January 2025

Antique DOLL Collector January 2025 Vol. 28, No. 1

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Letter From The Editor

In the bleak midwinter, frosty wind made moan, Earth stood hard as iron, water like a stone; Snow had fallen, snow on snow, snow on snow, In the bleak midwinter, long ago.

- Christina Rossetti Dear Readers, The holidays are over for another year, and we hope you had a happy season.

Our first issue of 2025 brings a cover story inspired by the Special Exhibit honoring The Wizard of Oz from last summer’s UFDC convention. Author, Jane Albright, past president of the International Wizard of Oz Club, was a guest speaker during the convention. She shares the story behind the early dolls and toys inspired by L. Frank Baum’s Oz series of books as well as those inspired by the 1939 MGM film.

Elizabeth Ann Coleman relates the fascinating background of early doll collector, Laura Starr, author of The Doll Book, 1908.

Rhoda Seidenberg shares the connection that linked J. H. Hoffheimer—Lilli Baitz—Ethel Traphagen using information she found in the Lilli Baitz archives located in Voralsburg, Austria.

Samy Odin writes Part 1 of a two-part column on paper dolls depicting babies, and Nicki Burley offers a pattern for a cape set fit for a fashion doll—perfect for the month of January.

We wanted to share with you an important research source. The Strong National Museum of Play has acquired several significant archives of interest to doll collectors: the Coleman Family Papers, the Gruelle Family Collection, the Flora Gill Jacobs Papers, Andrew Tabbat Correspondence, and the Doll Collectors of America (DCA), Inc. records.

The Strong’s site is easily searchable: archives.museumofplay.org/.

We wish each of you a Happy New Year!

Laurie McGill Editor-in-Chief

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LAYAW AVAILA AY BLE

22.5” K * R 117N w/ blue flirty eyes, on beautiful coloring slant hip on body, artist made mohair wig, antique clothing & hat $995.

10” All Bisque Kestner 150 11, brown sleep eyes, all original w/ blond mohair wig, beautiful coloring $450.

18” Daisy produced 12” Seated “Sapphire”

by Simon & Halbig for in chair by Australian Heinrich Handwerck, 1911 NIADA Artist Catherine Ladies Home Journal, beautiful blue Mather, first in a series of sleep eyes, head marked Germany, art dolls celebrating jewels, Heinrich Handwerck Simon & and the wonderful colors Halbig, 1 at neck, pierced ears, of precious stones, lt to sweetly dressed, antique leather 15, amazing sculpting, shoes $1195. painting, dressing & jewelry, jointed arms & legs $695.

22” OOAK Tilda Swinton

by Russian Artist Tatiana Simukova, amazing likeness to the Oscar winning British actress, w/ COA, beautifully sculpted & painted in polymer clay $795.

22.5” OM Jumeau w/ artist marks on head, blue PW eyes, pierced ears, nice compo body, black mark on nose $825.

11 3/8” Unis 301 Bluette, blue sleep eyes, head marked Unis France 301 1 ¼, foot 1, made 1933 -, original HH wig & sweet blue dress $925.

RJ Wright Alice in Wonderland, no box $695.

17” 1159 S & H 7, brown sl eyes, pierced ears, mohair wig $695.

5.5’ Artisan made Mary Poppins, super detailed with parrot umbrella and carpetbag $195.

20.5” total 17.5” OOAK Ralph Finnes as Onesia (1999 Movie) by Russian Artist Ekatepnha 20.5” OOAK Brad Pitt as Wapdakoba (Katya Tristan in Legend Of The Fall by Russian artist Ekatepnha Wapdakaoba Shardakova), 2021 in super – Katya Shardakova 2021, amazing likeness & sculpey/ cloth body, amazing detailing in super sculpey & tailored clothing, details to doll & tailored clothing, has walking cane, fabulous leather boots $1095. top hat & holding gloves – Amazing $995.

RJ Wright Wicked Witch of the West no box $775.

RJ Wright Dorothy & Toto no box $895.

20” Alexander Shari Lewis 1959 #2433, beautiful doll in original outfit w/ ring, watch & earrings, belt & left hose as is, replaced hat & shoes, retouched brows $295.

RJ Wright Tin Man w/ box #73/250 $950.

RJ Wright Cowardly Lion w/ box #73/250 $850.

13” Seated Diane Keeler NIADA artist OOAK Women w/ mirror, 2007, amazing sculpting, details & painting in beautifully detailed undergarments & stool, polymer clay, rt arm jointed $595.

15.5” RJ Wright Teddy Roosevelt Mississippi Bear Hunt, tagged 379/500, amazing details & sculpting, all original with jointed alpaca baby bear, gun & hat, w/ box, no COA $795.

20” 1939 Horsman Gold Medal Baby w/ caracul wig, beautiful compo & coloring, vintage clothing $135.

7” S & H 8 Flapper, blue sleep eyes, original undergarments & mohair wig $145.

18” Kestner Daisy From Ladies Home Journal in 1911, blue sl eyes, appears all original w/ mohair wig, fabulous clothing, head marked C ½ / Made in Germany / 7 ½ / 171 / 10, Germany 1 ½ stamped on torso, beautiful body $1750

12” R. J. Wright The White Rabbit from Alice In Wonderland #128/500, beautifully detailed outfit, mohair & felt, no box or COA $995 3.5” OOAK Keiran by Camille Allen Baby Boy 2007 on pedestal bed $450

20” OOAK Katie’s Secret by Anne Hieronymus in cernit, beautifully sculpted & painted, very detailed blue eyes, mohair wig, holds little dollie, sleeve elastic as is $365.

11” Seated OOAK Maria Ahren “Woman in Dressing Room 1940’s “ 1999, beautiful Jean Harlow looking doll in slip & robe seated at dressing table w/ fur jacket, gown & dress, hat & purse, paper clay $595

17” OOAK The Wind In My Hare by NIADA artist Leslie O’Neary, great fabric sculpting & facial painting, fun piece w/ wired ears $695.

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Nelling, Inc.

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

Happy New Year!

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13” Antique French early wooden doll, depicting a member of the 18th century French Court, who is also the version made with both female and male anatomy, or “hermaphrodite”.

All orig. More photos, including body details, available on request. $16,950.

Exhibiting: January 17 - 18 - All-American Collectors Show for Toys and Dolls, Glendale CA, Glendale Civic Auditorium January 25 - Verdugo Hills Doll Club Show and Sale, 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 Visit us at: www.maspinelli.com 4

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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. Antique Doll Collector. 0010-882. Issued monthly with a combined issue in July/August (11 times annually). $59.95 per year and $109.95 per two years. Publication and mailing address: Puffin Co. LLC, 4800 Hampden Lane Suite 200, Bethesda, MD 20814. Publisher, Puffin Company LLC; Managing Editor, Laurie McGill. Owners: Lisa Brannock, Arpine Stein, David Yurman, Ken Sutak. Average no. copies each issue during preceding 12 months: total no.

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JANUARY 2025

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Valerie Fogel’s

Beautiful Bébés Fine Dolls & Precious Playthings from our Past

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Tiny Bru Jeune 2 - All original 12” Bru Jeune Bébé marked 2. Spectacular example of this sought after model with defined tongue tip and huge liquid brown eyes.

Completely perfect and so tender in her expression. Please call or email. Excellent terms in time for the holidays.

18” Exquisite Thuillier Bébé Heart stopping beauty! This 18” Bébé is so lovely with her huge baby blue eyes, creamy bisque, and angelic expression.

She is endowed with a sumptuous pink and cream silk ensemble and original black leather shoes with the AT Greyhound symbol in spectacular condition. Excellent from head to toe.

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15” Bébé Incassable - Dreamy and rare to find. First series 3/0 Bébé with eight-ball jointed Jumeau body, early cupped hands.

Oh, such a face with huge pale blue spiral-threaded eyes! Ivory colored muslin confection with matching French ribbon bonnet. Additional pictures available.

Generally excellent condition. $9,450

A Stellar Huret Beauty in fabulous condition. If you’ve been longing for just the right face with an immaculate deluxe articulated wood body and 1860s ensemble, your dreams have come true! Ring in the New Year with this choice example! Please call, text or email. Terms offered.

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The Complete Guide to Antique, Vintage and Collectible Dolls

January, 2025 Volume 28, Number 1

On the Cover

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EARLY OZ DOLLS Dorothy's First Friends

by Jane Albright

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A TRUE STAR IN DOLL COLLECTING: Laura B. Starr

By Elizabeth Ann Coileman

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COLD HANDS, WARM HEART Fashion Winter Set Pattern

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

by Nicki Burley

Departments

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2 Letter from the Editor 8 Paper Doll Stories

By Samy Odin 31 Auction News 45 Auction Calendar 45 Emporium 46 Museum Directory 47 Events/Classified Ads

FROM SALZBERG TO NEWYORK: THE BAITZTRAPHAGEN MYSTERY PARTIALLY SOLVED

Follow us on...

By Rhoda Seidenberg

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Pictured on this month's cover is Scraps--also known as The Patchwork Girl of Oz--the primary character in the seventh book in L. Frank Baum's Oz series. The novel was published in 1913. This example is handmade of silk with wonderful handsewn details. Patchwork Girl of Oz dolls are considered rare and are of unknown origin. Collection of Jane Albright.

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PAPER DOLLS IN THE SHAPE OF A NEWBORN BABY

by Samy Odin

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1) 13” Cabinet ‘Bru Teteur’ - Unusually small ‘Size 2’ Nursing Bru w clean Chevrot Body (mended toes), orig. Mint Bisque Arms plus partial Bru Label, orig. cork pate/wig, mint tender bisque. A delectable little rarity in Heirloom Lacy Finery incl. large Wire Frame Bonnet. A Sugar Plum! Only $7500 2) 14” Wood Body Bru w. Wardrobe…in a rare small size!

Please see #5. The dog & chair NSF. 3) All Original JDK Asian Babies…please see #6 & #7

4) Immaculate & All Original 19” Poured Wax w Sgnd. Body - named ‘Rose’. In her original 5-layer Garden Dress w Sun Hat & Flower Basket. She has no craze & perf fingers/toes too! A mint classic! $1795

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5) Petite 14” Wood Body 1860’s Bru Fashion in small Fancy Trunk w Wardrobe - mint bisque, fluid joints will sit, incl. waist & ankles too. Authentic wardrobe of 5-garments w Hats, fringed Parasol, pink Corset, wired Plumper, add’l Lingerie, Peignoir, 1865 Label Game Box w dominoes, 4-French Lidded Boxes/ contents, Leather Mitts, 3 purses, watch, lorgnette,1860 Tintype Album & book etc. Rare cabinet treasure! $9800

6) Extremely Rare 17” Solid Crown JDK ‘243’ w Brushstroke Painted Hair! - tender amber tint head & body, All Original Silks w Matching Cap. A deluxe Asian Baby showstopper! $7500

7) Grand Size! 18” Ceremonial JDK Asian Baby extravagant All Original Silk Ensemble w tails!

Plus, rare Hammered Silver Headdress & attached to the Orig.

Matching Silk Mat! A most majestic and dramatic showpiece! $3800

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8) 13” Cabinet ‘Bru Teteur’…Please see #1

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Paper Doll Stories by Samy Odin Paper Dolls in the Shape of a Newborn Baby 1

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Part One

elebrations of New Year’s Eve led me to focus for this column on paper dolls representing newborn babies.

This type of plaything is relatively recent. The earliest examples I could identify date from the second half of the 19th century and, not surprisingly, the peak of their popularity coincides with the babyboom generation, following World War II. This homemade tiny paper doll dates from the turn of the 20th century and reflects the richness of the wardrobe of a well-off infant of that generation. Our Occidental society was then already investing serenely in the well-being of very young children, because they finally had a much better chance to survive after centuries of heavy infant mortality (Photo 1).

The first documented commercial examples from the 1860s and 1870s are difficult to find, especially in

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fairly complete condition. In America, the first publisher that printed paper dolls in the shape of an infant was McLoughlin Brothers. During the mid-1860s, this company printed a paper doll representing “Tom Thumb’s Baby” (cfr. A Picture Book of Paper Dolls and Paper Toys, by Margaret Whitton Jendrick, page 29). Shortly after, a generic “Baby” appeared on the market, still contained in its factory original envelope, as featured in Marian B. Howard’s Those Fascinating Paper Dolls, Dover, 1981, shown complete in Margaret Whitton’s Introduction, as well as in Janie Varsolona’s collection with a couple of missing items (Photo 2, Courtesy Theriaults, Dressing Dolls—Antique & Collectible Paper Dolls—1850-1965, page 13, 2002).

In France, La Poupée Modèle published in January, June and July 1872 a rare set of thin cardboard sheets representing a “Bébé en cartonnage” with its wardrobe and accessories. Portions of this original set are shown here, together with a poor black and white photocopy from the collection of the late Maureen Popp (Photo 3, Photo 4).

During the last two decades of the 19th century, Germany produced a remarkable array of paper dolls in the shape of an infant, destined to various markets, including the English and French speaking countries (Photo 5, Photo 6). Note the fact that German printers, such as Hagelberg in Berlin, were used to print items with designs provided by their clients, with sometimes references pertaining to the patents applied in their original country.

In these cases, such sets can be described as, for example, “French Paper Doll set printed in Germany” following the same logic applied to three-dimensional dolls such as a DEP bébé described as “French Bébé with a factory original German made bisque head.”

Infant paper dolls from that generation often associate the baby with the mother or nanny, together

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with pram, bathing tub, crib, or stroller… as in this other German printed and cut-out set “Unser Baby und seine Ausstattung,” a colorful hard cardboard example, which also includes the figure of the nanny.

This set is particularly thrilling because it includes, printed on the inside of the cardboard envelope, the sketches of the various elements featured in the set, an ideal reference to spot missing pieces, eventually (Photo 7, Photo 8, Photo 9).

The German printing company that seems to have exported the most, all over the world, is Littauer & Bauer. They had a very vast array of products, but they specialized mostly in articulated figures meant to be dressed with crepe or tissue paper. L&B infants are particularly desirable and were printed in multiple sizes and variations (Photo 10, Photo 11).

These paper dolls were not only used as children’s playthings, they often became Christmas tree decorations, embellishments for christening presents or they could decorate scrap albums, private letters or even be used as table decorations, adding a refined touch to a festive banquet. The main United States competitor to L&B was Dennison, which also specialized in articulated figures, some of which represent very young children such as these two, shown next to their factory original printed crepe paper outfits (Photo12).

Cheaper play paper dolls which feature infants came in the form of a cardboard sheet meant to be cut-out and played with by customers. These sheets could be purchased from local papeteries, grocery shops or other bookstores. It is harder to find them in their uncut form and even when that happens, the poorer type of cardboard is so fragile that it melts at the least manipulation. This sheet was printed

by Hohenstein & Lange in Berlin around 1890 and represents a nanny surrounded by three children, including a baby (Photo 13).

The increasing presence of baby paper dolls during the turn of the 20th century prepared the way for a new generation of playthings which was encouraging, through play, the precocious maternal instinct of children, as well as a different way to educate them.

(Part 2 of this column will focus on 20th century baby paper dolls, scheduled for the February 2025 issue of Antique DOLL Collector.)

All photos, except when noted, are featured in the author’s private collection.

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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

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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Experience Pure Doll Joy! Anne Demuth.Jan.indd 21

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Best wishes for 2025!

GALERIE Samy Odin 6, place Saint Sauveur 22100 Dinan

galeriesamyodin@gmail.com +33 (0)673013051

ANTIQUE DOLL COLLECTOR

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by Jane Albright ike the land of Oz itself, the earliest Wizard of Oz dolls were flights of fantasy. When L. Frank Baum’s The Wonderful Wizard of Oz became the bestselling children’s book of the year in 1900, it was quickly adapted to the stage. By 1902 Anna Laughlin was singing and dancing her way to stardom as Dorothy in

what became the Broadway success story of 1903. For a publicity shoot, a doll was dressed to reflect Anna’s redand-white ruffled costume. The 16-year-old actress posed as the much younger character admiring this first, one-ofa-kind, Dorothy doll.

A first edition of The Wonderful Wizard of Oz, George M. Hill Company, May 1900.

L. Frank Baum (1856-1919) penned The Wonderful Wizard of Oz, which was published in 1900 and illustrated by W. W. Denslow. Baum wrote thirteen more novels about the Land of Oz.

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A photograph of Anna Laughlin, who starred as Dorothy in the first stage version of The Wizard of Oz in 1902. She holds a doll dressed as Dorothy.

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DOLLS AND TOYS IN PRINT The fantasies continued the next year when beloved Oz characters visited Santa Claus in his workshop where they made toy versions of themselves. “How the WoggleBug and His Friends Visited Santa Claus,” one in a series of ongoing newspaper comic pages and illustrated by Walt McDougall, teased the appetites of young readers everywhere with pictures of armloads of Oz character dolls. And Santa was spotted delivering little Tin Men dolls to stockings in the W. W. Denslowillustrated version of The Night Before Christmas, 1902.

A Scarecrow doll posed for the cover of one of Baum’s Snuggle Tale books—ONCE UPON A TIME, 1916. Sadly, these magical dolls have yet to surface.

“How the WoggleBug and His Friends Visited Santa Claus,” The Sunday Herald, December 12,1904.

A packing design. The rectangular bits were the sides of the box top. Bob Baum Collection.

An advertisement for the Woozy. Bob Baum Collection.

ABOVE: An illustration from the book Night Before Christmas written by Clement C. Moore and illustrated by The Wonderful Wizard of Oz illustrator W. W. Denslow, S.W. Dillingham Co., NY, 1902. Note the Tin Man doll in Santa’s bag.

The Woozy is believed to be the first toy made to promote a specific film. It was created to promote a silent film, “The Patchwork Girl of Oz,” 1913. Collection of Bob Baum.

Other dolls tied to productions include a set of three created for the opening scene of the 1925 Chadwick silent film of the Wizard of Oz starring Larry Semon as the Scarecrow and Oliver Hardy as the Tin Woodman.

The possibility that these long-lost film props may yet be discovered 100 years later is the stuff of dreams.

LEFT: The Snuggle Tales— Once Upon a Time And Other Stories by L. Frank Baum, The Reilly & Britton Co., Chicago, 1916. Note the Scarecrow doll in the arms of the little boy.

STAGE AND FILM AND PROMOTIONAL MERCHANDISE It was 1913 before an Oz plaything was actually manufactured and sold, though only a handful are known to have survived. The Woozy, created to promote his silent feature film The Patchwork Girl of Oz, was designed

by L. Frank Baum who sketched its packaging in the back of a book. The Woozy appears to be the first plaything made to promote a specific film, putting Baum ahead of his time for movie merchandising.

A scene from the 1925 silent film, Wizard of Oz, (adapted by Larry Semon) shows three dolls depicting the Scarecrow, Dorothy, and the Tin Man.

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CUT-OUTS AND BOOKMARKS Publishers Reilly and Britton were successfully publishing Oz books annually and looking for marketing opportunities of their own. In 1915 they had Oz illustrator John R. Neill produce color illustrations of Oz characters as paper dolls for The Oz Toybook—Cut-outs for the Kiddies.

Of the copies currently held in private collections, possibly the most magical is one still in the Baum family. Baum’s youngest son named the family’s first granddaughter Ozma after the lovely fairy ruler of Oz. Although the book had been published without Baum’s consent, he saw to it that his granddaughter had a copy before production was stopped.

ABOVE and BELOW: This copy of the rare The Oz Toy Book— Cut-outs for the Kiddies belonged to the Baum family’s first granddaughter, Ozma, who was named after the fairy ruler of Oz. Pictured is the cover of The Oz Toy Book with one of the interior pages, published by Reilly & Britton, 1915. Collection of the Baum Family.

A fascinating paper doll of the Scarecrow with jointed legs was produced by Phono-Movies. With a mechanical device—patented in 1919—set at the edge of a phonograph, a wheel sits on the turntable animating the figure to dance to the music. The Scarecrow was clearly modeled after Baum’s character from the book and the successful 1903 Broadway musical.

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A back and front view of a paper doll depicting the Scarecrow, modeled after the book’s character and the 1903 Broadway musical.

Produced by Photo-Movies.

Jean Gros was an American marionette artist. When his marionette show—The Magical Land of Oz—written

by Ruth Plumly Thompson toured the United States in 1928, promotional die-cut bookmarks doubled as paper dolls for young fans. Publishers Reilly and Britton also used the appeal of paper dolls by printing advertisements for books on the back of large cards that featured the Scarecrow and the Patchwork Girl.

Promotional die-cut bookmarks doubled as paper dolls from the Jean Gros Oz marionette show, national tour, 1928.

The front and back of a colorful bookmark promoting Baum’s book, The Patchwork Girl of Oz. Collection of Atticus Gannaway.

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Scarecrow, the Tin Woodman, Jack Pumpkinhead, and the Patchwork Girl in 1924. Based on John R. Neill’s illustrations for the sequels to the original The Wonderful Wizard of Oz book, they were panel dolls printed in color and then stuffed. Marketing was not the younger Baum’s strong suit; the dolls did not sell well. The inventory was bought by the Oz publishers, and they sold the dolls individually packaged with their companion books.

ABOVE: The Scarecrow and the Tin Woodman were part of Enchanted Island, the children’s playground at the World ‘s Fair in Chicago, 1933-34. Cut-outs were made to represent the characters.

The Oz Toy Company letterhead pictured the Woozy. After his father’s death, Frank Joslyn Baum started the company in Los Angeles and then moved it to Joliet, Illinois.

RIGHT: The Scarecrow as a paper cut-out.

Not only did Jean Gros’ marionette show play during the Chicago World’s Fair in 1933, but towering figures of The Scarecrow and the Tin Woodman were part of “The Enchanted Island—the Children’s Paradise” or playground there. Cut and fold paper dolls of them are found with fair ephemera.

In 1934, Blue Ribbon Books, New York, upped the paper doll game with The Wizard of Oz Waddle Book.

Six ready-to-assemble three-dimensional constructions bound into the book were designed to “waddle” down a paper Yellow Brick Ramp.

The four dolls were made of oil-painted Fabrikoid stuffed with kapok. Pictured are the Tin Woodman, Jack Pumpkinhead, Scraps, and the Scarecrow.

Six paper characters of the Wizard, Toto, the Tin Man, Dorothy, the Scarecrow and the Cowardly Lion from Baum’s The Wizard of Oz Waddle Book, 1934 edition, complete with ramp. Collection of Mel Birnkrandt.

HUGGABLE OZ DOLLS After Baum’s death in 1919, the oldest of his four sons, Frank Joslyn Baum, founded the Oz Toy Company and produced four 13-inch character dolls of the

An advertisement for four Oz Dolls—Scraps (aka the Patchwork Girl), Scarecrow of Oz, Tin Woodman of Oz, and Jack Pumpkinhead of Oz. These dolls were described as practically indestructible with soft stuffing. Manufactured in 1924 by the Oz Doll & Toy Mfg. Co.

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The company’s ads also mentioned a large stuffed Scarecrow. Surviving examples tend to be quite faded, although a few have maintained the bright blue and green of their original appearance. A wooden stand topped with a nail originally accompanied this large doll.

Children could tie him to his stand and take him down, reenacting the iconic moment from the story.

The Oz Doll & Toy Mfg. Co. also made large stuffed Scarecrow dolls. The dolls came with a stand topped with a nail—just like the Scarecrow hung on in Baum’s story. Clad in corduroy, the dolls stood 22-inches tall from head to toe (excluding their hats).

Pictured is the Scarecrow with an early Patchwork Girl of Oz. Collection of Jane Albright.

A handful of antique Scarecrows and Patchwork Girl dolls have surfaced with unknown origins. Handmade silk Patchwork Girl dolls feature wonderful handsewn details. Other individual dolls appear sufficiently well made as to have been mass produced. Theriaults auctioned a Patchwork Girl at least 30 years ago. Auctions of private collections have turned up other unmarked Patchwork Girl and Scarecrow dolls in recent years.

An antique Scraps (The Patchwork Girl of Oz) sits beside a book that tells her story. Collection of Jane Albright.

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Lipfert’s primary head sculpt captured the essence of Judy-as-Dorothy; later variants used a different portrait face also attributed to him. In each size, Dorothy has sleep eyes, both real and painted lashes, and was dressed in a blue and white gingham pinafore with an organdy blouse to reflect Adrian’s costume design for the classic MGM film. Her undergarment is a cotton onesie with attached slip. Later variants included dolls with simplified costumes.

Original shoe styles show variety but are generally black. Original packaging was specific to the larger doll; the 13-inch doll was sold in a “poppy box” that came with a photo of Judy Garland tucked inside. While all are desirable to collectors, a variant in a red dress sold in all three sizes exclusively through Sears Roebuck Company is especially scarce.

The flip side of the string tag on Dorothy’s wrist features Ray Bolger as “The Strawman.” Available in 17- and 21-inch sizes this charming Ideal Scarecrow, has a soft body with an ever-so-slightly sculpted nose and smile on his face. His fabric clothing—and especially his yellow yarn trim—are prone to fading and deterioration.

Another Scraps was sold at Theriaults. She, too, is pictured with her book.

Courtesy Theriaults.

By the time the 1939 MGM film was released, a composition Dorothy was a natural. Ideal’s Judy Garland as Dorothy, designed by Bernard Lipfert, was offered in 13-, 16-, and 18-inch sizes. This little brown-eyed beauty used a Shirley Temple body and had a variety of wig styles, but always with braids. The larger doll’s wigs used human hair; the 13-inch size used mohair and the established Ginger face.

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The Ideal Toy Company’s version of Judy Garland as Dorothy. The composition, sleep-eyed dolls came in a variety of sizes, usually wearing a blue checked dress.

Collection of Jane Albright.

ABOVE: Dorothy’s tag, “Judy Garland as Dorothy in the Wizard of Oz,” touted “The Strawman by Ray Bolger of The Wizard of Oz” on its reverse. This same tag was tied to the Scarecrow (or “Strawman”) dolls.

RIGHT: The Ray Bolger movie version of the Scarecrow made by Ideal Toy Company, 1939.

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Collector Walter Krueger brought a particular Ideal Scarecrow to the 2004 International Wizard of Oz Club’s convention for show-and-tell. He described spending an hour on the phone with the seller, a “little old lady” who’d had it since childhood. It was not until he was emailed payment details that he learned that Shirley Temple Black was selling him her Strawman.

While many collectors have the Ideal Dorothy and Strawman dolls, far fewer Oz collectors have their Cowardly Lion companion, another doll made in at least two sizes by the Marie Hardy Company. The back of the Lion’s hang tag refers to a Flying Monkey doll. Surviving contracts show that Hardy licensed both a Flying Monkey and a Toto, but no samples have surfaced publicly. This tag raised hopes that they might be out there.

The Cowardly Lion by M. Hardy, NYC, 1939. Collection of Walter Krueger.

The reverse side of the Lion’s tag indicates a Flying Monkey was made, as well.

A Tin Man composition doll once auctioned with a Hardy Lion was pictured in the online listing pinned into her painted leather costume. Looking a bit made-bymom, the winning bidder was delighted to find the doll labeled “prototype.”

A 1939 composition Tin Man by M. Hardy.

Collection of Walter Krueger.

The MGM film’s other 1939 dolls were small rubber squeeze toys that A.A. Bernstein made and sold for a quarter. Few of them survived the rubber collection drives of World War II. The Tin Man, Scarecrow and Lion were produced.

Knickerbocker also licensed a Scarecrow doll. The one sample known in a private collection was shown in 100 Years of Oz (Harry N. Abrams, 1999) from the Willard Carroll Collection.

In Australia, a 14-inch stuffed Lion and 19-inch stuffed Scarecrow were produced by Joy Toys. The Scarecrow has a brown flannel face, painted features, black shoe-button eyes, fourfinger hands, and fabric costume. The standing Lion also has shoe-button eyes on his pressed flannel face with painted features.

He has a silky mane and knees and shaved plush coat. Four characters from the film were mentioned in the firm’s 1939 catalog.

Three were pictured; A Lion and a Tin Man from 1939— samples of Dorothy and both prototypes from Australia’s the Tin Woodman have Joy Toy. Courtesy Theriaults. yet to surface.

In April of this year Theriaults held “Strike Up the Band”—the One-Owner Auction of the Nancy Smith Collection. Lot #267 was an American-made 19-inch Scarecrow doll inspired by the 1939 MGM film. The description of the doll indicated it had a softly-stuffed cloth body with a stitched-on scarecrow costume. Beneath its pointed black hat was straw hair.

In 1956 The Wonderful Wizard of Oz entered the public domain. Today‘s designers may produce their own Oz character dolls if they stay with the original source material and respect later Theriaults recently auctioned this19stage, screen, and inch Scarecrow doll from the Nancy book adaptations.

Smith Collection. Courtesy Theriaults.

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A True Star in Doll Collecting:

Laura B. Starr

By Elizabeth Ann Coleman

L

aura B. Starr was one of the early women collectors of dolls, and she was also one of the earliest women writing on the topic. Little is known of her life[1] but what we do know leaves the impression she was a formidable woman devoted to broadening the use and understanding of dolls. It is from a review of one of her presentations that we get a professional assessment of her as a lecturer: “Mrs. Starr has the advantage of a striking and charming personality, an easy, unaffected and pleasing address and a thorough acquaintance with her subject…”[2] We do not know when Starr started along her doll association path but in her book, The Doll Book,[3] published in 1908, she reveals three interesting details even before we get to the chaptered text: • Her collection was started by a friend in Shanghai • Over a six-year period she would tour the world collecting dolls for her collection • The book is dedicated to Mr. Stewart Culin But there are back stories to the above notations. Between 1883 and 1886 Laura B. Starr, of New York City, was editor of a magazine called Dorcas[4], which was dedicated to women’s

Title page from the first issue of Dorcas, (1884), a magazine devoted to popular contemporary needlecrafts, especially embroidery. For one of the selected projects in this premier issue Starr proposes an adaption of a design featuring a doll claiming inspiration by the popular English artist Kate Greenaway.

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handiwork. It is not known if the publication was in any way associated with the Dorcas Society but the likelihood is very strong. The society had been founded in the British Isles in the early 19th century and was usually associated with a church of any denomination, and its members, usually women, were charged with making clothes for the needy. The society was named for the Biblical Dorcas who was raised from the dead by Peter, and who performed charitable works especially sewing for the poor. Branches were first set up in New York in the 1850s. The organization continues to this day with non-denominational branches around the world. The index of the first volume, January 1884-January 1885[5], introduces a publication weighted with topics of interest to those with an interest in assisting the needy through the production of everyday necessities.

Whether ten years on and a global tour later Starr possibly remains associated with the Dorcas Society remains unknown but their commercially combined advertising card with the Singer Sewing Machine company features five little girls industriously sewing for a dolly. Further confirming her likely association with the Dorcas Society and the benefits of employing Singer sewing machines is to be found in her 1908 association with the Delineator magazine, publisher of Butterick patterns where she is said to have not only offered words but descriptions of patterns number 255-258.

It is evident Starr’s interest in dolls and things Japanese occurred after her association with Dorcas activities. By 1889 she was writing how-to articles in a Martha Stewart mode for a woman’s magazine titled The Decorator and Furnisher.

In her April 1891 column on decorative novelties, she encourages readers to fabricate a tabletop flower stand featuring Japanese daki or baby dolls, because as she boldly puts it, Japanese dolls play an important role in contemporary interior décor. Alternatively, she proposes using a larger Japanese doll head as the tip of the hanging end of bamboo handled feather duster) In 1891 it seems

Trade card, ca 1890s, co-advertising Singer sewing machines and the Dorcas Society.

Coleman ephemera coll.

Marblized end papers in bound copy of 1884 Dorcas magazines. This tome belonged to Frances Glessner a respected avant guard craftswoman (embroider and knitter among a long list of skills) working in Chicago at the end of the 19th century.

It is estimated she knit over five hundred sweaters for children and military service personel. Glessner House, Chicago, IL

Feather duster handle project devised

by Laura Starr, 1891 and published in The Decorator and Furnisher. Coleman coll.

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Doll – SFBJ bisque head, one of a pair of dolls associated with the Starr collection. Starr may well have acquired this doll during her six year, around the world trip when she visited North Africa. The head has a penciled-on moustache, and the doll has lost its turban or fez. Starr-Del Mar-Pryor-Bond-Coleman collections.

A very impressionistic French infantry man featuring an SFBJ bisque head mold #. This is the same mold as the North African but has been upgraded with glass eyes and an open mouth with teeth. Starr-Del Mar-Pryor-BondColeman collections.

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she may have already arrived in Japan as she offers readers advice while she was into her world tour as she was writing in The Decorator and Furnisher,[6] this time on a topic related to her new found interest in things Japanese. Apparently her 1894 article for Cosmopolitan on the fairyland delights of nocturnal rickshaw riding through festive Japanese lanterns pleased many readers. But we do not know when or where she met her new friend Mrs. John Cooper of Shanghai who is credited with initiating Starr’s collection of Chinese and Japanese dolls.

And whether this took place sometime near the start of her six yearlong tour of the world during which she would spend extended periods in one locale studying all aspects of the cultures she encountered but with more interest in what people were wearing and what those items of apparel were made from.

By the time Starr’s book was published in 1908 she had acquired several hundred dolls dressed by indigenous people representing what their fellow countrymen were wearing on a daily basis or for festive occasions. It is obvious from illustrations in The Doll Book which are in both in black and white, and even rarer for the period, color, that while the dolls modeling the apparel maybe of primarily of western European production their clothing is of local origins.

These, along with Starr’s own words, point to the fact that Starr picked up a fair number of her dolls on her own long global trek. Her text also

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indicates she happily accepted dolls from friends and acquaintances.

And like many collectors today Starr had friends and knowledge of contemporaries who too were adding to the history of doll collecting: from Miss Annie Fields Alden who had written an 1898 article on her collection[7] and relayed her encounter with Helen Keller who did not want a description of a particular doll but rather wanted to feel it so that her sense of touch could tell her what the doll was[8] to Mlle. Marie Koenig of Paris who collected and published on dolls dressed in the costumes for France’s provinces’. Starr even included “a lady of Boston,” (Elizabeth Richards Horton), whose collection in 1922 would form the foundation of the Wenham Museum’s[9] holdings.

Somewhere along the line Starr made the acquaintance of multi-faceted Robert Stewart Culin (1858 -1929). A noted ethnologist, with a particular interest in global human costume, Starr’s collecting interest meshed with some of his own and he was happy to mentor her in the compilation of her doll book. Through his association with the Brooklyn Institute[10] she would share her collection, a loan exhibition of costumed dolls belonging to Laura, B. Starr in May of 1913.[11] At points in 1909 and 1910 Starr also wrote on the educational value of dolls for two pedagogical publications on the two sides of the

Page from Dolls. Like the majority of the dolls pictured in Starr’s book this pair are typical quality dolls dressed for a tourist market, often by women who had never seen the real items of apparel but rather were using popular illustrated costume books of the day. Coleman coll

The iconic cover of the first edition of Starr’s book, 1908 with a fashionable dressed western teenage girl doll gracing the cover. Coleman coll.

Page from Dolls. While genuine antique dolls may have been out of price range for Starr she could, and did, seek out representations of historical dress on contemporary dolls.

And by calling a youngish representation a Colleen she is indicating the doll represents a young, unmarried woman. Coleman coll.

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Atlantic.[12] In addition to her writings about dolls Starr would also document child life in various parts of the world: Mustafa, The Egyptian Boy (1905) and Filippo, The Italian Boy (1907).

Our Laura B. Starr is not to be confused with another energetic Laura Starr living in Chicago. For her we have dates, not for the doll collecting Starr. But Starr’s collection was newsworthy enough to receive mention in an undated, unidentified newspaper[13] clipping mentioning that a Francesca[14] Paloma Del Mar, a New York portrait painter, was the owner of the famous Laura Starr collection. Some of the dolls are believed to have ended up in the collection of the Museum of the City of New York while a large portion went another route. Sometime around the death of Miss Del Mar in 1957 another globetrotting doll collector, Samuel Pryor,[15] a Vice President of once mighty Pan American Airways, and owner of the International Doll Library Foundation of Greenwich, Connecticut[16] purchased a number of Starr’s dolls. [17] Starr’s book is a veritable scrapbook of doll references—historical, regional, religious, play, etc.

Of its twenty-five chapters four are devoted to items in her own collection while in another contemporary collectors are enumerated. Dolls with histories are introduced, many now with discredited provenances, many are now lost to history and waiting to be rediscovered. Many, like the dolls associated with Mary Queen of Scots, inspiring recreation by modern doll makers and costumers.[18] Starr even offers an assessment of a contemporaneous type of doll that she herself was a committed collector of that modern day collectors would quibble over her designation. In her chapter on “Fashion Dolls” Starr writes: Fashion dolls are used today ( first decade of the 20th century)for purposes of demonstration: they have an atmospheric value and are modern; of cheap German manufacture and their only function is that of a dummy for the exhibition of foreign costume. But even in earlier times what was the mission of a fashion doll? It was to inform recipients what was being worn in a particular time and place.” As doll collectors operating in a world of nearly universal western fashion we should never forget all the visually rich and colorful roads Starr travelled in order to understand and query the value encapsuled in either a single or collection of dolls. Remarkably her book, now well over a century old, and a survivor of many reprintings, still finds an audience, people who wish to understand now how once new, but now antique, dolls were viewed and understood.

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Francesca Paloma Del Mar, owner of the “famous” Starr collection following the death of Laura B. Starr. Internet.

It is assumed this is her birth name, not a nom de plume. As a professional woman and writer at this period it is possible that she worked under a business name.

[2] Review by public speaking professor [3] Starr, Laura B., The Doll Book, New York, Outing Publishing Co., 1908 [4] Dorcas (also called Tabitha), is named after a woman of exceptional needlework skills in the production of apparel as described in the Acts of the Apostles (9:36).

[5] Starr, Laura B. Dorcas, A Magazine of Woman’s Handiwork, January 1884-January 1885, Howard Bros & Co., NY. [6] “Japanese Interiors” part 1, Vol 21 Feb. I, 1893. She had been writing regularly for this publication since at least 1889.

[7] Ladies Home Journal, Dec. 1898, p. 19 [8] Keller’s guess was correct, an American Indian.

[9] Wenham, Massachusetts., marginalia annotated by Elizabeth MacMahon Donoghue, later curator of Wenham collection, in her copy of The Doll Book.

[10] The Institute would later include the Brooklyn Museum, which is currently the Brooklyn Museum of Art, Brooklyn, New York.

[11] The Museum News, Brooklyn Institute of Arts, vol 8, #8, May 1913.

[12] The Pedagogical Summary, 1909, vol 16, #4; Child Life Quarterly, 1910, vol 12, p.65 [13] Probably a New York City paper of the 1920s or 30s. Frances (Francesca)Paloma Del Mar (1867-1957). Del Mar is also believed to have been a dealer in dolls.

[14] Also known as Frances.

[15] In this series of early and interesting collectors there will be a concluding article featuring Samuel Pryor.

[16] A number of the foundation dolls were sold over two auctions, one by Sotheby’s New York, 1982 and a little later at a small local auction house.

[17] Following the auctions, June Anderson Douglass curator of the International Doll Library Foundation passed two no bid Starr dolls on to the Colemans in recognition for their assistance in promoting and documenting the collection. See illustrations.

[18] See three recent interpretations at Edinburgh Castle created

by Meridith Towne.

[1]

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Auction News Dotta Auction Co. of Nazareth, PA sold a lovely example of a Joseph Kallus Composition and wooden segmented Betty Boop doll at their October auction. With some well-done paint touch up the hammer price for this 1930s doll was $475 plus a 19% Buyers Premium.

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12” Gebruder Heubach Pouty Pair, #6969 & 6970, sl eyes, both mint bisque, orig. FACTORY matching Mariner 3.5” RARE All Bisque costumes, orig. Action Bye Lo Baby, mint wigs, orig. bisque overall, orig. label, GH bodies, lace skirt & big silk ribbon, FABULOUS!! w/ orig. carriage lined w/ ONLY $4875. silk covered mattress.

Pair Very RARE! Irreplaceable & ADORABLE!! $2000.

Dotta Auction’s Betty Boop sold for $475 plus the BP.

Continued on page 45

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25” H/ Halbig, perfect bisque, sl eyes, 4 upper teeth, ant. mohair wig, ant. dress, orig. slip, undies, shoes & socks, orig signed HH body, a BIG BEAUTY! Sale $950.

14” Kestner #152, sl. eyes, mint bisque, vintage HH wig, orig. JDK plaster pate, ant. jumper & blouse, Fr. straw hat, orig. leather shoes, orig. “signed” JDK body. DARLING!!! $850.

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FROM SALZBURG TO NEW YORK:

THE BAITZ-TRAPHAGEN MYSTERY PARTIALLY SOLVED

By Rhoda Seidenberg lorence Theriault gave us a glimpse of Lilli Baitz’s Actress dolls in America in her article, “So Many Stories in Every Doll—The Lilli Baitz Actress Dolls,” which appeared in the December 2023 issue of Antique DOLL Collector.

Until now, the information we have had on Lilli Baitz was fragmented because we did not have the contracts that cement the connections and transactions between the vendor and client. Who is J. H. Hoffheimer? How did he know about Atelier Baitz? How did Ethel Traphagen acquire and use these dolls in her famous fashion school? Now, with new information from the Baitz archives from Voralsburg, Austria, we have some of these questions answered.

On January 6 and 7, 2024 Theriault’s previewed and sold the collection of imminent doll collector Rosalie Whyel. Though there were many stars in the auction, for this author, the stars were the Famous Actress Series created by Lilli and Roman Baitz. According to the catalog, each doll had a label: purchased by Cover of Theriault’s Rosalie A Life of Dolls, J. H. Hoffmeier, 1937 Traphagen School. The entry mentions the original label Part One auction. on the costume; it does not clarify what this label says. Each doll was attached to a wooden base with the name and date of each actress hand-printed on the front of the base.

At some point in the late 1920s, Lilli Baitz created figures dressed in folk costumes from Europe, Asia, and possibly Africa. She also made children dressed in period costumes and famous figures such as actors ABOVE and BELOW: Photos of the Baitz Children in period costumes, from the Blons Puppen Archives, pb-1162–1, 2. from the theater and sports personalities which included Babe Ruth and Amelia Earhart.

All dolls were 29-inches tall and stood on a wooden stand labeled with the subject’s name. The Blons Archives show that Baitz had at least 13 groups of figures.

Not all these groups traveled to America. The German soldiers and tracht dolls did not come with Mr. Hoffheimer. To begin, we will look at the dolls that did not come to America.

F

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RIGHT: Seamstress making a doll in the Baitz workshop.

Courtesy of Blons Puppen Archives, pb-1195–2.

BELOW: A page from the Pictorial Encyclopedia of Historic Costumes, depicting French costumes in 1300.

Lilli and Roman Baitz created mannequins and dioramas for European and American department stores.

Occasionally, they developed dolls independently of the stores.

Lilli made the molds for the plaster heads and hands and the sketches of the costumes for all figures. Her historical costumes were correct in design and textiles. Pictured in this article is one of her workshop tailors using a costume book to create the outfit for the mannequin. The open page suggests that the book was the Pictorial Encyclopedia of Historic Costume by Albert Kretschmer and Karl Rohrbach (originally published as Die Trachten der Völker. Vom Beginn der Geschichte bis zum 19. Jahrhundert).

Lilli often used paintings and photographs as inspirations for her store windows. It should not be a surprise that she used Albert Kretschmer’s authoritative book to recreate folk costumes.

The pages from the Blons Archive are not all presented in chronological order; therefore, I will refer to the album numbers.

Album 1 featured many photographs of the Soldier group. The photograph in this article features ten European soldiers depicting warriors from the 10th to the 18th centuries. All hold metal swords or shields.

Some wear wigs, and others have molded hair. The date range is noted on the wooden base. The second group of soldiers depicts ten naval officers from 1810 to 1914. This album also showed German soldiers in uniforms from World War I to World War II. These would be the last soldiers that Lilli would make before her death.

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LEFT and BELOW: Photos of soldiers from Album 1, Courtesy of Blons Puppen Archives.

ABOVE and RIGHT: Photos of Germanic folk costume dolls, Courtesy of Blons Puppen Archives, F-son-025 and pb-1226–2.

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As a proud woman of Germanic descent, Lilli was famous for her German tracht costumed dolls. One photograph from the Blons Archive features dolls from Germany dressed in traditional dress. Most are engaged in activities associated with their region. One notable figure is the portly farmer squire smiling while smoking his long-stemmed pipe. Another photograph shows mostly female dolls from southern Germany, including a Black Forest woman owned by the author. I bought this doll from a collector in Germany. She told me she had more, but they were destroyed during World War II. My doll is the sole survivor of her collection. It is sobering to think that many of Lilli’s European artworks are gone forever.

The dolls in Album 15 traveled to America with Mr. Hoffheimer. This album included two sets of the Famous Actress dolls, two sets of the Sportsman dolls, Northern European dolls, and Eastern European and Asian dolls.

Who commissioned these dolls from Lilli Baitz, and where did they end up?

From the Theriault’s auction, we know that J. H. Hoffheimer brought these dolls to America, but we do not know why or how he came upon Baitz and her work.

Jerome H. Hoffheimer was a designer and buyer for a New York department store. Perhaps the buyer was Abraham and Straus, a now-defunct store in downtown Brooklyn. A & S, as it was called, had a connection with Kaufmann’s department store in Pittsburgh. Baitz had made several successful anniversary windows for Kaufmann. Being in the retail business, Hoffheimer most likely saw Lilli’s work there. He owned a company called JERHOF Unusual Displays. In a letter addressed to Lilli typed on his company’s letterhead, Hoffheimer tells Lilli that he received the socks he requested and that the Sports figures arrived safely, even though some were stuck in customs. There were some discrepancies, but they were minor, and they would still display well.

Hoffheimer referred to the Sports figures on exhibit at A & S and, according to a German article, would travel through the United States.

Detail of a German farmer doll, from Baitz: Zwischen Fantasie und Repraesentation.

Letter to Lilli Baitz from Jerome Hoffheimer, Courtesy of Blons Puppen Archives, pb-1360–4.

Black Forest doll from the author’s collection.

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Ethel Traphagen is an unsung hero in the fashion world. She advocated the American style before it became popular, and European fashion houses looked down on Americans as mere followers, not innovators. In 1923, she opened a fashion school in Lower Midtown Manhattan, then moved to 57th Street. The school hosted now-famous students such as Anne Klein, Vera Neumann, John Galanos, and Geoffrey Beene. Traphagen and her artist husband, William Robinson Leigh, traveled the world and collected art and dolls for her school’s museum to use as a teaching tool for her students. One can assume that Traphagen bought the Actress and Children dolls from Hoffheimer, who in turn commissioned the dolls from Lilli Baitz’s workshop.

Clipping from a German newspaper featuring the Baitz Sportsmen dolls, c. 1933, from Baitz: Zwischen Fantasie und Repraesentation.

There were two sets of famous Sportsmen. The one featured in A & S had Babe Ruth (the Bronx Bomber) and Amelia Earhart. The second set featured Olympic swimmers-turned-actors Buster Crabbe and Johnny Weissmuller. Each doll was a portrait of these famous personalities. The same can be said of the two sets of Actress dolls sold in Theriault’s auction in January 2024. The likenesses of the actresses were achieved from paintings and photographs. I do not know if the Actresses or the Children dolls were part of Hoffheimer’s exhibitions. At some point, Ethel Traphagen must have seen these dolls, which she acquired for her school of fashion.

Photo of Sportsmen dolls from Album 15, Courtesy of Blons Puppen Archive.

In the 1950s, Hoffheimer made dioramas for the American Museum in Britain and other National Trust organizations We do not know much about him after this.

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ANTIQUE DOLL COLLECTOR

Photo of Diorama created by J. H. Hoffheimer for the American Museum in Britain, the author’s collection.

The Baitz dolls began appearing in Fashion Digest, the journal of the Traphagen school, in the Fall-Winter 1953–1954 issue. An article entitled “Translating the Dutch” featured a modern interpretation of the Dutchcostumed dolls. The Actress dolls debuted in an article about stage actress Maude Adams. The caption under the dolls reads, “Actress dolls—each represents a star of New York’s Empire Theater.” The next issue reveals that Ethel Traphagen was a member of the United Federation of Doll Clubs in the Knickerbocker club for the ninth annual UFDC convention, held in New York in 1958. Both the Actress and the International Folk Costume dolls appear in this issue. Other Fashion Digest issues continued to showcase the Actress dolls and one of the Child dolls in 1963 when Ethel Traphagen died.

In 1991, the Traphagen school closed. The museum’s collection was sold, but curator Phyllis Spencer saved the Baitz dolls. Except for the Ethel Barrymore doll, the Actress doll, the International Folk dolls, and the Children’s dolls were sold to Rosalie Whyel in 2004. More Baitz dolls will be presented for auction by Theriault’s in 2025.

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A page from Fashion Digest featuring Actress dolls from the Empire Theater, the author’s collection.

A page from Fashion Digest featuring Baitz Dutch dolls, the author’s collection.

One of the Baitz Child dolls in Fashion Digest.

ABOVE and BELOW: International dolls featured in Fashion Digest, the author’s collection.

REFERENCES: Blons Puppen Museum. “Baitz Archives.” n.d.

Gerda Leipold-Schneider, Ute Pfanner et al. Baitz: Zwischen Fantasie und Repraesentation: Exhibition Catalog. Voralberg: Bregenz, 2005.

Kretschmer, Albert and Karl Rohrbach. Die Trachten der Voelker vom Begrinn der Geschichte bis zum 19. Jahrhundert [Pictorial Encyclopedia of Historic Costume]. New York: Dover Publications, 1906, reissued by Dover, 2007.

Puppenmuseum Blons Austria. “Archiv Puppenmuseum Blons Austria.” Vol. Album 1. n.d.

Traphagen, Ethel. “A Trip Around the World with Traphagen Dolls.” Fashion Digest 1958–1959: 30–35.

—. “Fashions in Dolls and Living Dolls.” Fashion Digest 1958–1959: 26–29.

—. “Imperishable Star.” Fashion Digest 1953: 50–51.

ANTIQUE DOLL COLLECTOR

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Cold Hands, Warm Heart Winter Fashion Set

By Nicki Burley

W

inter’s long dark days have always brought a wistful longing for light.

Why not brighten your doll cabinet this season by sewing a cozy capelet, toque, and muff set for a special lady doll? It has all the right elements to warm her hands and your heart! Made from iridescent red tissue silk and glowing gold beads, the set calls to mind romantic notions of a Victorian evening, with candles by the fireside and a light snow falling outside. Perhaps it’s a time and place that never was, but my dolls are free to live in a gentle fantasy of days past, and it’s my delight to create their world one garment at a time. Take joy, as Tasha Tudor would say!

Materials

Silk, thin quilt batting, and cotton batiste Additional silk for lining Short pile faux fur Scrap of buckram 16” gold cording 4 gold “E” beads Gold seed beads Seed beads to match silk

Supplies

1 hook & eye set Threads to match silk, fur, and lining Craft glue & glue stick Quilt basting spray Frixion pen or chalk for marking Optional: walking foot for sewing machine 38

ANTIQUE DOLL COLLECTOR

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**Fits lady dolls about 16-17” (40-43 cm) tall. My antique Jumeau poupée has a head circumference of 7 ¼” (19 cm) over her wig and a shoulder width of 5” (13 cm) across her back, over clothing. The pattern can be reduced or enlarged on a photocopier as needed.**

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Sources:

ISewforDoll on Etsy carries the tiny curl faux lamb fur used in this project.

Mood Fabrics has a lovely faux Persian lamb fur that resembles antique fur.

Notes:

1) Check if your fur has stretch or nap–mine has a stretch knit backing, but no nap. If there is a nap, it looks best running from top to bottom.

2) When basting the pieces together by hand, sew ⅛” from edge to hide the stitches.

3) Use a cotton quilt batting such as Warm & Natural, or try bamboo for extra drape.

4) To sew for a smaller doll: If you reduce the pattern, consider eliminating the batting layer to reduce bulk.

Instead, quilt the silk to a cotton or wool flannel.

Make the Quilted Silk:

1) Cut 8” high x 18” wide pieces of your main silk color, quilt batting, and cotton batiste.

2) Spray the batiste with quilt basting spray, then lay the batting atop it. Smooth the layers, then spray the batting. Lay the silk on the batting and smooth again. This creates a “quilt sandwich” that won’t shift as you sew, and doesn’t require pins.

3) Notes: You can quilt by hand or machine, as you prefer. Machine quilting is very easy with a walking foot, which feeds all the layers evenly.

Begin quilting the layers in diagonal lines, spaced ½” apart.

4) Fold a corner of the quilt sandwich to find the true bias, and mark that diagonal line to begin quilting. Continue quilting diagonal lines at ½” intervals, all the way across the panel.

5) Make diamonds by turning the fabric 180 degrees, marking the true bias, and sewing diagonal lines across the panel. This makes more than enough quilted fabric for the project.

Make the Beaded Rosettes:

1) Rosette: Cut 4 strips of silk 1” x 3 ¼”. For each, sew the short ends together with ⅛” seam. Press seam open or to one side. Fold the circle in half lengthwise, so you have one folded edge and two raw edges. Sew a tiny gathering stitch around the raw edges. Pull up tightly to gather the rosette, anchor the thread, and leave a long tail of thread.

2) Beading: Use the long thread tail to sew one gold “E” size bead through the center of the circle. Keep the seam at the bottom of the circle. Sew through the bead at least twice to stabilize it, then bring needle to front again and pass it down through the bead.

3) String the following beads onto the thread: 1 gold, 1 red, 1 gold, 2 red, 1 gold, 2 red, 1 gold Skipping the last gold bead, bring the needle back through all the other beads and through the E bead, then through the back of the rosette. Pull up the thread, but keep it slightly loose so the beads can swing. Bring needle back to front, down through the E bead, and repeat for a 2nd strand.

For 3rd shorter strand, string the following sequence: 1 red, 1 gold, 2 red, 2 gold, 1 red Anchor thread on rosette back, and sew to garments as indicated in instructions.

Make 4 rosettes from strips of silk to match the ensemble.

String beads to create tassels in the center of each rosette.

Diagonal quilting in the opposite direction will create a diamond pattern.

ANTIQUE DOLL COLLECTOR

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Toque Hat:

1) Center the crown pattern on the wrong side of the quilted silk diamonds. Trace and cut out; cut another from lining fabric and set aside.

2) Cut a strip of buckram ¾” x 9 ¼” and fur 2 ½” x 9”.

If your fur has nap, it should run down the shorter side. Nap or grain should run down the shorter side.

3) Sew one gold bead at each “X” intersection of the quilted silk. Sew through bead twice, then anchor on the wrong side; carry the thread to the next intersection. Leave ¼” open around the edge of the crown, as this the fur seam allowance. You can always add beads when the hat is complete.

4) Lightly rub a glue stick over the back of the quilted silk, then lay the lining down with wrong sides together. Baste around the edge of the crown to hold the pieces together.

Bead the diamond intersections on the crown, leaving ¼” free around the edge.

Hem free edge of fur ¼” to the wrong side.

Slide buckram ring over fur to make the side band.

5) Turn back 1 long edge of the fur band ¼” to the wrong side, hem in place. Sew right sides of fur band together along the short edges. Trim the seam and tease out caught fibers on the right side of the fur, to hide the join.

6) Glue short ends of buckram strip together with ½” overlap. Allow to dry.

7) With seam at center back of the crown, sew the raw edge of the fur band to the crown, right sides together.

8) Slide the buckram ring over the fur, and turn the fur to the inside. Hem the folded edge to the lining. Sew one rosette just off center, to the left or right, on the fur.

Lightly glue lining to crown and baste together.

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Cape

1) **Trace the full cape pattern onto paper, cut out, and use this pattern on your quilted silk** Line up the center back of the cape pattern on a line of diamonds, then trace and cut out. Cut another from lining. Sew darts in both pieces; press lining darts. Trim cape darts to ⅛” to reduce bulk.

Set lining aside.

2) Mark ¾” from edge around cape fronts and back; mark ¼” from edge at neck. Leave these areas free from beads.

Begin sewing gold beads to cape at center back, being sure to sew beads in the same direction. Follow the diagram for bead alignment as you move around the cape.

3) Baste lining to cape with wrong sides together; hold pieces with pins or glue stick as preferred.

4) Cut 1 ½” wide fur strips to equal 30” in length, piecing together as needed. Nap or grain should run down the length. Use a needle to tease out fibers caught in the seams, to hide the join.

5) As with toque, hem one long edge ¼” to the wrong side.

6) Sew raw edge of fur to lining, beginning and ending at center back of the neck. Leave the first ½” of fur free, to allow for a later seam that will join the ends together.

To join the ends, do not pull the fur tight, just hold right sides of fur strip together loosely and sew across with small stitches. Trim away excess fur, open the seam, and sew to the lining.

7) Before turning, trim fur around the edge to reduce bulk.

Turn fur to the outside, and use fur-colored thread to invisibly hem to silk, ¾” from the edge as marked. Pull the stitches tightly around the front curves and neckline turns to help gather them slightly into place. At the neck, hem to silk ¼” from the edge as marked, to make a soft “standing” collar.

8) Add gold beads as needed if you see any bare spots. Sew hook and eye to top edge of neckline. Select two rosettes which appear the most similar, then sew them to the lower curved edges of the cape.

Trim away excess fabric in quilted darts.

Mark fur placement on quilted silk before beading.

Begin beading down the center back diamonds.

Sew fur trim to cape lining, ¼” from edge.

ANTIQUE DOLL COLLECTOR

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Muff

1) Cut muff pattern from quilted silk, lining, and another layer of batting.

2) Bead the quilted layer, leaving ¼” free around all edges. Lightly brush glue stick on the back of the quilted silk, and press it onto the extra layer of batting. Lay the lining on the quilted silk, with right sides together. Pin to hold in place, then sew ⅛” seam along the straight short end.

3) Trim if uneven, turn lining to underside, and press the seam. Baste all layers together.

4) Cut fur strip 1 ¼” x 14”, with nap or grain running down the length as with cape. Hem ¼” to the wrong side. Sew raw edge to 3 sides of quilted silk, with ¼” seam allowance. Don’t sew fur to the seamed edge.

Begin at the seam, leaving ¼” hanging over the end.

Leave a small amount hanging over the other end as well. Hold the fur loosely as you go around the curved end.

5) Turn fur strip to the lining side and hem in place.

Wrap the overhanging fur ends over the seam edge and enclose with the fur trim.

6) Roll up the muff with lining side out so that the flap is inside. Bring the seamed end to the top of the straight sides, then slip stitch the linings together.

Turn the muff right side out, and slip stitch the fur trimmed curved flap to the quilted silk–you will cover some beads. They can either be trimmed away or left in place.

7) Sew the last beaded rosette to the center front fur trim of the flap. Cut about 16” of gold cord. Run through the muff and tie ends together tightly. Turn so the knot is inside the muff, and hang the muff around the doll’s neck. With the entire collection complete, your lady is ready for a winter stroll!

Slipstich muff lining together at the short edge seam.

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Muff is constructed from 3 layers: quilted silk, batting, and lining.

Sew fur trim to quilted silk, ¼” from edge.

Placement of rosette on muff

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Beading Direction Diagram

Placement of rosette on toque

Placement of rosettes on lower edge of cape ANTIQUE DOLL COLLECTOR

Pattern.indd 43

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Winter Set for French Fashion Fold

1”

Cape

Cut 1 Quilted Silk Cut 1 Lining

Muff

Pattern.indd 44

Cut 1 Quilted Silk Cut 1 Lining Cut 1 Batting

Seam ANTIQUE DOLL COLLECTOR

CF

Toque Crown

Cut 1 Quilted Silk Cut 1 Lining

CB 44

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Auction Calendar Theriault’s Kathy Libraty’s Antique Dolls

SARA BERNSTEIN DOLLS

Sat.-Sun., Jan. 11-12, 2025 Preview 9 AM ET, Auction 11 AM ET Marquis: “ROSALIE-A Life of Dolls-Pt 2” Doll Auction Weekend Fri., Jan. 24, 2025 Preview 9 AM ET, Auction 10 AM ET Ten2Go IN PERSON Auction at The Crowne Plaza Theriaults Gallery | 410.224.3655 info@theriaults.com | www.theriaults.com

Withington Auction

Mid-Jan., exact date TBD Doll Auction DoubleTree by Hilton, 2 Somerset Pkwy, Nashua, NH 603.478.3232 | withington@conknet.com www.withingtonauction.com

Frasher’s 1) Gorgeous 19” Closed-Mouth Tete Jumeau in Blue Silk Frock...................................................................... $2950 2) Fantastic 18” Kestner “Hilda” Toddler Girl.............. $2950 3) 12.5” Armand Marseille “Dream” Baby.................... .$375 ~Layaway Always Available~ Call us at: 718.859.0901 Or email: KathyLibratysDolls@gmail.com www.rubylane.com/shop/kathylibratysantiques

Do you have a doll or small collection you want to sell?

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www.evelynphillipsdolls.com

Sat., Feb. 1, 2025 Doll & Toy Auction Sat., Apr. 5, 2025 Doll & Toy Auction Crescent Shrine, 700 Highland Drive, Westampton, NJ 410.275.2213 | sweetbriar@live.com | sweetbriarauctions.com

Tue., Feb. 11. 2025 Toys for the Collector Auction Tue., Apr. 15, 2025 Popular Dolls & Teddy Bears Auction Newbury, UK | +44 (0) 1635 580 595 mail@specialauctionservices.com | specialauctionservices.com

Ladenburger Spielzeugauktion Fri.-Sat., Apr. 4-5, 2025 Spring Auction 0049 (0) 6203 13014 | mail@spielzeugauktion.de www.spielzeugauktion.de

For More Info, Contact: 19” Early Moon Face Kestner. Head mark: 9. Artfully painted features and gorgeous coloring. Straight wrists. Huge brown sleep eyes. Antique wig, dress, undies, socks and shoes...................................................................$1650.00

Auction News (continued from page 31) Alderfer Auction of Hatfield, PA offered a 22-inch Schoenhut model 308 with original paint, wig and shoes and a reproduction outfit at their October sale. The doll sold for $325 plus an online bidder’s buyer’s premium of 33%.

The Ladenburger Spielzeugauktion Fall Auction included a 32cm example of Schlenkerchen by Käthe Kruse.

This cloth headed doll went home

Sweetbriar Auction

SAS (Special Auction Services)

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.

Louann at (872) 216-8842 or email louannw@antiquedollcollector.com

Sat., Feb. 1, 2025 Preview: 9 am; Auction: 10 am “Heart’s Desire” Auction 2323 S Mecklin Sch. Road Oak Grove, MO 64075 816-625-3786 | frasher@aol.com frashersdollauction.com

Morphy Auctions

Wed.-Thu., May 21-22, 2025 Toys & General Collectibles 2000 North Reading Road, Denver, PA 17517 877-968-8880 | Fax: 717-336-7115 www.morphyauctions.com

with a bidder paying $5,167 plus a 24% buyer’s premium.

Left: Alderfer Auction’s Schoenhut 308 sold for $325 plus BP. Right: Schlenkerchen by Käthe Kruse was sold by Ladenburger Spielzeugauktion for $5,167 plus BP.

ANTIQUE DOLL COLLECTOR

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U.S. Museums Compiled by Monica Bessette Doll, toy, miniature, and dollhouse museums ARIZONA

KANSAS

MISSOURI

OKLAHOMA

Arizona Doll & Toy Museum 5847 W Myrtle Avenue Glendale, AZ 85301

Prairie Museum of Art & History at Thomas County Historical Society 1905 S Franklin Avenue Colby, KS 67701

Miniature Museum of Greater St. Louis 4746 Gravois Avenue St. Louis, MO 63116

Eliza Cruce Hall Doll Museum at Ardmore Public Library 320 East Street SE Ardmore, OK 73401

Mini-Time Machine Museum of Miniatures 4455 E Camp Lowell Drive Tucson, AZ 85712 Phoenix Art Museum Thorne Rooms 625 N Central Avenue Phoenix, AZ 85004

CALIFORNIA Grovian Doll Museum 213 Forest Avenue Pacific Grove, CA 93950 Susan Quinlan Doll & Teddy Bear Museum & Library 122 W. Canon Perdido Street Santa Barbara, CA 93101

COLORADO Denver Museum of Miniatures, Dolls, & Toys 830 Kipling Street Lakewood, CO 80215

IOWA Dyer-Botsford Historical House and Doll Museum 331 1st Avenue E. Dyersville, IA 52040

ILLINOIS American Doll & Toy Museum 3059 30th Street Rock Island, IL 61201 Art Institute of Chicago Thorne Rooms Michigan Avenue Entrance 111 South Michigan Avenue Chicago, Illinois 60603

KENTUCKY Great American Dollhouse Museum 344 Swope Drive Danville, KY 40422 Kentucky Doll & Toy Museum 106 W. Main Street Carlisle, KY 40311 KSB Miniatures Collection 215 Sutton Street Maysville, KY 41056

House of Broel Dollhouse Museum 2220 Street Charles Avenue New Orleans, LA 70130 Lois Loftin Doll Museum at Beauregard Parish Tourism Comm.

204 W. First Street DeRidder, LA 70634

World’s Largest Toy Museum 3609 W. Country Boulevard Branson, MO 65616

North Carolina Museum of Dolls, Toys & Miniatures 108 Fourth Street Spencer, NC 28159

NEW YORK

PENNSYLVANIA Harrisburg Doll Museum 2004 State Street Harrisburg, PA 17103 Historic Strawberry Mansion 2450 Strawberry Mansion Drive Philadelphia, PA 19132

TENNESSEE Knoxville Museum of Art Thorne Rooms 1050 World’s Fair Park Drive Knoxville, TN 37916

VIRGINIA Barry Art Museum at Old Dominion University 1075 W 43rd Street Norfolk, VA 23529

MASSACHUSETTS

Doll and Toy Museum 2nd Floor, Allegany County Historical Society 11 East Greenwood Andover, NY 14806

Wenham Museum 132 Main Street Wenham, MA 01984

Den of Marbletown Bear & Steiff Museum One Bastien Lane Kingston, NY 12401

Dollhouse and Toy Museum of Vermont 212 Union Street Bennington, VT 05201

MAINE

Museum of the City of New York 1220 5th Avenue at 103rd Street New York, NY 10029

Shelburne Museum 6000 Shelburne Road Shelburne, VT 05482

Fawcett’s Maine Antique Toy and Art Museum 3468 Atlantic Highway Waldoboro, ME 04572

MICHIGAN Midwest Miniatures Museum 20 S. 5th Street Grand Haven, MI 49417

Strong National Museum of Play One Manhattan Square Rochester, NY 14607

OHIO Children’s Toy & Doll Museum 206 Gilman Avenue Marietta, OH 45750 Doll Museum at Old Rectory, Worthington Historical Society 50 W New England Avenue Worthington, OH 43085

Marquis Doll Museum & Restoration 214 N. 5th Street Lafayette, IN 47901

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United Federation of Doll Clubs 10900 N. Pomona Avenue Kansas City, MO 64153

NORTH CAROLINA

LOUISIANA

INDIANA

Museum of Miniature Houses and Other Collections 111 E. Main Street Carmel, IN 46032

National Museum of Toys & Miniatures 5235 Oak Street Kansas City, MO 64112

VERMONT

WASHINGTON The Doll House - The Museum 14104 C Street S. Tacoma, WA 98444

WISCONSIN Fennimore Doll & Toy Museum 1135 6th Street Fennimore, WI 53809

Is your museum missing from our list?

Please notify Antique DOLL Collector, antiquedoll@gmail.com, subject: Museums.

ANTIQUE DOLL COLLECTOR JANUARY 2025

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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.

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

LONG TERM Nov 2, 2024 - Feb 2, 2025 ~ Basel, CH (Switzerland). Preview Christmas exhibition.

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

Until Mar 3, 2025 ~ Kansas City, MO. “Portrait of Childhood: Black Dolls from the Collection of Deborah Neff” runs through at the National Museum of Toys and Miniatures. Located at University of Missouri-Kansas City. 5235 Oak St. 816-235-8000.

JANUARY 2025 18 ~ Naples FL. 40th Annual Naples Doll Club Annual Doll Show & Sale. 9 AM - 3 PM. Moorings Presbyterian Church, 791 Harbour Dr. Admission: Adults: $6.00; Children under 10: FREE; Parking: FREE. Karen McLean, call/ text (239) 571-5082, kmclean@comcast.net.

26 ~ Naperville, IL. Naperville Doll & Teddy Bear Show. 9:30 AM - 3 PM, Early Bird ~ 8 AM 9:30 AM. Karla Moreland Presents. Naperville Marriott Hotel, 1801 North Naper Blvd.

Admission at the Door: Early Bird: $15; Adults: $7; Children 12 & under: FREE; Parking: FREE. Karla Moreland, Call/Text 815-621-3255, kmorela@ais.net. www.NapervilleDollShow.com

FEBRUARY 2025

2 ~ Lynnwood, WA. Doll Show & Sale. Antique Doll & Toy Market. Embassy Suites Hotel, 20610 44th Ave. Lisa Pepin. Call/text 206-6697818. pepins4@msn.com.

8 ~ Schertz (San Antonio), TX. 33rd Biannual Hill Country Doll Show & Sale. Schertz Civic Center, 1400 Schertz Pkwy. 9 AM-4 PM. For more info call/text 830-606-5868.

22 ~ Largo, FL. 48th Annual Doll & Bear Show & Sale. 9:30 AM - 3 PM. St. Petersburg Doll Club. Largo Event Center (Minnreg Building), 6340 126th Ave North. Admission at the Door: Adults: $5.00; Children Under 12: FREE; Parking: FREE. Josephine Valente, 727-384-1708. aldopip@tampabay.rr.com.

22-23 ~ Dallas, TX. DollCon Dallas 2025 (primarily BJD and modern dolls). Westin Central Park Dallas 12720 Merit Dr.

Registration required: $35 through October 31st, 2024; $50 after that. Kellyann Herrington. admin@dollcondallas.com. Text 469-630-2205.

MARCH 2025

1 ~ Escondido, CA. Cameo Doll Club Show & Sale. 10 AM - 2:30 PM. New Location: Escondido Elks Club. 2430 S. Escondido Blvd.

Info: Nancy Verdugo. 760 546-5023.

1 ~ Phoenix, AZ. “Celebrating the World of Dolls” Doll, Bear, Miniature Show & Sale.World Doll Day Shows & Events. 10:00 AM - 3:00 PM. Shrine Auditorium, 552 N. 40th St. Door Prizes, Raffles/ Helpers (Benefits Local Charities). Mary Senko.

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

WorldDollDayShows.com.

8 ~ Lakeland, FL. Tropical Doll Study Club Doll and Bear Show and Sale. 10 AM - 3 PM. Lake Mirror Auditorium, 121 South Lake Ave. $5 for Adults, $1 for children up to 15. Nancy Nunn.

863-646-9409. GSMOM527@aol.com or Diane Milla. milladiane@gmail.com. 863-644-1144. www.tropicaldollstudyclub.com.

9 ~ DeWitt (Lansing), MI. Lansing Antique & Collectible Doll Show & Sale. 9:30 AM - 3 PM. Banquet & Conf Ctr of DeWitt, 1120 Commerce Park Dr. (off I-69). Handicap Accessible.

Admission at the Door: Adults: $5; Children under 12: $1. Sandy Johnson Barts. 269-599-1511.

SJBbetsys@comcast.net. Lansing Doll Show.com.

29 ~ Jonesborough, TN. Doll Show & Sale. The Dollhouse. 9:30 AM - 3 PM. Jonesborough Visitor Center, 117 Boone St. FREE Admission.

Ellen Stafford, call/text 423-753-0022, ellen@jonesdollhouse.com.

29 ~ Waldorf, MD. The Third Annual Best Little Doll Show in Southern Maryland. 10 AM - 3 PM. Black-eyed Susan Doll Club. Old Waldorf School, 3074 Crain Hwy. Admission at the Door: Adults: $5; Children 12 and under: FREE. Parking: FREE. Pat Magruder, 301-843-0541. p.l.magruder@verizon.net.

The Antique Doll & Toy Market 46 TH

YEAR!

50 Select Exhibitors!

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

SUNDAY, FEBRUARY 2, 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

More doll events at antiquedollcollector.com > Events

FEB 1 ~ Leesburg FL. Annual Doll Show & Sale.

Orange Blossom & Hills and Lakes Doll Club. 9:00 AM - 3:00 PM. Morrison United Methodist Church, 1005 W Main St. Admission: Adults: $5.00; 12 and under: FREE. Parking: FREE. For Vendor information contact Richard Ziller. 703-627-7763. rjziller@hotmail.com.

JAN 25 ~ Glendale, CA. Verdugo Hills Doll Club Show and Sale. 10 AM - 3 PM. Admission $7 (under 12 free). Glendale Civic Auditorium. 1401 N. Verdugo Rd. Janie Olds. j.l.olds@ca.rr.com.

562-818-250. Pink Book listing Southern California doll show and events will be available. Premier California doll show with over 100 dealer tables.

Dealers from across the United States. Excellent food available.

ANTIQUE DOLL COLLECTOR

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APRIL 2025 5 ~ Hebron, KY. Triple Crown Doll Club Show & Sale. 10 AM -3 PM. Hebron Lutheran Church, 3140 Limaburg Rd., 2 miles from Cincinnati airport. Deanna Parobeck. Parobeck.d@twc.com.

5 ~ Madison, WI. Madison Area Doll Club “Dreams Do Come True” 53rd Annual Doll Show and Sale. 9 AM - 3 PM, Early Bird at 8 AM. Exhibition Hall, Alliant Energy Center. 1919

Alliant Energy Way. Admission $10 (12 and under FREE). Parking $8. Vicki. vickijkutz@gmail.com.

608-279-5298.

5 ~ McClellan (Sacramento) CA. “Celebrating the World of Dolls” Doll, Bear, Miniature Show & Sale.

World Doll Day Shows & Events. 10 AM - 3 PM. The Officers’ Club, 3410 Westover St, Admission: General (13 and up): $10.00; Parking: FREE. Mary Senko.

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

WorldDollDayShows.com.

SUBSCRIBE TODAY

13 ~ St. Charles, IL. Kane County Doll & Dollhouse Show. 9 AM - 3 PM, Early Bird ~ 8 - 9 AM. Karla Moreland Presents. Kane County Fairgrounds, 525 S Randall Rd. Admission at the Door: Early Bird (8:00 AM-9:00 AM): $15; Adults: $8; Children 12 & under: FREE; Parking: FREE. Karla Moreland, Call/text 815-621-3255, kmorela@ais.net. KaneCountyDollShow.com.

More doll events at

antiquedollcollector.com > Events

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The international magazine devoted to antique, vintage, artist, and iconic mid‑century dolls.

Plus ... dollhouses, miniatures, bears, patterns and related collectibles.

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Mail To: Antique DOLL Collector, P.O. Box 349, Herndon, VA 20172 Online: www.antiquedollcollector.com OR Call: 631-261-4100 (U.S. or International) Antique Doll Collector publishes monthly, except combined issues that count as two, as indicated on the issue’s cover.

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48

ANTIQUE DOLL COLLECTOR JANUARY 2025

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12/14/2024 9:17:27 AM

World Doll Day Shows

Featuring: Modern, Vintage, Antique Dolls, Bears, and Toys

2025 World Doll Day Shows & Events Schedule Mark Your ar!

Calend

PHOENIX: MARCH 1st, 2025, 10am - 3pm Shrine Auditorium, 552 N. 40th St., Phoenix, AZ 85008

SACRAMENTO: APRIL 5th, 2025, 10am - 3pm Officer’s Club, 3410 Westover St., McClellan, CA 95652

PLEASANTON: MAY 3rd, 2025, 10am - 3pm

Dea Inqu ler i Wel ries come

Pleasanton Marriott, 11950 Dublin Canyon Rd., Pleasanton, CA 94588

“NEW SHOW” BUENA PARK: JUNE 14th, 2025, 10am-3pm 7000 Beach Blvd., Buena Park, CA 90620

CONCORD: SEPTEMBER 20th, 2025, 10am - 3pm Concord Plaza Hotel, 45 John Glenn Dr., Concord, CA 94520

SANTA CLARA: OCTOBER 18th, 2025, 10am - 3pm

American Legion Post 419, 958 Homestead Dr., Santa Clara, CA 95050

ARCADIA: NOVEMBER 15th, 2025, 10am - 3pm Arcadia Masonic Lodge, 50 W. Duarte Rd., Arcadia, CA 91007

Door Prizes, Raffles (Benefits local charities) Identification/ Valuation, Restringing, Food for Purchase Member of Admission - $10, Children 12 & under free UFDC Like/Follow/Share on Facebook: https://www.facebook.com/WDDShowsEvents Sign up for updates and get on our email list at: www.worlddolldayshows.com Mary Senko: mary.senko@worlddolldayshows.com or mary.senko@comcast.net cell: 425-330-1770 Proud to be a Woman Owned Business

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