY’S ANTIQUE DOLLS AND ACCESSORIES Mary and Skip Simonton 760.413.8330 asimo52537@aol.com Member UFDC & NADDA

ANNE DEMUTH

5134 Hwy NC 33 W Tarboro, NC 27886 336.755.1400 dollsbearscookies@yahoo.com

BEN AND BETH SAVINO The Toy Store 4030 West Bancroft St, Suite 8 Toledo Ohio 43606 419.392.0037 info@toystorenet.com www.toystorenet.com

SHERATON NORFOLK WATERSIDE HOTEL 777 Waterside Drive, Downtown Norfolk, VA 23510

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Manufacturers of Fine Doll Jewelry, Brass Accessories, Miniature Trunks & Hardware 336 Candlewood Lake Road, Brookfield, CT 06804 Phone 203-775-4717 Email: info@catspawonline.com

Visit our website and shop online: www.catspawonline.com Catalog price is $8.95 post paid

Accessorize Your Dolls!

Cats Paw has been in business since 1982 specializing in quality reproductions made from antique originals, and unique old store stock. Our antique reproductions are made by hand using the lost wax technique, and each item is hand finished to achieve an authentic “antique” look. We offer exquisite doll accessories that only look expensive!

• Jewelry • Trunks • Items for the Boudoir • Buttons and Clasps • Purse Frames • Presentation Boxes • Bleuette Accessories & More

Joyce Kekatos joycedolls@aol.com 917-859-2446 LAYAWAY AVAILABLE • Member UFDC & NADDA www.grandmasatticdolls.com • Look for me on Ruby Lane!

16” Bru Jne #5 Bebe, pale

16” E. 7 J. Jumeau bique, w/ orig. Bebe,

metal head attachment, pw eyes, orig mohair wig, perfect bisque head, shoulder plate & lower bisque arms, all orig including orig “signed” Bru shoes, ant Fr hat, on Chevrot body.

BREATHTAKING!!! $32,000.

Need to complete your collection?

Check out Back Issues at antiquedollcollector.com and find the right one!

14” Tete Jumeau #5 Bebe, pw

eyes, orig mohair wig, orig head coil in tact, ant Fr dress,& ant Fr hat & shoes, orig slip & undies, orig “signed” str wrist Jumeau body. This one melts my heart. A KNOCK OUT!!

$5200.

perfect bisque, pw eyes, orig mohair wig, orig. head coil still in tact, orig dress, ant Fr hat, ant Fr shoes, orig full slip & undies, orig.

Jumeau str wrist body. JUST

STUNNING!!! $7200.

15” E. 6 J. Jumeau Bebe,

mint bisque, orig mohair wig, w/orig head coil int tact, ant dress, orig “signed” str wrist Jumeau body.

GORGEOUS!! $6500.

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Auction News Recent auctions saw an active auction market with a wide range of dolls on offer.

Marz Auctions Marz Auctions of Myakka City, FL held their Very Special Doll Auction on April 12, 2025. Among the lots that were sold that day was this Number Two Ponytail Barbie®. Fresh to the collector market from the original owner, this doll in her original swimsuit, earrings, shoes and sunglasses also retained her stand and box making her a collector’s dream. This elusive near-mint model went home with a Marz Lot 169, Number Two Ponytail Barbie® sold buyer for $11,500 plus a 21% online for $11,500 plus BP. buyer’s premium.

Also from the Marz April sale was a lovely 16” ca. 1880s Rohmer-type poupée. This doll featured a bisque socket-head and shoulder-plate on a kid body with beautifully detailed bisque lower arms. She wore her original wig and her glass eyes were enhanced by painted upper and lower lashes.

She was costumed in antique clothing including her shoes which were marked with the JJ trademark.

This doll in very good condition Marz Lot 162, Mattel’s Twist N’Turn Barbie® sold sold for $4,000 plus the 21% online for $1,100 plus BP buyer’s premium.

Left: Marz Lot 139, 16” Rohmer-type French poupée sold for $4,000 plus BP. Above: Marz Lot 64B, 16” Patti Jo in her original box sold for $600 plus BP. 34

Another Barbie® from the Marz April auction was this pristine example of the ca. 1966 Twist N’Turn Barbie®. This doll’s platinum blonde hair was in untouched condition and included the original orange vinyl hair ribbon. Her facial paint was fully intact, her costume original and in excellent condition and her bendable legs were in perfect working order. Her hammer price was $1,100 plus the 21% online buyer’s premium.

The Marz April auction offered a very hard-to-find Patti Jo made by the Terri Lee doll company. This doll, still in her original box, was only available from 1947 to 1949. The 16” doll was in excellent condition and even included her original price tag of $10.95 on her box! She went to her new home for $600 plus the 21% online buyer’s premium.

Dotta Auction Company At Dotta Auction Company’s Antique Doll Spring Fling auction held in Nazareth, PA on April 26, 2025 a highly sought Simon Halbig character mold 1488 was one of the prized lots on offer. This 24 ½” example had sleep eyes, and mouth modeled with parted lips and a hint of a molded tongue. She wore her original mohair wig and was costumed in a blue velvet, fur-trimmed coat. This lovely character doll sold for the sum of $2,750 plus an 18% online buyer’s premium.

Top Left: Dotta Lot 196, 24 ½” SH 1488 character sold for $2,750 plus BP. Top Right: Dotta Lot 1, 18” Goebel Character sold for $1,600 plus BP. Right: Dotta Lot 147, 11 ½” Pine Tree Fairy by R John Wright sold for $425 plus BP.

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Dotta’s April sale saw this delightful flirty-eyed character doll on offer. The doll standing at 18” in height, was made by the German company of Wm. and F. & W. Goebel. The bisque socket-head had an open mouth and was on its original chunky toddler body. This happy boy went to a new home for the sale price of $1,600 plus an 18% online buyer’s premium.

Dotta’s April auction also included works by the late R John Wright. This doll from his Flower Fairy Series was the 11 ½” Pine Tree Fairy. This near-mint condition doll sold for $425 plus an 18% online buyer’s premium.

John McInnis Auctioneers On April 27, 2025 John McInnis Auctioneers in Amesbury, MA held their Antique Folk Art Doll Auction featuring the collection of Pat Hatch. Among the offerings in this important sale was an 18” Black Cloth Boy wearing a jaunty floralpatterned suit. This home-made doll had button eyes and fur hair. The hammer price for this treasure was $8,000 plus a 24% online buyer’s premium.

Another home-made rag doll in the McInnis sale was a great cabinet-sized example of a topsy-turvy doll. This ca.

1880 doll was 15” and featured painted faces. The doll was beautifully constructed and well detailed. She went to her new owner for the sum of $2,500 plus a 24% online buyer’s premium.

Also included in the McInnis auction was a whimsical home-made rag doll. At 25” tall she was brimming with personality. She dated to the 1920s – 1930s and had a sachet sewn into her costume. The doll was in good, played-with

Top Left: McInnis Lot 126, 18” Made-made rag doll sold for $8,000 plus BP. Top Middle: McInnis Lot 411, 15” home-made cloth topsy-turvy doll sold for $2,500 plus BP. Top Right: McInnis Lot 340, 25” Home-made rag doll sold for $200 plus BP.

condition. A buyer took her home for the sum of $200 plus a 24% online buyer’s premium.

Frasher’s Doll Auctions Frasher’s Playtime in the Parlor Doll Auction held on April 3, 2025 included among its offerings this delightful size 1 Bébé Jumeau with trunk. The 10” doll in wonderful condition was wearing her original deluxe couturier costume and shoes from the workshop of Ernestine Jumeau. She sold for $14,000 plus a 20% buyer’s premium.

Another special doll from the Frasher’s auction was a 5 ½” all-bisque Googlie. This little gem had the very desirable jointed shoulders, elbows, hips and knees. The fortunate bidder took this doll home for $1,400 plus a 20% buyer’s premium.

Also in the May Frasher’s sale was this 19” Circle Dot Bru Bébé. She featured a bisque swivel head on kid-edged bisque shoulder plate with modeled bosom and shoulder blades. Her kid body had bisque lower arms (one finger repaired). The doll was costumed in a silk-satin ensemble. The hammer price for this lovely doll was $5,500 plus a 20% buyer’s premium.

Top Left: Frasher’s Lot 106, 10” Bébé Jumeau with trunk sold for $14,000 plus BP. Left:Frasher’s Lot 190, 5 ½” AllBisque Googlie sold for $1,400 plus BP. Top Right: Frasher’s Lot 117, 19” Circle Dot Bru Bébé sold for $5,500 plus BP. ANTIQUE DOLL COLLECTOR

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The Inimitable

Gail Cook Collection

By Stuart Holbrook

Lovely bébé by Andres Thuillier (A.T.).

I

n every collecting field, in every generation, there are figures of prominence that stand out, shape and define that time. They become legendary. Doll collecting is no exception. And in the past 25 years there can be no doubt that Gail Cook has achieved that legendary status.

She is an unlikely hero, a seemingly accidental collector of the doll. Because when entering her Dallas home which is at the absolute cutting edge of modernism and minimalism, one wonders what it is about the antique doll that could possibly attract her. There are mid-century Le Corbusier chairs, square boxes by the famed contemporary artist Donald Judd, and paintings by Andy Warhol and Helen Frankenthaler dramatically perched over stark white spaces. And not a doll to be seen.

Until that is, you are escorted into an elevator and whisked to the lower level of her

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Early bébé by Andre Thuillier with original kid body.

home, well away from the modernism of the room above, into a world of yesterday. That is the Gail Cook world of antique dolls from the golden years of 1860-1915.

Gail’s start in collecting was much like many others in the world of dolls. It began with a simple German doll. Nothing fancy, certainly not rare, but a gift from her husband Dan (who, like most husbands that innocently gift wrap what is thought to be just one doll, looks back with humor in having started the whole thing). Gail was instantly intrigued.

And so, it began. She pored through books, educated herself endlessly, and developed the eye of the collector.

There is serenity upon entering the secret world of her doll theatre. Gail has chosen to present her dolls as works of art, allowing a perfect background of black fabric and fine lighting to accentuate their artistry.

Her principle of exhibition has always been simple, that it is the art of the subject, rather than the clutter of the scene, which draws the viewer in. And what is this subject, what are the dolls themselves?

The early signed bébé EJA by Emile Jumeau.

Mischievous and seldom seen googly, model 318, by Heubach Köppelsdorf.

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Portrait poupée by Jumeau in original Brittany costume.

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Bébé Gourmand by Leon Casimir Bru with original “flap” Bru shoes.

Art character doll, from the rare painted eye series, by Marseille.

All the legends of the Gail Cook collection hold true. In some ways each doll is so rare that the viewer becomes rather lost to the very concept of rarity in a “take it for granted” perusing of one after another. The dolls are not just about “pretty”, although there are a bevy of astonishing beauties to behold. But tucked here, or in the corner there, can be dolls of odd character, unstructured modeling, portraits on the fringe. It was as if Gail recognized that in a room of only beautiful faces one becomes inured to beauty, and that what a collection really needs is the occasional character to spice things up, stretch the imaginations and marry the outrageous to the sublime.

Gail Cook has served as an ambassador for doll collecting for more than four decades, not only within the encircling world of doll collectors, but ANTIQUE DOLL COLLECTOR

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Extremely rare exhibition portrait poupée by Emile Jumeau.

Petite premiere era bébé by Emile Jumeau.

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also in her insistence to the non-collecting world that dolls are an important instrument of artistic expression, Gail brings respect and dignity to a hobby as being something more than “grown ups playing with dolls”. It is best seen in the endless footsteps of artists, dignitaries, socialites, even leaders from around the globe that have paced the trail of dolls with Gail and have a new-found appreciation of what they represent. So it is, in many ways, because of her, that doll collecting today is just that – growing up.

A selection of her dolls, to be presented at Theriault’s Marquis auction on Sunday, July 20 at the Norfolk Hilton The Main, in Norfolk, Virginia, are shown here.

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Extremely rare doll sculpted by Albert Marque.

Bébé by Schmitt et Fils on rare blown leather body.

Among the rarest of the bébé by Schmitt et Fils with row of painted teeth.

Few models of Bébé Musique by Leon Casimir Bru are known to exist.

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Highly sought art poupee by Adelaide Huret.

Considered one of the rarest of the Jumeau Series Fantastique dolls in original costume.

Very rare painted eye art character doll by Marseille.

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Brown-complexioned doll by Kestner in the manner of the French bébé (A.T.).

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Clothes Make The Boys, Boys Make The Clothes

By Joy Harrington

W

hat could be better than combining two areas of one’s collection? In this article, I share highlights from my collection of young boys’ clothing of the mid-19th century worn by a pair of large midnineteenth century papier-mâché boys that are stars in my collection. First, a brief overview of young boys’ clothing of the period as well as details about the papiermâché boys.

I have been collecting mid-nineteenth century children’s clothing for almost as long as I have dolls.

There is something wonderful about holding a handmade garment from the mid-nineteenth century lovingly made by a woman for a member of her family. These necessary items are not only a testament to a woman’s duty and dedication to clothe her family, but also reflect the skill and creativity of the maker. As a collector, I am forever indebted to those who chose to preserve these items out of sentiment and remembrance so that we may enjoy them today and appreciate and learn about the material culture of our past.

On a warm sunny day, the boys stand in the shade showing off two different styles of clothing for boys of the same age. Teddy, to the left wears a thin cotton and linen blend short dress with cap sleeves, pleated bodice and short skirt over his linen short pants.

The dress is entirely hand sewn and has a cottonlined bodice with a silk ribbon finishing the neck edge. Hidden metal hooks and thread eyes close the garment in the center back. His short pants have pockets incorporated on each of the side closures and his pants are adorned with three buttons on the outer lower legs. Henry sports a light weight white cotton two piece outfit. The shirt, made of a thin ribbed cotton, has a button front closure and is adorned with white soutache trim along the front button placket and at the end of the front sleeves. The pants, made of pique, fasten on the sides with buttons and a pocket is incorporated on the right side of the side closure.

White soutache trim and buttons adorn the lower outer side of the pants. The two pieces are attached with buttons attached on the shirt’s waist band and buttonholes hidden beneath the outer waist band of the pants. The pants have the same soutache trim on the outer lower leg around two decorative buttons.

Both pieces are a combination of hand and machine stitching. Unfortunately the white-on-white soutache trim is not clearly visible in the photo, but other examples of the use of soutache, a popular trim of the period, will be clearly visible in other garments.

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whom at the moment. It should be noted that I have not My collection of clothing has mainly consisted of what seen formal portraits of children from wealthier families I originally believed to all be dresses made for little girls posed in such a haphazard assemblage of clothing. In in a wide variety of colorful cotton calicos, wool, wool formal portraits, one sees young boys dressed in long challis, cotton, and linen blends, all widely available dresses and boys of breeching age wearing short dresses fabrics of the period. And as time passed, I accumulated with short pants or pantaloons showing and older boys several large papier-mâché girls, made in Germany and wearing shirts, tunics, long and short pants or knickers.

America, to wear the dresses.

Just over a year ago, I was offered the opportunity to As my collection grew and my knowledge of acquire this large pair of glass eyed German paper-mâché children’s clothing expanded, I realized that among my boys and their assembled wardrobe. I had admired the little girl dresses were also dresses made specifically for pair of mâché boys in a friend’s collection for several little boys. Photographs, drawings and paintings from years and in fact had sold her some of the clothing items the period depict the popular use of dresses for both that were part of their wardrobe. So, when offered the young girls and boys. Sometimes I have been fortunate opportunity to add these boys to my collection of large to discover a note attached to a dress identifying its papier-mâché dolls, I was thrilled to do so. original owner by name or attributed to a male ancestor making the gender of the original owner clear.

In addition to typical length dresses, boys also wore shorter dresses with pantaloons or short pants clearly showing below the dress hem. The shorter dresses have a short gathered skirt and often have a pocket. Once realizing the variety of young boys’ clothing at that time, I started adding boys’ pants and knickers, vests, jackets and shirts to my collection of young children’s mid-nineteenth century clothing.

The common belief has been that young boys wore dresses until they reached the age of being toilet trained or breeching. The definition of breeching is putting young boys in pants or knickers for the first time. It is assumed this generally occurred after toilet training and the literature suggests breeching occurred anytime from the age of two to eight years of age. However, I have come to realize that at least among the common masses, there was not a hard and fast rule about breeching, meaning that once a boy was breeched, he no longer wore dresses. I have seen enough documentation through images of the period that depict young boys of varying ages up to the age of eight or nine wearing a variety of boys clothing. For example, I have seen photographs taken in the 1860s showing several boys, perhaps brothers, with an Teddy has found a nice shady spot to enjoy a hot summer day with his feline friend. older boy wearing a dress with a younger He wears a cotton shirt paired with his linen pants. The cotton has a pattern woven boy dressed in short pants and a short dress into it as well as red circles printed on it. The front of the shirt closes with six light and another wearing knickers and a shirt. green china buttons. The shirt is lined with a plain white cotton and is entirely hand sewn. What makes the shirt special are the scallops bordering the button placket, I suspect that common folk dressed their hemline and at the bottom of the sleeves. The neckline and all of the scallops are children in the clothes available and what fit finished with a binding of the same fabric.

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LEFT: Henry is pursuing his interest in botany and is collecting samples of Hosta leaves for study. He is wearing a cotton tunic or short dress of green plaid cotton cut on the bias and thin white long pants. The skirt of the tunic is gathered around a dropped waist band and the front closure ends halfway into the skirt and closes with hidden metal hooks and eyes. The tunic is adorned with simple rickrack at the ends of the short sleeves, around the waistband and front opening. The neckline and armscyes are piped. Henry’s pants are made of a thin weight cotton and button on the sides. It appears the pants were either pieced or altered to be made longer as there is a piece of fabric inserted on each leg to lengthen them. Both garments are hand stitched.

BELOW: Teddy enjoys playing with his goat pull toy on a summer afternoon. He is wearing a vibrant red calico print short dress with his linen short pants described in the first photo. This short dress is of the typical style of the period. It has a full skirt attached to the bodice at the waist, which is piped. Piping is also at the neckline, shoulder seams and armscyes. The short flared sleeves have an applied decorative trim. The bodice is lined with two different calicos. The skirt has three growth tucks.

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ABOVE: Instead of helping out with yard work, the boys engage in wheelbarrow shenanigans! Teddy takes his seat in the wheelbarrow, expecting Henry to push him about. He is wearing a loose fitting dress, which is hand sewn and made of a thin weight plaid cotton. The dress closes in the center back with china buttons as do the cuffs on the sleeves. There is a fabric tie that ties in the back. The armscyes are finished with piping and the neckline is simply faced. Henry wears a plaid cotton vest style tunic over a pique front button shirt with cotton collar and cuffs and linen long pants. The pants are machine and hand sewn as is the shirt. The pants close in the front with buttons. The vest style tunic may be an earlier piece dating to the 1840s as it resembles the styling of frock coats of that period. It is entirely hand sewn and has detailed styling with piping around the neck, armscyes and the piece with side gathers inserted at the waist.

China buttons close the front and are used as adornments at the side gathers and along the back at the waistline. There are also two pleats at the center back.

RIGHT: As the season begins to turn to fall, the boys don their purple outfits. Henry, on the left, is wearing a calico long sleeved sacque or jacket with his thin white long pants shown in photo three. The front of the sacque opening closes with hidden metal hooks and eyes as do the sleeve cuffs. The neckline is finished in a pleated ruffle of the same fabric. The bodice and sleeves are fully lined in a white cotton. The skirt of the tunic is gathered on a waistband across the back and sides and is not gathered in the front. It is entirely hand sewn. Teddy wears a bright purple checked longer dress made of linen. It came with a note reading “Dress worn by Harry Mercer when a little boy…born July 22,1864. This dress is hand sewn. The bodice and sleeves are lined in linen and the short sleeves are trimmed with lace. The dress is closed at the center back with buttons. This dress, based on its length, could have been worn by a girl too, but because of the attached note, we know it was originally worn by young Harry.

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Each of the boys had been purchased separately and were united by my friend after over 160 years of being separated at the factory. The heads are of the same size and obviously from the same mold. There are slight differences in the hand painting of their hair around the temples and forehead but they are most definitely twins.

The particular maker of the dolls remains a mystery but they are of German origin and date from the 1850s to early 1860s.

Meet Henry and Teddy Ludlow. The name “Henry Ludlow” was attached to one of their garments and Teddy just identified himself as Teddy. Henry is 35 inches tall and is a tall, lanky fellow. He is on a more traditional commercial cloth body of the period with a drawn in waist and wide hips. His arms have been replaced over time. Teddy is an inch shorter and is much more stocky in build. His body is well made and appears to be a homemade body with his original limbs. The boys exude very different personalities. Henry is the more reserved and proper fellow while Teddy is more outgoing and adventuresome. They complement each other well and are constant companions.

The boys, with their differing body types, wear the variety of clothing in their growing wardrobe very well. I have not altered any of the original boys’ clothing to fit them, nor would I as I want to protect the integrity of the originality of the clothes. Most of the clothing pictured dates to the 1850s and 1860s. There are some exceptions, particularly with some of the pants, knickers and a couple of the utilitarian shirts. These items were made in a similar fashion for decades so specific dating is difficult. As a collector, I have found it more difficult to find period undergarments as well as other utilitarian items such as shirts and pants which tended to be worn out from daily use and were not so carefully preserved as most of the garments pictured in this article. The boys also wear period boys’ leather shoes and have a variety of stockings to choose from.

The boys are pictured in some of my favorite items of clothing from their wardrobe. I have fun changing their outfits to match the seasons, this way I get to enjoy the variety of garments in my collection. I have chosen to focus on the variety of long and short dresses, tunics and tops with short and long pants from my collection that were worn during the 1850s-60s period. Not shown are the undergarments consisting of pantaloons and chemises that each boy wears as well as their outer garments of Teddy is ready for pumpkin season in this pumpkin-colored short dress made of a vibrant wool challis print. The bodice is lined with homespun and the sleeves jackets and coats. are lined with a brown plaid cotton. Hidden metal hooks and eyes close the front Since it is summertime, we will start with of the dress as well as the sleeve cuffs. This dress is entirely hand sewn and their summer wardrobe and move through the very well constructed. It has wonderful detailing with piping at the neckline and armscyes, blue braiding near the hemline and at the scalloped faux pocket flaps seasons. Detailed captions describe the garments on the front. The silk covered buttons used to adorn the faux pocket flaps and and their special features. Enjoy! the one lone button at the bottom of the front closure match the blue braiding.

Teddy’s black velvet short pants are worn beneath the short dress. The pants are hand and machine sewn and have two side pockets at the side button closures.

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All photographs by Joy Harrington

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The Christmas season approaches and Henry and Teddy get ready by putting on their most favorite outfits.

Henry to the left, wears his Christmas red wool short dress with matching pants. Both are trimmed in narrow black velvet ribbon. The two-piece outfit is entirely hand stitched. The pants are fully lined in a green plaid cotton. Interestingly, the upper part of the pants is made with a duller red wool and only the lower part of the leg, which is visible beneath the dress, is made with the same material as the dress. The bodice of the dress is lined in a cotton broadcloth and the sleeves are lined in a lighter weight cotton. The dress has a center back button closure and the sleeve cuffs also fasten with a button. There is a single pocket on the seam to the right of the center front, as indicated by Henry’s right hand. The black velvet ribbon trim around the neckline, on the bodice and on the hemlines of the skirt and pants adds a dramatic flair. The skirt also has a single growth tuck. Teddy sports a holiday red and green wool plaid short dress with his black velvet short pants described in photo seven. The dress is entirely hand sewn and the bodice and sleeves are lined in a brown cotton. It closes in the back with the same metal buttons that decorate the center front. The dress exhibits a military influence, a popular style for young boys at that time. In addition to the silver buttons, there are silver studs applied to red wool tape on the front and back of the bodice. Red wool tape is also applied in two rows near the bottom of the sleeves and skirt and at the edge of the sleeves and skirt. Black velvet ribbon finishes the neckline. This short dress also came with a simple bolero vest in the same material, which I chose not to photograph as it covers all of the bodice details. Like Henry’s short dress, this dress also has a single pocket on the seam to the right of the center front, as shown with Teddy’s hand in the pocket.

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The boys really enjoy playing with their rocking horse during the cold of winter. They are dressed for warmth in their wool dresses. Teddy, to the left, wears a short dress over a pique shirt and his lined black velvet short pants, previously described. The dress bodice and cap sleeves are lined in linen.

Both garments are hand sewn. The shirt closes in the center back with buttons. The short dress has a center back closure with hidden metal hooks and eyes. The dress is trimmed with red rickrack on the sleeves, the waist band and along the hemline. The neckline is faced with a dark red ribbon and lace finishes the bottom of the sleeves. Henry wears a two piece printed wool dress which is entirely hand sewn. The bodice and sleeves are lined in cotton.

The shirt buttons in the front with green china buttons and the same buttons are used on the shirt’s waist band to button it to the skirt’s waist band.

The arrival of spring weather brings the boys outside in their outfits embellished with soutache. Soutache is a braid trim which was a popular decorative technique of the period. The trim was hand sewn onto the garment in a pattern determined by the seamstress. These two examples speak to the skills and creativity of the women who made them. Teddy, to the left, wears a hand sewn light weight linen jacket with his previously described short linen pants. The jacket has a center front opening with buttons and braid loops to create a frog front closure to the waist. There is a gathered skirt on each side at the hips and a faded green silk ribbon tie to pull in any fullness in the back. The sleeves are elbow length. The soutache trim is skillfully applied and really makes this jacket special. Henry wears a loose fitting jacket or short dress made of a textured cotton over polished cotton long pants.

The pants have side button closures. Both garments are a combination of hand and machine sewing. Henry’s jacket has a button front closure, an applied pocket on the left front chest and a belt that has a button closure which can be either in the back or front. I chose to close it at the back in order to show more of the front soutache trim. The soutache trim is a combination of white cotton and red wool and the red wool shows wear in some areas. The soutache trim borders the front opening, hemline, the bottom of the sleeves and around the pocket. The neckline has a piped edge.

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Henry is dressed for a fancy spring garden party as he stands next to some paper whites. He wears the same white polished cotton pants described in the previous photo. These pants actually came with the plaid silk shirt when I purchased them years ago. I kept them tucked away until I found the perfect boy to wear them.

The shirt is entirely hand sewn and is fully lined with a sturdy brown cotton. It has a front center opening with hidden metal hooks and eyes. Brass buttons adorn the placket and the false pocket flaps. The placket edge, false pocket flap edge and bottom edges of the shirt and sleeves are finished with metallic trim. The neckline is finished with a piped edge. This shirt must have been made for a special occasion for a little boy as it shows no wear.

Finally, we end with Henry playing shepherd, resting and having a simple meal with his favorite German lamb on a fine spring day. Henry is wearing a young child size version of a laborers smock of the 19th century with his linen long pants described in photo six. The smock was a traditional and practical protective outer garment worn by laborers in England and Wales in the eighteenth, nineteenth and early twentieth centuries. The smock has decorative stitching which gathers the fullness of the chest, back and sleeves and thus allows for freedom of movement while working. The design of the decorative stitching or smocking demonstrated the creativity and skill of the maker. This smock is made of a heavy weight linen and is entirely hand sewn. The smocking detail is the same on the front and back and slips on over the head.

There is an opening on the center front and back which closes with buttons and loops as do the sleeve cuffs.

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The Dolls of the W. P. A.

by Linda Holderbaum

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n the late 1930s our country was experiencing the Great Depression. People were desperate for work and a solution, implemented by President Franklin D. Roosevelt, was created with the Works Progress Administration or W. P. A. Programs provided paid employment to thousands of Americans in trades such as construction and forestry as well as education projects that engaged a variety of artists. These programs included the Federal Writer’s Program, the Federal Arts, and the Visual Aid Project, all which ran from 1938 to 1941.

The Visual Aid Project created handicraft programs in sixteen states and cities designed to benefit museums, libraries, and schools. Artists were employed to create plays, posters, brochures, and other artwork. Individuals were taught a trade such as toy, puppet and doll making.

Many of the dolls were created to be used as visual aids in schools and museums, educating the public about

other cultures and time periods. Some dolls were created to teach workers sewing skills and clothing design and provided children the opportunity to learn to dress themselves by dressing the dolls.

There were specific rules regarding the construction of the visual aid dolls for schools. They had to be: (1) made of a durable and practical medium, (2) able to meet the need for which they were planned, (3) capable of being produced in quantities by workers with limited training and (4) of well-executed workmanship producing an attractive visual aid.

Here we will take a look at some of the dolls constructed of papier mâché/composition or composition covered with cloth, by programs in California, Connecticut, Indiana, Kansas, and Missouri. In a future issue we will look at a variety of the dolls made of cloth in other project areas.

This grouping of W.P.A. dolls shows the variety of the papier-mâché or composition construction used. On the left is a Greek peasant woman from the Missouri Museum Project.

In front is a Finland couple from the Kansas Museum Project. On the back left is a Sardinia woman of Nuroro from the Connecticut Project and an Egyptian man from the San Francisco Project. The Eskimo on the far right is from the Indiana program.

With the head constructed of a composition or papier-mâché base covered with stockinette and painted, this 12½-inch Greek peasant woman has fine yarn hair.

Her outfit is sewn to her body.

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The 16-inch Sardinia Woman is a very heavy plaster material with painted features.

From the San Francisco project, the Egyptian man is 13-inches tall with a papier-mâché type painted head, a mohair wig, and wooden limbs.

The 13½-inch Eskimo is from the Indiana Statewide Museum Project. These dolls have a shiny lacquer finish on their faces.

California appears to have had two different projects.

One program produced dolls that are six inches tall and came in shadow boxes with cellophane windows.

Presented singly or in pairs they were historically or culturally themed. There are also dolls marked San Francisco Recreation Project, W.P.A. that are 13-to-14 inches tall, and represent people from various cultural areas. Apparently puppets were also produced.

Dolls made in the Connecticut project are large, with the majority standing between 17-and-18 inches tall. They are made of a heavy papier-mâché or composition type

material with wire armature. Their bodies are plaster and stuffed cloth. They came in customized wooden carrying cases with the name of the doll hand-painted on the hinged door. The dolls were dressed in historical or ethnic outfits and are mounted on sturdy wooden bases that slide into customized sections in the cases to hold them secure. Stickers on the bottom of their bases read: VISUAL AIDS PROJECT//274 GEORGE ST// NEW HAVEN CONN with a red stamp that states: CONNECTICUT W.P.A.PROJECT.

The Egyptian man is joined by others from the San Francisco Project. Their wooden bases have the names of the countries they represent written on the front as well as a sticker on the bottom which reads: San Francisco//Recreation Project// O.P. and a number. Left to right: French Alsace lady, Palestine man, Egyptian man, Russian man, and unknown European lady.

Detail on some of the dolls is nicely done, as on the Palestinian man.

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Dolls from the Connecticut project sometimes have accessories such as baskets or pieces of scenery. To show the variety of sizes created, on the left is a 15-inch Betsy Ross and on the right is a 17-inch Spanish lady, both obviously made by different artists.

Sitting on a papier-mâché rock, this 15-inch Swedish lady was created in the Connecticut project.

This Connecticut made Palestine Shepherd is 16-inches tall and came in his custommade wooden storage box. Their carry cases have numbers that match numbers on the doll bases.

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Three more of the Connecticut dolls include (left to right): the medieval lady, Sir Walter Raleigh, and Queen Elizabeth.

The Indiana Statewide Museum Project made dolls of papier-mâché for its lending library. Standing 12-inches tall, the dolls are mounted on wooden bases stamped on the bottom with an image of the State of Indiana and STATEWIDE//MUSEUM//PROJECT//WPA. The dolls, both male and female, are known to have been made to represent these cultures or periods: Ainu (Japanese native people), Austria, Bolivia, Chile, China, Dutch, Eskimo, Fur Trapper, Greece, Iraq, Japan, Liberia, Medieval, Mexico, Middle East, Romania, Scotland, Spain, Sweden, Victorian area, Yugoslavia and others.

The dolls made in Kansas were created primarily as visual aids in schools, libraries, and colleges. They came in various sizes from 12-to-22 inches. Construction materials varied with most bodies made of cloth though some were composition or wood. The material used for the heads ranged from silk-screened cloth to composition, hard rubber and plaster. Most were made in boy and girl sets, attached to wooden platforms.

The Kansas American Costume Figurine Series consisted of twenty-four pairs measuring 12-to-14 inches in height, dressed to show American fashions from 1607

Kansas Museum Project dolls were produced as pairs, mounted together on wooden bases. They have composition type heads with painted features and wire and wood bodies with white felt hands. On the left is a 12-inch pair depicting the people of Finland. The pair on the right are from the American Costume series that illustrated costumes from different eras. This couple represents the 1750 time period.

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to 1900. A second series of twenty-four pairs, representing “other nations,” were also produced. The dolls have papier-mâché heads, cloth bodies and felt hands. The pairs are mounted together with the nationality or era they depict, the project name and production shop painted on their wooden base. They were sold for $1.00 each or given away. Workers earned about $20.00 per week. Kansas had seven workstations in Kansas City, Emporia, Columbus, Topeka, Mayetta (the Indian Reservation), Wichita and Lawrence.

Dolls made in Missouri were used as visual aids in schools and represented men and women of different

nationalities. They measure 14- to -16 inches tall and have papier-mâché heads with molded and painted features and hair. Their cloth mitten-type hands have thumbs sewn separately with the fingers sewn together. The dolls are ”tagged” with metal silver-colored coins stitched onto their clothing or on their wooden bases that read: Missouri, WPA Museum Project.

It was a difficult time in America but the creation of these doll programs helped teach people the skill of doll making as well as provided interesting educational displays so all ages could learn and appreciate the costumes of other countries and time periods.

These two styles of dolls both came from the Kansas Project. The 12-inch Spanish couple on the left has the lady seated in a chair.

Other countries found with seated ladies include Greece, Holland, Ireland, Italy, Old England, and Russia. The 13-inch Spanish couple on the right are marked on their base: Wichita 6051 SPAIN WPA Wichita. Note the difference in their proportions.

Missouri dolls can often be identified by a soft metal medallion that is sewn onto clothing or glued onto their wooden bases.

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Dolls from the Missouri project vary in size and design. On the front left is a 12-inch Heidi. Next to her is a Greek peasant woman. Behind them is a 15-inch Burgundy, France couple.

This grouping shows some of the twenty-four plus pairs made to represent “other nations,” produced by the Kansas Museum Project.

Dolls from the Kansas American Costume Figurine Series, varying in height from 12-to14 inches, also made in the Kansas Museum Project, are pictured here.

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A Visit with Marion Maus Collector and Dealer Marion Maus-Greer holds two of her favorite dolls.

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erhaps you have met them at doll shows. They are familiar to the United Federation of Doll Clubs Annual Convention and the National Antique Doll Dealers Association (NADDA) attendees, and to those who attend the Eastern National Doll Show in Gaithersburg, Maryland and the Ohio National Doll Show in Newark, Ohio. Their booth is easily recognizable with its consistent offering of quality dolls and array of fine miniatures.

Marion Maus-Greer and her husband Randy welcome browsers, and Marion is ever ready to answer any questions that come her way.

Intrigued by Marion’s eclectic interests, imaginative eye and knowledge of dolls, Antique DOLL Collector paid a visit to the Greer home where Marion shared her doll and dollhouse collection, created over a lifetime, along with her appreciation for artistry and history.

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Approaching their striking home, Enniscorthy, in Ellicott City, Maryland, one travels up a long, gently curving driveway that leads to the circa-1860s house, which is on the National Register of Historic Places. The home has a stone foundation with walls of brick covered in cypress boards.

Its porch, with eleven wide granite steps, overlooks the large pasture which is home to seven friendly cows and three calves.

Marion related that as a young student her bus would drive by this house every day. Marion fell in love with the house then, but she never dreamed one day she would live there.

When the Greers purchased the house, it required major restoration which the couple succeeded in accomplishing through research, hard work and their own artistic sensibilities.

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The first floor, ground level beneath the porch, has 10-foot ceilings with the original kitchen and beehive oven. The second level—the living area—has ceilings that are a little less than 14 feet high. Historically accurate saturated colors prevail—primarily yellow and green in keeping with what the house would have originally had. With 14 fireplaces, 60 windows and 102 shutters, Marion says the house is a lot of work, but it is well worth it.

She laughs when she says she partially talked Randy into purchasing the house by assuring him he could have a tractor. Her only regret is that they did not purchase the home sooner, when their children were small, so that they could have grown up surrounded by history…and cows!

Upon entering the house, one immediately realizes its residents are people who understand and deeply cherish art, antiques, and objects d‘art.

Marion recalls always treasuring dolls. She loved playing with them from a very early age and remembers receiving her first doll when she was five years old (and she still has her). But age eleven was a turning point for her as she was told that “this is your last Christmas doll; you’re eleven now.”

Disappointed but undaunted, Marion would visit Goodwill, the Salvation Army and a myriad of other places (even the local hardware store) where she would find dolls that made their way home with her. As an adult collector she has had the great privilege of owning many spectacular and interesting dolls and related treasures.

Marion and her husband Randy own seven cows and three calves, which Marion says is a hobby they both enjoy.

The Greers live in Maryland in a circa-1860s historical home called Enniscorthy.

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A dolls’ house that was once in the collection of Flora Gill Jacobs.

The “Mystery House,” as Flora named it, holds a special place in Marion’s collection. This house is featured in Flora’s book, Dolls’ Houses in America (Scribner, 1974). (This dolls’ house will be described in more detail in a future issue of Antique DOLL Collector.)

The kitchen in the “Mystery House” holds a rare butcher holding a cutting board.

A couple dressed in seashells. (An in-depth article about these types of dolls will be in a future issue of Antique DOLL Collector.)

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Born in Fortress Monroe, Virginia, Marion’s family soon moved to Baltimore. She was drawn to art and attended the Maryland Institute College of Art and Towson University. Her plan was to become an art therapist, but there was no program for that at Towson or the Institute. Instead, she majored in art and psychology. took classes in statistics painting and printmaking, discovering that she enjoyed working with her hands. Ultimately, she earned a masters in printmaking.

Later, she and Randy would go on to run a business for 40 years directing and producing television commercials out of their 10,000 square foot studio, using some of her dolls as props for White House Foods and many others.

The enjoyment of working with her hands eventually led Marion to collecting and preserving doll houses.

She was struck by the beauty of the old fabrics and wallpaper in the small structures.

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Martha Chase of Pawtucket, Rhode Island created a set of cloth character dolls based on Lewis Carroll’s book, Alice’s Adventures in Wonderland. Left to Right: Frog Footman, the Duchess, the Mad Hatter, Alice.

Another doll by Martha Chase—a painted cloth blond girl with side parted hair wears an apricot dress.

A Rollinson boy wearing a straw boater hat and a brown summer suit sporting a bow tie.

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An Alabama Baby made by Ella Smith of Montgomery, Alabama. Advertised as an “Indestructible Doll,” this example is a black boy dressed in a red suit with painted footwear.

A Maggie-Bessie doll in a cotton print dress made by the Pfohl sisters (Margaret Gertrude and Caroline Elizabeth) of Winston-Salem, North Carolina. The cloth doll has a flat face with painted features.

A Käthe Kruse doll with molded and painted features.

This girl is dressed in a navy and white print dress.

“I appreciate things that you can tell were made by human hands versus things that are purely manufactured.”

A felt Lenci skier.

“I appreciate things that you can tell were made by human hands versus things that are purely manufactured,” Marion said.

“By the late 19th and early 20th century, doll houses were shopmade, but they were still made by individuals who worked on a time basis. It was not the same as a factory setting.”

“Moritz Gottschalk certainly had an incredible factory,” she continued, “and their items were absolutely fantastic, beautifully made in the beginning; very intricate with a lot of wood details, and then that changed to printed or lithographed or painted as people were trying to do things less expensively, and get things made quicker.”

Marion loves both the visual aspect of an object, and its provenance. The stories about the owners of the doll houses she finds enrich the piece— “It’s endearing to learn who they were and where they lived.” Some doll houses opened on two sides so that 62

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A Lancaster Rag-type black cloth boy wearing a blue wool stripe suit with a red vest.

English, late 1700s, wooden dolls in authentic the costumes of the Eastern Cree Indians. (An in-depth article about these dolls will appear in an upcoming issue of Antique DOLL Collector.)

“Some doll houses opened on two sides so that two little girls could play with the house together. Who were those little girls?”

A cloth Presbyterian doll wearing a white bonnet and a blue checked dress has painted features.

Starting in the 1880s, the Ladies Sewing Committee of the First Presbyterian Church, Bucyrus, Ohio, began making these dolls as a fundraising campaign.

two little girls could play with the house together. Who were those little girls? She cherishes the backstories of the doll houses in her collection.

The most important thing in a doll house, Marion says, is the lighting. Lighting and lighting fixtures set the stage. As with the fashion dolls with their muffs, shawls, and jewelry, doll house makers put things into the small dwellings that a real-life homeowner would have.

Perhaps you were fortunate enough to attend Marion’s seminar on doll houses at the 2021 United Federation of Doll Clubs convention when it was held in Baltimore. If so, surely you sensed Marion’s deep passion for doll houses.

When asked how she became a doll collector, Marion explained that “It was just a pleasure to see them and then I started to notice the many differences. I was starting from scratch going from my own plastic dolls to those with wooden bodies, bisque, and china ANTIQUE DOLL COLLECTOR

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15-inch Bru Smiler with bisque and wood body, circa 1870s.

A jointed English wooden wearing a printed cotton dress (the pocket is worn beneath the gown), Regency era circa 1810-30.

heads with such a variety of hairstyles. I remember when my mother gave me The Collectors Encyclopedia of Dolls by the Colemans, and suddenly everything started to come together and almost by osmosis, I became a doll collector.”

Marion “gravitates towards the not-so-pristine…not a doll that looks as though it never lived, never took a breath, and was never held by a child, and,” she explains, “I like the idea that even though dolls were made in a factory, they still retained individuality.”

Initially Marion started collecting because it was fun “going out there to search and dive like you’re going into the ocean.” “A collector will always see a great doll—or dolls—they wish they had,” Marion observed. “That is what keeps satiating collectors—the thought that there is ‘one more, one more, one more’.”

Marion perceived that collectors get more selective as time goes on, and one looks for examples that are not often seen—a doll that for some reason has maintained its original wig, maintained its original clothing. These traits are important for collectors.

“Dolls made by Martha Chase are among my favorites,” she said. Some years ago, she acquired long64

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A bisque and composition girl dressed in white with a muff and tippet, impressed 128.

time doll dealer Richard Wright’s Alice in Wonderland dolls made by Chase, including Alice, the Mad Hatter, the Frog Footman and the Duchess. She hopes one day to find Tweedledum and Tweedledee to complete the set and maybe even an Izannah Walker.

When asked why she became a doll dealer, Marion replied, “I was a non-dealer for a long time. I would go to doll shows, and I would go to conventions to buy dolls for my collection. Finally, when I had collected too much and I realized I only had just so much space, I started selling at Atlantic City, Brimfield, weekend shows in Baltimore, and I set up at Gaithersburg.”

In the end, she said, “you realize that you can’t keep everything and more importantly you realize that you must sacrifice and let one or two dolls go—dolls that you really don’t want to let go—and that always haunts you. A dealer is about finding the right doll for another collector. But as a collector selling is very hard to do. Very hard. But most doll dealers are collectors too and share the same dilemma.”

Marion enjoys sharing her collection. “With dolls and toys, one can easily work them into the home’s décor—for example an Izannah Walker doll sitting in a small chair—

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A12-inch Schmit bisque and composition girl in a sailor outfit.

in a comfortable country-style atmosphere—can be very pleasing indeed.”

Marion lamented, “but you’ll still have friends who will come in and think you are having a second childhood, that something is really very wrong with you. They don’t understand, and they think that you’re absolutely insane to pay any kind of money for a doll, especially for one that is not perfect.”

Our final question for Marion was: Is the collecting of dolls and doll houses an acquired taste?

And, she replied…

“I don’t know, but it certainly is a tremendous avocation. You meet people of every age and walk of life.

You learn their story along the way. You can study the topic, and you can get in as deep as your curiosity will take you. How fantastic is that!”

“If you can,” Marion suggests, “travel. Because you do have to go; you can’t just copy things out of books. You have to go see it, feel it, touch it; go look at the records and

A 16-inch bisque and composition bébé wearing a blue and brown dress, Serie A Steiner.

talk to people, wade through the streams looking for all the little parts and pieces.”

“It’s a beautiful thing…collecting dolls…not just as a hobby but as a lifestyle. It’s an appreciation, an appreciation for a well-turned pot, a nice painting, and a great doll.”

“It’s a beautiful thing…collecting dolls… not just as a hobby but as a lifestyle. It’s an appreciation, an appreciation for a wellturned pot, a nice painting, and a great doll.”

Watch for focused articles on highlights from Marion’s collection in future issues of Antique DOLL Collector.

Marion Maus-Greer, Maus Antiques, is a member of the National Antique Doll Dealers Association (NADDA), United Federation of Doll Clubs (UFDC) and Doll Collectors of America (DCA).

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In Celebration of

Bécassine Dolls

By Samy Odin

The very first appearance of Bécassine in the pages of La Semaine de Suzette dates back to February 2nd 1905. The famous Briton maid departs from Clocher-les-Bécasses to reach Paris, where she is hired by the Marquise de Grand-Air.

Bleuette #6/0 wearing the first Bécassine disguise published as a pattern by LSdS in 1908 and realized

by Mathilde Héritier. The doll holds a G-L early corset for Bleuette.

B Between 1908 and 1914, Les Vacances de Suzette was published once a year by Henry Gautier to entertain the readers of La Semaine de Suzette during their summer vacation.

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écassine was invented as a two-dimensional character, on February 2, 1905, in the pages of the first issue of La Semaine de Suzette. It was initially not intended to become a doll. The first connection between Bécassine and the magic world of dolls came through Bleuette, since the mascot of this French children’s magazine wore a Bécassine costume as soon as 1908.

During the years before the first world conflict, Bécassine grew beyond the bounds that had been intended for her in the pages of La Semaine de Suzette (the first or last page or the two central pages, traditionally in color) in order to occupy a considerable space in another Henri Gautier publication: Les Vacances de Suzette (Suzette’s

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In 1913, Fernand Martin created a metal mechanical toy representing Bécassine as plates breaker. This amusing toy was advertised in the pages of La Semaine de Suzette.

F. Martin’s all metal Bécassine, on the left, stands in front of Victor Bonnet’s version of the same toy, made after 1928 wearing a cloth apron and top, here shown with its original box (photo Janne Le Moine).

Vacations). This new periodical, which appeared once a year from 1908 to 1914, was sold bound, and its goal was to follow the faithful readers of La Semaine de Suzette during their summer travels, distracting them with enjoyable stories and amusing sketches. Bécassine played a major role here, but curiously the little stories in which she was leading were not illustrated by Pinchon, possibly because they were not in the form of comic strips. In fact, they were narratives or dialogues intended to be played by the children and illustrated by Raymond de la Nézière.

While respecting the basic traits of Pinchon’s character, de la Nézière did not refrain from bringing to her his personal touch, and it is thus that Bécassine became thinner, and most importantly, was given a mouth, which the genius Pinchon only rarely drew for her. The first

This rare early Bécassine doll was made in pryalithe by Gallais around 1910 and was based on Raymond de la Nezière’s sketches, showing Bécassine’s mouth.

documented Bécassine doll, manufactured by Gallais from a material derived from casein, called pryalytine, deservedly recalls the drawings on R. de la Nézierè.

In 1914, Bécassine inspired a mechanical doll produced

by Fernand Martin and advertised in the magazine as soon as April 2—“Bécassine Casseuse d’assiettes” (Bécassine the plates breaker). The same mechanism was later reproduced by Victor Bonnet, who distributed his “Madelon casseuse d’assiettes” in 1928. Martin’s earlier version was entirely made of metal, while Bonnet’s toy wore a cloth top and apron.

This other early Bécassine doll was made in France by an undetermined maker, who used a very breakable type of composition, around 1920. During the same decade, the Swiss manufacture Bucherer also represented Bécassine ANTIQUE DOLL COLLECTOR

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as a fully articulated compositionheaded doll with metal ball joints.

Bécassine inspired a myriad of derived products during the two decades between the two world wars. Among them, the dolls produced by the SFBJ are particularly sought after by connoisseur collectors. They came with a classic fully articulated wooden and composition body and a composition head reflecting the very graphic expression of the heroine designed by Pinchon.

The Parisian department stores, such as Le Printemps, in the same ads pertaining to the SFBJ made Bécassine, also distributed a smaller French made stuffed version of the same character but we ignore who the manufacturer was.

This very expressive 8-inch Bécassine doll is made of composition during the World War I years by an undetermined French manufacture.

Shortly after World War I, Swiss manufacture Bucherer also created a fully articulated Bécassine doll with composition head and hands and metal body.

The astonished expression of the comic character is well rendered by this S.F.B.J. plaything.

S.F.B.J.’s 1920s version of Bécassine is fully articulated and has a body made out of wood and composition. The factory original outfit is cut from light green silk, black velvet trims and white cloth for the coiffe and apron.

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These unbreakable dolls with a composition head were hand painted so each model looks unique. This particular one looks worried more than astonished.

The Ateliers Artistiques Polonais, run in Paris

by Stefania Lazarska during World War I and the following decade, also created cloth dolls in the image of Bécassine. This version of Bécassine is respectful of Pinchon’s color scheme but the facial expression differs greatly from the original, for it came with embroidered features that reflect a different artistic sensibility.

The distribution of this type of doll was widened by the Parisian department stores, such as Le Printemps, which offered this Bécassine during the winter of 1922/1923.

In the same Au Printemps 1922/23 ad, Bécassine was also offered made out of stuffed cloth in two sizes (26 and 31 cm). One of these rare playthings still shows its original price tag.

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Claude Languereau is photographed here wearing a Bécassine disguise during the early 1930s.

Left: Stefania Lazarska founded the AAP (Ateliers Artistiques Polonais) during World War I in order to support the Polish artists during the conflict. Among the cloth dolls created by AAP, Bécassine inspired some of them, recognizable at their embroidered features.

Between the two world wars, Bleuette kept dressing as Bécassine, following the model of Claude Languereau, the daughter of the publishers of La Semaine de Suzette, shown here during the late 1920s wearing a Bécassine disguise.

Here we can see various Bleuette dolls dressed as Bécassine by wearing ready-made GL costumes from the 1920s to the early 1940s.

During World War II, Bécassine was kept silent, for the Germans stopped the publication of La Semaine de Suzette, perceived as too patriotic during World War I, mostly due to Bécassine’s outspoken attitude towards the invaders. Gautier-Languereau survived the conflict and when their activity went back to normal, after 1946, they brought Bécassine back, very conscious it was time to protect their leading character. This new strategy consisted also in controlling the copyrights related to the derived products. In fact, during the late 1940s, a new generation of dolls got inspiration from Pinchon’s heroine, especially dolls made without permission from Gautier-Languereau.

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Bécassine’s costume for Bleuette was produced by Gautier-Languereau for several decades. This photograph was shot by Janne Le Moine for the catalog of the first special exhibition devoted to Bécassine for her 90th birthday at the Musée de la Poupée –Paris in 1995.

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Two unlicensed Bécassine cloth dolls made in Belgium during the 1940s and 1950s.

Below: Reine Dégrais is shown here during the early 1960s reading a Bécassine album with two of her cloth dolls sitting on her lap.

This first ad for Reine Dégrais’s Bécassine dolls was printed in Bleuette’s catalog during the winter of 1949/1950.

Two more cloth dolls inspired by Bécassine but made with color variations in order to prevent copyright infringement and possibly distributed as generic “Briton” cloth dolls.

The wise decision to choose a single manufacturer to make authorized versions of Bécassine came to fruition towards the end of 1948. Gautier-Languereau’s choice went to a newcomer, Reine Dégrais who was the wife of a Parisian doctor. She had raised three daughters and she was appreciated for her creativity. Once her children were teenagers, she had the idea of making a Bécassine doll to be given as a present to a friend of her daughters who was ill in the hospital. She looked around to see if any pattern was available on the market and as she did not find any, she invented a cloth doll representing Bécassine. She had no idea that this doll would completely change her life. This first Bécassine doll was so greatly appreciated that other friends of hers asked to have one as well. She then made a more professional pattern in order to make a small series of Bécassine dolls.

For a few weeks these dolls were tested in the Gautier-Languereau shop of the rue Jacob. According to the testimony of Madame Dégrais’ daughters, the dolls sold so quickly that their mother had to hire immediately a seamstress to help her in her new work.

“La Vraie Bécassine” was born and ads for these dolls were published in the biannual Bleuette trousseau catalogues as early as 1949.

Bécassine was then made in two sizes only but her line quickly widened to four different sizes.

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Clockwise from top left: Reine Dégrais’s Bécassine dolls were immortalized by a series of colorful postcards printed by the southern French editor La Francesca during the 1960s.

Between 1949 and 1960, La Semaine de Suzette distributed “La Vraie Bécassine” as a cloth doll in four sizes by Reine Dégrais, here shown with the smallest one made of latex foam

by Technigom.

This is the label found on the boxes containing “La Vraie Bécassine” by Reine Dégrais during the 1960s.

Georgene Novelties produced an officially licensed stuffed cloth Bécassine doll during the 1950s.

The material Reine Dégrais used was flesh-toned jersey stuffed with kapok and dressed with quality fabrics such as green wool and black velvet for the dress, brown felt for the shoes, red and white checked Vichy for the petticoat and white cotton for the apron, coiffe and underwear.

Reine Dégrais provided her Bécassine dolls as an exclusive to Gautier-Languereau until 1960, when La Semaine de Suzette stopped being published. After that date, her doll business kept on being very successful as her creations were sold by several other toy shops in Paris and abroad. When sold in a box, these playthings bore a paper tag referring to the albums published by Gautier-Languereau and no longer with any reference to the magazine.

In America, Georgene Novelties produced licensed Bécassine stuffed cloth dolls during the 1950s.

The United States version of the French character was heavily inspired by Reine Dégrais’s doll, except that the material differs: jersey for the French, cotton toile for the American.

In 1972, Reine Dégrais’s company was sold to the bigger Minerve firm, who kept producing Bécassine stuffed cloth dolls under Gautier-Languereau’s license but, alas, no longer made in France.

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Minerve kept producing the licensed Bécassine cloth dolls after Reine Dégrais closed her business permanently in 1972. (Photo by Janne Le Moine for La Musée de la Poupée-Paris)

In 1994, a Bleuette convention was organized in France by author Colette Merlen. For the event the Belgian atelier Geppetto created a limited series of bisque headed dolls inspired by the character of Loulotte, which also came wearing a Bécassine outfit.

For the celebrations of Bécassine’s 100th anniversary, in 2005, several artists created one of a kind or limited series dolls, essentially for the audience of doll collectors. In France, Véronique Jacquelin’s Bécassine resin OOAK is remarkable. In the United States, R. John Wright was commissioned by the United Federation of Doll Clubs to create a popular souvenir doll of Bécassine as a child.

Now that Bécassine is 120 years old, her presence as a comic character is no longer impacting French speaking children, so our community of collectors of playthings of time past is the last to keep honoring her memory.

The playthings that represent her gained an undeniable patrimonial value, which is our responsibility to protect in order to save them for the generations to come.

Loulotte bisque headed doll by atelier Geppetto wearing a Bécassine outfit made for the 1994 Bleuette Convention organized by Colette Merlen in Lille.

R. John Wright created this Bécassine child doll as a souvenir for UFDC in 2005.

French artist Véronique Jacquelin made this OOAK Bécassine doll in 2005, to celebrate Bécassine’s Centennial.

This article is based on the author’s research first published in 2015 in “Bécassine dévoile les Trésors de Loulotte,” by Le Musée de la Poupée-Paris. A special thank you to Carmen Farrell. All dolls shown in this article are from the author’s collection.

Samy Odin can be reached at galeriesamyodin@gmail.com ANTIQUE DOLL COLLECTOR

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Awaji Puppetry: Ritual Roots and Rebirth

By Vickie Hannig hile European puppetry has been primarily used to entertain children, Japanese puppetry began as sacred performances for kami (gods or spirits). The Awaji puppetry tradition has deep roots in ritual performances by itinerant puppeteers, as described in depth by Jane Marie Law in her 1997 book, Puppets of Nostalgia; The Life, Death and Rebirth of the Japanese Awaji Ningyo Tradition.

Purification and the removal of evil spirits or impurities is a central concept in Japan’s animistic Shinto religion. Purity and impurity were both seen as sacred, powerful and dangerous. For centuries, the Japanese have used human effigies for various talismanic purposes including ritual purification. For example, nademono (paper, wood or straw effigy dolls) were used in the Heian Era (794–1192) by the nobility to remove impurity and evil spirits by wiping the dolls on their bodies and burning them or setting them adrift. Similarly, puppets were used as spirit vessels to attract and entertain kami and serve as temporary dwelling places for kami or for evil spirits.

A large shrine at Nishinomiya, between Kobe and Osaka on the Inland Sea, was already established in the Heian Era and was devoted to the kami Ebisu. Ebisu was originally of the sea, dangerous and unpredictable.

He embodied chaos and destruction and presided over the power and potential they contained. He used to be depicted as a dark outsider, sometimes also as lame, deaf or ugly. It was thought to be necessary to contain and appease him, so that he would allow fish to be caught and would not cause storms, drought, or epidemics. More recently, Ebisu became one of the seven lucky gods and is depicted as fat and jolly (Figure 1).

The Nishinomiya shrine employed puppeteers living near the shrine to travel all over Japan, primarily focusing on two types of rituals, the Sanbaso purification rite and Ebisu appeasement plays. Each puppeteer had specific villages that he served. Rural outdoor shrines or 74

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Figure 1: Block print of Ebisu, artist unknown, mid-to-late 18th century, courtesy of Museum of Fine Arts, Boston, Accession # 11.45861.8.

gateways of houses were common performance venues.

The puppeteers were referred to by a variety of names, including Ebisu-kaki and dokumbi-mawashi.

Puppeteers appeared around the New Year to purify the home or village and remove evil spirits by performing the Sanbaso ritual. This ceremony is also used at other moments of transformation and transition including weddings, planting of rice seedlings, opening a business or launching a new boat. Sometimes the Sanbaso dance can be used to pray for rain.

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Plays to entertain, appease and contain Ebisu were performed in doorways or gateways, on docks at the opening of fishing season or at large ceremonies during fish festivals. Puppeteers raised money for the shrine by distributing o-fuda, paper amulets which might have a picture of Ebisu (Figure 1). It was important for the puppeteers to be strangers to the villages where they performed, to have the authority to remove impurities when they left. They were considered polluted themselves because they dealt with impurities, resulting in low social status which lingered into the twentieth century.

Sanbaso is the most sacred rite used in Shinto and in the Awaji tradition and was established in the late Heian period in Noh theater. It is repetitive and can last for hours when done for consecration or worship. The intended audience is kami not people. Flute and drum may be used to attract and soothe the kami.

A full performance includes three puppets (Figure 3).

First Senzai the “young” man, dances to evoke the kami.

Next, Okina, the old man, dances solemnly and puts on a white mask when the kami enters the human realm via the puppet to bless, purify and remove evil spirits.

Finally, the more comic and animated puppet, Sanbaso, dances, sometimes wearing a black mask or making gestures as if sowing seeds, and the kami departs. This ritual can also be performed with only the Sanbaso puppet (Figure 4). He always wears a distinctive hat with thirteen dark and bright horizontal stripes, a full moon on one side and a crescent moon on the other side, which represents cyclical renewal.

Puppet theater first became popular on Awaji Island in the Muromachi Period (1336–1573). Puppeteers wanted to do more stories/dramas (joruri) in addition to ritual performances and they could make more money if independent of the Nishinonmiya Shrine.

Many moved to Awaji, a small island in the Inland Sea near Kobe, where they became freelance sacred specialists or affiliated with a less controlling shrine on Awaji.

The puppeteers eventually joined with itinerant storytellers and musicians specializing in ritual bugaku court dance, who had settled in Awaji during the Kamakura period (1185–1333), to create the current system of chanter, shamisen player and performing puppets.

Figure 3: Sanbaso, Okina and Senzai puppets, Awaji Ningyo Joruri Material Museum, courtesy of Alan Scott Pate.

Figure 4: Archive photo of puppeteer performing Sanbaso dance at shrine in field, from archives of Awaji Ningyo Joruri Material Museum, courtesy of Alan Scott Pate.

Originally, the puppets (ningyo) were just small heads on sticks. Later puppets had clothes, and rudimentary bodies. They were operated by one puppeteer, who often traveled with a box around his neck which carried the puppets and served as a mini puppet theater (Figure 2).

Figure 2: Drawing of Ebisu-kaki from Jinrin Kimmo zui scroll, 1690, courtesy of Jane Marie Law from Puppets of Nostalgia, 1997, p 135.

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Numerous ningyo joruri were written, which can be thought of as puppet plays for people. Some joruri focused on Awaji Island as the birthplace of Japan (as described in the Kojiki, an eighth century text), but later, stories with romantic and supernatural elements were added. One of the earliest ballads of this type was a tragic love story about the beautiful Princess Joruri and the valiant late-Heian warrior Minamoto Yoshitsune. This exciting drama became so famous and so popular that eventually all puppet plays were called ningyo joruri.

In the late 1500s, Awaji puppet theater spread to Awa Province on Shikoku Island which is now part of Tokushima prefecture. According to documents that have been preserved by the Hikita family of puppeteers, Awaji puppeteers performed for the Emperor in 1570.

Puppet performances became immensely popular all over Japan, peaking in the early eighteenth century. Puppets were now two-thirds life size, manipulated by three puppeteers. At that time, there were over forty troupes with over one thousand actors touring Japan.

After World War II, Awaji puppetry nearly vanished.

Japan was an impoverished nation and many puppeteers had to sell their puppets or burn them for firewood.

Ritual puppetry was discouraged as it was thought to be backward and superstitious. Also puppeteers now came across as beggars to many Japanese.

Umazume Masaru, who fondly remembered puppet performances from his youth on Awaji, started the process of reviving the ningyo joruri tradition beginning in the 1970s. Troupes were formed and museums and theaters were built on Awaji and in Tokushima prefecture.

Awaji puppetry is now a tourist attraction, and a wide variety of joruri are performed. Some ritual plays are also offered.

I was fortunate to visit the Awaji Ningyo Joruri Museum and puppet theater in Fukura on Awaji Island in November 2024 on a doll tour led by Alan Pate. We saw a sacred Ebisu play, in which Ebisu is invited to a village by the headman and given sacred sake. Ebisu becomes drunk and begins to dance joyously. He gets in a boat and symbolically catches the first sea bream of the season (Figure 5). The performance included narration and taiko drums.

The technique and style of Awaji puppetry is similar to Bunraku, the most famous type of Japanese puppetry, which is based in Osaka. Puppets have been handled by three ningyozukai (puppeteers) since the early 1700s.

The narration and voices of the puppets are provided by a chanter who alters vocal pitch and style to portray each character in a scene. The chanter is accompanied by 76

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Figure 5: Photo of sacred Ebisu play from Awaji Puppet Theater, 2000.

Figure 6: Photo of chanter at Awaji Ningyo Joruri Museum holding script used for a specific joruri play. Red “punctuation” marks can be seen.

a shamisen (a three-stringed lute) player who uses the largest and lowest pitched shamisen. Sometimes, a koto (a zither with thirteen strings), or a taiko drum is also used. In Figure 6, a chanter displays a script book with red “punctuation marks”. Ad libs are not allowed. Some playwrights, most notably Chikamatsu Monzaemon (1653–1724), preferred to write ningyo joruri rather than kabuki plays for this reason.

Some Awaji-style puppeteers, chanters and shamisen players have been designated as Living National Treasures. Since its revival, Awaji puppetry has allowed women to train and perform in these positions (Figure 7), so it is not surprising that women as well as men have been awarded this honor. For example, in 1998, Tsuruzawa Tomoji was named a Living National Treasure for her work as a shamisen player in Awaji puppet plays.

We learned many interesting details about Awajistyle puppets when we visited the Awaji Ningyo Joruri Museum and Awa Deko Ningyo Kaikan in Tokushima.

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Figure 7: Photo of chanter and shamisen player during joruri performance, from Awaji Ningyo Joruri Museum website.

The art of making puppet heads (kashira) was once a closely guarded secret. The heads are usually carved out of soft paulownia wood. They are cut in half, hollowed out, and gears and strings are added for those with movable eyes or other facial features (Figure 8). Some gears are made of baleen from whales. Gofun, the paste covering most heads, (which was traditionally made of ground oyster shell and animal glue) is now often made from scallop shells which are easier to obtain. Tokushima

Figure 8: Inside of puppet head showing gears and strings at Awa Deko Ningyo Kaikan.

prefecture has forty active puppet makers, though currently there are none on Awaji.

There are about eighty types of puppet heads, and thirty types of hands. The same chisel is used to make all of them. The heads are divided into categories according to gender, social class and personality. Figures 9–13 show a variety of kashira.

ABOVE: Figure 9: Backstage at Awaji Ningyo Joruri Museum, showing a variety of puppets, including a Sanbaso trio, a male servant, a pilgrim child, Benkei, a samurai lord.

ABOVE RIGHT: Figure 10: Puppet head (kashira) of old man, Awaji Ningyo Joruri Material Museum, courtesy of Alan Scott Pate.

RIGHT: Figure 11: Puppet head of evil woman (Yashiro), Awaji Puppet Theater, 2000.

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Figure 12: Puppet head (kashira) of male warrior, Awa Jurobei Yashiki.

Figure 13: Puppet head of female servant (Otafuku), Awaji Ningyo Joruri Museum.

Figure 14: “Sliced Pear” puppet head, Awa Deko Ningyo Kaikan.

Figure 15: Dakki puppet head as young girl, Awa Deko Ningyo Kaikan.

FAR LEFT: Figure 16: Dakki puppet head turned into demon, Awa Deko Ningyo Kaikan.

LEFT: Figure 17: Comparison of Awaji and Bunraku kashira size, Awa Deko Ningyo Kaikan.

Most heads are used for multiple roles by changing the clothing and hairstyles which indicate age and social class. Some heads are made to be sliced open by a sword (Figure 14), providing some “realism” that would not be possible with human actors. A few heads are used for one role only, such as the dakki head, a young girl who turns into a demon in the play Dojoji (Figures 15–16) This may be the most complex head and takes five months to carve.

Awaji puppets are larger with a more lustrous finish than those used in Bunraku (Figure 17), since they were designed to perform on outdoor rural stages. The Awaji tradition has developed its own stylized gestures (furi) indicating certain actions and codified movements (kata) expressing complex emotions. Awaji puppets tend to make more exaggerated movements compared to Bunraku, which adds a characteristic flamboyance to historical dramas. The Awaji puppet tradition has its own set of historical plays, tied to events which occurred in Awaji and Awa, in addition to standard plays performed by all puppet troupes.

Puppet construction is simple (Figure 18). The carved wooden head is attached to the head grip, which is pushed down into an opening in the puppet’s shoulder board. Carved bamboo is attached to create the hips of the puppet. Arms and legs are tied to the body with lengths of rope. Moving parts like fingers are made of hard hinoki wood. There is no torso to the puppet, to allow greater range of movement for arms Figure 18: Puppet structure and manipulation, Awaji Puppet Theater, 2000. and legs.

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Th the p slit in head displ in Mi Th Figur joruri Yashi pupp move that e the le His r the le than rod a opera Most uses pupp their move to tra tradit Th of a l was s recov yearThe p of Ba that w daug

Figure 19: Kimono display, Awaji Ningyo Joruri Material Museum in Minami, Awaji Island, courtesy of Alan Scott Pate.

Figure 20: Mother cuddles child pilgrim who is her daughter, Keisei Awa no Naruto play, Awa Jurobei Yashiki.

Figure 21: Mother mourns pilgrim daughter’s departure, Keisei Awa no Naruto play, Awa Jurobei Yashiki.

parents. She comes to her parents’ home, begging alms.

The puppeteer chooses the puppet’s costume based on Her mother eventually realizes that the pilgrim is her the play being performed and sews it on. Costumes are daughter but does not reveal her own identity to spare slit in the back to allow the main puppeteer to access the her daughter a precarious existence. In a later scene, the head stick. Figure 19 depicts elaborate antique kimono girl’s father accidentally kills her while robbing her. I displayed at Awaji Ningyo Joruri Material Museum was amazed that the puppets were so expressive, even in Minamiawaji. though their only moveable facial feature was their eyes.

The mechanics of puppet manipulation can be seen in At this performance, some of the puppeteers were female Figure 18 and in photos from the one scene of the ningyo (Figure 23). joruri, Keisei Awa no Naruto, which we saw at Awa Jurobei Tokushima prefecture currently has eleven puppeteer Yashiki in Tokushima (Figure 20 and Figure 21). All troupes and five narrator/musician groups. Awaji Island puppeteers wear black hoods. The lead puppeteer controls also has several groups. Puppet troupes further promote movement of the head and facial features via a handle their art by performing internationally and all over Japan, that extends from the neck of the puppet and is held in including demonstrations at schools. They provide other the left hand through the back of the puppet costume. educational activities, such as training for students in His right hand controls the puppet’s right arm. To do this, after-school clubs and support for student performances. the lead puppeteer must wear taller stage geta (Figure 18) Given the current level of activity, the Awaji puppetry than the puppeteer operating the left hand via a control tradition seems likely to be preserved for many rod attached to the puppet’s elbow or the puppeteer who generations to come. I highly recommend attending operates the feet and legs of male puppets (Figure 22). a performance of Awaji style puppetry if you have Most female puppets do not have legs, but the puppeteer the chance. uses his hands to provide the semblance of legs under the puppet’s long kimono. Puppeteers begin their training by operating the feet, then move on to the left hand, before being able to train as the lead puppeteer. Training traditionally takes over twenty years.

The play we saw was based on the story of a local samurai, Bando Jurobei, who was sent with his wife by his overlord to recover a stolen sword, leaving their threeyear-old daughter with her grandmother.

Figure 22: A woman backstage The puppet theater was built on the site at the theater in the Awaji Ningyo Joruri Museum of Bando Jurobei’s home. In the one scene demonstrates manipulation of that was performed, the now nine-year-old male puppet legs.

Figure 23: Puppeteers at Awa Jurobei Yashiki, Tokushima. daughter has become a pilgrim to find her ANTIQUE DOLL COLLECTOR

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Ideal Toy Company’s

Plassie and Baby Coos

By Jane Foster deal Toy Company manufactured many baby dolls, and in the 1940s two of the dolls they produced were Plassie and Baby Coos. There are some interesting details about Plassie starting with this doll’s name. In 1942 she was one of the first dolls made using the material Celanese Acetate (hard plastic). Plassie received her name from the plastic medium that was used for her head. She had a composition shoulder plate with composition limbs and stuffed cloth body. She came in several sizes from 18 to 24 inches. Her outfits many times came made of organdy, trimmed with ribbons and matching bonnet. Pretty Plassie was advertised in the 1942 Ideal catalog as “The Wonder Baby with the

ABOVE: Plassie, from the late 1940s, is shown here with her hard plastic swivel head on composition shoulder plate. She is wearing her original costume and has her original paper wrist tag which reads “Plassie The Ideal Doll.” Photo courtesy of Theriault’s.

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Plastic Head–The New Ideal Smash Hit.” She had the Mama crier mechanism typical to Ideal baby dolls. When she was laid down she cried, which certainly would have been endearing to little mothers. She was reissued in 1946 and 1947 with a cloth body with Magic Skin limbs. In the 1950s a Plassie was issued with vinyl limbs, and in 1951 an all hard plastic Plassie toddler was made.

BELOW: This is a close-up of a 13½-inch tall Ideal Brother Coos doll. He has a hard plastic head, with blue sleep eyes, a bit of eye shadow, open/closed mouth, and nostril holes. Photo courtesy of Julie Patrie.

RIGHT: Shown here is the full-view of the back of the Ideal Brother Coos doll. His body is stuffed magic skin.

He wears his original green corduroy overalls and yellow jersey knit shirt. Original socks and oilcloth tie shoes complete his outfit. Photo courtesy of Julie Patrie.

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ABOVE: Baby Coos Brother and Sister Ideal Toy and Novelty Company advertisement is dated 1949. This brother and sister set in their coordinating outfits both measure 14-inches in size.

RIGHT: Baby Coos was featured in this Ideal Toy and Novelty Company advertisement from 1948 with an order form to complete requesting a doll.

Ideal Toy Company had been manufacturing dolls since the early 1900s. Moving ahead with technology in 1948 Ideal offered a doll they named Baby Coos, designed by Bernard Lipfert, who used his only granddaughter, Linda, as a model for this doll’s face. There was a remarkable resemblance between Plassie and Baby Coos. However, looking closely these two baby doll’s differences are apparent.

Their molded hair is styled a little differently and some differences in facial features can be noticed. Plassie had a closed mouth; she looked calm and contented, whereas Baby Coos had an open mouth and appeared more energetic.

Both Plassie and Baby Coos had their markings on the back of their heads and also some had wrist tags. The body of the first Baby Coos doll was made of Magic Skin latex rubber. Baby Coos was advertised as a 15-inch doll and was dressed in a white t-shirt and diaper. The doll came with a tiny plastic tea set which was not to scale for the doll. Baby Coos had a unique internal construction that allowed this doll to make a “cooing” sound, a sob, and if you squeezed the doll very hard a loud scream would escape through holes in the nostrils. Baby Coos was very popular; there were family members added. Among the other versions produced by Ideal were a 13-inch and an 18-inch Brother Coos dressed in corduroy overalls, a 27-inch Life Size Baby Coos, a 30-inch Baby Coos doll, and 19-inch

This is an all-vinyl Baby Coos from 1959 in her frock. She is 21-inches tall with strung arms and rooted saran hair. Her tummy still squeaks when pressed. Photo courtesy of Julie Patrie, doll from the collection of Susan Hinkley.

A vinyl Baby Coos was also made in the 19-inch size. This example has curly hair. Photo courtesy of Julie Patrie, doll from the collection of Susan Hinkley.

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and 21-inch all-vinyl Baby Coos. Also Ideal offered a Baby Coos Sister from 1948–1952 that came in differing sizes. A variation called Tousle Hair Brother Coos with a curly caracul wig was made available. There was a new Baby Coos that had a mohair wig. This doll came with a complete layette in a carrying case. Ideal kept using the Baby Coos idea and reissued the dolls in various materials through 1960. The larger examples of the Coos had a redesigned, closed mouth and could wear real baby clothing.

Plassie appeared on a very well-known collectible.

On July 28, 1997 the United States Postal Service commemorated Classic American Dolls with the issuance of a pane of fifteen 32-cent stamps. The dolls selected included antique and vintage dolls, thus appealing to all doll enthusiasts. Of course, these stamps could also be enjoyed by those who collect and study different postage stamps. Several other items became available inspired by these stamps including fifteen postcards showing the entire set, lapel pins, and trading cards with information and activities related to the dolls shown on the stamps.

The names of these fifteen dolls were included with the stamps, and it was indicated that one doll was Baby Coos.

Interestingly on this stamp was a picture of the Plassie doll, not Baby Coos. The stamp with Plassie’s picture featured a baby doll dressed in a white dotted gown with blue collar and sleeves. Also, this doll had cute curled fingers. This was Plassie; Baby Coos was made with straight fingers. The error on these stamps issued in 1997 increases the value of this collector’s item for discerning doll collectors.

The Ideal Toy Company is known for their many well-made dolls down through the years. Plassie with her hard plastic head was popular because the plastic head was sturdier than her former composition head.

Baby Coos, touted as “the doll with the magic voice,” could cry, sob, and coo. With the many renditions of Plassie and Baby Coos produced we can easily surmise that these two dolls were very successful in the Ideal line.

BIBLIOGRAPHY Ideal Dolls Third Edition by Judith Izen, Collector Books, Paducah, Kentucky, 2005 “What’s In A Name?” by Judith Izen, Ellen Cahilll, & Debra Fouch, Doll Reader Magazine, October 1999

ABOVE: Pictured here is the Plassie stamp which was mistakenly identified as “Baby Coos.”

LEFT: On July 28, 1997 the United States Postal Service commemorated Classic American Dolls with the issuance of a pane of fifteen 32-cent stamps including antique and vintage dolls.

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Bleuette Couture B

By Nicki Burley

Images by Nicki Burley unless noted

“Always new, Always elegant, Always stylish: such is Bleuette’s wardrobe.”

–G-L catalogue, 1931/32

1930 Tennis Dress, adapted from La Semaine de Suzette pattern. Costume is modeled by a 29 cm SFBJ 301 Bleuette, circa 1930s.

Tennis was so popular for girls that sporty Bleuette was given new hats in 1933 and an updated dress pattern in 1934, shown on a 28 cm “sale” Bleuette, circa 1935-37.

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leuette’s wardrobe is a miniature time capsule spanning nearly six decades of up-to-the-minute style. She was literally created to be a fashion icon for little girls, who were offered “this very pretty doll, on which model the needlework patterns will be based” in the very first issue of La Semaine de Suzette in February, 1905.

What girl would not beg for such a doll, who came with the promise of a wonderful wardrobe? The magazine published a wide variety of patterns each year throughout its existence, encouraging girls to develop that ineffable French sense of style with every stitch. The publishing offices simultaneously sold ready-made costumes that were equally fashionable, if not more so. They were advertised in the magazine as well as bi-annual catalogues, designed by well-known fashion illustrators such as Maggie Salcedo and Manon Iessel. The catalogues are works of art in themselves.

Collectors can learn a great deal from careful study of Bleuette’s costumes, gaining insight into how French girls lived and played, what they were interested in, and what was expected of them in the rapidly changing world of the twentieth century.

What did girls wear in winter versus summer?

How active were they? What did they wear for play versus dress-up, and what did they wear beneath it all? Though collectors frequently hear that Bleuette’s clothes were designed to mirror the real styles of their day, it is easy to question how true that might be.

After all, these are dolls’ clothes, meant for children’s playtime, but the magazine’s entire purpose was to teach girls about traditional French feminine values.

It is also revealing to look at a close friendship that tied the magazine to the world of high fashion.

Jacqueline Riviere, known as “Tante Jacqueline” to her readers, was the first pattern designer for the “Nous Habillons Bleuette” (We Dress Bleuette) section in La Semaine de Suzette. She strove to teach good sewing techniques, and her detailed designs often included many pattern pieces and elaborate handwork exactly like real clothing worn in the Belle Epoque. After her death in 1920, her daughter Suzanne Bernhardt successfully took on the role with fresh new styles, signing her articles “Suzanne Riviere.” Her own relationship with the

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Tennis dress pattern from La Semaine de Suzette issue #39, 1934. thebleudoor.com

This summer’s chic tennis dress pattern was published in La Semaine de Suzette issue #21, 1930. thebleudoor.com

magazine was not all business, however, as she had married Maurice Languereau, nephew of the magazine’s founder, Henri Gautier. He is well known to this day as “Caumery,” the author of many books about dear Becassine. Additionally, Jacqueline and Suzanne were good friends with the fashion designer Jeanne Lanvin and her daughter Marguerite, providing the connecting thread between LSdS and the world of Haute Couture.

Obviously, Bleuette’s pattern designers were not only aware of fashion but were intimately connected to it, an influence visible in her wardrobe.

It’s entirely possible to trace the evolution of twentieth century fashion by comparing Bleuette’s styles to the designs produced by the great couture houses and shown in fashion illustrations—a thought shared by author and seamstress Christine Arbelet as she worked through the patterns over the course of 20 years. Living in France, she was able to acquire small pieces of old fabrics, lace, and trim that mirrored the descriptions found in Bleuette patterns, which enhanced her experience of sewing them.

Further inspiration came from thousands of stereoscope images depicting daily life in the early twentieth century.

The photographs had been taken by Paul Arbelet, her

husband’s grandfather, a gifted academic who specialized in Stendhal and had a large circle of friends. From a fashion design perspective, the most interesting of these included the designer Elsa Schiaparelli and the actress Sarah Rafale, Paul Poiret’s favorite.

When Christine examined the photos, she realized how many of the images showed clothing styles resembling Bleuette’s outfits. In the English translation of her book La vie autour de Bleuette a la Belle Epoque (The Life Around Bleuette), she writes, “These previously unpublished photos, taken during Bleuette’s first years of existence, uncannily resonate with the small dresses I have been making….Just look at the dates of the models and those of the photos–most of the time, they tally in a bewildering way. The more progress I made the more my initial idea was reinforced, that Bleuette’s trousseau was in the vanguard of fashion.” Her book is a fascinating stroll through the early decades of the twentieth century, with beautifully dressed Bleuettes posed against Arbelet’s natural, artistic photos from his travels and daily life in France.

Paul Arbelet’s friendship with Elsa Schiaparelli, who was always in the vanguard of fashion, began long ANTIQUE DOLL COLLECTOR

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before she was known for fashion design. They met through close friends he met while studying in Italy.

Over the years, they corresponded by mail and enjoyed going out to dinner and the theatre. Though she was a capable if restless artist and writer, she rocketed to fame when her trompe-l’oeil “bow sweater” appeared in Vogue magazine in 1927. Her couture house opened in 1928. Untrained in formal pattern drafting, she developed her designs through draping, similar to Paul Poiret who was also a mentor.

Schiaparelli is especially remembered–-perhaps notoriously so–-for witty and inventive designs like jacket pockets shaped as desk drawers and collaborations with surrealist artists like Salvador Dali, with whom she designed the “Lobster Dress,” the “Tears Dress,” and “The Shoe Hat.” But she is also responsible for clothing that sought to give women greater freedom and a powerful presence. In fact, her design house was first known as “Schiaparelli - Pour le Sport,” specializing in knit wear for the active woman.

Besides pullover sweaters, she introduced fabulous beach pyjamas and swimsuits, ski wear, power suits, sleek evening gowns, and a capsule travel wardrobe.

She brought zippers out of hiding and used them as a colorful design element, and in World War II used them in practical jumpsuits with maxi pockets, to be worn during air raids. In 1937 she even dreamed up an entirely new and powerful color: shocking pink.

Bleuette also became a whole new kind of girl in the 1930s. She traveled widely and played every sport imaginable, with the perfect outfit for every occasion.

In 1933, she even grew a little, as fashion’s ideal beauty became willowy and athletic. Bleuette’s size officially changed from 27 cm to 29 cm with the help of longer thighs; the patterns from this time forward are meant to fit the taller dolls and may require adjustment if your doll is the original height.

This month’s summery pattern, based on La Semaine de Suzette issue #21 in 1930, predates Bleuette’s height change. It is clearly a transitional style from the 1920s; its long waist and skirt and cloche-style cap are reminiscent of the 1920s, while it features the sophistication and Art Deco lines that characterize the 1930s. And like all Bleuette clothing, it appears simple but has many fashionable details such as silk revers and binding, an embroidered pocket, pleated skirt, and innovative open weave visored cap.

Tennis wear continued to evolve as women became serious competitors and the world grew more accepting of the modern, active woman. The Winter 1928-29 G-L

Above: Spanish tennis star Lili Allvarez shows how freely she can move in culottes, designed in 1931

by Elsa Schiaparelli. arte. womenslegacyproject.eu Right: Elsa Schiaparelli poses in ski wear at St. Moritz with her daughter Gogo in 1934 blog.fabrics-store.com Below: In 1933-34, the G-L firm sold the strikingly similar “Sur Les Cimes” ski outfit for Bleuette.

Christine Arbelet

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Schiaparelli’s beach pyjamas were high style in 1932, when G-L offered “Juan Les Pins.” Christine Arbelet

Pyjamas were so popular that La Semaine de Suzette published TWO pyjama patterns in 1933: one for night and one for the beach. thebleudoor.com

catalog featured a tennis costume called “Championne” with a silk pullover sweater and pleated silk skirt, and the magazine published two more tennis sewing patterns in 1934 and 1959, proving this remained a popular sport for girls. The real Haute Couture world recognized

this emerging feminine force as well. Elsa Schiaparelli designed a culotte costume for Spanish tennis star Lili Alvarez, who wore it at Wimbledon in 1931. It may have been shocking, but it certainly allowed her to play with athletic grace.

Above: The iconic trompe l’oeil “bow sweater” which launched Schiaparelli’s design career in 1927. vam.ac.uk/collections Center: Schiaparelli’s work with artists such as Dali produced designs like the “Shoe Hat” in 1937. vam.ac.uk/collections Right: La vie autour de Bleuette a la Belle Epoque, by Christine Arbelet

Sources La vie autour de Bleuette a la Belle Epoque, by Christine Arbelet. Available internationally through eBay and in the United States at rosewrendolls.etsy.com and bleuetteandmore.com.

Maison Schiaparelli: The History of the House schiaparelli.com/en Elsa Schiaparelli: The Shock of the New https://blog.fabrics-store.com/2020/01/01/elsa-schiaparelli-the-shock-of-the-new/ ANTIQUE DOLL COLLECTOR

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Game, Set, Match – Bleuette!

By Nicki Burley

Materials

¼ yd white Swiss pique ⅛ yd contrast silk Lightweight fusible interfacing (optional) Embroidery floss to match silk 4-½ yards of ¼” cotton twill tape 9” of ½” cotton twill tape 4” square cardstock 6” square washaway stabilizer 3 white buttons 4 tiny hooks ⅜” slide buckle

Supplies

Basic sewing kit Pinking shears Sewline Pencil & Frixion pen Clear ruler Point turner Pleating board Press cloth (I use silk organdy) Sewline Glue Pen 2-¼” Styrofoam ball Aluminum foil Notes: 1) Seams are ¼” except where noted. Carefully read the instructions and note the pattern markings before you begin.

2) Avoid Frixion markers on white fabrics; they do not seem to erase completely. Use a Sewline pencil or marking chalk instead.

3) The dress can be sewn by hand or machine; use a small stitch length on the machine (about 1.8).

Overcast or pink raw edges. Although the zigzag stitch was not available on home machines in the 1930s, it is helpful for the hat seams.

Cotton: 1 Bodice front on fold 1 Bodice backs on doubled fabric 2 Neck facings (pinked) 1 straight grain strip, 3 ¾” x 28” *Trace pocket and monogram, but do not cut* Cardstock: 1 Pocket template 1 Cap visor

Tennis Dress

1. Facing: The revers facing can be interfaced if your silk tends to fray, or simply pink the edges. The Swiss wale pique is tightly woven and won’t require interfacing. Mark the shoulder seam allowances and sew the silk front facing to the cotton back neck facings. Trim the seams and press open.

2. Bodice: Make a tiny diagonal snip on the bodice where the revers meets the shoulder seam, as marked on the pattern. Sew the front and back bodice shoulder seams, then trim and press open.

3. Pin, baste and sew the facing right sides together to the neckline with a ⅛” seam, noting that the revers seam tapers down to almost nothing at the point of the “V.” 4. Trim away the points on the revers, being careful not to snip your stitches. Turn the facing to the inside.

Use a point turner to make a sharp corner on the revers, Press facing, then press the revers open at an angle to create the V-neck shape.

5. Press ¼” to the wrong side on one long edge of each silk bias strip. Sew unfolded edge to the armscyes, with right sides together. Use a 3/16” seam. Press bias toward the raw edge, then wrap the folded edge to the inside and sew in place with an invisible slip stitch.

Prepare to Sew:

Contrast Silk: 2 bias strips, each ¾” x 6” 1 straight grain strip, 1 ¼” x 10” 1” square (pink the edges) 1 Bodice Revers facing (pinked or interfaced) *Trace cap visor on doubled fabric, but do not cut* 88

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Invisibly hem the binding inside the armscyes.

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Sew facing to the neckline, tapering the seam near the point of the “V.”

7. Pocket: Embroider the pocket monogram with a tiny whipped backstitch, then cut out the pocket.

Press the top edge down ¼” and topstitch. Sew a small gathering stitch ⅛” from the lower edge of the pocket, then lay Mark and embroider pocket the cardstock template before cutting out. on the wrong side of the pocket. Gently pull the gathering thread so the fabric curves around the cardstock template, and secure the thread. Press the pocket to hold its shape. Dab Sewline glue pen on the bodice where you want to place the pocket, then press the pocket onto the glue with your finger. Stitch around the pocket with an invisible slip stitch.

8. Fold the pocket square in half diagonally; press.

Fold each corner down like dog ears, as shown in the photo, and press again. Tuck into the pocket with the folded corner facing up.

9. Skirt: Press one long edge of the skirt strip ⅛” and ⅜” to the wrong side, then hem in place. Pleat the strip on a pleater board, steaming and pressing well. Allow to dry thoroughly before removing from the board.

Turn and hem back opening over the facing.

6. Press the bodice back edges to the wrong side ¼” and ½”. Hem in place. Sew side seams with right sides together, then pink or overcast and press open.

Sew center back with a ⅜” seam.

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10. Narrow hem the short edges 1 ¾” from the top. Match the pleated strip raw edge to the bodice lower edge, with right sides together. Arrange pleats evenly, then baste and sew. Pink or overcast the raw edges and press toward the bodice.

11. OPTIONAL: Sew a small gathering stitch in the ditch between the bodice and skirt, leaving a long thread tail. This can be pulled up later to help create a bloused effect in the bodice.

12. Make belt loops by marking a point on each side seam, ½” up from where the bodice joins the skirt.

They are sewn just like thread loops for a closure, except they are longer. I like to use a quilting thread and make four bars from top to bottom, then blanket stitch over the bars.

13. Sew a ⅜” center back seam. Pink, then press open, being careful not to disturb the pleats.

14. Belt: Press the short ends of the 10” silk strip ¼” to the wrong side. Press the strip lengthwise in half, then open the fold. Press each long edge to the center, then refold the strip in half again and press the entire belt. Ladderstitch the folded edges together; this is the lower edge of the belt.

15. Thread one end through the buckle. Securely stitch the end to the wrong side of the belt. Set aside for now.

16. Closures: Try the dress on your doll, lap right side over left, and mark the overlap for a good fit. Sew four hook and thread eyes under the folded edge, and sew three decorative buttons on the right fold.

Thread the belt through the loops. Adjust fit if needed by pulling the gathering thread sewn around the bodice seam. Carefully secure the thread so it does not loosen.

Attach twill tape to stabilizer with glue stick in a crisscross pattern, then sew down the center of each piece.

Tennis Cap

*Before you begin, make a hat form by cutting the Styrofoam ball in half and covering it with foil.* 1. Mark the 6” square of washaway stabilizer with an “X” drawn from corner to corner with your Frixion pen. Use a clear ruler to continue marking a grid of lines spaced ⅜” to ½” apart, based on your preference.

2. The lattice effect on the cap is made with strips of ¼” twill tape, which will be sewn on first in one direction, then the other. For both directions, begin with the longest strip in the middle. Apply a line of glue with the Sewline pen, then press twill tape over the line with your fingers. Continue filling the square with the strips.

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Trace and cut the 4 hat sections.

3. Sew down the center of each strip, securing them to the stabilizer. Repeat the process in the other direction to create a “fabric” with a diagonal lattice effect. Trace four pattern pieces onto the lattice and mark where to stop your stitching at the top of each piece. Carefully cut hat sections.

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Shape the cap on a hat form, and attach wide tape to lower edge when dry.

Sew hat sections together in sets of 2.

Whipstitch the silk covered visor to the inside of the hat band.

Sew sets together to form the cap.

4. Attach sections with right sides together in sets of two, sewing a ¼” seam from the lower edge up to the stopping point. Trim and overcast or zigzag the seams. Open the sets and pin with right sides together, making sure the points meet at the top and the lower edges are aligned. Sew, trim and finish as before.

5. Press to remove marker lines, then soak and agitate the cap gently in warm water to remove the stabilizer.

Be careful of the raw twill tape at the lower edge.

6. Smooth the cap over the hat form, removing wrinkles.

Allow to dry fully before continuing. While waiting, press the ½” twill tape in half lengthwise.

7. When dry, select one panel as the back and mark the center back. Dot the lower edge ends of the twill tape with the Sewline pen. Beginning and ending at center back, press one edge of the ½” twill tape into the glue. Fold the end back and secure over the raw end, trimming away excess if needed. Slip the hat off the form and fold the tape evenly to the inside. Secure the tape in place with stabstitches, being sure to catch all the layers.

8. Sew the silk cap visor seam ⅛” from the upper edge, then cut out. Turn lower edge ¼” to the wrong side, then turn the entire silk visor right side out and press.

Completed cap

9. Slip the cardstock visor piece into the silk visor pouch and sew it closed with ladderstitch. Whipstitch the visor to the inside of the band.

ANTIQUE DOLL COLLECTOR

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1930 Tennis Costume Pocket

Pocket

Cut 1 Pique

Template Cardstock

Back Bodice Cut 2 Pique

Front Facing Cut 1 on Fold Silk

Cut 2 Pique

Fold

CB

Back Facing

1”

Cap Crown

Cut 4 Twill Tape Fabric

Cap Visor Cut 1 Cardstock

Front Bodice Cut 1 on Fold Pique

Fold

Cap Visor Cut 2 Silk

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Auction Calendar Withington Auction

Check Website for dates: June / July 603.478.3232 | withington@conknet.com www.withingtonauction.com

Paying $3K

Theriault’s

Kathy Libraty’s Antique Dolls

Sun., Jul. 20, 2025 Preview 9AM ET • Auction 11AM ET Marquis: Antique Doll Auction (prior to UFDC Convention) Location: Hilton Norfolk The Main in Norfolk, Virginia Theriaults Gallery | 410.224.3655 info@theriaults.com | www.theriaults.com

for this Scarecrow in any condition.

Frasher’s Auction

Sat., Aug. 9, 2025 The Cherished Collection of Carol Hale Location: KCI Expo Center, 11730 N Ambassador Dr, Kansas City, MO 64153 2323 S Mecklin Sch. Road Oak Grove, MO 64075

1) 22” Kissing Bru w/ Original Signed Shoes................... $3,300 2) 29” 29” Chunky Jumeau Bébé with Applied Ears....... $4,300 3) 25” Rare Steiner Series C Bebe with Top & Bottom Teeth and Lever Sleep Eye........................................................... $5,200 ~Layaway Always Available~ Call us at: 718.859.0901 Or email: KathyLibratysDolls@gmail.com www.rubylane.com/shop/kathylibratysantiques

Paula Claydon 914-939-8982

Eyelash27@aol.com Member NADDA & UFDC

www.evelynphillipsdolls.com

...new arrivals, a wonderful Maggie Iacona collection!

Sweetbriar Auction

Sat., Aug. 23, 2025 Doll & Toy Auction Crescent Shrine, 700 Highland Drive, Westampton, NJ 410.275.2213 | sweetbriar@live.com | sweetbriarauctions.com 816-625-3786 | frasher@aol.com | frashersdollauction.com

Auction Team Breker

Upcoming auctions: Sat., Sep. 13, 2025 Sat., Nov. 8, 2025 Otto-Hahn-Str. 10, 50997 Köln (Godorf), Germany auction@breker.com | +49 (0)2236 38 43 40 US Contact: Andrew Truman 207-485-8343 | AndrewAuctionTeamBreker@gmail.com

SAS (Special Auction Services)

Frizellburg Antique Store 20” Depose Incised Jumeau 9. Extremely pale bisque, Deep blue pw eyes. Straight wrists with mama papa pull strings.

Exquisite doll, absolute angel............................................$5900.00

1909 Old Taneytown Rd., Westminster, MD 21158 410-848-0664 or 410-875-2850 OPEN every Thurs - Sunday 11-5

SARA BERNSTEIN DOLLS Do you have a doll or small collection you want to sell in the Emporium?

ADVERTISE IN THE EMPORIUM Send us a photo or a digital photo of your 1-3 doll(s) or accessories with a description and your check or credit card information. We do the rest!! Take advantage of this special forum; the cost is only $95 for a 2.4”w x 2.9”h ad space.

For More Info, Contact:

Louann at louannw@antiquedollcollector.com

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

santiqbebe@aol.com • 732-536-4101

Tue., Sep. 16, 2025, 10 AM Popular Dolls & Teddy Bears Auction Tue., Oct. 14, 2025, 10 AM Popular Toys, Diecast & Figures Auction Tue., Nov. 11, 2025, 10 AM Fine Dolls, Dolls’ Houses, Traditional Toys & Teddy Bear Auction Tue., Dec. 2, 2025, 10 AM Rare Bears Auction Newbury, UK | +44 (0) 1635 580 595 mail@specialauctionservices.com | specialauctionservices.com

Alderfer Auction

Tue., Sep. 30, 2025, 10 AM ET Online Auction Catalog of Antique and Other Fine Dolls 501 Fairgrounds Road, Hatfield, PA 19440 215.393.3000 | www.alderferauction.com

Ladenburger Spielzeugauktion Fri.-Sat., Oct. 10-11, 2025 Autumn Auction Sat., Nov. 8, 2025 Steiff special auction Fri.-Sat., Nov. 14 & 15, 2025 Winter Auction 0049 (0) 6203 13014 | mail@spielzeugauktion.de www.spielzeugauktion.de

ADVERTISE IN THE EMPORIUM

www.sarabernsteindolls.rubylane.com

For More Info, Contact:

Louann at louannw@antiquedollcollector.com

ANTIQUE DOLL COLLECTOR

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ANTIQUE DOLL COLLECTOR’S EXCITING BACK ISSUES FEATURING STEINER!

These popular issues are available FOR DIGITAL DOWNLOAD on our website for only $10 each.

Go to the ‘Back Issues’ tab at antiquedollcollector.com

The digital advantage: • Searchable pdf files • No need to cut up your magazine • Just print out the select pages • Instant satisfaction!

CHECK OUT OUR LIST OF BACK ISSUES FEATURING Steiner: 11-1997

Jules Nicolas Steiner by Christine Jeffery

05-2003 Hermann Steiner Googlies by Nikki Kvitka 03-2009 Julia - Tracing A Steiner’s Past by Roberta Gallison Cunningham 04-2011

Who’s Afraid of Early Steiner Bebes? by Samy Odin

06-2015 Our Little Family of Steiner Dolls by Alf Ertsland 03-2021 The Golden Age Of French Bébés by Susan Foreman

For print availability: call 631-261-4100 or email backissues@antiquedollcollector.com

If you love Steiner don’t miss an issue!

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

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

LONG TERM Please check online for Long Term listings.

JULY 2025 12 ~ Ft. Worth, TX. Summer Keller Through the Looking Glass Doll & Bear Show. Keller Through the Looking Glass. Holiday Inn Ft Worth Alliance, 11120 Moriah Dr. Admission at the Door (Cash/ Check): $5. Parking: FREE. Debbie Summers. C/T 817-888-2166. Dsumm1@verizon.net

22-26 ~ Norfolk, VA. 76th Annual UFDC National Convention, “Dolls & All That Jazz.”

Hilton Norfolk The Main & Norfolk Waterside Marriott. ufdc.org.

c/t 503-877-7728, Resinrosebjdexpo@gmail.com. resinrosebjd.com.

26 ~ Sarasota, FL. Venice Doll Club - FX Doll & Toy Show & Sale. VFW Sunshine Post 3233, 124 South Tuttle Ave. Admission at the door: Early Bird: 8 AM - 9 AM. Admission $10. After 9 AM: FREE; Parking: FREE. Bruce Zalkin, c/t 941-302-0572. fxtoyshows@gmail.com.

The Antique Doll & Toy Market

1-2 ~ New Brighton, MN. Miniature Show.

MiniatureShows.com.

12 ~ Spencer, NC. Super Saturdays Monthly Sales.

Every second Saturday. 08/09, 09/13, 10/11, 11/08, 12/13, 2025. 10 AM-2 PM. The First Community Center of Spencer, 215 5th St. Free parking, free admission!

Beth Nance, info@ncmdtm.org, 704-762-9359 (call only), ncmdtm.org/events/

8-9 ~ Binghamton NY. TBAI Doll & Teddy Bear Show. Cindy Malchoff. 518-578-0006. dollnbearshow@tbai.org. tbai.org/philly.html.

18-20 ~ Online. Online Charity Sales Event.

Good Bears of the World. Fri. 10 AM - Sun. 5 PM Daily. Terrie Stong. goodbears1@sbcglobal.net. goodbearsoftheworld.org.

18-20 ~ Online. Online Sales Event.

BearHugs4u.com. info@bearhugs4u.com. bearhugs4u.com.

19 ~ Jonesborough, TN. Doll Show & Sale. The Dollhouse. Jonesborough Visitor Center, 117 Boone St. FREE Admission. Free Parking. Ellen Stafford.

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

1-4 ~ Online. Summer Sizzler Teddy Bear Online Show. Valerie Rogers, 502-423-7827. brtstar1@aol.com. bright-star-promotions.com.

8-10 ~ Clackamas, OR. “Adventures of the Seven Seas” Doll Conference (Ball Jointed Doll) with public sales. Fri: 6 PM - 9 PM; Sat: 9:30 AM - 10:30 PM; Sun: 9:30 AM - 8 PM (public shopping). Resin Rose BJD Expo. Hilton Garden Inn, 12566 SE 93rd Ave. Admission at the Door (Cash/Card): 3-day- SOLD OUT, 2-day $54; 1 Day Sat or Sun- $44, Sunday Shopping Pass- $15. Parking: FREE. Jamie Rist, AUGUST 23 ~ San Diego, CA. Delightful Dolls Of Southern California. Sat, 10 AM-2 PM. Handlery Resort Hotel-Mission Valley, 950 Hotel Circle North. $6 admission. Info: Gloria Osborn. 619-298-2447. globob31@gmail.com.

50 Select Exhibitors!

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

SUNDAY, AUGUST 24, 2025 11am-4pm $10 EMBASSY SUITES HOTEL 20610 44TH Ave W. Lynnwood WA 98036 Just East of I-5 at exit 181a

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

RICHMOND DOLL & BEAR SHOW

21-23 ~ Norfolk, VA. Norfolk Doll Dreamer’s Market. Monday: 10 AM - 9 AM; Tuesday: 10 AM - 5 PM; Wednesday: 10 AM - 4 PM. Sheraton Norfolk Waterside Hotel. 777 Waterside Dr. Admission $10. Info: Anne Demuth. 336-755-1400.

DollsBearsCookies@yahoo.com.

SATURDAY, SEPTEMBER 20, 2025

SEPTEMBER 28 ~ Wichita, KS. Wichita Doll Show. Holiday Inn, 549 S Rock Rd. Judith M. Schafer, jms50@cox.net. 316-737-7851. facebook.com/WichitaDollShow.

NEW LOCATION: RICHMOND EAST MOOSE LODGE #1947

SEPTEMBER 7 ~ Lebanon, PA. Central Penn Annual Doll Show & Sale. 10 AM - 4 PM (EDT). Central Penn Doll Collectors Club.

Lebanon Expo Center, 80 Rocherty Rd. Admission at the Door: Adults: $5; Children under 12: FREE. Free Parking. Dotti G. 309-397-6481. CPDCC.Dotti@gmail.com.

CentralPennDollCollectorsClub.org.

46 TH

YEAR!

AUGUST 2025

12 ~ Redding, CA. Doll, Teddy Bear, Collectible & Miniature Show & Sale. 10 AM - 7 PM. Rowbear Presents. Win-River Resort Casino, 2100 Redding Rancheria Rd.. Rowbear Lowman.

530-366-5191. RowbearPresents@charter.net

13 ~ Buena Park, CA. Sherri’s Doll Show And Sale Featuring Barbie Dolls. Sun 9 AM-2:30 PM. Double Tree, 7000 Beach Blvd. Contact: Sherri Gore. 424-394-7612. email: sherribean7@aol.com.

Calendar continued on page 96

ANTIQUE TO MODERN DOLLS & BEARS

9:30 AM to 3 PM

7167 FLAG LANE MECHANICSVILLE, VA FREE PARKING | Door Prize Drawings

Admission - $8, 12/UNDER FREE Information: Van (252) 523-4002 vodavis59@gmail.com ANTIQUE DOLL COLLECTOR

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E’S

9 ~ Spencer, NC. Super Saturdays Monthly Sales. Every second Saturday. 10 AM-2 PM. The First Community Center of Spencer, 215 5th St. Free parking, free admission! Beth Nance, info@ncmdtm.org, 704-762-9359 (call only), ncmdtm.org/events/ 16 ~ Florence, SC. 38th Annual Doll & Toy Show & Sale. Pee Dee Doll Club. SiMT (Southeastern Institute of Manufacturing and Technology). 1951 Pisgah Rd. Admission at the Door (Cash Only): $6; 12 & under: FREE. Free Parking. Angie Hayek. ahayek73@aol.com. c/t 843-731-2107.

16 ~ Huntsville AL. Doll Show & Sale. North Alabama Twickenham Doll Club. Jaycees Building, 2180 Airport Rd SW. Adults: $5; Children: $2; 5 & under: FREE; Parking: FREE. Sonya Heim, text 256-585-5436. twickenhamdollclub@earthlink.net.

17 ~ Strongsville (Cleveland), OH. Northern Ohio Doll & Bear Show. 10 AM - 3 PM; Early bird ~ 9 AM. Strongsville Best Western, 15471 Royalton Rd. FREE parking. Admission at the door: Early Bird 9 AM: $15; Adults: $6; Children: FREE; Eileen Green. c/t 440-283-5839. phdofdolls@yahoo.com.

23 ~ Schertz (San Antonio), TX. 33rd Biannual Hill Country Doll Show & Sale. Schertz Civic Center. 1400 Schertz Pkwy. 9 AM-4 PM. Info c/t 830-606-5868.

24 ~ Lynnwood, WA. Doll Show & Sale. Antique Doll & Toy Market. Embassy Suites Hotel, 20610 44th Ave. Lisa Pepin. C/t 206-669-7818. pepins4@msn.com.

24 ~ Mankato, MN. Lady Slipper Doll Club 52nd Annual Show & Sale. Lady Slipper Doll Club.

Courtyard Mankato by Marriott Event Center (River Hills Mall), 901 Raintree Rd. FREE parking.

Admission at the Door: Adults: $7; Children under 12: FREE; Jan Madonna. 507-364-5452. doodles123@frontiernet.net.

info@ncmdtm.org, 704-762-9359 (call only), register online at: ncmdtm.org/event/annualdoll-luncheon-switzerland/.

7~ Buena Park, CA. Sherri’s Doll Show Featuring Barbie Dolls. Double Tree Hotel, 7000 Beach Blvd. Admission at the Door: Early bird 8:30 AM: $15; Adults: $7; Children: $3; Free Parking. Sherri Gore. c/t 424-394-7612. sherribean7@aol.com.

12-13 ~ Westfield (Indianapolis), IN. Miniature Show. MiniatureShows.com.

13 ~ Albany, OR. Wagon Wheel Dollers Show & Sale. Wagon Wheel Dollers Doll Club. Linn County Fair & Expo, 3700 Knox Butte Dr. NE. Admission @ Door (Cash/Chk): Early Bird (9AM-10AM): $10; General: $7; under 10: FREE. Parking: FREE. Verni Knight, c/t 541-979-2097. wagonwheeldollers@gmail.com.

13 ~ Alexander, NY. Alexander Doll Show & Sale. 9:30 AM - 2:30 PM (ET). Alexander Firemen’s Recreation Hall, 10708 Route 98. FREE parking. Admission (Csh Only): Adults: $5; Children under 12: FREE. Linda V. 585-482-0835 Lin C. sukeylin@yahoo.com.

13 ~ Burbank, CA. Jewel City Doll Club 45th Annual Doll Show And Sale (Sat 10-3) Burbank Elks Lodge, 2232 N. Hollywood Way. Info: Janie Olds. 562-818-2501. email: j.l.olds@ca.rr.com.

13 ~ Cincinnati, OH. Fall Fashion Doll Show & Sale. Queen City Beautiful Doll Club. Eastgate Holiday Inn, 4501 Eastgate Blvd. Parking FREE. Admission @ Door (Csh Only): $5; Under 12: FREE w/paid adult; Margie Schultz. 513-2078409. Askmargie@aol.com.

13 ~ Spencer, NC. Super Saturdays Monthly Sales. Every 2nd Saturday. 10 AM-2 PM. The First Community Center of Spencer, 215 5th St. Free parking, free admission! Beth Nance, info@ ncmdtm.org, 704-762-9359 (call only), https:// ncmdtm.org/events/.

13-14 ~ Stateline, NV. Doll, Teddy Bear, Collectible & Miniature Show & Sale. Rowbear’s Lake Tahoe Treasure Hunt Event. Rowbear Presents. Golden Nugget Lake Tahoe, 50 HWY 50.

Adults: $8; Children 12 & under, Military Families: FREE. Free Parking. Rowbear Lowman.

831-438-5349. RowbearPresents@charter.net.

20-21 ~ Anaheim, CA. Estate/Doll Sale of Sherryl Shirran Doll and Toy Collection. Family Home and Gallery of Sherryl Shirran, 1304 South Westchester Dr. Shirran Doll/Toy/Bear Collection Sale, Huge discounts, So Much Stuff! CASH ONLY Estate Sale in front of house. Discounts best w/cash for doll/toy/ bear/sale in house. Doll appraisals. Free. Mary Ann Spinelli. C/T 818-738-4591. nellingdolls@gmail.com. maspinelli.com.

More events & info at antiquedollcollector.com

SARA BERNSTEIN’S DOLLS

Do you have

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

SEPTEMBER 2025

5-6 ~ Ringgold, GA. Miniature Show.

MiniatureShows.com.

5-8 ~ Online. Fall Stars + Fur Mania Teddy Bear Online Show. Valerie Rogers, 502-423-7827. brtstar1@aol.com. bright-star-promotions.com.

6 ~ Flat Rock (Hendersonville/Asheville), NC. 36th Annual Fall Doll Show & Sale. Land O’Sky Doll Club. National Guard Armory, 2025 Spartanburg Hwy. Lue Gravely. c/t 828-553-2763. landoskydollclub@gmail.com.

LandoSkyDollClub.com.

6 ~ Salisbury, NC. Annual Doll Luncheon. 9:30 AM-3 PM. Trinity Oaks, 728 Klumac Rd. Free parking, entry is $80 per person for museum members or $85 for non-members. Beth Nance,

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a doll or small collection you want to sell?

ADVERTISE IN THE EMPORIUM

Send us a photo or a digital photo of your 1-3 doll(s) or accessories with a description and your check or credit card information. We do the rest!!

Take advantage of this special forum; the cost is only $95 for a 2.4”w x 2.9”h ad space.

For More Info, Contact:

antiquedollcollector.com, Ad Rates

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.

Louann at ‪(872) 216-8842‬ or louannw@ antiquedollcollector.com Antique Doll Collector, P.O. Box 349, Herndon, VA 20172

JULY/AUGUST 2025

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Antique DOLL Collector July/August 2025 Vol. 28, No. 7

Samy Odin’s Paper Dolls by the Seaside Gail Cook, Collector Extraordinaire Bécassine Dolls Papier-mâché Boys Through the Year

Awaji Puppetry Marion Maus– Her Home, Her Collection WPA Dolls Plassie vs.

Baby Coos A Summer Pattern for Bleuette

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