May 2024 by Antique Doll Collector magazine

Antique DOLL Collector May 2024 Vol. 27, No. 5

The Genius of Huret A Rare Discovery from Mattel, Inc. Two-Faced Dolls of Babyland Puppetry and Dolls Plus Auction News

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From the Editors

“A-Maying?” Sir Lancelot asks. “It’s a sort of picnic,” King Arthur explains. “A time for gathering flowers, for eating wild berries, for playing …” Lancelot is incensed. “Knights?? Gathering flowers???” “Well, someone has to do it!” Arthur retorts. “Besides, it’s civilized. And civilization requires a few gentle hobbies.”

or many years I have had a reminder on my calendar that pops up every May 1st: “Oh, let us go a-Maying. The world needs gentler hobbies.” That is my condensed interpretation of the scripted lines from “Camelot,” a musical that hit the movie screens in 1967. I’ve always thought of our hobby of doll collecting as a gentle hobby. This month’s issue of Antique DOLL Collector offers you a bouquet of articles by four of our foremost authorities in the field. Valerie Fogel gives us a beautiful story of the Huret poupées with a special gift—a heretofore unshared portrait of Adelaide Calixte Huret’s mother. Susan Foreman delights us with the broad scope of puppetry—a theatrically entertaining world of hand puppets, marionettes, and ventriloquism. Bradley Justice shares his exciting discovery of Mattel proto-type doll heads, including those of Barbie® and her array of friends from the Mod period. Linda Edward unravels the history of the clever and beloved TopsyTurvy dolls. We have a report on Theriault’s recently held “Strike Up the Band: The Nancy Smith Collection” symposium and auction. Our dealers offer a banquet of tempting treats for every collector while spring doll shows, events, and auctions continue. Take time as spring fades into summer to go a-Maying and reap the joys of our gentle hobby.

Laurie McGill Senior Editor

ANTIQUE DOLL COLLECTOR MAY 2024

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LAYAW AVAILA AY BLE

22.5” Eden Bebe Paris 9 Depose by Fleischmann & Bloedel, beautiful coloring & stunning blue PW eyes, original? HH wig, shoes & socks, pierced ears $1595.

Sweet Cabinet Size 13 ¾” K star R 117 A Mein Liebling, brown st eyes, small rt eye rim chip $1995.

12” Bahr & Proschild character toddler CB & Co 620, brown sl eyes, mohair wig, sweet face $425. 5.5” Steiff mohair seated terrier w/ button & collar $79.95

Adorable 16” Kestner 167 6 ½ with brown sleep eyes, antique HH wig, sweet outfit, beautiful face $425. 4.5” Steiff Dahi Dalmation w/ jointed head, mohair, w/ button & collar $52.

16.5” CM Tete Jumeau 6 in red on head w/ blue PW eyes, stiff wrist body w/ blue Tete Jumeau mark, original DEPOSE Paris shoes (one sole replaced), antique clothing, beautiful face $2950. 7” US Zone Germany Steiff Squirrel w/ nut, beautiful mohair, tag & button $195. 4.5” Steiff US Zone Begging Chow w/ US Zone tag & button, wool mohair, great face $125. 13” CM German Heubach Koppelsdorf 250 10/0, blue painted eyes $165. 14” German Artist Doll w/ sweetly painted face all original $99.95

12.5” S & H 1079 4 ½, brown sleep eyes, sweet antique outfit $345.

28.5” Alt Beck & Gottschaulk #1123 ½ size 12, 1893, blue stat eyes, shoulder plate on cloth body w/ bisque lower arms $295. Moravian Benigna cloth dolls 1930’s, hand painted features, floss hair, stitched tote w/ hand written card: Moravian doll originated and made by the Bethal Circle of King’s Daughters The First Moravian Church, Bethleham, Pennsylvania. 4.5” representing the little girl choir w/ cherry color, small tear on dress $150. 5” representing the married sister choir w/ blue color $175.

American Character 1950’s w/ high facial coloring: Fabulous 18.5” Toni all original in minty mint condition $195. 19” Betsy McCall blue flirty eyes all original wedding gown & veil, replaced shoes $250.

18” Kestner 160, blue sleep eyes, nice BJ body, antique mohair wig, wool coat & hat, sweet doll $350. 3.5” German all original traveler boy on 5 piece compo body, glass eyes $125.

19” Heinrich Handwerck, brown sl eyed beauty in antique style dress, beautiful molding & coloring $395

20” Heinrich Handwerck 99 DEP 11 ½, unusual face mold early head & body, blue sleep eyes, original dress & unders, mohair wig $595.

12” Olivia Tristesse hand painted by Helen Kish, beautifully articulated body $495. Gotta Dance Tatum 8” & Peyton’s Posse 12”, The Penguin Siblings, Super Cute! $395.

Helen Kish Dolls from Chrysalis Collection – NRFB w/ COA’s 14” Pistachio Wren, blonde mohair wig, green painted eyes, LE 500 $225. 12” Olivia Venetian Carnaval 2011 MDCC San Antonio, blue eyes, strawberry blond $450. 14” Chasing Butterflies Piper 2009, brown eyed, blonde $225.

Artist dolls by talented unknown artists: 12” Man well detailed w/ brown yarn hair & mustache $75. 12.5” Man great face w/ green hat, white hair & mustache $75. 12” Old lady in black & white Victorian style $45. 12” Henry the 8th in his finery & red hair $75. 9.5” Queen Victoria w/ wax head & hands $75.

18” Alexander Winnie Walker all original, Cissy face 1950’s $195. 16” Steampunk Tendencies’ Jo by Helen Kish, hand painted 10/25, w/ COA & wrapper $495.

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FINE ANTIQUE DOLLS AND ACCESSORIES BUYING & SELLING QUALITY DOLLS FOR OVER 30 YEARS

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www.antiquedollcollector.com Publications Director: Lisa Brannock Editor-in-Chief: Gay Bryant Senior Editor: Laurie McGill Production Director: Louann Wilcock Art Director: Lisa Claisse Administrative Manager: Valerie Foley Social Media Director: Brigid McHugh Jones Contributors: Elizabeth Ann Coleman, Linda Edward, Bradley Justice, Samy Odin Subscription Manager: Jim Lance Subscriptions: adcsubs@gmail.com Display Advertising: Lisa Brannock: lbrannock@antiquedollcollector.com phone: 631-261-4100 Louann Wilcock: louannw@antiquedollcollector.com phone: 872-216-8842 Advertising Materials Contact: Louann Wilcock: louannw@antiquedollcollector.com phone: 872-216-8842 Editorial: antiquedoll@gmail.com Gay Bryant: gbryant@antiquedollcollector.com Laurie McGill: lauriem@antiquedollcollector.com phone: 717-517-9217 Send all catalogs to this address: Antique DOLL Collector, 4800 Hampden Lane, Suite 200, Bethesda, MD 20814 Marketing: Penguin Communications, Inc. Subscriptions: Send to Antique DOLL Collector, P.O. Box 349, Herndon, VA 20172. Phone: 631-261-4100 Subscription Rates: One Year $55.95; Two Years $105.95. First class delivery in U.S. add $34.00 per year. Outside the U.S. add $39.95 per year. Foreign subscriptions must be paid in U.S. funds. Do not send cash. Credit cards accepted.

1. 14” First Series Portrait Jumeau, early, originally dressed and captivating! $11,500. 2. 14” Steiner “C” bebe w/ lever eye mechanism, antique outfit and rare bourrelet hat. $5,950. 3. Pair of 7” French bisque children in their orig. glass- covered presentation box, wearing orig. elaborate costumes and tending to their flock of sheep. Fresh from the factory! $2,650.

Hope to see you at the NADDA Show and Sale on May 17th and 18th, taking place on one whole floor of the Embassy Suites Hotel at Kansas City Airport! Every suite is a private shop for a calm and pampered, doll shopping experience. Everyone invited, and lots of variety! Even a silent auction! We will be featuring more dolls from the vast collection of Sherryl Shirran! 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

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Antique DOLL Collector (ISSN 1096-8474) is published monthly with a combined issue in July/August (11 times per year) by the Puffin Co., LLC, 4800 Hampden Lane, Suite 200, Bethesda, MD 20814 Phone: 631-261-4100 Periodicals postage paid at Northport, NY and at additional mailing offices. Contents ©2024 Antique DOLL Collector, all rights reserved. Postmaster: Send address changes to Antique DOLL Collector, P.O. Box 349, Herndon, VA 20172.

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MAY 2024

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Valerie Fogel’s

Beautiful Bébés Fine Dolls & Precious Playthings from our Past

www.beautifulbebes.com

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

Mischievous Orphans Love is Googlies! Two tiny darlings! Both in overall excellent condition! The blonde all original Hertel Schwab Jubilee 165 is 13” and the auburn all original Kestner 221 is a mere 11”! Beyond charming! Generally excellent! Something to cheer you and endear you! Hertel Schwab $2995. Kestner $3995. Member UFDC

Enchanting Huret Poupèe This enchanting 18” beauty has the advantage of being on a completely articulated, marked Huret body. She is delightful from head to toe with beautifully painted features. Her costume is circa 1860 and possibly by Mlle. Bereaux. She is accompanied by a rare and desirable original leather belted purse with clasp and original fastenings as well as an antique ivory silk fringed parasol. Mademoiselle comes with a lovely additional antique wool costume. Both costumes work well with her charming hat. Please call for additional details.

& NADDA

Gigoteur Bébé - From the estate of my dear friend and fellow dealer, Lucy Omaits. This treasure from Maison Steiner still moves with key-wind and is dressed in a completely wonderful antique costume of golden silk and antique French lace. She is seeking a new home. A treasure, much beloved. $2995.

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Wee 14” Bru Bébé This beautiful Bébé has a few lovely secrets. A bit of provenance and another costume from her roots. Perfect in every way we treasure. Overall excellent condition. Feel free to call! $24,950. Brief layaway accepted!

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The Complete Guide to Antique, Vintage and Collectible Dolls

May 2024, Volume 27, Number 05

On the Cover PUPPETRY BRINGS DOLLS TO LIFE Puppetry and Dolls by Susan Foreman

HURET A Family Affair - The Genius of Huret by Valerie Fogel

Poupée from Maison Huret with beautifully painted features. Bisque head and breastplate conserved to articulated wood body. Private Collection.

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

Departments 2 Editor's Page 14 Auction News 17 Auction Calendar 45 Emporium 46 Museums 47 Events/Classified Ads Follow us on...

A HEAD ABOVE THE REST A Rare Discovery from Mattel, Inc. by Bradley Justice 6

ANTIQUE DOLL COLLECTOR

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TWO HEADS ARE BETTER THAN ONE Two-Faced Dolls of Babyland

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by Linda Edward

MAY 2024

4/17/2024 10:53:25 AM

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

1) Factory Fancy size ‘9’ Bru Marchant - post 1899 era in original display Box w. Label (no lid). 22” DEP on original Walker/Kisser body in Factory High Style Couture w. Chapeau & one Bru Shoe. Lovely ‘as-is’ or with your own ’Size 9’ Bru inside! $1495

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

matrixbymail@gmail.com

2) 20” SFBJ Depose Bebe ‘X’ - Jumeau brows, blue PWs, Orig. French Jointed Body & lavish couture w. grand Chapeau. $750 3) Romantic 20” Bebe Louvre - dramatic heirloom treasure. Unique (not a Tete face) creamy bisque w. rich brown eyes Shaded Lids, orig. Wig/Pate, coil, body & regal plum velvet Hooded Coat Dress w. Signed Boots. $3500 2

4) Magnificent 36” Closed Mouth Jumeau- largest size 20” cir. head! Fully sgnd. flawless complexion, Bl. PWs, Appld. Ears, Full Factory Wig & Pate, plus Antique Ensemble! $5500 5) Doll Size Vanity Just 9” high, this cabinet size gem opens its 7”x11” lid to reveal 6-Orig. Toilette Items in Silk Interior. $595

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6) Victorian Swiss Music Box Album 11”x11” w/ working melodies accompanies 45 Victorian photos & chromolithograph designs w. Gold Edges & Elaborate Carved Cover. $550 7) The Maiden & the Mouse - 1890’s Jumeau Automaton by Lambert, Closed Mouth, Factory Orig. Silk Clothes & partial sporadic movements. For display or repair! Just 17” tall. $2250 - Doll in Pink- in Factory Ensemble. $110

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9) Very Early & Rare Bliss (att) 15” tall & 9”x6” w. Incredible lithography & lavish 11” high interior too; plus early unpapered roof. Includes 3-pc. Bliss Parlor Set & two 5” Dolls. So unique & important! $1200 just $950 10) 12” t.1850’s China Malepressed china, side part hair, Orig. Body & his Period Clothes. Great face! $850; Unusual 11.5” Milliner’s Model- special 1830’s Center part pulled over ears into coiled bun! Orig. Body w paper bands & no craze or repaint! $895

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11) Jumeau Automaton - see #7 Conveniently small size! $2250 12) Victorian Musical Album - see #6 13) First Edition Byelo w. Socket Head- lovely quality, sgnd. Head & Compo Body, 14” long w. Blue Sl. Eyes. So special & sweet! $425

8) Bliss Style Outbuilding - A perfectly sweet 4”x6” Hen House for your Bliss Village w. Rooster & Hen & spring opening gate! $90; 8” Debbie Thiboult Rabbit- Very lmtd. ed. (only 300) of this cunning hand carved & sgnd. Rabbit w. jtd. arms & toys. $250

14) Rare 15” Kestner Character ‘181’- $1595; Factory Original 15” French Trade Handwerck $450; Steiff Swapple - rare w. button$145 15) Attic Mint 11” Heubach Toddlers- Factory Perfect from their matching dense blond Mohair Wigs to leather pom-pom Shoes in bright Factory Clothes. Happy smiles! $595 16) 9” Pink 50’s Easter Bunny w. Orig. Ribbon & Hay- $115; Steiff 7” Yellow DuckOriginal eyes & tag. $75; Steiff 4” Duckling mint w. ID. $60

17) Romantic Kestner ‘146’- a 26” All Original mint beauty in very fine antique clothes, shoes & wig w. mint bjb too! Luscious bisque. $650; Steiff Duckling w. IDs. $35 18) Unusual 18” Rempling & Breitung ‘Mariner’- mint brunette w. Factory Wig & Shoes. $295; Vintage Kestner Nurse- see next page

19) 24” Halbig Baby w. Clockwork Eyes When wound the big glass eyes rove side to side continually. Adorable! $1800 just $1295

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

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

matrixbymail@gmail.com

20) 16” JDK ‘243’ Asian Baby- Original Embroidered & Beaded Robes, Head Piece & Slippers and Long Queue. $3900. $2500; 9” Asian All Bisque - unique quality model, Gl. Eyes, Orig. Box & UFDC Ribbon! $275; Steiff Duck$35

21) 17” Spill Curl Lady - brush marks, beautiful old layered clothing, such pretty orig glazed porc limbs! $295 22) Ethereal 16” Poupée Printempsmint pristine Fashion, delicate quality w. ptd. eyes & her high style Spring Couture. $1250

23) see #6 24) Cabinet Size 11” Poupée - delicate lively face, big PWs, great Wig, miniature print Bustled Promenade Gown w. Chapeau. $1495 25) Vintage 20” Kestner Nurse- brilliant quality bisque with Factory Wig, Shoes & Body - All mint. $575 26) see #5 27) Attic Original 15” Bebe Cosmopolitemint bisque, body & period clothes & shoes. $325; All Original & Mint Kestner ‘160’Scarce doll! Gorgeous clothes, mohair wig. Sgnd. body w/Factory Shoes. $695

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28) Stunning 18” Chinese Opera Pair- Incredible facial artwork, elaborate Silk Costumes w rare faces. Strung as marionettes. Mint! So rare. $795 29) Closed Mouth 15” Kestner Character- mint mold ‘181’ (see Foulke), Carved tiny teeth, smile, Sgnd. Mint Body, Wig & Factory Shoes & dashing kilt. (See #14.)

30) 15” Factory Original Handwork ‘109’- striking from Wig to Boots, French face & sgnd. bjb. (See #14) 31) 11” German Brown Child- fully jtd. special size, so pretty in pink. $425; 8” Gbr Krause in antique blue. $140; S&C 8” Child- Factory Wig & Mint Flapper Body. $175 27

Any unpriced items are display only.

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See you in Kansas City! NADDA Show and Sale May 17-18, 2024 UFDC Sales Room July 23-27, 2024

Marion Maus Dolls, Doll House Miniatures, Doll Houses Member UFDC, DCA & NADDA (443) 838-8565

See, Touch, Discuss...

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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

You’ll find me at the National Doll Festival Show, Kansas City, July 21–24, Harrah’s Casino (close to the UFDC show!)

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

Experience Pure Doll Joy!

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more from 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! Anne Demuth-half-Withington-MAY24.indd 9

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Auction News Florence Theriault and Bradley Justice presented a one-day Dollmastery Seminar, on April 5, 2024, as a prelude to the “Strike Up the Band” Auction.

Theriault’s “Strike Up the Band” The Nancy Smith Collection On April 5th Theriault’s hosted a fascinating and informative Dollmastery One-Day Seminar at their Annapolis, Maryland gallery. Florence Theriault was joined by Bradley Justice as they shared their expertise on the antique cloth dolls in the collection of Nancy Smith. Nancy Smith collected and documented some of the most outstanding examples of cloth dolls with a focus on American dollmakers of the 19th and 20th centuries. Dolls created by Izannah Walker, Martha Jenks Chase, Roxanna Cole, and Maggie and Bessie Pfohl were just a few of the dolls

that attendees had the opportunity to study and handle in this intense Several dolls by German dollmaker seminar which shared the history and method of their Käthe Kruse were in the preauction seminar, including three craft. “frog hand” examples. The recurring theme during the lecture was American women who created dolls that they felt would be enjoyed by children without the mechanics often imposed on them by their male counterparts. Whether for charity or profit, women dollmakers were industrious and clever, and in most cases quite successful. Bradley Justice shared his vast knowledge of the dolls made by sisters Margaret and Elizabeth Pfohl of North Carolina referred to as “Maggie Bessie” dolls. Florence Theriault shared an extensive history of Martha Chase and Roxanna Cole, with documentation and ephemera.

Left: Martha Chase character dolls and an Alabama Baby. Right: An American Cloth Doll by Roxanna Cole had a hammer price of $9,250 in the April 6th auction, “Strike Up the Band.”

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Auction News (Continued from page 14) Left: Dolls by American dollmaker, Izannah Walker (top row) and two examples of Maggie Bessie dolls, bottom row, right. Right: Part of the Steiff “Circus Parade Band,” which realized $32,000 at the auction.

The auction of the collection the following day included two dolls that had been featured on the United States Postal Service’s “Classic American Dolls” stamps issued in 1997: Lot 10, American Brown-Complexioned Babyland Rag Doll for Horsman, brought a hammer price of $7,000. Lot 14, American Cloth Doll by Martha Chase in Original Costume, brought $4,000. Rare Schoenhut carved wooden dolls included Lot 338, Very Rare American Carved Wooden Girl with Bobbed Hair, Model 100, sculpted by Graziano. Bidding ended at $11,500. Dolls by Martha Chase included the extremely rare complete set of Alice in Wonderland Dolls, Lot 17, with a price realized of $48,000. Lot 12, a smaller 13-inch black complexion cloth doll with black fleecy wig by Chase, saw a hammer price of $10,000. European dolls included Käthe Kruse and Lenci. Lot 108, German Cloth Character Baby “Traumerchen” by Käthe Kruse, realized $8,000. Lot 225, Rare Italian Portrait Doll of “Josephine Baker” in Banana Costume, Model 554 by Lenci, saw a closing price of $6,500. Highlights of the sale included four examples of the American cloth doll by Izannah Walker: Lot 5, a Walker cloth boy with additional costumes, $14,500; Lot 7, a Walker girl with ringlet curls, $28,000; Lot 32, a Walker girl in original costume, $65,000 and Lot 341 a Walker doll with Martha Chase Lineage, $3,600. Steiff was well represented with a variety of dolls and animals. Lot #46, “Circus Parade Band” by Steiff with provenance, saw a hammer price of $32,000. Four examples of the Moravian Maggie Bessie Doll ranged in prices realized from $1,900 for Lot 194, an 18-inch example,

to $,4,800 for Lot 97, a 14-inch example with finest oil-painted complexion. Five American Studio Dolls, Lot 362, by NIADA artist Dorothy Heizer realized $2,500. Lot 217, Flapper Girl “Flossie” by Heizer saw a hammer price of $5,500. Heizer’s portrait doll of King Henry VIII, Lot 206, brought $17,000. Nancy Smith collected fine examples of other dolls in addition to cloth. Lot 26, a poupée by Leontine Rohmer realized $18,000. Lot 24, a poupée by Adelaide Huret with signed Huret boots, had a hammer price of $20,000. The auction was held in Theriault’s Annapolis Gallery and provided attendees the perfect opportunity to “bring a doll home.”

Lucky attendees were able to handle examples of fine cloth dolls from the Nancy Smith collection while learning stories of the dollmakers and their techniques.

ANTIQUE DOLL COLLECTOR MAY 2024

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Exquisite!

Auction Calendar Withington Auction

The Elusive DEHORS

May 15-22, 2024 - Online “Timed” Absentee Auction DoubleTree by Hilton, 2 Somerset Pkwy, Nashua, NH 603.478.3232 | withington@conknet.com www.withingtonauction.com

Just one of several doll molds available to fit our exclusive resin body!

Theriault’s

Friday, May 17, 2024, Preview 9 AM, Auction 11 AM ET Ten2Go In Person Auction at The Crowne Plaza Saturday-Sunday, June 1-2, 2024, Preview 9 AM, Auction 11 AM ET Marquis Antique Doll Auction Weekend: Private collections of Sharon Jerome, Gloria Duddleston and Susan Germ, Theriault’s Gallery Monday, July 22, 2024, Preview 9 AM CT, Auction 11 AM CT Marquis Antique Doll Auction, Hotel Kansas City Hyatt, Kansas City, MO 410.224.3655 | info@theriaults.com www.theriaults.com

Frasher’s

Doll by Patti Ashe.

Alderfer Auction

www.dollspart.com

Sunday, May 19, 2024 Preview: 9 am; Auction: 10:30 am “Simply Irresistible” Auction at KCI Expo Center & Holiday Inn Hotel, 11730 NW Ambassador Drive, Kansas City, MO 2323 S Mecklin Sch. Road Oak Grove, MO 64075 816-625-3786 | frasher@aol.com | frashersdollauction.com

Serving the doll industry for over 80 years! 1-201-444-3655

May 22nd at 8 PM ET CISSY Dolls, and Other Contemporary & Vintage Alexanders - 250+ Lots Online at Alderferauction.com July 10, 2024 at 8 PM ET Barbie Auction Online at Alderferauction.com 501 Fairgrounds Road, Hatfield, PA 19440 215.393.3000 | www.alderferauction.com

Galerie de Chartres

Saturday-Sunday, May 25-26, 2024 Antique Dolls and Automata +33 (0)2 37 88 28 28 | chartres@galeriedechartres.com ivoire-chartres.com and interencheres.com/2800

Sweetbriar Auction

Saturday, June 8, 2024 Preview: 8 am; Auction: 10 am Antique & Vintage Doll Auction Crescent Shrine, 700 Highland Drive, Westampton, NJ 410.275.2213 | sweetbriar@live.com sweetbriarauctions.com

Ladenburger Spielzeugauktion Friday-Saturday, June 14-15, 2024 Summer Auction Saturday, June 29, 2024 Steiff Special Auction in Giengen 0049 (0) 6203 13014 | mail@spielzeugauktion.de www.spielzeugauktion.de

C&T Auctioneers

Wednesday, May 22, 2024 Fine Dolls, Dolls Houses & Teddy Bears Auction ++44(0) 7736668702 | leigh.gotch@candtauctions.co.uk www.candtauctions.co.uk

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MAY 2024

4/17/2024 11:48:26 AM

Huret A Family Affair

by Valerie Fogel

Rare miniature painting shown here with both the front and back indicating the painting was created by Monsieur Chéron in 1807.

any believe the Huret poupée story began on December 5, 1813, when Adélaïde Aimée Calixte Huret was born to Leopold Calixte and Marie Aimée Beffara Huret. Calixte, as she preferred to be called, the second of three daughters born to the couple, led a life devoted to her family and the revered Huret lock and furniture businesses her father built. However, in my studies, her story is rooted much earlier. Let us peek into the fascinating history of events before her birth and long before 1844 when her inspired dreams of creating a special doll took hold. Our story begins when Leopold Calixte Huret was born in 1786 to Joseph René Francois Huret and Marie Louise Aube, a merchant family in the Nantes region, just three short years before the onset of the bloody French Revolution. Joseph Huret was a committed royalist, a police captain, and a soldier for Vendée, a department in the Loire region of western France on the Atlantic coast. Sadly, in 1791 Joseph was captured and guillotined for his role in fighting for the Royalists. Little Leopold was only five years old when this horror occurred. The death of his

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This is a digitally retouched image of Adelaide Calixte Huret’s mother as it most likely appeared in 1807.

A gathering of children circa 1859.

father and the Reign of Terror that continued, influenced Leopold throughout the rest of his life. Leopold’s widowed mother sold their poultry business and fled to Paris, quickly remarrying a kindly and prosperous gentleman named Balthazar Theodore Desprez. Leopold was well cared for and well educated at a Beaux-Arts school on the Left Bank studying industrial

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Clockwise from left to right: Examples of the locking portfolios created by Leopold Huret SR. Pair of adult sized tables made by Leopold Huret. Courtesy Theriaults. With the advent of the bisque head, the features became quite refined and portraitlike. Courtesy Theriaults. Close-up of china Huret c. 1855. Private collection of Kathleen Crescuillo. Full-length china Huret c.1855. Kathleen Crescuillo Collection.

arts specific to clock making, ironwork, locksmith trade, and other precision mechanical arts. He became impassioned and driven to manifest his learnings into an artistic calling rather than becoming a simple tradesman. In 1804, at eighteen years of age, he joined Napoleon’s Imperial Army for six years. He returned to Paris in 1810 taking an apprentice position with a clock maker. It was during this period he met and fell deeply in love with Marie Aimée Beffara. Wanting to marry, Leopold was introduced to her family who lived in Illiers l’Eveque, a small village in Normandy where the family had resided for many generations. Here he met Aimée’s uncle, Francois Louis Beffara, a multi-dimensional, loving man. Uncle Beffara was the Empire’s Police Captain, a scholar, and a passionate Lyric Arts collector at the time. He became the young couples’ mentor and guardian, helping Leopold and Aimée all his life, especially after the death of Aimée’s father in early 1811, the same year of the Huret Company’s creation. Leopold was busy with his company, specializing in clockworks, then moving on to combination locks for government courier portfolios, and awarded an Imperial License and contract. During these years of 1812 through 1814, Aimée gave birth to three daughters, Olympe Louise Leopoldine, Adelaide Aimée Calixte, and Marie Therese Aimée. As time passed Leopold’s exceptional skills and renown grew, and he was named Mechanic and Engineer to the King, in no small part helped by the numerous introductions and connections made by Uncle Beffara. Still, Leopold and Aimée longed for a boy. Finally, in 1826, after several harsh miscarriages, Aimée gave birth to a boy, Leopold Louis Emile. Sadly, Aimée’s health deteriorated after the difficult ANTIQUE DOLL COLLECTOR

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Signed Huret ankle boots most likely commissioned through Thierry. Courtesy Theriaults.

Pair of stamped Huret A Paris boots. Courtesy Theriaults.

Sublime bisque shoulder-head Huret in marked Huret dress and boots from the Rosalie Whyel Collection. Courtesy Theriaults.

birth of her son, and she declined over the next eighteen months until she passed away from a heart attack in the spring of 1827. The family was devastated. Uncle Beffara stepped in the following year and took the children to Vanves, enrolling the girls in Thomas’ Boarding School for Demoiselles, while young Leo Junior lived with his cherished Fine bonnet in stamped Huret green uncle. The three girls became well educated box. Courtesy Theriaults. in all the arts, including drawing, sculpture, Huret parasol produced by Mssr. and Mme. Calixte painting, and theatrical and lyric declamation Farge for Huret. Circa 1860. Courtesy and Olympe (a rhetorical exercise or set speech in a forthright and clear Theriaults. accompanied their manner such as a Shakespearean declamation or delivering father to the Paris Universal Exposition of 1844, where he words set to music clearly). was again awarded a silver medal. Calixte, now thirtyBetween the years 1830-1844 the family moved to one, wandered the exhibits and became inspired by the 2 Boulevard des Italiennes aided by the continuing new dolls and toys she saw there. She dove headlong into generosity of Uncle Beffara. This area was considered the researching a method to develop her own project; gleaning fanciest district of the capital city; elegant, busy, luxurious, information from successful doll producers such as Simon fascinating, and spiritual. Against this heady backdrop, Auguste Brouillet and his wife Cacheleux, who had the new Leopold Huret, Sr.’s renown grew and he was sought“Undressing Dolls” that could be dressed and redressed, after for his combination locks, ironwork furnishings, and and the dolls by Messrs. Belton and Jumeau with stitchedengravings, winning numerous medals at the National on clothing in a profusion of styles. These dolls were stiff Expositions. His cherished son, Leopold, Jr. lived and and immovable and it set her imagination on fire! She learned in Paris, where he shared a unique fraternal bond read all relevant books, perused documents, and patents, with his father that taught him well. and asked a multitude of questions. As time went by, she Sadly, in 1838 Uncle Beffara passed away, marking the developed several prototypes. Calixte imagined this doll end of a precious time. Leopold Huret spent the next years not as a little child and not a young lady, but a girl of twelve devoted to his creations, continuing the legacy of the Huret or so—one that would be appealing to young ladies on name with his devoted children close to his side. 20

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the verge of womanhood, inspiring them to sew and decorate beautiful costumes with the help of their mothers or older sisters. Her father, a skilled expert craftsman of exquisite furniture, made many examples in a one-third size as salesman samples. Calixte, captivated by these smaller versions, envisioned a doll perfectly sized for these luxurious furnishings. This inspiration indeed became a reality in the fabulous, gilded furniture that her father, Leopold and her brother assisted her in producing. Although none of her early doll creations pleased her, she finally arrived at a formula based on the fact the average height of twelve-year-old girls in France was 130 cm (about 51.5 inches). She calibrated her specifications to emulate a doll with this relative height on a one-third scale or 17.7-18 inches. This became a popular and standard size for a fashion doll. (Marked ‘4’ by other makers; never by Huret.) Although she worked independently, Calixte frequently conferred with her elder sister, Olympe, and they dreamt of the refined skills these lovely dolls might inspire young girls to learn. Finally, at the 1849 Exposition, she was extremely impressed with the glazed doll heads produced by Jacob Petit. Together, with her younger sister, Marie Therese, she was able to approach Jacob Petit and enter an arrangement for the production of glazed porcelain heads specific to her concept. Calixte continued to hone her skills and designs, patenting her doll; and placing the lovely heads on articulated gutta-percha bodies; a heretofore unheardof idea. The dream of inspiring young girls and their mothers to sew for the dolls faded as success found her lovely doll and patrons clamored for ready-made costumes. Calixte and Olympe hosted small groups of young girls and their mothers, initially holding sewing sessions, as Calixte attempted to stay in the realm of an artisan producer. However, it became clear the wealthy patrons had no desire to sew for the doll or have their housekeepers or nannies engage in this pursuit. In 1855 Example of rare Huret gutta-percha body. both her brother, Leopold Jr., and Adelaide Calixte were Courtesy Theriaults awarded the Silver Medals in their categories. To the children’s great sadness, Leopold Sr. passed away on December 6, 1857, succeeded by his son, although his two elder sisters continued to oversee the family business. To meet growing customer demands, in the early 1860s, Calixte aligned forces with the highly respected and quite talented Madame Farge, a skilled seamstress and designer, who, along with her husband, was a successful manufacturer of canes, parasols, and umbrellas. Soon after, other firms joined in the production of all manner of miniature items and accessories to accompany the sought-after Huret Poupée, many bearing the prestigious Huret name—a boon for the Huret doll as well as the chosen companies such as shoemaker, Thierry, and several manufacturers of millinery, leather goods and accessories. Calixte’s creative mind never rested. She struck on the idea to change the

Still exquisite with glass eyes, although the painted eye Huret continues to reign supreme. Private Collection of Kathleen Crescuillo.

Interesting x-ray of a Huret with a porcelain rod neck on a gutta-percha body. Doll is from the Lonchambon period 1867. Private Collection

The gutta-percha body on the left is the doll in the x-ray now in a private collection. Courtesy Theriaults. ANTIQUE DOLL COLLECTOR

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Huret from Lonchambon era with porcelain rod in neck on gutta-percha body. Private Collection United States.

Beautiful bisque Huret on guttapercha body with swivel neck. c.18601863. Courtesy Theriaults. Currently in collection of Ladonna Dolan.

Example of the pin in the neck that prevented the head from spinning too far around. Huret body stamp.

china head to a pressed unglazed bisque with enamelpainted eyes feeling this would be a more natural look. This occurred between 1860-1861. And so, an updated version was born in this Golden Era of “The most desirable and most expensive doll in all of Paris.” The doll was painted with exquisite tenderness. Her beautiful eyes retained the classic dreamy look Calixte insisted on, with subtlety about her features making each doll unique both in beauty and individualism. The bisque she employed was very pale and delicately tinted with shadings of pale peach and rose, while her heavy-lidded blue eyes reflected an infinite gaze expressing the very intellect and refinement of her creator. Later, desiring still more realism, she designed the doll to have a swivel neck and patented a neck rotation that prevented the head from “spinning” backward, limiting rotation evenly with the shoulders from side to side. (This feature was later removed by a patent change in 1867 at the 22

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A child of the 1860s by Louis Antoine Léon Riesener, Portrait de Mademoiselle Ehrler (1861).

end of the Huret-Lonchambon era.) The excitement of the early 1860s was marred by a sensational lawsuit brought by Adelaide Huret against Leontine Rohmer Vuillaume and her husband for patent infringement for dolls made like the Huret models from stamped zinc. This lasted from December 1861 through July 1862. Mademoiselle Huret won on appeal. The Huret poupée began her life with a gutta-percha body, a material that ultimately failed the test of time based on conditions of handling, climate, and other factors of care. Initially, damaged Huret dolls were repaired at the Huret Doll Hospital exclusively with original replacement parts including gutta-percha. The Huret stamped leather strip which covered the breastplate attachment to the body was reapplied and repairs occurred through the Lemoine period, into the 1880s, still at the Montmartre address. (The Huret Company was located at this address from

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1852-1883, although ownership changed several times.) Other doll makers later opened “Doll Clinics” throughout the city and conserved the Huret dolls onto wooden, leather, and later, blown leather bodies. What delight little owners must have taken in dolly’s renewed sturdiness! The Huret company, managed and owned by Adelaide Calixte and Leopoldine Olympe, transferred in 1864 to younger brother Leopold and his bright and talented friend, Remy Aimable Lonchambon. Leopold, Jr. was a bit of a dreamer and more prone to creative endeavors, while Remy had a penchant for business and management. The partnership was successful although ultimately, the company passed to Lonchambon in 1867 until he passed away in 1873, leaving the company in the care of his distraught but capable widow. With the love and support of the Huret family, she carried on quite successfully. Then came the much-heralded National Exhibition of 1878. Calixte was 66 years old now, still filled with incredible childlike enthusiasm. The newcomers to the doll scene, the new Bébés of Emile Jumeau and Leon Casimir Bru, made in the likeness of young children of four or five years of age triggered her creative mind. By 1879 the first Bébé Huret was ready, produced in small quantities, including

Clockwise from top left: Original Huret signed dress made by Madame Farge. Stamped inside waistband Huret A Paris. Private collection. Beautiful fur wrap in marked Huret box. Courtesy Theriaults. Huret-era slippers. Courtesy Theriaults. Bisque head, swivel neck Huret poupée in marked Huret A Paris clothing by Madame Farge, and marked boots. Private Collection United States. Poupée from Maison Huret with beautifully painted features. Bisque head and breastplate conserved to articulated wood body. Private Collection.

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Colorful Huret table c. 1867. Courtesy Theriaults.

Superb bisque Huret with provenance to French author, Victor Hugo and fine gilded metal table and chair produced by Leopold Huret. Courtesy Theriaults.

a richly appointed wardrobe. Initially, Mrs. Lonchambon with oversight by Calixte, produced the dolls in gutta-percha with a rounded childlike articulated body and a bisque head with expressive painted eyes. Later, the eyes changed to blown glass of brown or blue, and the gutta-percha body was replaced by a wooden articulated body quite like the Bru Bébé Modele and the wooden bébé bodies by Jumeau. The Huret line had added another star. A neighbor, Monsieur Lemoine became fascinated by the new doll as well as the poupées. He privately dreamed of buying the Huret doll business. After several requests, Madame Lonchambon, finally ready to retire, sold the business in May of 1880. This shift marked the end of the involvement and close oversight of the Huret family in the doll business, except for the continued use of the Huret brand, by agreement, on the molds of dolls created by Huret. Aime Francois Lemoine was innovative, ambitious and a perfectionist. He honorably carried the name and the business into the twilight of the Golden Age of French Dolls, creating new innovations and relocating the shop to 34 Boulevard Haussman. There would ultimately be two more successors, Edmond Pierre Carette in 1889 and finally to Elisa Julie Prevost in 1901. Adelaide Calixte passed away in 1905 at the age of 91 freeing Prevost to move in a new direction entirely, with dolls reflecting the styles and spirit of the new century and the aesthetic art movement that ensued. I am fascinated by the tapestry the Huret family wove and how their trials and skills honed them and created a dynamic and colorful story of tenacity and success. Keep in mind that throughout these years, there were backdrops of bloody revolutions, uprisings, and war as well as years of peace and prosperity. France alternated between extremes and there were times of intense fear and suffering. Despite these challenges, the Huret family stuck 24

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Possible prototype. Rare painted metal head Huret. Private Collection United States.

together and stayed resilient. It is interesting and somewhat sad that the four children of Leopold and Aimee never married but stayed together until parted by death. Their beautiful legacies live on, and we call the dolls and the furnishings “Huret.” We have just scratched the surface of the fascinating Huret history, and I am deeply grateful to all the researchers and dedicated historians who have shared so much of this information. “Maison Huret, the Finest French Fashion Dolls with Valerie Fogel” podcast is available online at: www.dollpodcast.com/podcasts/ maison-huret-the-finest-french-fashion-dollswith-valerie-fogel.

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Rare Huret Toilette Table with original key. Private Collection United States.

Twin Huret Bébés show gutta-percha bodies. Private Collection. Courtesy Theriaults.

Twin Huret Bébés and trousseau c. 1878. Formerly in the Rosalie Whyel Collection. Now in Private Collection. Courtesy Theriaults.

Children of the 1860s from La Mode Illustrée. Private Collection

Rare pair of Jardinieres marked Maison Huret. Private Collection.

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Puppetry Brings Dolls to Life By Susan Foreman now know what Alice felt like when she followed the white rabbit down the rabbit hole…what have I gotten myself into? And that is what I encountered when I decided to write about puppets. So much history, so much information, so much a part of worldwide culture—but where to begin? The more I read, the more overwhelming the subject became. I never realized just how significant puppetry is in human history. I discovered numerous museums featuring puppets, and colleges offering courses in puppetry, with Poland having a separate puppetry section within the Ministry of Culture. Puppetry was known to exist in Ancient Greece around the 5th century BC. And according to legend string puppets existed in the Orient as early as 1000 B.C. But for me, my first memory of puppetry dates to the early 1950s thanks to Howdy Doody. My parents had just purchased their first television set, and the first program I watched was Howdy Doody. To this day I can still hear the song “It’s Howdy Doody Time!” It was television and Howdy specifically that revived an interest in puppets and created a marionette frenzy during the 1950s. While the word puppet is a broad term used to describe an animated figure or object controlled by a person, there are specific terms that more accurately describe the figures. For example, a marionette is a puppet that is controlled by strings, and this is the most prominent type to have found its way into my home. Bunraku is used to describe the traditional Japanese puppet carried by manipulators in full view of the audience. Ventriloquist dummies (like Charlie McCarthy) are considered another form of puppet. There are hand or glove puppets that many of us played with as children and which are generally used in the popular Punch and Judy puppet shows. The marotte, virtually a short rod with an attached head, is a popular puppet form that was referred to as the “fool’s bauble” during the Medieval period when it was used by the court jester. 26

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Traditional Punch and Judy glove puppets and a Jester & his Marotte, painted by Philippe Mercier (1689 –1760) entitled Jeune garçon en costume de folie.

Although puppets date back to ancient times with the term “marionette” being first associated with string puppets in 16th century Europe, it was not until the late 19th century that marionette “toys” were offered to the public on a very limited basis—an example of which is a Jumeau marionette depicting Polichinelle. Polichinelle is the French adaptation of Italian commedia dell’arte character Pulcinella. The earliest depiction of Polichinelle in puppet form dates to the 17th century when it was performed by the French Brioche family of puppeteers. It was also at this time that Polichinelle acquired his now familiar costume consisting of a tight jacket, belt, and striped pants and acquired two humps, one on his back and the other on his front. Polichinelle was not a nice character. He was vulgar; his birth diabolical; his life in constant flux and considered totally beyond redemption. Jumping ahead to the 19th century, Polichinelle became an emblematic character for the Romantics with performances by puppeteer Maurice Sand, son of George Sand and Baron Casimir Dudevant, drawing large audiences with both high society and enthusiastic villagers. In 1880, French novelist and puppet enthusiast Louis Edmond Duranty published 24 plays, many featuring Polichinelle, to be performed at the ChampsElysees puppet theater. Perhaps it was this heightened interest in Polichinelle that inspired Jumeau.

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23-inch Jumeau Polichinelle, circa 1887. Head marked: Depose Tete Jumeau Bte SGDG8. Loosely jointed wood limbs for puppetlike articulation.

the much-photographed New York Flatiron Building was also the home of his first puppet shows. By 1919 his puppet shows were featured on Broadway with The Rose and The Ring being directed by Ellen Van Volkengurg who contributed the term “puppeteer” to the English language. Soon Tony Sarg productions were being performed in other cities including the performance of Alice in Wonderland at the 1933 Chicago World’s Fair. Perhaps the growth of the puppet theater can also be attributed to the desire for entertainment during the Depression years. Consider the popularity of Shirley Temple, Mickey Mouse, etc. And whenever you watch the Macy’s Thanksgiving Day Parade you can think of Tony Sarg for it was he who developed the idea in 1927 of the huge helium-filled balloons. 1927 was also the year that the first marionette of his design was made in Italy. Sarg began collaborating with Madame Alexander in 1934. His first designs featured popular fairy tales such as Hansel and Gretel, Little Red Riding Hood, and Alice in Wonderland in which he even included Humpty Dumpty. Initially, Alexander advertised 11 sets of Tony

However, it would be another forty years before we find the first commercially made marionette toys available in the United States thanks to Tony Sarg—a name that many doll collectors are acquainted with because of his connection to Madame Alexander.

Tony Sarg and a dancing marionette (left) and Tony Sarg photo from University of Connecticut Ballard Institute (right)

Tony Sarg does indeed deserve the title “America’s Puppet Master.” His contributions to the puppetry field continue to this day. Born in Guatemala (1880) to his German diplomat father and English mother he exhibited artistic skills from an early age. In 1915 he and his American-born wife moved from England to New York City where his puppet fame grew. His studio within

Madame Alexander Marionettes. Humpty Dumpty designed by Tony Sarg and from the initial Alexander offering of marionettes. Dopey and Mickey are from the Disney/Madame Alexander partnership.

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Sarg-designed marionettes with each set having multiple characters resulting in 33 unique designs. Sarg also designed hand puppets for the Alexander line. Some of the marionettes are marked on the head or upper back “Tony Sarg/Alexander” while others only have a cloth tag attached to the clothing. As the decade progressed Alexander partnered with Walt Disney to introduce the Disney characters including Mickey and Minnie and Snow White and the Seven Dwarves. Left-over marked bodies from Sarg’s line of puppets were sometimes used for the Disney line. While Madame Alexander was working with Tony Sarg, Effanbee was working with another puppeteer, Virginia Austin Curtis. Mrs. Curtis was first introduced to the puppet world when she joined the Olvera Street Marionette Theater in downtown Los Angeles in the 1930s. Many future puppeteers began their careers on Olvera Street. Over the next several years Virginia learned to design her own puppets culminating in the creation of Clippo the Clown. She joined forces with Effanbee to meet the growing demand for Clippo. Also, during the 1930s she established a puppet shop on Olvera Street. One day Edger Bergen dropped into the shop and asked her to sculpt the first head of Elmer Snerd, soon to be named Mortimer, who would become Charlie McCarthy’s primary foil. It was this relationship with Bergen that no doubt led Mrs. Curtis to create the Charlie McCarthy ventriloquist doll for Effanbee. The similarity of Effanbee’s 1937 Charlie to the original Charlie is amazing. The 19-inch Charlie in my collection has a composition head, hands, and feet on a cloth body and still retains his original box. Although Charlie was part of Bergen’s act from his high school days it was following their radio debut in 1936 when their popularity skyrocketed with Charlie’s popularity even exceeding that of Bergen. Bergen and Charlie made their final film appearance in The Muppet Movie in 1978 further confirming what a popular team they were. We have Bergen and Charlie to thank for reviving ventriloquism which had been declining with the closure of vaudeville halls, and we have Effanbee and Virginia Curtis to thank for bringing Charlie into our homes. Hazelle Hedges Rollins of Kansas City, Missouri was another Depression-era entrepreneur and major puppet maker. Having received a Fine Arts degree from the University of Kansas she was intent on pursuing a career in fashion design. However, a chance encounter in 1932 when an 11-year-old neighborhood boy asked the artistic Hazelle to make him a marionette changed the direction of her life.

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Above: Clippo the Clown marionette, 1937 (Matthew Bullock Auctioneers) Center: 19-inch Composition Charlie McCarthy by Effanbee with box, 1937. Effanbee Charlie with Marx Tin windup Charlie, circa 1940.

In 1934 she was teaching puppet making at the Nelson-Atkins Museum in Kansas City. And, in 1935 she began making marionettes in the basement of her home. To introduce retailers to her marionettes she attended the New York Toy Fair. While in New York she had the opportunity to study with Tony Sarg. So encouraged by both the retailer’s enthusiasm and Mr. Sarg’s encouragement, Hazelle returned to Kansas City, established her first factory, and by 1936 she was not just shipping her puppets throughout the United States but overseas as well. Hazelle’s Inc. became one of the most prolific manufacturers of marionettes and remained so

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until it closed in 1983. The early Hazelle’s marionettes were made of carved wood or molded composition while those after 1949 were of hard plastic. And while Clippo the Clown was Virginia Austin Curtis’s most popular marionette, Teto the Clown by Hazelle was by far her biggest seller.

Bob Baker in his early years (left), Bob Baker and Alton Wood founders of Bob Baker Marionette Theater (right). Photos from Bob Baker Marionette Theater website.

Above: Hazelle Hedges Rollins. Hazelle’s Teto the Clown with patented “airplane” control, circa late 1940s/early 1950s. Right: The “airplane” control does indeed help prevent tangled strings.

The enthusiasm for puppets continued to grow during the next two decades, thanks in part to the growing popularity of television. During the 1940s there were many makers of marionettes including Bob Baker in Los Angeles, California; Pelham Puppets in Marlborough, England; and Peter Puppet Playthings in Long Island City, New York.

Bob Baker grew up in Los Angeles and saw his first puppet show in 1930 at age 6. By age 8 he had established his first puppet theater in his backyard. The 1930s was truly the “Golden Age of Marionettes,” a time when marionettes became the preferred style of puppet for almost all new puppeteers. While attending Hollywood High School Bob began making toy marionettes through the WPA program. Following graduation from UCLA and the Art Center College of Design he apprenticed at George Pal Animation Studios, producers of the animated stop-motion puppet films known as Puppetoons. Bob eventually became head animator of Puppetoons which produced 40 films for Paramount Pictures. In 1944 Bob began making marionettes commercially under his name. Soon more than fifty department stores placed orders for his puppets necessitating Bob to hire additional staff. One talented staff member was Zoe Brooks who was the head dollmaker for Monica Dolls. He lured her away when he promised her $1.00 an hour (She was making 40 cents/hour at Monica Dolls.). One of the first jobs my dear friend, the late Martha Armstrong Hand (famous dollmaker in her own right) had upon immigrating to the United States in 1949 was making puppets for Bob Baker. Bob’s influence in puppetry and animation continued to grow. His puppets appeared in commercials for restaurants such as Bob’s Big Boy and McDonald’s. His workshop created promotional windows for Disneyland and animated displays for Knott’s Berry Farm. In 1963 Bob Baker and his partner Alton Wood (they began working together in 1949) formed the Bob Baker Marionette Theater (named an official Los Angeles Historic-Cultural Monument in 2009) which continues today. Although I do not own a Bob Baker marionette,

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I have adopted a “cast member” marionette used in various productions. My adopted marionette is “Clock.”

“Clock,” a cast member in various Bob Baker productions.

Bob Pelham, photo from Pelham Puppets Ltd. Archives.

Crossing the Atlantic we find the original home of Pelham Puppets in England. From 1947 until 1993 Pelham was known worldwide as a major maker of all types of puppets, from marionettes to glove puppets. Bob Pelham founded his company on May 20, 1947 (originally called Wonky Toys, changing the name to Pelham Puppets in 1948). Pelham once said of his puppets: “They are not just toys. They are actors longing to get on to a stage, to be greeted and applauded by an audience.” All handmade, the Pelham output grew from 80 puppets a week in 1947 to 1,200 a day by 1979. The 1950s saw rapid growth for Pelham due to the ever-increasing United States market. To encourage play, and of course, to increase sales, Pelham established The Pelpup Club in 1951. Every puppet sold included an invitation to join the club and receive the Pelpup News magazine resulting in a personal connection with the company. Pelham

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survived a devastating fire in 1961, and the ups and downs of economic cycles, but then on June 19th, 1980 Bob Pelham died suddenly at age 61. His widow, Anne, tried to keep the company going but with the creative genius behind Pelham gone she decided after six years to retire. After changing hands several times, the company was forced into liquidation in 1993. However, in 2008 the Pelham brand was revived by former employee David Leech (also the author of several books on Pelham). Mr. Leech has created a series of workshops and shows featuring Pelham puppets. These events are created primarily for schools and libraries and consequently The earliest Pelham puppet in my collection is Donald Duck. are introducing the Donald dates to late 1940s-early Pelham name to a whole 1950s and still retains his original new generation. Pelham-style box.

The first three Pelham marionettes that entered my home in 1980, shortly after they were made, are these large examples from the Pelham “Display Range,” i.e. those 24-inches-to-30-inches and suitable for display purposes.

Three smaller 12-inch size Pelham marionettes include Mickey & Minnie (1970) and Pinocchio (1962).

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As mentioned at the beginning of this article, Howdy Doody was my first introduction to puppetry, thus it seems appropriate to conclude this article with Howdy Doody and the company that made it possible for a child to have their very own Howdy. That company was Peter Puppet Playthings.

Peter Puppet marionettes the company ended after just fifteen years, the same length of time that Howdy was on television (1947–1960).

The unique “Unitrol” control feature and 1950s Peter Puppet Mickey.

1950s Peter Puppet Alice and Lady.

In a world where technology dominates, puppets continue to captivate, inspire, and connect us through their enchanting performances. q

Buffalo Bob Smith and Howdy Doody (above) and a Peter Puppet Playthings, circa 1950s, Howdy. And no…unlike the television star, Howdy the toy puppet does not have 48 freckles (one for each state of the union at the time).

Peter Puppet Playthings was incorporated in April 1947, eight months before Howdy made his television premiere. Raye Copeland was the creative force behind Peter Puppets, received a patent for his unique “Unitron” marionette control feature, and obtained the rights to make Howdy Doody. The company also offered a number of licensed Disney marionettes including Mickey, Alice in Wonderland, and Lady. Despite the popularity of

Sources: Union Internationale de la Marionnette, World Encyclopedia of Puppetry Art https://wepa.unima.org Ventriloquist Central, A Tribute to Ventriloquism https://ventriloquistcentral.com Marionettes and String Puppets Collector’s Reference Guide by Daniel E. Hodges, 1998 Collecting Pelham Puppets, An Illustrated Guide by David Leech, 1998 Enchanted Strings Bob Baker Marionette Theater by Randal J. Metz, 2021 Puppetry Arts Institute, Independence, Missouri https://puppetryartsinstitute.org/ Note: All puppets featured are from Susan Foreman’s collection unless otherwise noted.

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A Head Above the Rest W by Bradley Justice

The mythical Becky, only shown in fashion booklets and creating an enigma to last decades before Mattel would finally give us a version of the doll. Her ash blonde flip style is on the Casey head mold. This would be an early sample, as it still has Casey’s features.

The final version of Walk Lively Miss America Barbie® doll as she appeared in the Mattel Dealer Catalog. She has the Steffie face mold, a new head created in 1971 by sculptor Martha Armstrong Hand. 32

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e never seem to look at commercially produced dolls as being “art,” but there are no dolls that arrive on the toy store shelf that are devoid of having artistic people involved in their creation. Sculptors, painters, designers all have a hand in bringing dolls to market for retail sales. Mattel recognized that the artistic people involved with their doll production had to be the best. They sought out some of the most talented people in the industry, and the results over the years were best selling and iconic dolls such as Barbie and Chatty Cathy. Often those involved in this process are not acknowledged or given much credit. These people are in the research and development department. This department at Mattel was headed by Jack Ryan for more than 20 years from the mid-1950s to 1974. Innovation, engineering, and material choice was injected into each one of their toys. Recently, I was contacted by a friend to assist with the identification of some doll heads that had belonged to a former member of the Mattel Research and Development Team (R&D)—Gale Donald Jenkins. Jenkins worked for Mattel from the 1960s through the 1980s and during his tenure, he secured many patents and help to create many successful toys for Mattel. When he was newly hired, his first role was determining the use of different hair fibers to be used on the many different dolls. The choices for fiber during that time were nylon, kanekalon, polypropylene, and of course, saran. Each of these materials possessed different attributes as to color, style-ability and holding a set, and each had its own benefits/pitfalls when it came to using them in production. This analysis that was done in the late 1960s-early 1970s would be repeated each year as a new doll was created. Though style and marketability were main focuses, the ultimate would be cost of production. Jenkins would hold on to many of these samples and he would preserve them as a souvenir of his work. This collection of 69 heads was discovered by a colleague of mine, and I was given the opportunity to study, photograph and document this amazing piece of Mattel history. The collection contained Barbie, and her many friends and family members, plus Little Kiddle dolls and other Mattel doll offerings such as the Rockflowers. It showcases trial and error, ideas that never happened, provides answers to many mysteries while creating even more unanswered questions. These heads consist of “samples” meaning they are produced heads with variation hairstyles/colors and “prototypes” showcasing the first introduction of a doll/concept. These heads are from the Mod period of the Barbie doll history, roughly 1968-1974. During this time Barbie was going under many different innovations and changes. This era ushered in the change in the vinyl coloring that Mattel used for the skin tone. The earlier vinyl was very opaque and had a

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This sample of the 1968 Christie head with short curly hair has an unusual rooting pattern with the “sideburns” literally rooted onto her cheeks.

Living Fluff from 1971 was Skipper’s friend. Produced with blonde pigtails, this sample has red hair.

gray undertone. The Mod era vinyl has a brighter, pinker coloring with a translucent quality. The earliest example of this evolution in the collection is the head of a Midge doll. She has her classic face paint, but her complexion is Mod vinyl with brighter face paint. Midge’s hair is also a glossy red color. Even with these updates, Midge still maintained an old-fashioned look which would indicate why she did not make it to the Mod era in her original incarnation. In 1967 Mattel hired Joyce Christopher as a sculptor. Christopher had been a portrait sculptor and was classically trained. Her first task was to create friends for the new Mod era Barbie doll, an answer to the new 1967 Twist ‘n Turn Barbie doll with rooted lashes and a face that was created by her colleague Joyce Clark. Stacey, Barbie’s British friend was one of Christopher’s first introductions. This sculpt had a modern glamorous quality with a smile and painted teeth. In this collection of heads is a platinum Stacey with side ponytail braid with pink flowers worked into the braid. This hairstyle was not accepted as one of Stacey’s production models, being substituted with the side ponytail, but not braided. Included in the collection of samples was a 1967 Black Francie doll. This doll is rooted with dark brunette hair and the style is very much the same as the production, but the bangs and hair are much thicker. In 1972 Mattel would release the Walk Lively Miss America doll. Production dolls would have a flowing brunette shag and were presented with the Steffie face mold. This face was sculpted by

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Hair Happenin’s Francie doll. This This sample Francie has a sample doll has lovely coloring different hair fiber than the and an unusual hair fiber. production model.

Left: Prototype of the Skipper with Growin’ Pretty hair, from 1970. The doll has a cute updo, and the hole for the magic growing strand of hair is visible on the back of her head. Mystery Head. Carrot top hair in pigtails with doe-like brown eyes. This mystery doll is interesting in creating the question of the intended use for this Mod-era doll. She has a hand-painted face and applied lashes. Below: The collection of prototype heads contained a number of Mattel dolls including these Kiddle heads. The elaborate sample hairstyle is almost “Swiss Miss” inspired. The time it would take to produce this head gives us a reason why it never made it to the market.

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Jean Burger would sketch out the hairstyle to get an idea of the rooting pattern that would need to be used for the proposed doll. Here is her office with her at work in 1968.

The 1973 Mod Hair Ken came with brunette hair, and this sample in blonde underscores that it was the better choice.

Kiddles dolls sold in the 1960s had interesting elaborate hairstyles and were sold in perfume bottles and lockets. This group of unproduced styles shows some creativity at play. Polypropylene was the fiber for the hair on these dolls. 34

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Jean Burger with her assistant Mellie Phillips in the rooting department at Mattel. Courtesy Ebony Magazine.

Martha Armstrong Hand. Hand was a Mattel sculptor, who would become a NiADA artist, creating her own line of dolls. Within the collection of heads is a Barbie head with the 1967 style face but with the hairstyle and color of the Miss America doll. Possibly presented as an opportunity to select which face would work best for the doll. Most unusual in the collection is a head with Mod style features and bright orange rooted side part hair, secured with blue bows. She has large brown eyes and applied lashes. This is a rather unusual head, and we are uncertain as to what the final product could have been. This bright orange hair color and fiber were used for a Mattel produced Kiddle doll called Tracy Trike Diddle. It gives an indication of the 1968-69 era when Mattel was producing many different and unusual toys that were brightly colored and themed, requiring a brighter more Mod style doll. Fluff was a head sculpt created by Joyce Christopher for the 1971 line. She was a friend of Living Skipper, and she had an articulated body. The production doll had pigtails with brown eyes and rooted lashes. This head would later be used in 1972 to create Tiff, a new friend for Skipper with a tom-boyish look and straight long hair. Several heads in this collection have the Fluff/Tiff head mold with a variety of hair colors and styles. The vinyl used in some of these sample heads is an opaque vinyl in a pink tone. This type of vinyl was often used in the many early samples that were created in the doll molding department, indicating it was an early example of the sculpt created. The hair style for “Fluff” shows up on a Twist ‘n turn Skipper head. Jean Burger, Barbie’s hairstylist would often create many different hairstyles in a variety of colors on the different heads for the best combination to be selected. Growing Pretty Hair Barbie and Francie were popular dolls in 1970. The dolls had styled blonde hair and a special strand of hair that came from the top of the head that “grew” or retracted with a spring mechanism. A “Growing Pretty Hair Francie” in this collection has the classic hairstyle, but the hair is done in a different fiber. It is softer,

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and probably kanekalon material which has a texture that is close to human hair. The unfortunate quality of this fiber is that it would not hold up to the amount of styling that the doll would probably endure during play. This grow-hair feature had been planned to be used across the line, even for Skipper. The prototype head for Growing Hair Skipper featured an up-do in blonde hair and has an almost Tinkerbell quality to her appearance. This head has a hole in the back of her head to accommodate the special growing strand of hair. It would be interesting to have seen how this doll would have been presented as a final product. Even the Ken doll got rooted hair in 1973. Mod Hair Ken came out with rooted hair as a companion to the Quick Curl Barbie doll. He had dark rooted hair and special fuzzy removeable stickers to add sideburns, moustaches, and beards. A sample head of Mod Hair Ken was done in blonde rooted hair. Though an interesting variation, it is obvious to me as to why they decided to produce him with dark hair. My favorite find in the collection of heads is that of Becky. You may ask, “who is Becky?”. Becky was intended to be a friend of Francie in 1971 and would have the same head sculpt as Casey. Casey had an open mouth with painted teeth, and a short asymmetrical bobbed hairstyle. The prototypes of Becky showed a doll with a side part, no bangs, flip hairstyle in an ash blonde color. The prototypes for this doll showed up in the 1971 Fashion Booklet wearing Buckaroo Blues and Dreamy Duo outfits. Fashion packages for Francie that year had the Becky name and logo printed on them and indicated she was a new friend of Francie. In the early days of collecting, many people wrote to Mattel asking where to purchase Becky. Mattel’s response was that they had intended

Left: An interesting group of sample Kiddle heads including a Tutti head with a dark bubble cut hairstyle and rooted lashes. Right: Jean Burger, Barbie®’s Hair Stylist was hired in 1963 and created many of the wonderful hairstyles through the 1980s for Barbie®. Courtesy Mattel.

Left: Though it was intended for Midge to be a carryover doll into the Mod-age her style seemed a bit old-fashioned. She would be absent from the line for a year, but her head mold would be used to create Barbie®’s friend “P.J.” in 1969. Center: Mystery Skipper. Proposed Skipper doll with shag hairstyle. The screening for her face is the same as a Malibu Skipper, but she has the mod-era vinyl skin tone. Right: Rooted platinum hair, this proposed prototype for the Stacey head features an interesting opaque vinyl, side ponytail, and hand painted face. The doll is missing the applied eye lashes that were found on many of these sample heads.

Left: Living Skipper head with Fluff’s hairstyle. This variation shows that Jean Burger tested many styles on each doll before deciding on the final for production. Center: This sample head in opaque vinyl has painted brown eyes with applied lashes. Long straight blonde hair leaves us wondering if this was to be Tiff or Fluff since they used the same head mold. Right: This 1972 proposed version for the Walk Lively Miss America uses the 1967 Barbie® head mold. The production doll uses the Steffie face mold. ANTIQUE DOLL COLLECTOR

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Left: The 1968 Talking Stacey is shown with her production hairstyle. Above and right: Wonderful Quick Curl Barbie® graphics. Below: Final Production images of Growing Pretty Hair Francie that demonstrate the growing hair mechanism. Bottom Right: The Final production dolls for Christie and Stacey. These were new sculpts created for toy year 1968 by Joyce Christopher.

to create a Becky doll but the project had been cancelled. This was documented in the Collectors Encyclopedia of Barbie Dolls by Sybil Dewein and Joan Ashabranner (Collector Books, 1984). Dewein coined the term “Becky Land.” “Becky Land” is where the dolls go to live that are prototyped but never reach the retail market. This tonguein-cheek story line becomes more ironic with the recent movie and “Barbie Land.” Within the collection of heads was a Casey head with the Becky hairstyle. This was a dreamy discovery as something 36

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that was of mythical proportions could now be held in my hand. The sample dolls shown in the 1971 Fashion Booklet had brown eyes, with a rose-colored headband, and though this sample has neither, the style showcases the proposed evolution of the doll and is just a brilliant piece of the history of the world’s most famous doll. This collection was an intense study opportunity. Some of the things it documents is that there was a plan to move from rooted eyelashes to an applied eyelash. Several dolls have these applied eyelashes. The original lashes for the Mod

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Left: Mod Hair Ken as he appeared in the 1973 catalog. Right: The doll that launched a million questions. The 1971 fashion booklet featured a new doll that was created with the Casey head mold, That same year fashion packs had the Becky name along with Francie. The Becky doll never made it to the market. Collectors were searching for her that same year. Finally a sample has surfaced.

Kiddles came in a variety of sizes. Here are a few in the 1968 Mattel dealer catalog showing their final hairstyles.

dolls were hand rooted, a method that took time and added costs. Though they sought to reduce both time and cost, the applied lashes were never put into production, with Barbie getting painted eyelashes. Several of the dolls include pen marks under their chin or back of head with project numbers and in some cases costing/hair fiber content. These bits of information are often never known, and it often can show why a product did not make it to market. Gale Donald Jenkins would continue to design for the toy industry and move to Hong Kong. His exit at Mattel would

The Becky doll only appears on the 1971 Fashion booklet and in the Francie Pattern images in the 1973 Mattel Dealer Catalog for the Sew Magic sewing machine.

be after years of contributions to the toy line including their famous Hot Wheels toy cars. As a tribute to his contribution, his name was worked into the design for a Porsche race car. Designers often would sneak in these details given collectors a wink and a nod that there is a creative and talented person behind every toy. It is hard to believe that after 50 years, such an iconic bit of history can bubble to the surface, as it often seems that there is nothing left to discover. But this is just a reminder to never stop searching, sharing and learning. ANTIQUE DOLL COLLECTOR

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TWO HEADS ARE BETTER THAN ONE by Linda Edward

ost collectors can relate to the theory that two dolls are better than one, but how much more fun are two dolls in one? The niche of collecting the dolls that have become known as Topsy-Turvy dolls is rich in variety and fun to explore. The first accounts of the appearance of this style of doll come to us out of the antebellum southern United States. Various theories as to the creation of these dolls have for years been bandied back and forth among scholars, historians, and collectors. Some have theorized that enslaved mothers made these dolls for their own children as a means of allowing them to play with a forbidden white doll. Another theory that is gaining credence is that the dolls were made by enslaved Mammies for the children under their care. This concept makes a certain amount of sense as all dolls are in part teaching tools and providing a white child with such a doll would reinforce the social order of the time and

educate the child about her role within that society. The publishing of Uncle Tom’s Cabin by Harriet Beecher Stowe in 1852 is also thought to have popularized this style of doll and contributed to the term Topsy-Turvy. To date, these conjectures, remain just that. As far as we know there is no concrete, primary resource proof of any of these origin possibilities. What we do know is that this style of doll became very popular in both the realm of homemade folk toys and commercially produced dolls of the second half of the 19th century and on through the 20th century. The earliest known forms of these were cloth dolls, depicting a black doll on one end and a white doll on the other. These ranged in construction and detail as widely as other homemade cloth dolls of the mid-to-late 19th century depending on the skills and resources of the maker. When encountering dolls of this type the fabrics and trims used can indicate age, but bear in mind that older fabrics were often repurposed for making dolls.

Homemade rag dolls of all types depended on the skills of their maker. This doll is dated to 1889 and is quite basic in its design and execution but it was greatly loved by its original owner. Doll courtesy of the Rhode Island Historical Society.

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Homemade cloth Topsy-Turvy dolls were available from the mid-19th century into the 20th century. This early 1900s example is just 11.5 inches tall. Photo courtesy of Stephenson’s Auction.

By the late 19th century commercial doll companies became aware of the popularity of this form of doll and brought out their versions of double-ended dolls. German doll makers were offering dolls with bisque or early papier-mâché/composition heads. A number of different head molds have been found on these dolls, but the body construction and costume fabrics are very similar, leading one to wonder if these dolls came from a small firm that purchased heads from a variety of makers. The E.I. Horsman company of New York introduced their Baby Land Rag Dolls in 1893 (later called Babyland). The earliest of these dolls had hand-painted faces and the line included a Topsy-Turvy doll. In 1907 lithographed faces were introduced and would be made simultaneously with handpainted faces until approximately 1912 when A Babyland Rag Doll catalog showcases their Topsy-Turvy doll in the center page of the hand-painted faces were phased out. the pamphlet. ANTIQUE DOLL COLLECTOR

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This Babyland rag doll has the lithographed faces which the company called its “Life-Like” faces.

An article from The Steuben Republican September 25, 1901 (picked up from a piece originally run in the New Orleans Picayune) provides an account of the Maud Witherspoon Rag Doll Manufacturing Company. This cottage industry made both single dolls and Topy-Turvy dolls such as the one shown here. Photo courtesy of Dotta Auction Company.

ANTIQUE DOLL COLLECTOR

Where Babyland rag dolls had flat faces, Bruckner’s design used a dimensionally molded mask face as seen on this example.

Bertha M. McClelland applied for a patent on her improved design for a Topsy-Turvy doll on July 11, 1919. This patent was awarded to her on November 15, 1921. Her patent would be cited as a precursor in many other patent refinements for multi-headed dolls.

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Examples made by German manufacturers employed the use of heads of bisque, papier-mâché, and early composition materials. Here we see one doll with two bisque heads, the brown skin-tone head is marked 120 and is a closed-dome style, and the other is marked with the mold #698 (photo courtesy of Alderfer Auction). The second example uses German composition heads for this 7-inch-long doll. (photo courtesy of Pook & Pook, Inc. with Noel Barret).

The styles and materials used for the heads of TopsyTurvy dolls would follow the trends of dollmaking as the decades progressed. Here we see examples using a china bonnet-head doll (photo courtesy of Meissner’s Auction Service), an example with celluloid mask faces bearing the turtle mark of Rheinsche Gummi und Celluloid Fabrik Co. (photo courtesy of Playthings Past Auctions) and a 7-inch-long example using composition doll heads typical of the 1930s and 1940s (photo courtesy of Alderfer Auction).

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ABOVE: This 1960s vinyl-headed doll by Knickerbocker Doll & Toy Company depicts a happy baby and an unhappy baby. TOP RIGHT AND RIGHT: Souvenir dolls of the 1920s and 1930s often included Topsy-Turvy models. This 15 inch felt-faced doll was made in Brazil and shows ladies with differing skin tones. BELOW LEFT, CENTER, AND RIGHT: The Pages-Matarin Company of Madrid made this 10-inch doll. She features two different styles of costume. The Pages-Matarin dolls have molded fabric heads with painted features and mohair wigs.

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Homemade versions continued to be made through the remainder of the 20th century and into the 21st. Pattern companies offered patterns for such use. McCalls and Vogart, among others, offered these patterns in the 1940s and later.

As the 20th century progressed the forms of Topsy-Turvy dolls expanded to include storybook characters in combinations such as Poor/Rich Cinderella and Red Riding Hood/Wolf. The cloth mask-faced example dates to the 1930s–1950s. A pattern put out by Ozark Crafts in 1974 speaks to the longevity and continuing popularity of these dolls.

In 1901 Albert Bruckner and Rudolf Gruss of Jersey City, New Jersey took out a United States patent for making a molded mask doll face. The dolls Bruckner made with this process included Topsy-Turvy dolls. Initially, some of these were sold to Horsman who included them in their Baby Land line, but by 1924 Bruckner was wholesaling his dolls directly to retailers. In 1919 Bertha M McClelland of Walton, New York applied for a patent on her process sewing together her Topsy-Turvy doll design. This process included leaving an unstuffed area at the joining of the two halves (the waistline) which would allow the doll to be bent into a sitting position if desired.

Moving further into the 20th century we find examples of double-ended dolls made of each material that came into popular use. As society made its way toward social justice the old format of an AfricanAmerican servant and a white child was joined by dolls depicting storybook characters, family members, and other themes. These dolls, like all dolls, reflect the world in which they were created and make an interesting study of the societal attitudes, manufacturing techniques, marketing principles, and collector interests of the past two centuries, all contained in a simple double-headed doll. q 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

INDIANA Marquis Doll Museum & Restoration 214 N. 5th Street Lafayette, IN 47901 Museum of Miniature Houses and Other Collections 111 E. Main Street Carmel, IN 46032

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

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

PENNSYLVANIA Harrisburg Doll Museum 2004 State Street Harrisburg, PA 17103

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

Historic Strawberry Mansion 2450 Strawberry Mansion Drive Philadelphia, PA 19132

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

TENNESSEE

NORTH CAROLINA

LOUISIANA 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

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

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

VIRGINIA

NEW YORK

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

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

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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.

LONG TERM Sep 10, 2023 - May 26, 2024 ~ Mannheim, DE (Germany). Children’s dreams: Playing – learning – life around 1900. Reiss-Engelhorn-Museen. Museum Armory C5. 68159 Mannheim. Information office: Tel 0621-293 37 71. rem.buchungen@mannheim.de. March 8, 2024 – October 27, 2024 ~ Basel, CH (Switzerland). Plush, Play & Pioneers - Women in toy design. Spielzeug Welten Museum Basel. Event link: www.spielzeug-welten-museumbasel.ch/en/exhibitions/2024/ plush-play-amp-pioneers-women-in-toydesign.html

MAY 2024 1-4 ~ Knoxville, TN. Doll Artisan Guild International Convention. Crowne Plaza Hotel, 401 W. Summit Hill Dr. Register: convention@dollsbeautiful.com. Salesroom opens to public, 4th. www.dollsbeautiful.com or Sue. suelmitchell6@aol.com. 2-4 ~ Essington (Philadelphia), PA. Philadelphia Doll & Teddy Bear Convention w/ Salesroom. Salesroom on 4th, 10 AM - 3 PM. TBAI. Embassy Suites Hilton Philadelphia Airport, 9000 Bartram Ave. Cindy Malchoff. 518-578-0006. dollnbearshow@tbai.org. 2-5 ~ Independence, OH. “Let Me Entertain You” UFDC Regional 12 Doll Conference. Cleveland Doll Club. Holiday Inn Cleveland-S Independence, 6001 Rockside Rd. Carol Noel. 330-446-2354 call/text. rgn12conf24@aol.com. cleveland2024.wixsite.com/conference. 4 ~ Lodi, CA. Miniature Doll Show and Sale. Lodi Grape Festival Grounds. fjdebbie@aol.com.

4 ~ Maitland, FL. Doll Show. Greater Orlando Doll Club. Venue on the Lake Maitland Civic Center. Barbara Keehbauch. 407-678-5678. bkeehbauch@msn.com. 4 ~ Pleasanton, CA. “Celebrating the World of Dolls” Doll, Bear, Miniature Show & Sale. World Doll Day Shows & Events. 10 AM - 3 PM. Four Points by Sheraton, 5115 Hopyard Rd, 94588. Admission: General (13 and up): $10.00; Parking: FREE. Mary Senko. 425-330-1770. Mary.Senko@worlddolldayshows.com. WorldDollDayShows.com. 10-13 ~ Online. Bear Blitz Stars Teddy Bear Online Show. Valerie Rogers. 502-423-7827. brtstar1@aol.com. bright-star-promotions.com. 11 ~ Lumberton, NC. Doll & Toy Show and Sale. Lafayette Doll & Toy Club/Lumberton Toy & Comic Show. JC Penney Store Biggs Mall, 2800 N. Elm St. Maureen Mercer. maureenmercer1@mac.com. 910-916-8532. 16 ~ Sequim, WA. Olympic Peninsula Doll Club Pocket Doll Luncheon. 10 AM to 3 PM. Seven Ceders Hotel and Casino, 270756 Highway 101. Sandy Trumble. 360-301-9808.

17-18 ~ Kansas City, MO. NADDA Doll Show & Sale. NADDA. Embassy Suites by Hilton Kansas City International Airport, 7640 NW Tiffany Springs Pkwy. Rick Martinez. 630-2471219. rickm70@comcast.net. NADDA.org. 18 ~ Billings, MT. Doll Show & Sale. Heritage Doll Guild of the Yellowstone. Boys and Girls Club of Billings, 505 Orchard Lane. Birdie Dapples. 406-698-3227. beartoothnana@gmail.com. 18 ~ Conneaut Lake, PA. 7th Annual Doll Show & Sale. Heirloom Doll Society of Crawford County PA. Conneaut Lake Sportsman’s Assoc., 11861 Sportsman Rd. Jody Spencer. 814-807-1282. foreveryours113085@gmail.com. 18 ~ Sarasota, FL. Doll & Toy Show & Sale. Venice Doll Club. 9 AM - 2 PM. VFW Post 3233, 124 S. Tuttle Ave. Bruce Zalkin. 941-302-0572. fxtoyshows@gmail.com. fxtoyshows.com. 18 ~ Tucker (Atlanta), GA. Atlanta Doll Collectors Doll Show & Sale. Doubletree by Hilton Northgate, 4156 LaVista Rd. Vickey Harris. 404-543-8866. vickeydharris@aol.com. 19 ~ Dublin, PA. Letitia Penn Doll Club Dublin Doll Show & Sale. 10 AM - 3 PM. Dublin Fire Calendar continued on page 48

FRIZELLBURG ANTIQUE STORE Quality Antiques in a Country Store Setting 1909 Old Taneytown Rd. Westminster, MD 21158

410-848-0664

OPEN Thur - Sun 11-5 ANTIQUE DOLL COLLECTOR

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MAY 2024 CONT’D FROM PAGE 47 Hall, 194 N. Main St. Adults: $6.00; Children under 12: FREE. Earl Bethel. 610-322-7702. ebgeeb@ ptd.net. www.letitiapenn.com. 19 ~ Flint, MI. Doll Show & Sale. Flint Barbie Doll Club. Dom Polski Hall, 3415 N. Linden Rd. Sue Ferrier. 810-639-2353. ferrier@centurytel.net. 19 ~ Kansas City, MO. Frasher’s “Simply Irresistible” Auction. Preview: 9 AM; Auction: 10:30 AM. KCI Expo Center & Holiday Inn

SARA BERNSTEIN’S DOLLS

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

Hotel, 11730 NW Ambassador Drive, Kansas City, MO. 816-625-3786. frasher@aol.com. frashersdollauction.com. 22 ~ Online. Cissy Dolls – Online Auction. 501 Fairgrounds Rd., Hatfield, PA. 215-393-3000. www.alderferauction.com. 22 ~ UK. Fine Dolls, Dolls Houses & Teddy Bears Auction. 10:30 am. (GMT) C & T Auctioneers. Tel: +44 (0)1233 510050. enquiries@candtauctions.co.uk.

29-June 1 ~ Layton, UT. Doll Conference (Reborn/Silicone/Artist). Rose Doll Expo. The Davis Conference Center, 1651 North 700 West. rosedollexpo@gmail.com. 31-June 2 ~ Portland, OR. “Angels & Demons” Doll Convention featuring BJD (Ball-joint Dolls). PNWBJD Expo. Sheraton Portland Airport, 8235 NE Airport Way. Casie Brabham, call/text 541-729-5652. pnwbjdexpo1@gmail.com.

JUNE 2024 1 ~ Milton (Pensacola), FL. Dollectable Annual Doll and Toy Show and Sale. Pensacola Doll Study Club. Santa Rosa County Auditorium, 4530 Spikes Way, 32583 (Intersection of Avalon Blvd and Hwy 90). Cindy Cosson. 708-528-0087. weedezigns@yahoo.com. 2 ~ Bismarck, ND. “Life is Just a Chair of Dollies” Annual Doll Luncheon Show and Sale. Bismarck Doll Friends. Bismarck Municipal Country Club, 930 N. Griffin St. Rebecca Schatz. 701-870-2101. beschatz@yahoo.com. FacebookBismarck Doll Friends. 2 ~ Concord, CA. 101 Doll & Study Club Annual Show & Sale. Concord Plaza Hotel, 45 John Glenn Drive, 94520. Stephanie Blythe. 415-455-8415. call/ text, 101dollshow@gmail.com. 2 ~ Garden Grove, CA. Doll, Teddy Bear, Collectible & Miniature Show & Sale. Rowbear’s New Year Doll Festival. Rowbear Presents. Embassy Suites Anaheim South, 11767 Harbor Blvd. Rowbear Lowman. 831-438-5349. RowbearPresents@charter.net.

ANTIQUE DOLL COLLECTOR MAY 2024

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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

See us on May 18th, 10am - 3pm, at the Atlanta Doll Collectors Show, Tucker (Atlanta) GA.

Experience Pure Doll Joy!

Anne Demuth.May.indd 9

4/15/24 3:01 PM

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