May 2025

Antique DOLL Collector May 2025 Vol. 28, No. 5

Beatrix Potter’s Dolls’ House • The History of Fanny Gray •Recknagel Babies • Jointed Paper Dolls by Samy Odin

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Letter From The Editor

“Who can ever affirm or deny that the homes which have sheltered us as children, or as adults …do not have embedded in their walls …the imprint of what has been, the suffering, the joy?”

Daphne Du Maurier, author of Rebecca Dear Readers, Have you ever moved into a house formerly owned by someone else and found something they left behind? Decades ago when we moved into our house, I found a book in the attic that I had searched for since my teen years—Raintree County by Ross Lockridge, Jr. For anyone who has read the book or who has seen the movie version of Raintree County starring Elizabeth Taylor, you will recall that the character she played amassed a curious collection of dolls. My teen years were way before the internet so locating an out-of-print book then was very difficult. But years later, when I serendipitously found the book in the attic, I remember thinking: I am meant to live here.

Which brings me to our cover story. Laura White, Collections and House Manager for Hill Top and the Beatrix Potter Collection at the Royal Trust in Cumbria, England charms us with a story of two dolls’ houses—one that appears in the artwork of Beatrix Potter’s 1904 book, The Tale of Two Bad Mice, and the other a recently conserved dolls’ house that belonged to Beatrix and is on display at her home, Hill Top, in Near Sawrey, England. Even the walls of dolls’ houses can echo with the imprint of what has been.

Karen Kurtz unfolds the fascinating facts behind the 1854 American-manufactured paper doll, Fanny Gray, and Margo Delaughter shares what inspired her to collect Recknagel baby dolls.

Samy Odin delights us with Part One of the Jointed Paper Dolls in his collection.

And Nicki Burley has designed an enfantine pattern fit for a resin bodied Huret or Rohmer doll, which we know our seamstresses will enjoy making. “…the house was not an empty shell but lived and breathed as it had lived before.”

Laurie McGill Editor-in-Chief

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LAYAW AVAILA AY BLE

19” OOAK beautiful Priscilla by Diane Keeler 2002 of porcelite clay, blue painted eyes w/ lashes, blonde mohair wig, exquisite gown $595.

26.5” CM Kestner 129 w/ Steiff dog, brown sl eyes, HH wig, antique clothing $1750.

24” Simon & Halbig 1250 DEP 10 ½, br sl eyes, leather body w/ compo arms $395.

5 x 5” Fully tagged Steiff 1950’s velvet Horse w/ mohair mane & tail $69.95

19” seated OOAK Beautiful wax over porcelain by Brigitte Deval of Italy, blue glass eyes, blonde mohair wig, exquisite silk dress & antique bonnet $995.

13” All original beautiful German 1930-40’s Tyrolean girl w/ carved wooden head, hand painted features, jointed cloth body, ribbon on arm reads Germany, hang tag Tyrolean 13008 $225. 14” Schoenhut boy in antique sailor suit w/ hat, 1913 label on head, blue painted eyes, some paint damage on face $245.

14” Benda & Palden #5 of 5 by Amy Van Boxel of The Netherlands, Feb 2004 w/ box & COA, porcelain / cloth body, beautifully sculpted & painted $1295.

12” 1880’s ABG Child w/ exposed ears, beautiful brush strokes, blue eyes, newer body & limbs $99.95 15” All original A. W. Kister flattop China w/ blue boots $185. 19.5” Kestner? China w/ blue eyes, on original body, leather arms, patching on left arm $150.

14” Pair of Alexander Susie Q & Bobbie Q 1938 all original w/ hats, sweet pair $525.

Victorian 3 x 1.5 x 2.25”h, brass woven baby carriage w/ 2” seated lead baby $225.

9” Steiff Molly dog hand puppet w/ ear tag & orig ribbon, beautiful tipped mohair $97.50 12” Lenci series 70 1930’s in Bern Switzerland regional costume w/ tag, missing head dress & apron $245. 8 x 10” Steiff Foxy w/ US Zone Germany tag, beautiful mohair $95.

11” Maud Tousey Fangel looking 1940’s Dutch cloth doll, all original w/ felt rabbit, sweet face $75.

16.5” All original brunette Alexander in blue & white dress, blue bonnet, coat & muff, tagged outfit $225. 13” Alexander McGuffey Ana all original in tagged dress, blue tin eyes $125. 16.5” All original Alexander red head in red & white dress, red bonnet, coat & muff $225. 18” Effanbee Anne Shirley all original, plaid dress, apron & boots, HH wig, broken pinkie $95.

34” Heinrich Handwerck S & H 7, blue sl eyes, mohair wig, body marked in red Heinrich Handwerck 7 Germany $465. 5” German 208 3 on 5 piece compo body, blue stat eyes $150.

10” ‘Lady On Porch, 1913’ OOAK 1999 by Marie Ahren in paperclay, beautiful sculpting & painting base 11 x 7” $675.

14” English 1940’s Norah Wellings all original in Welsh outfit, small stain on face $149.95 15” OOAK Jenny

by Susie MaMahon, lovely hand painted facial features, mohair wig w/ teddy bear $195.

25.5” All orig German #1500, brown sl eyes, compo jointed arms & lower legs, mohair wig $285. 21.5” Heubach Koppelsdorf 300 2, sweet face, brown sl eyes, orig HH wig, antique clothing $285.

30.5” Simon & Halbig 1079 DEP 14 w/ Wimperon mark, beautiful pink leather body w/ compo arms & lower legs $575.

4x4.5” Steiff 1960’s Tabby Cat all orig w/ bell $69.95 12” DEP w/ blue stat eyes, repair at neck, repainted hands & feet, hairline on forehead $165. 11” German Limbach ? three hole dome head marked 3 French type doll, 5 piece body, blue stat eyes $155.

12.5” Kestner 154 dep 2, blue sl eyes, orig mohair wig, nice antique clothing $145.

OOAK’s by Dale Zentner – Canadian Doll Artist specializing in polymer clay dolls, beautifully sculpting & painting 14” Lt brown floss hair, blue eyes in white lace dress w/ bear $295. 14” Blond mohair wig, blue glass eyes, red coat & hat, black & white dress w/ bear $295.

12” Alexander 1950’s All Original Babies, cloth bodies Little Genius in organdy dress & satin coat, hat & muff, hard plastic $149.95 Little Genius in organdy dress & bonnet, hard plastic $125. Butch HP head & compo limbs, replaced shoes $85. Butch compo head & limbs $95.

19.5” All Original Nancy, HH wig, clear blue eyes, very faint crazing $110. 11.5” MIB All Original Alexander 1960’s Brenda Starr in tagged pink gown $125.

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

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Nelling, Inc.

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

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1. 1 2” Petite Jumeau portrait bebe in what is probably her orig. fancy silk, lace and velvet entire ensemble, antique wig, fine shoes and socks, antique mohair wig. Incised “4” on head and “Jumeau Medaille D’ Or” on lower back. $6,950.

2. 10 ½” Rare Heubach child, mold 7711, genuine antique outfit and undergarments, short mohair antique wig, holding her little flower basket. fully jtd. composition body. $1,275.

3. 24” Stunning Rabery and Delphieu bebe, fully jointed, chunky French body w/ straight wrists. Antique human hair wig, Summer outfit, frilly bonnet, undergarments and fine leather shoes, all antique. $3,650.

Exhibiting: May 3 - Santa Barbara Doll Club Show, Santa Barbara CA, Santa Barbara Elks Lodge May 16 and 17 - NADDA National Antique Doll Dealers Assoc. Show and Sale, Chicago Il, Sheraton Suites at Chicago O’hare Airport Looking forward to seeing you!

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

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

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MAY 2025

4/10/25 10:12 AM

Valerie Fogel’s

Beautiful Bébés Fine Dolls & Precious Playthings from our Past

www.beautifulbebes.com

Always Buying!

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

20” Early Bru Poupée w/wooden arms. Spectacular! All original costume. Original wig. $7200

Member UFDC & NADDA

Gorgeous 21” FG in stunning presentation. $5800

18” Lovely French Fashion FG Original wig, beautiful bisque, kid body. $2800

14” First Series Bébé Incassable $9800

18” Articulated Gesland Man w/Bisque arms/legs. Fabulous presentation. $5000

Occasionally, one of these incredibly beautiful Bébés surfaces. Painted with intense care, this blue-eyed charmer is rare in both look and petite 14” size.

Blissfully beautiful, on original Steiner body, in excellent condition. Superb antique silk couture. $4200

See you at the NADDA Show at the Sheraton Suites Hotel Chicago Ohare Airport

May 16-17th!

20” Steiner Fre A with Childlike Innocence. So charming. $3700

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18” Beautiful Award Winner Barrois Poupée w/ Gorgeous Face & Bisque Arms. $5200

19” François Gaultier Poupée Peau $1950

16” beautiful Hilda Baby $1795

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The Complete Guide to Antique, Vintage and Collectible Dolls

May 2025 Volume 28, Number 5

On the Cover

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FANNY GRAY A Quest for the First Published Paper Doll

by Karen B. Kurtz

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A TALE OF TWO DOLLS' HOUSES

Beatrix Potter’s newly conserved dolls’ house on display at Hill Top, Near Sawrey, Cumbria, England. c. National Trust. Image: Annapurna Mellor.

by Laura White

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RECKNAGEL'S PRECIOUS BABIES

by Margo Delaughter

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

Departments 2 Letter from the Editor 10 Paper Doll Stories

by Samy Odin 18 Auction News 46 Emporium 47 Auction Calendar 47 Events/Classified Ads Follow us on...

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JOINTED PAPER DOLLS

by Samy Odin

ANTIQUE DOLL COLLECTOR

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SPRING MEADOWS Enfantine Dress to Fit 14.5" Resin Body Dolls

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MAY 2025

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1) Splendid Mint 18” Heubach Baby Stuart Unusual large size child with perfect Rose Covered Bonnet & layers of richly worked Edwardian Clothes of silk & lace. A winner! $1495

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2) 16” Shelf Size ‘Au Nain Bleu’ Steiner Bebe - a special commission clo.mo. for the legendary Paris store, blue PWs, antique Hip Length Tresses, custom Silk Couture & Orig. Stiff Wrist Body. A refined Petit Feur. $2550

5 3) Such Mint 1840’s Milliners - pristine Maches w.

Paper Bands, very pretty faces, coloring & high glaze w intricate layers of finest Original Factory Clothes. True antiquity Left: 8”- Ball Gown $450.

Right: 8.5”- Rare Hairdo $395

4) Important 10.5” Rare 1880 Miniature Kestner “103” - Early Pale Bisque & Lambswool Wig, blue PW sl. eyes, early 8-Ball Body, delicate Original Layers & Shoes. So rare a gem! Not $1500 just $1250 5) Rare Signed ‘Webber Singing Doll’ near mint & working - blue PWs, mint wig/orig. set, pristine wax, original Heirloom Clothes/Shoes. A 27” Blue Ribbon Winner will sit. $1295

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6) see #1 7) see #2 8) see #5 9) see #4

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

10) Stunning 24” Closed Mouth ‘192’lustrous bisque on this pre-1900 premiere model of Kammer & Reinhardt w shapely mint Schmidt Type Body in very fine antique attire, harmless making flaw in back. A $2500 just $895 11) A Sublime 18” Siegfried Baby Absolute elegance in all his artful modeling, immaculate bisque, unusual jointed body, Princely sophistication in fine Linen & Angora $695

12) 5” All Bisque Pastel Twins: Big Sister in Blue & Baby Sister in Pink; Factory Wigs (Blue is knee length!), Bl. Gl. eyes, lovely miniature Silk Dresses & Antique Straw Hats. Blue $275; Pink $195

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13) Hertel Schwab 10” Bisque Head ‘Skippy’ - adorable, rare character in tiny size, chubby cheeks & pursed lips, Shoe Button Gl. Eyes, intricate lacy baby dress. A prize! $595

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14) Magnificent 37” ‘Bebe Cosmopolite’ w Mint Satin Bisque & owner’s note: choice quality 19” c. head! huge bl. sl. eyes, orig. body & her pretty Victorian antique clothes/shoes. Incredibly lifelike! $945

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Come join us for Public Day at the 76th Annual United Federation of Doll Clubs Convention Friday July 25, 2025, Noon – 6 PM Norfolk Waterside Marriott 235 East Main St., Norfolk, VA 23510 Shop in the World Class Sales Room and UFDC Boutique

Admission to the sales room is $20 per adult, $5 children 8 to 18. No strollers permitted in the salesroom.

Browse at the Publishers Preview

Junior Event

(you need to bring an adult with you) Learn more about UFDC, and if you like what you see, you can join us as a member.

For more information about Public Day and UFDC, contact us at info@ufdc.org.

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Ages 8 to 18, registration $45

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Paper Doll Stories by Samy Odin Jointed Paper Dolls Part 1

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laying with paper dolls is a rather creative activity. It requires some focus; it develops manual skills and an artistic eye as well as a taste for playing the “Let’s Pretend” game. Among the features of some paper dolls, movement was perceived by certain publishers as THE key to draw good sales. Paper dolls that can “move” the limbs, the head, or the eyes, were, in fact, commercially successful and, as collectibles, they are doubly appreciated today when in good condition, as they can easily deteriorate when played with over time.

During the nineteenth century, very few paper dolls could move, which is surprising when we consider that paper dolls appear as the natural evolution of the eighteenth century fully articulated “pantins.” In France that tradition of articulated jumping jacks remained alive essentially through the Imagerie Pellerin in Epinal. (Photo 1) Of course, puppets are not paper dolls, for they are not meant to wear extra outfits, but being jointed they inspired publishers who, later, specialized in articulated paper dolls. It is only during the last quarter of the nineteenth century that jointed paper dolls developed as playthings. The first American patent concerning a paper doll “made to oscillate and assume the appearance of walking” was assigned No. 157394 to William H. Hart in December of 1874 (cfr. “Paper Dolls, a guide to costume,” by Clara Hallard Fawcett, H. L. Lindquist Publications, 1951, page 140/141) Alas, I have never seen any paper doll based on this patent. (Photo 2) Among the publishers who specialized in jointed paper dolls at that time, Littauer and Bauer was the leader in Europe, followed by S&C a few years later. The main client of L&B in the United States was a Massachusetts based company named Dennison, a publisher that first started having its products printed in Germany, essentially by L&B, after filing for a U.S. patent as soon as 1880. (Photo 3, Photo 4)

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Some other paper dolls were printed in Germany for American companies, such as J&P Coats, which distributed advertising paper dolls for their spool and crochet cotton during the 1890s. These dolls have an unusual joint at the neck: they are called “Radial” because each doll has three expressions that can appear by rotating a piece of cardboard at the neck level. What makes them particularly interesting is the fact that they are double-sided, so each doll includes two different dolls, each with three facial expressions. (Photo 5, Photo 6) Littauer and Bauer was not printing exclusively for Dennison. Dennison’s jointed paper dolls were distributed in various countries, sometimes in the company’s own name. Among their very successful models, the black series, for example, is still greatly appreciated today. These dolls could be dressed using crepe or tissue or lace paper, sold loose or in minimal kits including the head, torso and limbs with instructions and pins to assemble them or more elaborate boxed sets which included all the materials useful to dress them. (Photo 7) Another German company that developed exponentially after settling in the United Kingdom, due to the Jewish origin of his founder, Jacob Wolf Spier (1832-1893) is the famous maker of the Scrabble game: Spear’s Games.

Photo 7

Their paper doll production includes some jointed ones, such as the “Verwandlungs-Puppe” (Transformation doll) listed among its rarest. Printed in Bavaria at the turn of the twentieth century, this colorful boxed set includes one jointed body, four heads and four costumes with matching hats and a few accessories. It was patented by Spear’s also in the United States under No. 1008619. (Photo 8, Photo 9) Paper Doll Stories continued on page 45 ANTIQUE DOLL COLLECTOR

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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

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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Auction News The 2025 doll auction calendar is active and prices for recent sales have been strong.

Ladenburger Spielzeugauktion

Ladenburger lot 4017, 1 ½” Steiner with bisque hands sold for $28,562 plus BP.

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The lovely Steiner bébé featured on the cover of the February issue of Antique DOll Collector was sold at the Ladenburger Spielzeugauktion GmbH on April 11 & 12, 2025 auction. This doll from the prestigious collection of Karin Schmelcher was marked STEINER, deponiert, A2. She had pierced ears, almond shaped paperweight eyes and delicately shaded eyelids. Her original wood and composition body had bisque hands with beautifully molded fingernails. The price realized for this exceptional doll was $28,562 plus the 24% buyer’s premium.

ANTIQUE DOLL COLLECTOR MAY 2025

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Auction News

(continued)

Among the stars of the April 4 & 5, 2025 Ladenburger Spielzeugauktion was this bébé

by French doll maker Andrè Thuillier. The 22 ½” example featured almondshaped eye cuts with deep blue paperweight eyes, Ladenburger lot 4013, 22 ½” AT a closed mouth sold for $60,420 plus BP. with a defined space in between her lips. She was on a straight-wristed French body and wore a light blond curly mohair wig on her original cork pate. She was marked A 10 T. This dream doll went to a new collector for the sum of $60,420 plus the 24% buyer’s premium.

Also at this sale was a rare prototype Hauser Bild-Lilli doll in the 7 ½” size. This prototype Ladenburger lot 3974, doll had a handHauser Prototype Bildpainted face and sold Lilli sold for $1,051 for $1,051 plus the 24% plus BP. buyer’s premium.

Alderfer Auction Highlights from the March 25, 2025 Alderfer Auction included an example of a cabinetsized Bru Bébé Modèle standing just 16” in height.

Alderfer lot 1348, 16” Bébé Modèle sold for $26,000 BP This desirable inclusive. doll featured a delicately colored, Breveté style face with brilliant blue paperweight

Alderfer lot 1214, Pair of size 1 French Dolls sold for $5,760

eyes. The doll was on Bru’s special multi-jointed wooden body. Though lacking in clothing she sold for an impressive $26,000 including the buyer’s premium.

Also from the Alderfer Auction March sale was a pair of 11” size 1 French Bébés wearing matching cotton floral dresses in two different colors.

The dolls had stationary eyes and open mouths. One doll’s body bore the blue stamped Jumeau Medaille D’or Paris marking. The dolls went to the high bidder for $5,760 including the buyer’s premium.

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

E 4 J Jumeau Bebe, pw

eyes, mint bisque, orig mohair wig & cork pate. Orig silk dress, undies, Jumeau earrings & ant leather shoes & hat. Orig “signed” Jumeau body.

BREATHTAKING!!! $6800.

9.5” RARE Teeny Fire A Steiner,

pw eyes, beautiful bisque & old auburn hh wig.

Newer clothes w/matching hat. Terrific look. Early str wrist Steiner body. AN

ABSOLUTE DARLING!! $4200.

10.5” Portrait Jumeau Bebe #1, pw eyes,

perfect bisque, newer mohair wig.

Silk dress (age unknown, likely not ant) & ant Fr hat. Orig undies & matching slip, leather shoes. Orig “signed” str wrist 8 ball jointed Portrait Jumeau body. She’s ABSOLUTELY

BEAUTIFUL!! $6500.

11” Original Tiny Tears by Ideal, doll

& orig accessories are in clean mint condition. In orig cardboard carrying case, strings loose & side inner cardboard missing. Wears complete orig costume, orig clean red curly wig in perfect condition as is her body. A REAL FIND!! $1200. SALE. ANTIQUE DOLL COLLECTOR MAY 2025

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A Tale of Two Dolls’ Houses

by Laura White

Beatrix Potter’s Hill Top house and garden is in the Lakes District, Near Sawrey, Cumbria, England. c. National Trust. Image: James Dobson.

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ill Top is a historic house museum situated in the heart of the English Lake District and run by the National Trust. The cottage, garden and surrounding farm was the Lakeland retreat of internationally famous children’s author Beatrix Potter (1866 – 1943). Her first published book, The Tale of Peter Rabbit (1902) is still one of the most recognizable children’s stories in the world today. Following Peter Rabbit’s success, she published a series of books for children, including The Tale of Two Bad Mice (1904), a story set in a dolls’ house.

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First American edition of The Tale of Two Bad Mice, New York: Frederick Warne & Co, 1904. Formerly in the collection of Doris Frohnsdorff.

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Norman Warne’s niece, Winifred, stands beside the dolls’ house he built for her. This is the house Beatrix used as the model for the dolls’ house in The Tale of Two Bad Mice. Beatrix dedicated the book to Winifred: “FOR W. M. L. W. THE LITTLE GIRL WHO HAD THE DOLL’S HOUSE.” c. National Trust.

The dolls’ house as pictured in The Tale of Two Bad Mice. Jane is perched on the top of the house, and Lucinda is seated in front. c. National Trust.

The tale begins by introducing the residents of the modest but perfectly lovely miniature house—two dolls named Lucinda and Jane. They head out for the day, but in their absence their home is broken into by some mischievous little intruders, two mice named Tom Thumb and Hunca Munca. Chaos ensues, with the mice moving from one disastrous scene to another as they crash their way around the house.

When creating the illustrations for this muchloved story, Beatrix wanted to use a real dolls’ house and real contents as a setting for the story. Norman Warne, one of her publishers, offered his support.

He had made a beautiful dolls’ house for his niece, Winifred, but Beatrix’s strict parents would not let her visit their home to draw it from life. Norman sent Beatrix some photographs of the house for her to copy, along with purchasing some ceramic dolls’ house food; plates of oranges, pears, and a roasted ham, from Hamleys, a famous toy shop in London.

This food features in Beatrix’s illustrations as the mice attempt to cut it up and eat it, but their efforts are in vain!

This is a photograph of Winifred’s dolls’ house. Beatrix used the photograph for her illustrations for the book. The photograph was taken by Norman Warne for Beatrix who received the photograph on 20 April 1904. c. National Trust. Robert Thrift.

An interior photograph taken of Winifred’s dolls’ house by Norman Warne for Beatrix. She received this photograph on 20 April 1904. c.

National Trust. Robert Thrift.

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Artwork from The Tale of Two Bad Mice picturing Tom Thumb and Hunca Munca dining on the toy food purchased at Hamley’s, London. c. National Trust. Image: Jaron James.

As publisher and author, Norman and Beatrix worked closely together to produce her early books. Norman proposed to Beatrix in July 1905, but he unexpectedly died just a month later before they were able to marry. She treasured most of the things she used for the illustrations for this story, including those bought for her by Norman, and they are now part of the eclectic collection of dolls’ house objects that the National Trust cares for today. Beatrix was finally able to acquire a dolls’ house of her own when she was in her seventies, and she

Artwork from The Tale of Two Bad Mice. This is the frontispiece depicting Tom Thumb about to destroy a plate of toy food as Hunca Munca looks on. c. National Trust. Image: Jaron James.

The dolls’ house Beatrix purchased when she was in her seventies. Hill Top c. National Trust.

Robert Thrift.

The interior of the dolls’ house contains the food that Hunca Munca and Tom Thumb stole, the cutlery, saucepan, griddle, iron, bellows, cradle, birdcage and coal scuttle. Most of these pieces were brought from Hamley’s, the London toy shop, by Norman Warne.

Of his purchases Beatrix remarked: “The things will do beautifully; the ham’s appearance is enough to cause indigestion.” Hill Top c. National Trust. Robert Thrift.

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Seventy-three objects from the dolls’ house were carefully packed in small boxes to ensure their safety as they traveled to Royal Oak Foundation Studio for conservation. c. National Trust. Image: James Dobson.

used it to display these treasures—even occasionally inviting her neighbours’ children to play.

The house Beatrix acquired was a beautiful two-story house with a painted red brick exterior. It has two rooms on the ground floor with a large drawing room taking up the second floor.

The floors and walls are covered in a mis-matched selection of wallpaper and carpet, and it is filled with seventy-three objects of varying scale. In the years that followed Beatrix’s death in 1943, at the age of seventy-seven, the National Trust opened Hill Top to the public and visitors have been admiring the dolls’ house ever since. It has remained a star object on the visitor route— presented on a low level so children can peek into the rooms as easily as possible. However, it was becoming increasingly difficult to engage with the dolls’ house due to low light levels and the fragility of its contents. A survey of the interiors showed that some of the objects in the dolls’ house were in need of remedial conservation work, due to their age and natural deterioration of the materials, and the house itself needed stabilizing and cleaning following years of being touched by curious fingers.

The team at Hill Top applied for funding from the Royal Oak Foundation, an American organization which raises awareness of the work of the National Trust’s work and subsequently received £10,000 towards the conservation of the dolls’ house.

This work was to include remedial conservation work on the objects identified as a high priority for treatment along with cleaning and consolidation of the house itself. The funding also included ‘micro-fade’ testing of components of the interiors, such as wallpaper. This testing is a way of investigating how specific points in the house react to light exposure. From this, it is possible to extrapolate the results to form a long-term plan for the display

The carefully packed ham, clock, and plates can be seen in illustrations in The Tale of Two Bad Mice. c.

National Trust. Image: James Dobson.

of the dolls’ house, to ensure the colour and integrity of the materials is maintained for as long as possible.

The conservation work took place over the winter of 2024-25 at the Royal Oak Foundation Studio at Knole in Kent, England.

This is a purpose-built studio that supports the conservation of the collections cared for in National Trust properties. It is 322 miles away from Hill Top, so all seventy-three objects had to be carefully packed into tiny boxes to ensure nothing became broken or lost during transit. Due to the age and fragility of some of the objects, this was a painstaking process, but the collections team at Hill Top worked hard to ensure everything arrived safely at the studio.

Over the three months that the house was at the studio, a range of specialist conservators spent a combined total of 300 hours carrying out the conservation work. The objective of the work was not to make it “like new” but to ensure that the look and spirit of the house ANTIQUE DOLL COLLECTOR

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was maintained, alongside ensuring that all the items inside were in a good enough condition to withstand going back on display at Hill Top. A furniture conservator paid attention to the structure of the house itself, carrying out repairs to the decorative castellations on top of the house. They also removed finger stains that had built up over the years that the house was on display.

Alongside this, a textiles conservator took a break from the usual day job of working on enormous tapestries in stately homes to repair some of the miniature upholstered chairs within the collection.

A team of “mix-media” conservators and conservation students also contributed to the work on the rest of the objects.

The work was overseen by Property Curator for Hill Top, Katy Canales (pictured in this article) who was also busy planning and repairing the space at Hill Top for the house to be displayed in when it returned to Hill Top. A bespoke display case was designed for the dolls’ house to return to, including state of the art lighting with an interactive element, where visitors can change the settings to focus on specific objects, or to create a setting where the house appears to be lit only by moonlight.

The house itself is the star of a display about the story of The Tale of Two Bad Mice, which includes complementary original illustrations by Beatrix Potter, along with preliminary sketches and the original manuscript of the book. The display also includes an interactive dolls’ house that visitors are welcome to play with.

The project to conserve and re-display this magical dolls’ house has posed all the challenges that come with looking

Top to bottom: A conservator inspects the dolls’ house items. c. National Trust. Image: James Dobson.

Here the conservator is shown cleaning the dolls’ house chandelier. c National Trust.

Image: James Dobson.

And here, the conservator is cleaning the dolls’ house food. c. National Trust. Image: James Dobson.

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The conservator used conservation adhesive to reattach the dolls’ house food to the plates. c. National Trust. Image: James Dobson.

The work was overseen by Property Curator for Hill Top, Katy Canales, pictured here. c. National Trust. Image: Annapurna Mellor.

Finishing touches are carried out on Beatrix Potter’s dolls’ house after conservation is completed. c. National Trust. Image: Annapurna Mellor.

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Top to bottom: The toy food that had been purchased at Hamleys long ago is on display in the kitchen. c. National Trust. Image: Annapurna Mellor.

The tiny tea set received a lastminute dusting. c. National Trust.

Image: Annapurna Mellor.

As do the picture frames. c. National Trust. Image: Annapurna Mellor.

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after a house like Hill Top itself, but on a miniature scale. It could not have been made possible without the amazing efforts of the Hill Top collections team and the incredibly skilled conservators at the studio, and of course without the incredibly generous funding from the Royal Oak Foundation. The hard work is made worthwhile by seeing the joy on visitors’ faces—children and adults alike—when they are viewing the house and learning about this mischievously playful story of Tom Thumb and Hunca Munca.

On a personal note, I feel incredibly privileged to have worked with brilliant colleagues on this project, knowing that what we have achieved will enable this enchanting dolls’ house to be enjoyed by all, for generations to come. I often think about the moment Beatrix Potter acquired this dolls’ house, how she would have felt as she quietly arranged the furniture and trinkets, and whether she could have ever imagined how special it would be to us all today.

The dolls’ house will remain on display at Hill Top until November 2026. Please see our website for details of opening times and ticket prices nationaltrust.org,uk/hilltop.

Laura White is the Collections and House Manager for Hill Top and the Beatrix Potter Collection.

Top to bottom: The carefully conserved chandelier goes back into th e dolls’ house. c. National Trust. Image: Annapurna Mellor.

The parlor is ready for visitors. c. National Trust.

Image: Annapurna Mellor.

Beatrix Potter’s newly conserved dolls’ house is back on display at Hill Top. c. National Trust.

Image; Annapurna Mellor.

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Fanny Gray

A Quest for the First Published Paper Doll

by Karen B. Kurtz

Paper dolls from the collection of Laurie McGill.

Fanny Gray Feeding Her Chickens

I

t is often true that the farther we get from actual events the more truth emerges. I dove eagerly into Fanny Gray’s manufacturing chronology, only to run into troubling discrepancies. Journalism taught me to confirm information in multiple ways. My work eventually settled around original source materials, email interviews with curators and collectors, and deep-dive online search results.

I set aside some respected 1980s books by paper doll authorities for four reasons. First, information about British publishers was missing in any Fanny Gray discussion, yet Little Fanny was printed in London more than 200 years ago. Under my lens, both sagas merged into one long continuum.

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Second, Fanny Gray is not the first mass-produced paper doll in America. Fanny was created as a “companion” to Belcher’s The History of Little Henry Exemplified in a Series of Figures.

Third, Fanny Gray is not limited to just “two or three” copies extant. WorldCat, the largest network of library content and services, lists dozens of editions over various iterations in hundreds of copies around the world.

And then there is copyright infringement. Britain’s copyright regulations protected an author’s intellectual property rights from the fifteenth century onward but unauthorized American reprints appeared until 1891, when the United States finally agreed to discontinue literary piracy. It appears American publishers infringed on British copyright from the start.

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Little Henry slipcase, first page and cover, S and J Fuller, 1811. The story begins: “Henry, carelessly left by his nursery-maid, is stolen away by a gipsey…”

Little Henry with seven outfits.

Little Fanny slipcase, cover, and first page, S. and J. Fuller, 1810.

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A

B

C

G

D

E

F

Little Fanny: A) White frock, and pink sash, with a doll in her arms. B) Great coat, muff, and bonnet, ready to go out. C) Red cloak, with a hat in her hand, begging her bread. D) Errand girl, with a basket of fish on her head. E) Fanny now carries milk and eggs to market, instead of fish, as a neater and cleaner employ. F) She has now a basket of butter under her cloak, and is sent, unknown to herself, to her mother’s house. G) Fanny restored to her former station, modestly dressed in a coloured frock, with a book in her hand.

S & J Fuller, London, 1810

The History of Little Fanny Exemplified in a Series of Figures

Samuel and Joseph Fuller published toy books that “appeared in a long series running into many editions from about 1806 and they were copied in neighboring countries across the English Channel. Various versions found their way to America where they appeared in several forms,” wrote Herbert H. Hosmer, Jr. in Fanny Gray: A History of Her Life 1854-1954 (John Greene Chandler Museum, 1954).

Fuller brought the exciting words “metamorphosis” and “transformations” to paper dolls. He published The Protean Figure and Metamorphic Costumes in 1811. Fuller “copied 30

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and sold in France, Holland, and America, running many editions between 1810 and 1835,” Hosmer wrote.

Little Fanny was “a frequently reprinted, innovative text that determined what the genre of the paper-doll book would become,” said Katherine Adams and Michael Keene in Paper Dolls: Fragile Figures, Enduring Symbols (McFarland and Company, 2017).

Although Little Fanny originally “appeared in a formal published edition, she was soon copied as a home-made paper toy,” Hosmer added.

A complete set of Little Fanny contains a single paper doll head with V-shaped neck, seven hand-colored

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Fanny Gray box. Crosby, Nichols & Co., Boston, 1854.

costumes with back pockets to insert the head, hats, and a rhyming story booklet. Some sets fit into a storage slipcase about five inches tall; others are chapbooks with paper dolls printed on loose cards.

In the nineteenth century, Victorian parents bought instructive, entertaining children’s stories set across a fictional backdrop of middle- or upper-class homes, nicely kept gardens, and well-to-do villages or cities. A child’s interest was easily captured by the characters, their dangers, and dilemmas. Intrinsic values like hard work, thrift, honesty, obedience to parents, and politeness created the plot lines.

Little Fanny was a cautionary tale of suffering and hard work. Fanny is a wealthy girl, “play’s her passion, idleness her joy.” When adults forbid her to wear a new outfit in bad weather, Fanny and her maid sneak off to the park, where she is soon stripped of both possessions and her maid. Fanny begs for bread on the street. She runs errands, carrying fish, milk, and eggs. Sent to deliver butter at her mother’s house, Fanny joyously reunites with her family.

In the last scene, Fanny is “modestly dressed in a colored frock, with a book in her hand,” happily restored to her proper station in life.

Fanny Gray: History of Her Life booklet that came in the box with the paper doll.

American Publishers, 1812 to 1832 The History of Little Fanny Chapbooks, small new picture books with hardbound pages, were brilliant marketing strategies. Paper doll artwork coupled with text created a new value-added format. The History of Little Fanny, first American edition, was published by William Charles in Philadelphia in 1812.

Picture book innovator Joshua Belcher and Samuel Armstrong set up shop in Boston in 1805. Belcher published The History of Little Fanny in 1812 that was based on Fuller’s earlier paper doll.

Morgan & Yeager, on Chestnut Street in Philadelphia, published The History of Little Fanny, second edition, in 1825, as well as The History and Adventures of Little Henry: A Companion to Little Fanny Exemplified in a Series of Figures.

Dean & Son, London, unknown date Fanny Grey and Her Transformations Fanny Grey: Her Life and Adventures Thomas Dean and Son—preeminent London publishers of children’s toy books—published Dean’s New Book of Dissolving View, circa 1850. An advertisement in it “promoted Fanny Grey: Her Life and Adventures: An interesting and ANTIQUE DOLL COLLECTOR

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Fanny Gray: History of Her Life booklet lists her outfits (left) and begins the rhyming story (right).

acceptable present for a little girl. With Book, in Box, price 2s,” Hosmer wrote. No copy of Fanny Grey had been located, he said, but it was “similar to the 1854 Fanny Gray, which was popular in England as well as America.”

Crosby, Nichols & Company, Boston, 1845 to 1860 Crosby, Nichols & Lee Company, Boston, 1860 to 1861 Fanny Gray: A History of Her Life In 1845, publisher William Crosby, salesman Henry Nichols, and Joseph Ainsworth established Crosby, Nichols & Company. They hired John Greene Chandler (well-known for his enduring classic The Remarkable Story of Chicken Little) as lithographer for Fanny Gray in the 1850s. Chandler’s wife was Sarah Ann Guild Chandler.

Sarah or her aunt Harriet Guild designed the artwork.

Costumes “indicate direct copying from Fuller’s 1810 edition of Little Fanny, but the verses were greatly changed in the Boston edition,” Hosmer wrote.

In 1860, a new firm Crosby, Nichols, Lee & Company emerged with new partner William Lee, but their business liquidated due to bankruptcy two years later.

Chandler’s 1854 Fanny Gray iteration is a boxed set that contains one V-shaped head, five vignette costumes, one bonnet, a 6 x 8-inch cottage background for display, and a 3½ x 5½-inch storybook entitled “Fanny Gray: A History of Her Life Illustrated by Six Colored Figures.” Interestingly, the background counted as one “figure.”

Fanny Gray was a parlor performance piece for two children. One child read the rhyming story aloud and the second child inserted the doll head into various costumes as the scenes changed. Fanny Gray’s story provided a 32

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The Cottage Where Fanny Lived (background doubles as a figure).

realistic glimpse into an orphan’s plight for countless nineteenth century girls.

After her widowed mother’s death, Fanny lives on the street, selling matches. She sells eggs as the adopted daughter of a farm couple, blossoms into a young woman selling flowers to support her ailing parents, and becomes a pampered, wealthy heiress after a chance discovery by her long-lost wealthy uncle.

Godey’s Lady Book reviewed Fanny Gray in January 1855.

“This is one of the prettiest gift-books for little girls we have seen,” said editor Sarah Hale. “The design is novel and just suited to interest children and amuse the home circle who delight to make the little ones happy. The book is not merely for the holidays, and we hope every good little girl will have a peep at Fanny Gray.”

Fanny Gray was immensely popular. It is thought that Crosby, Nichols, Lee & Company published Harry and Aggie, or The Ride, in the “Fanny Gray Series” in 1855, but no paper dolls extant have turned up.

Few paper dolls offered so much story as Fanny Gray and American stories continued to promote the impact of social class on children. Rose O’Neill’s Kewpies, for example, helped the lost and abandoned, taught boys to change their habits, and rescued injured animals.

Fanny was a plucky girl who opened nineteenth century doors to new audiences and innovative approaches. Gaps still exist in the complicated manufacturing chronology among Little Fanny, Fanny Grey, and Fanny Gray. Hopefully, time’s passage will shine a bright light on the prototypes, editions, hand-made paper dolls, and reproductions. There is still much more to discover.

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Fanny Selling Matches

Fanny With Her Kitten

Fanny A Flower Girl

Fanny Her Uncle’s Pet

Article excerpted from Paperdoll Review, Issue No. 82, 2021, pages 6-13.

Contact Karen at www.karenbkurtz.com.

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Recknagel’s Precious Babies by Margo Delaughter

T

he Sonneberg area of Germany was well known as being actively engaged in the production of toys and dolls in the 1800s. Noted writer Mary Krombholz in her book, 500 Years of German Dollmaking (Reverie Publishing, July 2013), notes that in 1896 the German government conducted a survey to determine how many of the inhabitants of the region were engaged in the toy and doll industry. The survey concluded that of 40,829 German residents in this area 35,000 Sonneberg area residents were engaged in the toy and doll production.

Thus this area became known as “World’s Largest Doll and Toy Center” for many years.

Upon the list of German doll and toy makers, we find the name of Theodore Recknagel. I have searched various books and websites but have not been successful in finding much out about his life and works. My knowledge is currently limited.

Theodore Recknagel was born in 1860 and died in 1930. He began his career working for Julius Heubach in Lauscha near Sonneberg. In 1886 he set up his own porcelain factory at Alexandrinenthal producing bisque doll heads. These doll heads were sold to other doll companies to assemble into completed dolls. He did not begin his own doll production until 1893. His company produced baby dolls, child dolls and googlies. The quality of the bisque heads vary from very coarse to very fine. He is given credit for the production of “mulatto” doll heads. He used pre-tinted slip rather than painting the white bisque to give color to the doll’s head as other companies did.

Recknagel expanded his company in 1905 and had as many as 350 workers at one point. During this time he concentrated on character dolls and googlies. When a trend toward baby dolls became popular around the 1920s, Recknagel turned to the production of baby heads.

At the end of production in 1930 the company was producing dolls of composition.

My doll collection contains only a few baby dolls. My taste tends to lean more to the child dolls. As one knows, however, other dolls have a habit of “sneaking” into one’s collection spurred by other interests. This was true in my case.

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A number of years ago I attended an event in Sandwich, Massachusetts entitled “Is It a She or a He?” This exhibit displayed paintings of children done by itinerant painters in the 1800s. Since both young boys and girls were dressed in dresses at that time one had to look closely at the hair style and the objects the child held. Some were easy to identify, others not so much. A few years later I came across a canvas transfer art print of a child in a white dress and frilly bonnet. The back of the print read “Girl in White Dress, artist unknown.” I thought that the child in the painting was a boy because he held a whip and had a toy horse. The dealer was surprised when I pointed out these details. This painting led me to my first Recknagel baby. The print itself measures 7 inches by 5 ¼ inches and in its frame 11 inches by 9 inches.

“Girl in White Dress” canvas print which started my Recknagel baby collection.

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The 9-inch bonnet baby pictured in this article reminded me of my print, and I thought it would look cute sitting in front of it. The doll has an open closed mouth which shows two tiny teeth. The white bonnet is trimmed in blue with two tiny bows on the side and one on top.

His hair peeking out of his bonnet is blonde as well as his one stroke eyebrows. His eyes are blue. The head is mounted on a five-piece bent limb composition body. He has been redressed in a long white baby dress and matching slip. I felt that he was quite appropriate for my print. He is marked R.A.//22–12/0. Little did I know that I would succumb to more Recknagel baby dolls.

Who could resist the googlie eye baby that found her way into my collection? I certainly could not. Something has surprised her.

This little girl is 8 inches tall. She has painted blonde hair with blue bows on each side of her head. Her brown eyebrows are tiny above her lashless blue eyes. Her painted oval shape mouth appears wide open adding to her startled look. Her head is mounted on a five-piece bent limb composition body. She is marked R 50 A over 10/0. She is just delightful and makes me smile every time I look ABOVE: Recknagel’s bonnet baby at her. seated in front of the print.

RIGHT: Close-up of the baby I purchased for the print.

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The third little baby is not marked as being made by Recknagel but was sold to me as being made by his company. She too is 8 inches tall. Her head is only marked 26 and the rest I could not read. She has a very different shaped bonnet that fascinated me.

A side view shows what I mean. The back has a puffed-up look to it as if the baby had a lot of hair inside her bonnet. The bonnet is white with red designs and a red ribbon with a bow in front. The red has faded to a rust color. She has light brown curls peeking out of her bonnet and one stroke brown eyebrows above her very deep brown eyes. She has an open close mouth with two visible teeth and rosy cheeks. Her head is mounted on a five-piece bent limb composition body. I have dressed her in a lace trimmed long baby dress with matching slip. She also sports white lace trimmed panties and white knit booties. She is not the prettiest of babies, but she is cute in her own way.

LEFT: Recknagel’s googlie-eyed baby that caught my fancy, which had nothing to do with the print.

RIGHT: Front view of the baby with the “puffy” bonnet.

This side view of my third Recknagel baby shows the fullness at the back of the doll’s head.

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The fourth and last of my Recknagel babies is the little fellow with the white cap with a pink pom-pom on top.

Some say pink is a color for girls so he must be a she. Not necessarily. I remember reading somewhere that the in the late 1800s and early 1900s pink was for boys and blue for girls. With that in mind, he is a boy to me. He, too, is 8 inches tall. The bonnet is all white with no bows or lace. His hair and eyebrows are light brown. He has blue eyes and two tiny teeth inside his open closed mouth.

He is dressed in a long white baby dress with lacy like details on the front panel and along the skirt of the dress.

Beneath the dress he has his diaper. He is marked R. A. 28–7.

Is my collection now complete with four Recknagel babies? Who knows? I know now that saying one is enough does not always ring true. It is anyone’s guess as to what might trigger another quest for just the right doll to go with another interest.

BIBLIOGRAPHY Krombholz, Mary Gorham. 500 Years of German Dollmaking, Reverie Publishing, July 2013 https://www.dollreference.com/theodor-recknagel-dollsgerman/ https://www.Worthpoint.com/dictionary (Recknagel Dolls)

This side view of the baby shows his pink pom-pom on the top of his cap.

Front view of the Recknagel baby with his simple white cap. No bows or ruffles on the cap.

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SPRING MEADOWS

Enfantine Dress to Fit 14.5” Resin Body Dolls

By Nicki Burley “...Come out, children, to the glen, To the meadows, to the wood, For the earth is clean and good, And the sky is clear and blue, And bright May is calling you!”

May is Pretty, May is MIld, by Annette Wynne

V

iolette is eager to welcome the flowers, birds, and blue skies of spring in this frothy ruffled design. It reflects earlier 1860s enfantine styles in its natural waist, wide neckline and pagoda sleeves. Two necklines are given on the pattern pieces; the sample dress is made with the higher neckline, while the lower cut bares more of the shoulders as commonly seen in children’s wear of the day. Low necklines were frequently filled in with a guimpe, or light sleeveless blouse and collar, for sun protection and modesty. A set of puffy long sleeves was also commonly worn beneath wide dress sleeves such as these. Yes, these were actually separate items!

The costume is based on an antique doll dress which was sewn from a large scale deep blue and tan plaid. Its self-fabric ruffles would have been cut with a pinking blade machine, which was a tabletop device with a crank handle. It cuts a decorative pattern along the edge of fabrics. While pinkers can still be purchased from antiques dealers or eBay, modern costumers can select specialty pinking shears or rotary cutter blades as an alternative. Shears are available in the familiar zigzag pattern as well as scallop and wave styles, all in varying widths. Rotary cutter blades come in similar patterns but take practice to use with precision.

SUPPLIES 8 buttons, ¼” (6mm) 4 tiny hooks 5mm scalloping shears OR rotary cutter with pinking blade Frixion marking pens or fine chalk Spray starch Glue stick Needles & matching threads

MATERIALS 1 yard plaid silk taffeta (not dupioni or shantung) ½ yard cotton lining 13” lace, ¼” wide 11” size 3 crochet thread OPTIONAL MATERIALS 2” x 36” light crinoline or tarlatan Less than ⅛ yard coordinating silk 8” cotton twill tape NOTES Seams are ¼” unless otherwise noted. Sew the bodice in muslin before cutting silk, to ensure a good fit on your doll.

The scalloped ruffle edges are left raw, so they are prone to fraying. Tightly woven silk like taffeta and clear spray starch such as Mary Ellen’s Best Press will help prevent this. Or make your own starch with this recipe: stitchedbysusan.com/diy-chemical-free-fabric-starch/ Match plaid lines carefully as you cut each piece.

Select lining fabrics by the weight of your dress fabric. Antique garments were frequently lined with tan 38

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polished cotton which is hard to find now. A firm lining is recommended for the bodice. Use a lightweight skirt lining or just a hem facing if your dress fabric is heavy.

Dress is designed to be worn over a combination chemise and petticoat, pantalets, and a hoop skirt.

Violette is a reproduction Huret made by Darlene Lane with a 12.5” Dollspart resin body. Her snood and stockings are by Patti Ulrich, shoes are by Pat Hauser, and straw hat

by Gordana Little.

The fabric can be found at: carmeldollshopboutique.com.

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All images by Nicki Burley

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INSTRUCTIONS BODICE Cut a bias strip of silk 1” x 10” and make piping: fold the bias in half lengthwise, press, then open the strip and lay the length of cording down the center. Fold back together again and sew a small running stitch close to the cord to secure it. Trim the excess fabric to ¼” width and set piping aside for now.

Select your preferred neckline and cut the pattern pieces in both silk and lining fabric. Be sure to flip the sleeve and back bodice pieces so you have a left and right.

The bodice front and back are flat lined, so place these with wrong sides together and baste ⅛” from the outer edge.

Mark and sew bodice darts, which will help later with ruffle trim placement. Press darts toward side seams.

Sew shoulder seams, then trim and overcast. Press seams toward the back.

Fold the bodice back edges ¼” to the inside; press.

Allowing extra length at each back edge, match raw edges of piping strip to raw edges of neckline sew as close to the cording as possible. Trim the extra length to ¼” at each end.

Turn the piping strip to the inside, press, then hem to the bodice lining. Tuck each end down over the folded back edge, turn the back edge another ¼” to the inside, then press and hem the back edges in place.

Sew the side seams, trim and overcast, and press toward the back.

Lay out the sleeve pieces, ensuring you have left and right in both silk and lining; work with the silk and lining separately. Sew the longer outside seams on silk and lining pieces. Press this seam open, then sew each silk sleeve to its lining at the cuff end. Trim this seam, then press toward the lining.

Fold the sleeves right sides together to make a long tube, then sew the inside seam. Press this seam open, then turn the sleeve right side out, keeping the lining inside. Baste sleeve & lining together all around, ⅛” from raw edges.

Press the cuff edge, then mark the ruffle placement ½” from the cuff seam, on the upper sleeve only. Sew a row of gathering stitches across the top of the upper sleeve.

Set the sleeves into the armscye with the inner seam at the dot, using the gathering thread to help ease the sleeve in place. No gathers should show on the outside of the dress. Secure all around with a running back stitch, then trim and overcast the seam. Press seam toward the sleeve.

Pull a thread in the heading of the ¼’ lace to gather it, then sew to the inside of the dress, just under the piping.

Turn each end ¼” to the inside as you sew. Press lace slightly.

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Pinking shears and blades are available in a wide variety of shapes and sizes, such as these wave and scallop shears and scalloped rotary cutter.

Sew close to the cord to create piping, then trim away excess fabric to create a ¼” seam allowance.

Turn the piping down over the first fold on the center back.

Fold the center back again to enclose the piping and hem in place.

After sewing the back sleeve seam and cuff edges, place right sides together and sew the inside seam all in one.

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SKIRTS Spray starch and press the plaid and contrast silks. Cut an underskirt of silk and lining 9.5” x 36” and an overskirt of silk 6.5” x 27”; cut overskirt lining 5.5” x 27” ONLY if you are using tissue taffeta. Cut an optional 2” x 36” hem interlining strip of lightweight crinoline or tarlatan to give the skirt additional fullness.

Fold the underskirt silk in quarters; mark these points and unfold once so that the skirt is still folded in half.

Measure ½” down from the top edge at center front; draw a line from this point to the quarter mark. Cut along this line.

Use the scallop shears to cut 2 skirt ruffles in silk, each 2” x 54”. These can be pieced together if needed; be careful to align the plaid pattern when cutting and sewing.

Also use the scallop shears to cut ⅝” wide small trim ruffles from contrast silk, or use the same plaid as the dress. Cut a total of 94” in length, but do not seam them together yet.

Begin with the underskirt: sew silk and lining right sides together ¼” from the lower edge. Open the layers and press this hem toward the silk. Turn right side out, folding the silk over the hem so that ¼” shows on the wrong side.

OPTIONAL: Open the layers again and slide the crinoline interlining up to the folded edge. Sew the crinoline upper edge to the lining with small running stitches, then refold the layers.

Trim away excess lining at the skirt top edge and baste the layers together. Fold and mark skirt lower edge in quarters, then in eighths.

Fold and mark each 2” wide skirt ruffle in eighths.

The lower ruffle is set just above the underskirt edge.

Pin the ruffle to the skirt by matching the markings; aligning raw short edges to the skirt edges. Thread two needles with matching thread: one will be for gathering, the other for sewing. Beginning at one edge, use the first needle to sew small gathering stitches in the first section of the ruffle, then pull up the gathers to fit the skirt. Secure the thread by winding it around a pin. Use the other needle to sew the ruffle to the skirt with a small running stitch, being sure to follow the plaid lines to keep it straight. Work across the skirt in this way, one section at a time. Don’t try to make the gathers “perfect,” as it looks more authentic when there is some variation. Spray starch again, and press the ruffle lightly.

Attach the upper ruffle in the same manner, about 1.5” above the lower ruffle. Spray starch and press. Baste raw short edges of both ruffles to the skirt edges.

Sew trim ruffle pieces together to equal 45”. These trim pieces are not cut as full as the skirt ruffles. Attach to the skirt in the same way, placing the center of the trim ruffle on the stitching of the upper ruffle. Spray starch and press.

Set the lower skirt ruffle just above the hem, aligning the plaids. Use 2 needles to gather and sew to the skirt.

Turn the back openings ¼” to the inside and ladderstitch together.

After sewing the upper ruffle to the skirt, attach the trim in the same way, covering the skirt ruffle raw edge.

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Repeat Pattern On This Side Keep Flat

CF 1¼” 1¼” 1¼”

Stitch across the back of the gathers to help keep them in place

1½”

Overskirt placement on underskirt

1¼”

Underskirt pleat arrangement

PLEATING DIAGRAM FOR PLAID UNDERDRESS

Measure and mark 4” down from the top on both center back edges of the skirt; this will be the back opening. Fold lining and silk ¼” to the inside down to this mark, then press. Ladderstitch the folded edges together.

Pin the remaining raw center back edges together, making sure the plaid is aligned. Sew center back seam, then trim, overcast, and press to one side.

Find the skirt center front along the upper edge, and mark 1”. This portion will be left flat, then you will make a double box pleat on each side before attaching the overskirt. Follow the pleating diagram to make the pleats, then baste them securely in place. Press the top half of the pleats. Set the skirt aside for now.

Making the lined Overskirt (for tissue taffeta): Place lining and silk right sides together, with top edges aligned. Sew ¼” seam along each short edge, then turn right side out and press. Make a hem in the silk by pressing ¼” fold to the wrong side, then another ¾” fold, covering the lower edge of the lining. Hem silk to the lining. Baste together along the top raw edges. Find the center of the panel, then make a 4” slash down from the top edge. Fold lining and silk ¼” to the inside down the length of the cut.

Ladderstitch the folded edges together.

Making the unlined Overskirt (for heavier taffeta): Make a hem in the silk by pressing ¼” fold to the wrong side, then another ¾” fold. Hemstitch in place. Turn the front edges back ¼” twice, then hemstitch in place. Find the center of the panel, then make a slash down 4” from the top edge. Narrow hem to create the skirt opening.

Pin top edge of overskirt onto underskirt, placing front over skirt edges on top of the double box pleat. Match the center back openings. Overskirt sits smoothly over the double box pleat, then the next 1.5” of both skirts is pleated under the double box pleat, or pleat as needed so that the remaining skirt pieces are equal width. Baste together.

Sew 2 rows of matching ¼” gathering stitches across the remaining skirt panels to the center back opening. Pull these gathers up tightly, and they will create tiny even pleats like cartridge pleating.

Begin pinning and basting the bodice to the skirt at the center front and over the pleats, then pull up the gathers to fit the rest of the bodice. Whip the top of each gathered pleat to the raw edge of the bodice to keep them aligned. Working inside the skirt, sew across the lining side of the gathers to further help control the pleats. Catch the top of each gather, pull up firmly, then sew back in the other direction and

Dress skirt with ruffles, gathered trim, and covered buttons

MAY 2025

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pull up firmly again. Sew one more row, pull, then anchor the thread. The pleats will be more manageable now, since you are working with so many layers of fabric. Baste to the bodice.

Check that the bodice and skirt are joined neatly, then backstitch together for security. Trim to neaten the edges, then overcast. If desired, you can sew a ⅜” twill tape over the seam to hide it.

TRIM & FINISHING Cut 2 pieces of ⅝” trim, each 4” long. Turn each short end under ¼”, then gather and sew to the upper sleeves along the marked line.

Piece remaining ⅝” trim together, checking that you have 49” total. Press ¼” under at each short end. Mark 9” at each end for the bodice front and back, 6” at each end for the overskirt fronts, and the remaining 34” is for the overskirt lower edge. Use another color of Frixion pen to mark the skirt portion into quarters. Similarly, divide and mark the overskirt lower edge into quarters. It’s a lot of preparation, but it does help the work go faster!

Beginning and ending at the bodice back, pin the trim ruffle to the dress. The folded ends are set 1” from the center back opening, at the waist seam. Carry the trim up and over the shoulder; the center of the trim covers the upper armscye seam, then continues down the front over the dart lines. At the waist, turn the trim slightly outward so that it covers the edge of the overskirt and double box pleat. Extra gathers are needed to turn the corner at the lower edge of the overskirt.

As with the previous ruffles, work in sections, with two threaded needles.

Making the Covered Buttons: Spray starch a 3” square of the contrast silk. Trace 8 button covers on the wrong side, then sew a tiny gathering stitch just inside the line of each circle. Cut out on the line. Dab a glue stick on the center, then place a ¼” button smooth side down on the silk. Pull up the thread, drawing the silk tightly around the button, and secure the thread by stitching over the gathered area 2-3 times.

Leave a long thread tail on each button. Sew 4 buttons down the center of the bodice using the thread tail, spaced about ¾” apart. Sew remaining 4 buttons down the center of the skirt, spaced about 1” apart.

Close the dress with 4 hooks and thread loops. Sew 2 on the bodice, 1 at the waist and 1 on the underskirt.

Now your girl is as delightfully attired as a spring breeze! Before she goes out for a stroll, add a snood for her hair and straw hat for her complexion. If you selected the lower neckline option, she may desire a delicate guimpe and sleeves beneath her dress, to protect her from a chill.

You will be pleased to find patterns for these items at one of her favorite Etsy shops, Rose Wren Dolls! Come see us at rosewrendolls.etsy.com.

Placement of trim on the back

A glue stick helps secure the button to the silk circle

Dress bodice with gathered trim and covered buttons ANTIQUE DOLL COLLECTOR

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BUTTON COVER Make 8

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BODICE FRONT Cut 1 Silk & 1 Lining

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Paper Doll Stories continued from page 11

Photo 9 Photo 8

The non-identified B. W. Company produced shortly before World War I a series of walking dolls based on a system already known through the Valentines and consisting of a cardboard disk shaped in the form of 6 or 8 legs (Photo 10, Photo 11). By turning the disk, the illusion of the walking figure is very effective. Lilly and Lisbeth, among others, were contained in a printed thin paper envelope together with a wardrobe including three outfits with matching headwear and a few accessories (Photo 12, Photo 13, Photo 14).

In the June issue, we will discuss the variety of jointed paper dolls printed after World War I.

Photos 10-11

Photo 12 All the paper dolls shown here are featured in the author’s collection.

Samy Odin can be reached at galeriesamyodin@gmail.com Photos 13-14 ANTIQUE DOLL COLLECTOR

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This Scarecrow WANTED & All Early Oz

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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

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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!

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ANTIQUE DOLL COLLECTOR

Emporium-MAY25.indd 46

SARA BERNSTEIN DOLLS

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

santiqbebe@aol.com • 732-536-4101

www.sarabernsteindolls.rubylane.com

New Spring Arrivals at the Frizellburg Antique Store Frizellburg Antique Store

16” Tete Jumeau, Size 7. Perfect bisque, gorgeous original mohair wig, deep blue paperweight eyes and perfectly painted features. Vintage clothes, antique undies and shoes. Stunning doll. $3850

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

MAY 2025

4/10/2025 12:03:29 PM

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.

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

MAY 2025 1-3 ~ Philadelphia, PA. Philadelphia Doll & Teddy Bear Convention. Convention: May 1-3.

Public Sales Room: May 3. TBAI Doll & Teddy Bear Convention. Embassy Suites Hilton Phil.

Airport, 9000 Bartram Ave. Handicap Accessible.

Cindy Malchoff. call/text 518-578-0006. dollnbearshow@tbai.org.

1-2 ~ Pleasanton, CA. Nancy Ann Gathering “Passport To Adventure.” mary.senko@comcast.net (World Doll Day).

3 ~ Pleasanton, CA. Doll, Bear, Miniature Show & Sale. Sat., 10 AM-3 PM. World Doll Day Shows & Events. Pleasanton Marriott, Dublin Canyon Rd. Admission at the door: General (12 and up): $10; Parking: FREE. Info: www.nagathering.org (Nancy Ann Gathering). Mary Senko. 425-330-1770.

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

3 ~ South Bend, IN. Northern Indiana Doll Show. 10 AM - 3 PM ET. Century Center, 120 S Dr Martin Luther King Jr Blvd. Judy Danalewich. rjdanalew@comcast.net. 630-921-1985. www.northernindianadollshow.com/.

4 ~ Flint, MI. Doll Show & Sale. 10 AM - 3:30 PM. Flint Barbie Doll Club. Dom Polski Hall, 3415 N. Linden Rd. Admission at the Door: $2.

Free Parking; Handicap Accessible. Sue Ferrier.

810-639-2353. ferrier@centurytel.net.

4 ~ Long Beach, CA. Dollfest 2025, “A Dolly Fiesta.” Sun., 9:30 AM-3 PM. The Grand, 4101 E. Willow St. Info: Michele Wise-Simpson.

949-351-0512. edstvimi@hotmail.com.

9-12 ~ Online. Spring Stars + Fur Mania Teddy Bear Online Show. Valerie Rogers. 502-423-7827. brtstar1@aol.com. www.bright-star-promotions.com.

3 ~ Santa Barbara, CA. Santa Barbara Doll Club Doll & Toy Show. Sat 10 AM-3 PM. Santa Barbara Elks Lodge. #613, 150 N. Kellogg Ave. Xavier Loza. 805-698-1415. sbdollclub@gmail.com.

16-17 ~ Rosemont (Chicago), IL. NADDA Annual Doll Show and Sale. Fri., 6 - 9 PM. Sat., 11 AM - 5 PM. Sheraton Suites Chicago O’Hare.

65011 Mannheim Rd., Rosemont, IL. For additional information visit NADDA on Facebook at facebook.com/naddaofficial. nadda.org.

3 ~ 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 $10. After 9 AM: FREE; Parking: FREE. Bruce Zalkin, c/t 941-302-0572. fxtoyshows@gmail.com. www.fxtoyshows.com.

17 ~ Billings, MT. Doll, Toy, Teddy Bear & Miniature Show & Sale. Heritage Doll Guild of Yellowstone. Boys and Girls Club of Billings, 505 Orchard Lane. Admission: FREE. Parking: FREE. Kay Schrader. call/text 406-360-7214. schrader1501@blackfoot.net.

Auction Calendar Theriault’s

Sun., May 18, 2025 Marquis: Barbie Doll Auction Location: Marriott Raleigh Durham Research Triangle Park Sat.-Sun., Jun. 7-8, 2025 Marquis: Antique Doll Auction Sat., Jun. 28, 2025 Marquis: Japanese Doll Auction Sun., Jul. 20, 2025 Marquis: Antique Doll Auction (prior to UFDC Convention) Location: TBA in Norfolk, Virginia Theriaults Gallery | 410.224.3655 info@theriaults.com | www.theriaults.com

Sweetbriar Auction

Sat., May 24, 2025 Doll & Toy Auction Crescent Shrine, 700 Highland Drive, Westampton, NJ 410.275.2213 | sweetbriar@live.com | sweetbriarauctions.com

Ladenburger Spielzeugauktion Fri.-Sat., Jun. 20-21, 2025 Summer Auction Sat., Jun. 28, 2025 Steiff Special Auction in Giengen

(Ladenburger Spielzeugauktion cont’d.)

Fri.-Sat., Oct. 10-11, 2025 Autumn Auction 0049 (0) 6203 13014 | mail@spielzeugauktion.de www.spielzeugauktion.de

17 ~ Conneaut Lake, PA. 8th Annual Doll Show & Sale. 10 AM - 3 PM. Heirloom Doll Society. Conneaut Lake Sportsman’s Assoc., 11861 Sportsman Rd. Adults: $5; Children 10 & under: FREE. Free Parking. Jody Ann Spencer. c 814-807-1282. foreveryours113085@gmail.com.

17 ~ Fresno, CA. San Joaquin Valley Doll Club 37th Doll Show & Sale. 10 AM – 3 PM (PT).

Hope Lutheran Church Community Center, 364 E. Barstow Ave. Admission: Adults $6, Children $3. Vendor info: Lorenza Lozano.

559-514-0361.

17 ~ Silver Spring, MD. Dollology Club of D.C. May Day Luncheon with Robert Tonner.

9707 Rosensteel Ave. Ed Ferry. 267-230-3167 or info@happily.com for more info.

17 ~ Tucker (Atlanta), GA. Atlanta Doll Collectors Show & Sale. 10 AM - 3 PM. Atlanta Doll Collectors Club. Location: TBA. Admission at the Door (cash only): Adults: $5; Children under 10: FREE. Parking: FREE. Vickey Harris, call/text 404-543-8866. vickeydharris@aol.com.

24 ~ Independence, MO. Doll Show & Sale. World Doll Day Shows & Events. 10 AM-3 PM. Independence Masonic Temple, 120 So. Pleasant St. Mary Senko.

425-330-1770. mary.senko@worlddolldayshows.com or mary.senko@comcast.net. WorldDollDayShows.com.

24 ~ Westhampton, NJ. Antique & Vintage Doll Auction. Crescent Shrine. Sweetbriar Auctions.

Crescent Shrine, 700 Highland Dr. Dorothy Hunt.

410-275-2213. sweetbriar@live.com. www.sweetbriarauctions.com.

Calendar continued on page 48

SAS (Special Auction Services) Tue.-Wed., Jun. 24-25, 2025 Fine Dolls, Teddy Bears & Traditional Toys Auction Newbury, UK | +44 (0) 1635 580 595 mail@specialauctionservices.com | specialauctionservices.com

Withington Auction

Thur., May 29-ish - Thur., June 5-ish A Lifetime of Collecting the Treasures of Childhood Absentee Auction - Online Only 603.478.3232 | withington@conknet.com www.withingtonauction.com

DOTTA Auction

Nazareth Auction Center 330 W. Moorestown Road (Rt. 512), Nazareth, PA www.dottaauction.com | info@dottaauction.com

Marz Auctions

Sarasota, FL | 941.302.0572 marzauctions.com | bruce@marzauctions.com ANTIQUE DOLL COLLECTOR

Cal‑Class‑MAY25.indd 47

MAY 2025

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MAY 2025 CONT’D FROM PAGE 47

JUNE 2025

31 - Jun 1 ~ Portland, OR. PNW Doll Artist Expo. 31st: 10 AM - 4 PM; June 1st: 10 AM - 3 PM. Sheraton Portland Airport, 8235 NE Airport Way. Sat Only: $85; Sun Only: $40; Full 2-day Convention: $100; Sales Room: Adv. Purch.: $10/day; Admission at the door: $15/ day. Casie Brabham. 541-729-5652 c/t. pnwbjdexpo1@gmail.com. www.PNWDollArtistExpo.com.

1 ~ Bismarck, ND. Ticketed Doll Event. Tickets $45 (on sale March 15, 2025). 9:30 AM - 3 PM. Bismarck Doll Friends. Bismarck Municipal Country Club. 930 North Griffin St. Contact: Rebecca Schatz.

701-870-2101. becschatz@yahoo.com.

1 ~ Concord, CA. 101 Doll & Study Club Annual Show And Sale. Sun., 10 AM-3 PM. Concord Plaza Hotel, 45 John Glen Dr. Info: Stephanie Blythe. 415-455-8415. 101dollshow@gmail.com.

E’S

SUBSCRIBE TODAY

1 - Garden Grove, CA. California Collectors Treasure Hunt. Doll, Teddy Bear, Collectible & Miniature Show & Sale. Rowbear Presents. 10 AM - 3 PM. Adults: $6; Children 12 & under, Military Families: FREE. Embassy Suites in Garden Grove, 11767 Harbor Blvd. Rowbear Lowman. 831-438-5349.

RowbearPresents@charter.net.

7 ~ Rosemont, IL. Pullip and Dal Doll Lovers Convention. 9 AM - 5:30 PM. Holiday Inn Chicago O’Hare-Rosemont, 6600 Mannheim Rd. Bldg. 2. $41 - $46 Registration begins Jan 1st Visit Website. Jane Easterly. c/t 309-299-0486. puddlestyle@puddlestyle.com. puddlestyle.com.

8 ~ Sturbridge, MA. Doll, Bear & Miniature Show & Sale. 10 AM - 3 PM. (ET). Collins Gifts.

Sturbridge Host Hotel, 366 Main St. Admission at the door: Adults: $7; Children 12 & under: FREE. Parking: FREE. Wendy Collins. c/t 603-969-1699.

CollinsGifts14@aol.com.

Save over 40% off the cover price!

13-16 ~ Online. Furry Frenzy Teddy Bear Online Show. Valerie Rogers. 502-423-7827. brtstar1@aol.com. bright-star-promotions.com.

Join discerning doll collectors worldwide.

Enjoy Your Own Doll Show at Home

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ANTIQUE DOLL COLLECTOR MAY 2025

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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

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

Anne Demuth.May.indd 19

4/10/25 10:02 AM

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4/9/2025 12:18:37 PM