Antique DOLL Collector June 2023 Vol. 26, No. 6
Polly Sumner: Antique Treasure Carving Polly II Where the Dolls Are - Worthington OH, Museum Almost Bleuette Collecting Doll Quilts
(Pattern Included)
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LAYAW AVAILA AY BLE
33” Heinrich Handwerck Simon & Halbig 7, blue sleep eyes, antique dress, 3 chipped fingers, sweet face, she has an overbite with 4 teeth $485. 11” Steiff Mohair Bear 1950’s with sweet face, some wear on chest & left arm, left foot pad as is $160.
27” K star R Simon & Halbig 70, blue sleep eyes, nice bj body, antique clothing $445. 7.5” Alexander-kins early strung in tagged outfit, cheeks may have been enhanced $195. 6” Steiff Mohair Bear 1950-60’s, some wear on tummy $150.
22.5” Heinrich Handwerck 13 99 DEP, beautiful coloring & molding, high forehead, blue sl eyes $495. 19.5” S & H 1279 DEP 9, blue sl eyes, beautiful molding, original mohair wig, stock dress, shoes & socks $895.
21” Tete Jumeau 10, brown PW eyes, antique clothing, pink leather boots, mohair wig $2295.
17” Jumeau unmarked 1907, brown PW eyes, original clothes, Paris Bee shoes & socks, mama / poppa talking body, paint chipped on hands, $850.
Ideal Compo Shirley Temple Dolls 12” Shirley All Original in blue organdy dress, wig needs work, eyelashes missing 1 eye $155. 13” Shirley original combination, shoes & socks, vintage dress, hair in original set $175. 12” Shirley w/ original wig & combination, vintage dress, some crazing $115.
23.5” A.W. Special 2, brown sleep eyes, sweet face $275. 6.5” German Doll House Lady #701 11/0, jointed arms w/ gold bracelet, necklace & original mohair wig, body stamped Made In Germany $185.
8.5” Ideal Jiminy Cricket, wood ball jointed, w/ umbrella & label on foot, some paint wear, great personality $225. 12.5” Steiff 1950’s Golden Mohair Bear, beautiful face, wonderful condition $225.
18” Kestner 220 on 5 piece toddler body, brown sleep eyes, head marked J. Made in Germany 13, JDK 220, known as Herbie, HH wig $1895. 17” Kestner 245 Hilda on toddler body, brown sl eyes, Head Marked : M Made in Germany 12, 245, JDK Jr, 1914, ©, Hilda $1450.
21” Tansy by Lynne & Micheal Roche #1/45, porcelain head, arms & legs, cloth body, blue glass eyes, HH wig $895.
27” DEP Tete Jumeau 12, Jumeau in red on head, label on body with working momma strings, pretty coloring, replaced blue PW eyes, a little peppering on forehead between eyes, repainted hands, French DEPOSE shoes (1 as is) $595.
16.5” O/M Tete Jumeau (red stamp) on stiff wrist body, blue glass eyes, antique mohair wig, pierced ears, 1” hairline front rim $775.
Strung Caracul Pixie Ginny 1953 #26 Carol Kindergarten Series $225. All Original “Laurie” Strung Painted Eye Ginny $225. 1954 Straight Leg Walker #24 My Kinder Crowd $175. 1953 Strung Alexander-kins All Original $250.
15” Alexander Princess Elizabeth, original HH wig, dress, undergarments & purse, nice compo $140. 22” Effanbee Patsy Lou, nice compo, HH wig, original shoes, vintage clothes $175. 13” Alexander Dionne Quint Yvonne All Original Cloth Doll, little wear & stains on face, yarn hair, Yvonne bib & tagged dress $115.
1957 Satin Train Cissy in beautiful condition w/ jewelry, no gloves, small spot on train & small pull and stain bodice $725.
13” Barbara Jane Larsen 1987 hand carved wood dolls, hand painted $250. 14.5” Japanese Boy 1920-30’s All Original, beautiful face, 2 paint splits on head & some paint chips $195.
8” Kestner Gibson Girl Repro dressed by Mrs. Rotter with 3 extra ensembles with fabulous detailing, mohair wig, brown stat eyes, with box $350.
23.5” Sophie by Russian Artist Alexandra Koukinova #8 1997, features all the finest fabrics & artistry, amazing detailing to face & clothing, missing 1 finger right hand $2950.
6029 N. Northwest Hwy. Chicago, IL 60631 • 773-594-1540 • (800-442-3655 orders only) • Fax 773- 594-1710 Open: Tues., Wed., Sat. 10 a.m. - 5 p.m., Thurs., Fri. 10 a.m. - 6 p.m. Closed Sun. & Mon. Near O’Hare, Park Ridge & Niles
Chicago’s finest selection of Antique, Modern and Collectible Dolls, Barbie, Gene, Alexander, Tonner, Fashion Royalty, Steiff, Dollhouses and Accessories. Member U.F.D.C. & NADDA • Worldwide Shipping • email: questions@gigisdolls.com • Check Out Our eBay Store - gigisdolls2010
Contact us for Monthly Specials! Tour our shop at: www.gigisdolls.com & join us on Facebook • Now on Ruby Lane
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Nelling, Inc.
FINE ANTIQUE DOLLS AND ACCESSORIES BUYING & SELLING QUALITY DOLLS FOR OVER 29 YEARS
published by the
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Row 1. 21. 19 1/2” Magnificent, early fashion in orig. enfantine costume, cup and saucer neck, pristine bisque, distinctive, classic facial features, beautiful, gusseted leather body, orig. matching undergarments. $6,850. Row 2. 11” Gaultier fashion in orig., elaborate wedding presentation, swivel neck, factory orig. condition of outfit, accessories and leather body, magnetic blue enamel eyes. $2,450. Row 3. 13” Early F.G. fashion girl, tri-color enamel eyes, swivel neck on bisque shoulder plate with bisque arms, all as pale as can be, with fine leather body. Shown in an antique, white pique dress but also comes with her orig. royal blue silk enfantine dress, that has become delicate from age. $3,850. More photos and descriptions available at www.maspinelli.com. Please contact me with any questions! If you happen to find yourself in Southern California and want to leisurely shop and inspect items in person, contact me for an appointment to visit my studio!
P.O. Box 4327, Burbank CA 91503 • e-mail: nellingdolls@gmail.com Cell: 818-738-4591 Home: 818-562-7839 • Member NADDA and UFDC
Visit us at: www.maspinelli.com 4
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JUNE 2023
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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
5.5” Beautiful Tuck Comb - Rare All Original jointed wooden Tuck Comb in Excellent Condition. Beautifully defined painting of features gives a lovely expression. Charming and so desirable. A huge presence in a tiny package! $2200
Nenette and Rintintin by Poulbot - These precious 14” dolls are the epitome of many collectors’ dreams. Rare to find, these portrait urchin children were created by famed artist Poulbot in 1913 and produced by SFBJ through 1930. Marked 239 and signed Poulbot. Generally wonderful condition! Please call or email for additional details! $12,500 pair
Member UFDC & NADDA
Three Adorables: • 14-inch SFBJ Lad with sparkling blue jewel eyes. Crisp modeling and so expressive! Such a happy boy! Excellent! $895 • 12-inch Hertel Schwab Jubilee Googly Child. Impish child with sleep eyes on chubby five-piece body. Comes with her prized wooden puppet! Also has rose colored antique stockings and leather shoes. $3995 • 8-inch AM 200 Googly with such a Cute expression! Long original mohair wig, cheery costume, leather shoes and crocheted stockings. Excellent condition! $1,050 (Doll Only)
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Tiny 9-inch EJ in Original Costume - This wee darling is so enchanting. Huge blue spiral threaded eyes, tiny Jumeau body, gorgeous shoes and crocheted Jumeau stockings. Beautiful Jumeau chemise. Please reach out for additional details about this rare to find, tiny Bébé. Generally wonderful condition w/tiny invisible hl. $9500
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The Complete Guide to Antique, Vintage and Collectible Dolls
June 2023, Volume 26, Number 6
On the Cover
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POLLY SUMNER An Antique Treasure — An English wooden doll from the 1700s holds a place in America's history by Richard C. Wiggin
CARVING POLLY SUMNER Revolutionary Spaces, Boston, commissions an artist to carve a special doll by Janet Cordell
The doll, Polly Sumner (circa 1773), as she appears today in her contemporary silk dress, matching bonnet, and black leather boots. Photo courtesy of Revolutionary Spaces.
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THE DOLL MUSEUM at the Old Rectory, Worthington, Ohio by Melanie Luther
Departments
10 Book Review
31 40
ALMOST BLEUETTE The subtleties of researching SFBJ dolls by Nicki Burley
SMALL AND SCRAPPY Collecting Antique Doll Quilts by Mary A. Senko
13 UFDC Dealer Showcase
16 Museum News 17 Auction News
20 Auction Calendar 45 Emporium
47 Events/Classified Ads Follow us on... facebook.com/antiquedollcollectormagazine pinterest.com/antiquedollcollectormagazine instagram.com/antiquedollcollectormagazine
SUBSCRIBE TO ANTIQUE DOLL COLLECTOR, GO TO www.antiquedollcollector.com Subscription information: adcsubs@gmail.com or 631-261-4100 6
ANTIQUE DOLL COLLECTOR
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1) Early 16” Composition Clergy Man - a Can’t Break’em Compo ca: 1910; no craze & Orig Vestment, Collar & Hat. $295 2) Unusual Closed Mouth 20” Goebel - lovely swivel head, mint bisque, body, Silky Antique Wig & big PW’s! $895 3) Delicate 16” Kestner ‘152’ - flawless quality, scarce mold, orig. wig, plaster pate & fine Kestner jtd. body. $495 4) 24” Beautiful Kestner Nun - striking All Orig.Doll, excel Pin-jtd. Body, seated height 16”, perfect fingers. $350 5) Rare Mint 14” B.P. ‘252’ - early Stiff Wrist body, Factory Wig, quaint Orig Clothes, vivid bl. eyes. $675 6) 24” Impressive Heubach ‘7246’ Clo. Mo.Pouty - magnificent 14” cir head! Top Quality! Invis, prof. mend lower down rear neck edge, no harm. $2500 just $895
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7) Choice 13” Lencis: Great Deco costumes incl. the Coats, stylish Hats & Shoes - the red with Book Bag & Fabric Label. An unplayed set! The Blue is $850, the Red is $950 or $1650 for both! (see #9 & #12) 8) 18” Heirloom Handwerck ‘189’ - scarce mold, flawless quality. Mint & All Original doll in every respect! $675 9) see #7 10) Lovely 10” SFBJ Exotics - Factory Dressed complete w/Wigs, Headwear, glass eyes & all fine quality. $215 each 11) Life Size 37” ‘Cosmopolite’ - by Handwerck w. 18” head! Plus huge Blue Sl. Eyes, great bisque, Orig. Handwerck chunky body w. old good repaint, in smart vintage clothing. An exceptional character! $1395; Mint Steiffs-call 12) see #7 13) Choice 10.5” Kestner ‘260’ Toddler Starfish Hands! A mint ‘little scamp’, Factory Clothes & Wig, bl.eyes & great size! $695 14) see #11
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(212) 787-7279
Quality Antique Dolls by Mail Return Privilege • Layaways Member UFDC & NADDA
P.O. Box 1410 NY, NY 10023
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matrixbymail@gmail.com
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15) Rare Brown Byelo - sgnd. 12” head, sl eyes, brown lids & fabric body/celluloid hands, elaborate pink Silk Vintage Ensemble; a prize! $1495
16) Charming Pair of Pristine K*R 101’s - 12” cabinet size ‘Peter & Marie’ in Matching Tailored Ensembles w Factory Wigs & Shoes, flawless bisque & No Wig Pulls! Ever so sweet! Only $2495 17) Large Mint 12” Kestner All Bisque ‘211’ - so impressive! Socket Head, Factory Wig & Pate, sl eyes, Clo Mo, period clothes. Outstanding! $695
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18) 15“ Delightful SFBJ ‘251’ French Toddler - bright eyes, deep dimples & Quiver Tongue, oily sheen, rich blond curls, Fully Jtd Toddler body in sweet charming old clothes. $695 19) Vibrant 12“ Gebruder Heubach Dancing Lady - mint & sgnd., perf. Quality with gold decorative details! $250 20) Two Generation 20” Kestner ‘129’ w Wardrobe - All Original - Wig to Leather Shoes, sgnd. body; Plus six Second Generation Dresses, Hats, Patterns & Accessories in stunning decoupage Trunk! A time capsule treasure. $895.
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21) 11” Two-Face Infant Character - one side Smiling w Tongue, Sl. Eyes, other face Asleep w Mld. Closed Eyes! Orig Body & Factory Clothes. Rare $850 22) Rare 12” Two Face Character socket head, compo body, Smiling Face w Clo Mo, Gl Sl Eyes - the other side has Cranky Frown & crying lips. $895
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23) Finest All Original Mint Byelo - 13” long Kestner quality w Orig Sgnd Body, perfect fingers & intricate Antique Baby dress in layers. Precious $250 24) Grand Pair of 12” Heubach Piano Babies - both sgnd.& stunning. Near mint showpieces only $450 the pair! Will separate.
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(212) 787-7279 P.O. Box 1410 NY, NY 10023
Quality Antique Dolls by Mail Return Privilege • Layaways Member UFDC & NADDA
matrixbymail@gmail.com
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26) An Illusive 20” Closed Mouth Jullien Bebe - early 1890’s mark; She’s a Portrait Style Bebe w rich & round Blue PWs, lovely tender bisque, shaded lids, mint Mohair Curls, plus most lovely Vintage Couture w. Matching Leather Shoes. $3200
25) Very Pretty 19” Tete Jumeau - fully sgnd., vivid blue PW’s, creamy bisque, mint French hh wig & Jumeau body w Coil, tiny mend rear rim, stunning custom Ensemble. $3500 just $1850
27) Breathtaking 24“ Bebe Schmitt in the Grand Manner - Rare beauty w immaculate pure bisque, dewey sheen, perfect sculpting, dreamy Blue PW’s beneath shaded eyelids; Orig Stiff Wrist Schmitt Body, mint french hh wig plus handmade glistening Silk Couture in the high style with brimmed Presentation Bonnet. A pristine showpiece! $14,500
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28) 19” Rare Brown 1880’s Halbig ‘739’ supermodel, Factory Wig & Body, quality color bisque, brown PW’s, in wonderful fancy Silk Ensemble w Pinafore & Wired Bonnet. Luscious luxury! $2250 29) see #28
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30) Stunning 30” Pre-1900 Kestner Closed Mouth - such fine pale bisque with its gentle blush, gorgeous ice blue eyes, romantic Hip Length French hh Tresses, chunky Stiff Wrist early body in her splendid high style Victorian Ensemble. Tremendous rare ‘size 18’! $2500 31) Early All Bisques - LEFT: 6.5” Kestner w. Tassled Blue Bootines & Socket Head - bl. sl. eyes, Closed Mouth & vintage layered attire. $1595; RIGHT: 6.5” Halbig Closed Mouth w Socket Head, orig wig, brn. sl. eyes, Brown Over the Knee Stockings in vintage Drop Waist layers. $1495
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Book Review - Polly Sumner: Witness to the Boston Tea Party Reviewed by Laurie McGill Little did Richard C. Wiggin realize when he was the Executive Director of The Bostonian Society that one day he would write a children’s storybook—much less a storybook in which an English wooden fashion doll from America’s Revolutionary War period would narrate the tale. Yet he did, and the book, Polly Sumner: Witness to the Boston Tea Party, made its debut on April 23, 2023, at a special book launch in Boston, Massachusetts. Polly Sumner: Witness to The Boston Tea Party is set in the period 1764-1783, a pivotal period in American history as the Colonists fought for independence from England. The book contains fifty-two pages with nine chapters, a Glossary, a Timeline of the Revolutionary War, a list of References, a list For Further Reading, an Author Note and a Call to Action—which invites readers to visit the Polly Sumner doll Polly Sumner: Witness to The Boston Tea Party Richard C. Wiggin, author • Keith Favazza, illustrator Polly’s website: pollysumner.com Revolutionary Spaces website: revolutionaryspaces.org Publisher: Lawley Enterprises LLC (April 18, 2023) ISBN-10: 1958302201 ISBN-13: 978-1958302200 Available: Amazon, Barnes & Noble
at the Old State House in Boston, and to write letters to Polly just as children did over eighty years ago. Beautifully illustrated by Keith Favazza, the book, while directed at children, is a joy to read by those of us who long ago stepped over the threshold from childhood into adulthood. From the first chapter, “Journey to America,” to the last chapter, “Through the Years,” the book will reintroduce you to the Boston Tea Party, which took place 250 years ago this year, as well as to the events surrounding it. Readers’ Favorite recently gave this book five stars. This reviewer gives it that, plus more. Pour yourself a cup of tea, and get to know Polly Sumner, the English fashion doll with a stirring story to share.
Joyce Kekatos joycedolls@aol.com 917-859-2446 or 718-863-0373 LAYAWAY AVAILABLE • Member UFDC & NADDA www.grandmasatticdolls.com • Look for me on Ruby Lane!
13” JDK #245 “Hilda” Toddler, blue sl eyes, mint bisque, orig mohair wig & plaster pate, orig dress, ant. hat & orig. undies, great orig JDK fully jointed chunky toddler body w/str. wrists. The BEST!!! $2500.
12.5” Armand Marseilles Rare “Fany” #231 Toddler, perfect bisque, blue sl eyes, orig HH wig, ant. costume & ant shoes, orig “Fany” fully jointed toddler body.
ABSOLUTELY ADORABLE!! $2800.
13” RARE Bruno Schmidt “Wendy” Character, bl sl eyes, mint bisque, orig.
She is ENCHANTING and absolutely BEAUTIFUL!!
mohair wig, orig. batiste dress, orig. shoes, orig perfect BS body. Great cabinet size. FULLY marked head incl. heart incised BSW, #2033 & 537. ONLY $7800.
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JUNE 2023
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UFDC’S 74th ANNUAL CONVENTION In Bellevue, Washington
The Carvers are the 2023 convention souvenir doll artists.
Tuesday, August 1 thru Saturday, August 5
at the Hyatt Regency Bellevue 900 Bellevue Way NE, Bellevue, WA 98004
Public Day will be
Friday, August 4 from 12pm - 6pm
For more details, go to www.ufdc.org/convention Start making plans now to join us next year as we celebrate
UFDC’s 75th Annual Convention July 23-27, 2024.
Come Join Us For the Next Part of UFDC UFDC’s ’s Journey! UFDC.june.indd 2
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UFDC 2023 Journeys of Discovery Bellevue, Washington Visit these exceptional dealers in the Salesroom, August 1 - 5! The Port Collection John Paul Port
(360) 710-6520 PO Box 269, LaHonda, CA 94020 jpport@earthlink.net Member UFDC and NADDA
Karla Moreland
NADDA & UFDC Member Mobile: 815-621-3255 kmorela@ais.net www.KaneCountyDollShow.com
Tues Wed Thurs Fri Sat
7:30 pm - 10:30 pm (Grand Opening) Noon - 6:00 pm 10:00 am - 6:00 pm Noon - 6:00 pm (Public Day and Publishers Preview) 10:00 am – 3:00 pm (Last Chance)
Valerie Fogel’s Beautiful Bébés
All Dolled Up Gail Lemmon
(440) 396-5386 glemn@frontier.com 13100 Durkee Rd. Grafton, OH
Holly Hepworth Antique Dolls
Fine Dolls & Precious Playthings from Our Past www.beautifulbebes.com 425.765.4010 beautifulbebes@outlook.com
hhepworth@aol.com 858-735-3353 AT, Bru, Jumeau, German bisque, schoenhut, antique clothing, accessories, furniture and more!
Cat’s Cradle
Nancy McCray
Joan’s Antique Dolls Joan Farrell
In Paris hunting for treasures to bring to the UFDC salesroom. (317) 627-4665 info@joansantiquedolls.com www.JoansAntiqueDolls.com
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Glen C. Rollins Provo, Utah 801-374-1832 www.catscradlegallery.com
Cell: 319-651-6440 Tel: 319-363-3936 nancylmccray@gmail.com
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Museum News by Melanie Luther
The Doll Museum At The Old Rectory, Worthington, Ohio O
ne day last year I enjoyed a private visit to the Doll Museum in Worthington, Ohio. This beautifully curated collection is housed in a clapboard building called The Old Rectory. I toured the collection with Sue Whitaker, the highly knowledgeable curator. I had previously made arrangements for my visit with Kate La Londe, Director of the Worthington Historical Society. They allowed me to visit the Doll Museum undisturbed during a closed period, and they made themselves available to share information about the museum’s collections. What I had anticipated as an hour or so of questions and photographs turned into several hours of enlightening conversation and eye candy for this antique doll collector. (continued on page 18)
RIGHT: Director of the Worthington Historical Society Kate La Londe and Curator, Sue Whitaker responded to my time spent at the Doll Museum with an invitation to collectors to visit: The Doll Museum at the Old Rectory is open, Wednesday-Friday, 1:00-4:00 p.m. and Saturday, 10:00 a.m. - 2:00 p.m. (Eastern). Admission is $3 per person; $4 per person for a guided tour by appointment (Highly recommended!) Group tours are also available by appointment. For reservations and/or research appointments call (614) 885-1247. Address: 50 West New England Avenue, Worthington, Ohio 43085. http://worthingtonhistory.org/doll-museum/ FAR LEFT: Such a unique peddler doll to be made of delicate shells and to retain her original clothing. Her baskets are filled with even more shells to sell. (Courtesy of the Worthington Historical Society,The Doll Museum at the Old Rectory) MIDDLE LEFT: This Greiner doll, wearing a corset and hoop is a fine example of a papiermâché doll that was created and patented by Ludwig Greiner. (Philadelphia 1858) (Courtesy of the Worthington Historical Society, The Doll Museum at the Old Rectory) LEFT: The head of this doll defines her as a “Parian.” Her unglazed bisque resembles Grecian Parian marble. This beautiful German doll has finely painted features, a fancy hairstyle and her original couture gown. (Courtesy of the Worthington Historical Society, The Doll Museum at the Old Rectory)
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Auction News Reflections from the Dollhouse
O
ver the 25 years that we have been the stewards of Withington Auctions, there have been many changes in the antiques world. Post-World War II, when dolls were the third most popular area of collecting (after coins and stamps), the wives of successful men could invest in what started as a “hobby” and evolved into an important avocation. The doll study groups soon became a worldwide phenomenon, and eventually, there were so many regional clubs that the United Federation of Dolls Clubs (UFDC) was founded by Mary E. Lewis, “with the goal of being the foremost in research, education, conservation and appreciation of dolls.” I believe the organizations have helped to give credibility to the many individuals who would later become the doll experts in their fields. Their personal study resulted in a greater refinement of existing doll histories and helped to guide and strengthen the doll-collecting hobby. Enhanced by years of research and discovery, the exceptional collections represented in Withington’s June 19June 20 auction are a culmination of that lifelong dedication and involvement. The time spent in the doll world has enlightened me in so many ways. With a degree in art and many years in
More highlights of the June 19 and 20 Withington’s auction (left to right) Top Row: 022 15” Schoenhut boy “Schnickel-Fritz”, impressed mark 1911, wood body, (Graziano period). 059 19” Munich Art Doll, by Marion Kaulitz, character woman, sculpted compo head, red mohair wig, blue ribbon DCA 1992. Bottom Row: 092 16” Bisque K*R 112, Character, O/C mouth, blonde mohair wig, brown coat with muff & plaid skirt. 093 18” French Fashion shoulder head, blue glass eyes, CM, blonde mohair wig, jointed kid over wood upper arms, lower body wood, bisque arms, body labeled Perreau Fils in green oval on chest.
By Marcia Leizure
the antiques business, it was serendipity that the dolls have been a major part of our world for the past 20 years. Ever since the success of Dick Withington’s first doll auction in 1959, the company has been conducting specialty auctions of antique dolls. In the late 1990s, Larry Leizure, my husband, took over the role of Auction Manager. Usually short-staffed Highlights of the June 19 and 20 in the spring, I would Withington’s auction (left to right) 012 14” Glazed head lady doll, inset blue occasionally help with glass eyes blonde mohair skin wig Blue the auctions, the setribbon DCA 1997. up, serve as a clerk or 021 17” Bisque head character lady, runner, and then return incised Huret blue glass eyes, marked articulated wood body, Blue ribbon UFDC to my “old-fashioned” 2002. antique shop. The demands of the auction business are many, and it was evident that my skills were required for the auctions, so my shop became a foster child, abandoned by the mother. With my mentor, Dolores Smith (the “temporary” doll specialist at the time), I slowly learned about dolls—a very diverse and complicated area of collecting. With the volumes of doll references, Blue Books, magazine articles, doll study programs, and Dynamic Doll Dialogs, it was impossible not to become knowledgeable on the topic, yet somehow, I still felt under-qualified. After Dolores’ passing five years ago, Larry and I have continued to produce some remarkable auctions. Our staff—a few full-timers and mostly seasonal workers—is invaluable in helping to produce the events each summer. Despite the many challenges that face us, we are all quasi-doll experts, and thanks to Dolores’ direction, we make our best determinations when cataloging the dolls, through examinations, and reference materials, and when all else fails, we have friends in the doll world to help us through. (A special thanks to Barbara. Remember that name. In her lies the future of the doll business.) We continue to carry on the tradition Dick started and have made many improvements along the way. For our dedicated Withington customers, the auctions are not-tobe-missed events. The Doll Show and Sale on the 7th-floor continued on page 20 ANTIQUE DOLL COLLECTOR
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Museum News by Melanie Luther (cont’d from page 16)
Each of these French Fashion dolls or poupées wears her original clothing. One poupée wears a two-piece silk costume with exceptional detail, including tiny white glass beaded trim with miniature tassels. She has early pale bisque and her original skin wig. This fashion doll carries a pair of cream-colored leather gloves with fancy scalloped edges. The second poupée with a round plump face and flat unpierced ears also has her original wig. Her gown has simple lines that are accented with crocheted lace. She sports a tiny lorgnette from a delicate black velvet ribbon.
A green travel case, a necessaire (meaning items that are “necessary” for a poupée’s toilette) sits at the dolls’ feet. It holds tiny accessories and has the original label from the well-known shop, Au Nain Bleu, on the underside.
The Doll Museum is also home to an exhibit of doll houses, in particular one that was constructed for a little girl in Worthington, Ohio. 18
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A closeup of the dollhouse label, reads “Doll House – Made in Worthington c. 1920 by Rufus Weaver who lived at 12 E. Stafford.”
As Sue told the story of the Doll Museum, I also learned about the Worthington Historical Society. History records that in 1803, a group of families from Connecticut and Massachusetts left for the lands in “The West,” ultimately settling in Worthington, Ohio. These pioneers brought with them a master plan that included the things they valued most for their dream town—a church, a school, and a library. Centuries later, we can still see the visages of their strong cultural institutions, particularly in the area of education. The Doll Museum is a prime example. It is housed in what is locally known
The rooms provide interesting venues for the miniature doll house inhabitants, including a German military officer…
…and a French maid with an infant.
as The Old Rectory, which also is the headquarters for the Worthington Historical Society. The Doll Museum displays dolls and toys of many eras. Represented are German china-heads, Parians, French poupées and bébés as well as Milliner Models. American dolls from such makers as Ludwig Greiner, Izannah Walker, and Joel Ellis are also displayed. German bisques, travel dolls and dollhouses frame the collection. Rotating exhibitions showcase both antique and laterperiod dolls with the most recent acquisition being from the 1960s. (continued on page 46)
An example of a cabinet filled with the dolls that line the three rooms of the Doll Museum. (Courtesy of the Worthington Historical Society/The Doll Museum at the Old Rectory) ANTIQUE DOLL COLLECTOR
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Auction News (Continued from page 17) hotel rooms have become a major selling venue for many dealers. The time before the auctions affords an opportunity to visit with old friends and make new ones as well. The evening auction preview gives ample time to preview the 400+ lots in More highlights of the June 19 and 20 Withington’s auction (left to right) the sale, and again in the 125 14 ½” Bisque Steiner shoulder head waltzing lady, key morning from 8:00 to 10:00 wind walking doll on cardboard base with 3 wheels, with original a.m., customers can have a Steiner label. “petite lunch,” and there is 131 Queen Victoria wax head peddler doll in case 21”L,C. 1830, antique miniatures displayed on her table, Easter Maudy no internet bidding. Thursday gifts for the poor, UFDC Region 14 1989 1st Place, What started out as a Will Not Ship. temporary commitment has evolved into a quarter-of-a-century adventure. Always a Last-Minute Suzie, I’m amazed and relieved that we were able to complete another production. We continue to plug along with the addition of a few younger staff members, and over the years, each of us has tried to master the unfamiliar skills of trucker, shipper, and packer, along with other tasks leading up to the auction event. Packing the dolls, loading the equipment, and providing tech support to produce the sale in a remote location takes a few days, and when we’re ready for the 7:00 a.m. departure on Monday morning, there’s nothing more to be done. We had no mission statement when we agreed to take over the company, but we have tried to follow Dick’s motto of Honesty - Integrity – Knowledge, which we work on daily. His business card used to say: “Dick Withington, The Nation’s Leading Doll Auctioneer.” He was the first to hold auctions of exclusively antique dolls, and now the company has been handling dolls for over 60 years. This year we have had some spectacular dolls come across our threshold, and the collections have a common thread…the dolls all come from our longtime customers/doll friends and from homes we have visited multiple times over the years. The collections are fabulous, unique, rare, and seldom come up for sale…qualities of which doll dreams are made. While we may be winding down with our auction activities—working smarter, not harder—I think of what my mother, Alice, would say “Take time to smell the roses.” I should plant that rose bush real soon, but for now, we have work to do…the dollies are calling.
Auction Calendar Theriault’s Friday, June 2, 23 and July 14, 2023 Ten2Go IN PERSON Monday, July 31, 2023 Marquis: “Antique Doll Auction” in Bellevue, WA 410.224.3655 | info@theriaults.com www.theriaults.com
Sweetbriar Auction Saturday, June 10, 2023 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
Withington Auction Monday-Tuesday, June 19-20, 2023 Doll Auction (See page 2 for details) Double Tree by Hilton, 2 Somerset Pkwy., Nashua, NH 603.478.3232 | withington@conknet.com www.withingtonauction.com Thursday, July 13 - Thursday, July 20, 2023 Doll Collection of Nancy Walker of Norfolk, VA AuctionNinja | www.auctionninja.com Auction Mgr - Susan Daly 804.380.0981
SAS (Special Auction Services) Tuesday, Jun 20, 2023 Dolls & Teddy Bears Auction Newbury, UK | +44 (0) 1635 580 595 mail@specialauctionservices.com specialauctionservices.com
Ladenburger Spielzeugauktion Saturday, July 1, 2023 Extraordinary Steiff Special Auction Unique Susan Kilgore Wiley Collection, Part II Auction in Giengen, Germany Friday-Saturday, September 22-23, 2023 Autumn Auction 0049 (0) 6203 13014 | mail@spielzeugauktion.de www.spielzeugauktion.de
C&T Auctioneers Wednesday, September 13, 2023 Vintage & Collectible Toy Auction ++44(0) 7736668702 | leigh.gotch@candtauctions.co.uk www.candtauctions.co.uk
More highlights of the June 19 and 20 Withington’s auction (left to right) 181 19” T. glass dome, carved wooden base, the marriage couple, 5” peg wooden dolls w/ lamb, stand under a tree with fancy shell flowers and decoration - a type of “Globe de Marree” Will Not Ship. 296 20” Kicking Baby Steiner, with blue ribbon band, Kid sleeve of torso when pulled down reveals Steiner Label with information that Steiner had Jacob Petit, a prominent porcelain maker in Paris, make the bisque head. 20
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Polly Sumner An Antique Treasure By Richard C. Wiggin
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ntique doll collectors may have heard of Polly Sumner. She is an old doll with quite a story to tell, a fashion doll who arrived in Boston on one of the Tea Party ships in 1773. She had a front-row seat for the parade of patriots, disguised as Mohawks, who dumped the tea into the harbor. She witnessed the Battle of Bunker Hill from a rooftop in Roxbury. She watched George Washington inspect fortifications opposite Boston Neck, and years later she waved to Lafayette during his Grand Tour. This extraordinary doll was the treasured playmate of five generations of children of a prominent Boston family—and a witness to much more history—before being entrusted to the stewardship of The Bostonian Society and its Old State House Museum in 1919. There, she has held court amidst other objects from Revolutionary Boston, inspiring children of all ages with her historic journey. Polly Sumner leaves no doubt as to her authentic character. Her thoughtful black eyes and cheery smile bring the iconic events of our storied Revolutionary history to life for young visitors, inspiring curious minds to understand the enduring significance. As the personification of this history, she makes it real and relevant. I first encountered Polly, some years ago, as Executive Director of Boston’s Old State House. Even more than her antiquity—and The doll, Polly Sumner (ca., 1773), as she appears today in her contemporary light gray silk dress, matching bonnet, and black leather boots. Photo courtesy of Revolutionary Spaces.
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Through the years, Polly Sumner has received fan mail from young visitors to the Old State House. These envelopes are postmarked from the 1930s and 1940s. Courtesy of Revolutionary Spaces.
her unparalleled historic journey—it was her ability to connect young people with Revolutionary history that struck me as special. Children live in the present, and the challenge of teaching them history is to make the past seem real and relevant, and to find historical content to which they can relate. The key to learning history is often a good story, and the key to a good story is a good storyteller. A child-friendly historical narrative, with emotional links to a story’s characters invariably works better as a teaching tool than the traditional textbook focus on names, dates, and facts. Polly Sumner’s ability to communicate with imaginative young minds far surpasses anything I had ever seen or experienced. I was astounded by the fact that an inanimate historical artifact has been the recipient of fan mail from young visitors through the years. I decided that we needed to expand upon Polly’s unique ability to connect with young people by commissioning a storybook history of Polly. We contacted a number of children’s authors, but we never found the right candidate to capture Polly’s emotional appeal within the context of an accurate rendering 22
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A particularly charming account of one of Polly’s fans appeared in the October 29, 1938 edition of The Boston Globe. Courtesy of Revolutionary Spaces.
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of the historical events. The unfulfilled promise of this bothered me after I left the Old State House. The idea that I might be able to write this story had never seriously occurred to me. But I realized then that I had to try. Years later, after innumerable drafts and the assistance of many talented individuals, that story has now emerged, just in time for the 250th anniversary of the Boston Tea Party. Polly Sumner: Witness to the Boston Tea Party is a child-friendly historical narrative. The storyline is as faithful as it can be both to the historical events and to the provenance of this historic doll. And as the storyteller, Polly brings her story to life for the young reader. Beautifully illustrated by artist/ illustrator Keith Favazza, the book also contains a glossary, a historical timeline, and a bibliographical listing of resources for further learning. Targeted for ages 7-12, the book meets most state curriculum standards for elementary grades. My hope is that young readers will develop a kinship with Polly and internalize her journey as a real, living experience, while at the same time acquainting themselves with important elements of Revolutionary history and our founding American values.
Cover for the new children’s storybook history, Polly Sumner: Witness to the Boston Tea Party, narrated by Polly Sumner, herself.
Three-year-old Annie Williams Langley holding Polly Sumner in her Quaker Gray outfit (ca. 1882). Annie was the fourth generation to play with Polly. Photo courtesy of Revolutionary Spaces.
The provenance of historical artifacts is often hard to document. Most of what we know about Polly’s first hundred years comes from one of her secondgeneration playmates. Critics may dismiss family lore as undocumented and embellished, and so it may be. But invariably it is rooted in threads of truth, woven together from personal memories and established traditions. If the factual details of Polly’s historical journey differ from her provenance, it cannot be by very much. We are told that upon her arrival in Boston, this 20-inch high, wooden doll was consigned to a shop featuring fine English goods. Her splendid brocade gown stood stiffly over a large hoop. A pearl necklace and a cap with curled ostrich plumes completed her courtly appearance. Shortly after the destruction of the tea, a Mrs. Polly (Sumner) Williams, of Roxbury, newlywed and pregnant, happened by the shop, succumbed to the doll’s charm, and purchased the doll for her unborn child. At home in Roxbury, Mrs. Williams’ sister promptly named the doll, Polly, in her honor. ANTIQUE DOLL COLLECTOR
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Polly Sumner sits with Mary (Williams) Langley, left, and Mary’s sister, Anne Dowse Williams (ca. 1893). Photo courtesy of Revolutionary Spaces.
The new Polly Sumner watched tensions rise. When war broke out, she accompanied her playmate, with others, to a nearby rooftop to watch waves of Redcoats storm the hastily-constructed patriot fort on Bunker Hill. Later, she observed General Washington inspecting patriot entrenchments protecting Roxbury. It wasn’t long before Polly’s caretakers sacrificed her British finery on the altar of patriotism to a long blue cloak and hood with buff linings. After the war, Polly was dressed and redressed in changing American styles. She graced Abigail Williams’ eighteenth birthday ball fashionably attired in silk and lace. For Lafayette’s Grand Tour in 1824, she cheered the Revolutionary hero in a well-worn blue merino gown, “with low neck and short sleeves, a vandyke or ruffled cape of white cambric, a little bonnet of Dunstable straw tied with blue ribbon, pantalettes, white openwork stockings and shoes of tea-colored kid bound with blue.” And she accompanied Abigail’s niece, Mary Williams, on an errand in a miniature copy of Mary’s “best gown and nankeen pelisse, with a cottage bonnet and long kid mitts.” After Confederate batteries fired on Fort Sumter, Polly watched from a window overlooking the Boston Common, as Massachusetts regiments departed for southern battlefields. Worn and tattered from the caresses and abuses of five generations, she was soon laid aside as family members dispersed in the chaos and dislocation of the times. After the Civil War, an aging Mary (Williams) Langley retrieved her old playmate from storage. Reliving childhood memories, Mary repaired and replaced Polly’s broken limbs, and restored her cherished friend with new makeup and a new outfit of Quaker Gray. Proudly, she exhibited Polly at the Old South Meeting House, where Polly had watched the poorly-disguised patriots gather to 24
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The Polly Sumner doll has been the subject of several articles over the years. Pictured is a photograph of Polly in her Quaker outfit (“A Historic Doll” by Caro Atherton Dugan, The New England Magazine, May 1893)
As Polly’s fame grew, she was featured in several publications, including Goodhousekeeping magazine, “Doll Days,” by Nancy Vincent McClelland, December 1904.
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march to the harbor. Polly’s fame grew with appearances at a doll show at the Tremont Theatre, at a Roxbury church fair, and at a women’s club luncheon. The press picked up her story. Her history made her a celebrity. And so she remains today, an old doll with quite a story to tell. Polly’s historical authenticity continues to inspire succeeding generations with the story of America’s Revolutionary history and founding values. Now wearing a contemporary light gray silk dress, a matching bonnet, and black leather boots, Polly Sumner continues to tell her story to young visitors, making this history real and relevant. Descriptions of Polly Sumner’s wardrobe through the years are from Dugan, Caro Atherton, “A Historic Doll.” New England Magazine, Vol. 14, Issue 3, May 1893. The author wishes to thank Revolutionary Spaces (formerly The Bostonian Society), which manages The Old State House, for its support of this project. Polly Sumner: Witness to the Boston Tea Party (Lawley Publishing, 2023) is available wherever books are sold. Learn More About Polly Sumner: “Boston Has A Doll Show,” New York Times, November 29, 1891. Dall, Caroline Wells Healey. The story of a Boston family. Boston: T. Todd, 1903. pp. 19-29. Dugan, Caro Atherton. “A Historic Doll,” New England Magazine, Vol. 14, Issue 3, May 1893, pp. 325-334. “History of a Doll: Polly Sumner and her Career of Over a Century,” The Chicago Tribune. May 13, 1893, p. 16. Lence, Fidelia. “Polly Sumner, A Boston Doll Who Has Resided Here Since 1773,” Remember the Ladies, Doll Study Club of Boston, October 1978 (United Federation of Doll Clubs’ Region 15 Souvenir Journal) McClelland, Nancy Vincent. “Doll Days,” Good Housekeeping, December 1904. Starr. Laura B. The Doll Book. New York: The Outing Publishing Company, 1908, pg. 23. Turner, Charles Quincy. “Dominion Of The Doll,” The Craftsman: an Illustrated Monthly Magazine for the Simplification of Life. Volume Eight. April-September, 1905, pp. 601-602. Williams, Lynn Manella. “Polly Sumner,” Doll Castle News, March/April, 1985. p. 11.
Portrait of Mrs. Mary “Polly” (Sumner) Williams, by Gilbert Stuart (American, 1755-1828), for whom the doll Polly Sumner was named. She purchased the doll for her unborn child, shortly after the dumping of the tea in 1773. Courtesy of the Museum of Fine Arts in Boston, Mrs. John Williams (Mary Sumner), Gilbert Stuart (American, 1755–1828), 1812–14, Acc.16.107
Artwork by an unknown artist of Polly Sumner, from an undated notecard, Cape Shore U.S.A. Photo courtesy of Revolutionary Spaces.
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Carving Polly Sumner By Janet Cordell
Carver, Janet Cordell (left), poses with Lori Erickson (right), Associate Director of Collections, Revolutionary Spaces, Boston and the historic Polly Sumner doll. (Beth Anne Hall, photographer)
While in Boston Janet was allowed to closely examine the original Polly Sumner doll—taking her measurements and getting to know the essence of Polly’s persona.
U
ntil I was contacted by Revolutionary Spaces in Boston, I had never heard of the Polly Sumner doll. I don’t know why; it seems that any doll carver would have known about her. My first knowledge of Polly was in an email from Lori Erickson, the Associate Director of Collections at Revolutionary Spaces in Boston. Revolutionary Spaces includes the Old South Meeting House and the Old State House in Boston. Lori wanted to know if I would be interested in carving a replica of an old doll for use at the museum occasionally. Who wouldn’t be interested in that? I learned that it was former Bostonian Society Executive Director, Richard C. Wiggin, who first saw the value of sharing this historical doll with the public. (Read his story in the cojoining article, “Polly Sumner—A Historical Treasure.”) Polly had been tucked away in storage for decades, emerging briefly in the fall of 2003 for a “Polly Sumner Tea Party.” The event, hosted by Boston’s Old State House and fine jeweler, Shreve, Crump and Low, was held to raise money to benefit the Old State House Museum.
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A close-up of the original Polly, taken in the Revolutionary Spaces storage area, shows her years of wear as well as the results of her various conservation efforts.
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Slowly, Janet’s Polly—or Polly II—began to emerge from a block of linden wood. Upon returning to her studio in Fayetteville, Arkansas, Janet created a pattern using the specs she gleaned from studying the original Polly.
Polly II perches on Janet’s workbench surrounded by modern-day tools of the carver’s trade.
Now, 20 years later, it was time for Polly to come out of storage, again. Flying to Boston from Arkansas, I spent three days photographing and handling Polly. Once I saw the doll in person, I was completely captivated, and I had the familiar feeling that I always have when I am introduced to something very old and historically valuable: This old doll is deserving of respect and kindness, a light touch, and all the effort I could muster. From that intimidating perspective, I found it a bit difficult to start the project. While carefully handling the doll, I tried to see Polly as the original carver had seen her, probing for a personality, gently feeling from her angles and planes how she had been held and carved originally. I also wanted to see what I could learn about the original maker, so that I could respect his work and follow his steps. That earlier carver, 250 years ago, could not have had the same tools that I have now, nor could he have worked with the same styles of sculpture that we use today. Nor could he have known that all these years later some other carver would attempt to replicate his work. Despite that, some sort of kinship was established. I would never say that I “channeled” him in some other-worldly way, but I could see from her shapes and angles and from feel what sort of tools might have been used, how the doll was held to do the carving, and what cuts were used to make what shapes. For example, the head and body piece of her may have been shaped on a very old woodworking device known as a spring-pole lathe, and then brought down to size and final shape and smoothed ANTIQUE DOLL COLLECTOR
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with hand tools, tools we would consider primitive today. All these techniques left at least a record of that earlier carver and contributed greatly to Polly’s charm. Polly also carries the record of all her past restorations, and we cannot know for sure how much those changed her over the years. In carving Polly II, I tried to keep those images in focus while designing a pattern which would responsibly replicate her, and this focus would also help me to gather the needed materials. Polly does not have her original arms and legs, so a decision was made to use wood to copy her current leather replacement limbs. The wood will have a much longer life and make her able to sit and stand better. A pattern was made, and a blank was cut from linden wood. I could not determine what wood was used to carve Polly, although historical records indicate she is made of oak. I could only see the end grain of the piece from which she was carved, and she does not seem to weigh enough for oak. Linden is a tree common to England, and it is called lyme or lime there. It was frequently used for carving in the 1700s, so it would have been a natural choice. The pattern was then laid out on the wood, drawn around, and cut out. The pieces were checked for
While the original Polly Sumner doll has replaced arms and legs of leather, Janet’s doll is entirely made of wood.
Janet painted Polly II’s hair, which closely resembles that of the original Polly Sumner doll. Assembled, Polly II has painted black boots. Her eye sockets await her custommade glass eyes. 28
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Polly II is finished. Janet used both old and newer fabrics for Polly II’s gown, which is a close copy of the historic Polly Sumner doll’s current attire.
Glass artist, Kay Mavis-Jones made solid black glass eyes for Polly II.
Polly II evokes the same pleasant, patient, and serene countenance as the historic Polly Sumner doll.
square stance, measurements, and bad spots in the wood that did not show on the surface of the board. I was constantly reminded of how much more work had to be done by the original carver than I had to do, both in the design work and because tools of the time were more labor intensive to use. From that point, the work was a process of shaping and measuring, and learning to define the “essence” of Polly. Polly has nine pieces to her. Her head and body are one piece, and she has upper and lower arms and legs. Much good artwork is defined by having simplicity of form but still speaking volumes to the viewer. Polly does just that. She is pleasant, patient, and serene, but in no way dull or boring. She has stories on her face. Anyone with any imagination at all will sense she has survived much, but that her age and experiences seem to have given her peace, and I wanted my doll to reflect those same qualities. While keeping her forms true to the simplicity and within the measurements, I wanted Original Polly to be reflected in Polly II’s face. To that end, I used as many hand tools as I could that would have been common at the time she was originally carved. All her basic shapes and expression were done with very basic hand tools, which have not changed much through the ages. I used a knife, and handheld ANTIQUE DOLL COLLECTOR
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gouges and a mallet made from a section of a hickory limb. I do doubt the original carver had access to as many commercially made tools as I have, and without doubt had to work harder to keep them sharp. In the end, I used whichever knife was sharp at the time, and six different gouges. Perhaps (hopefully) doll carving has not changed all that much after all. Although it was obvious that the original Polly was not a sanded doll, I did not have the sharkskin or any other material that could have been substituted for sandpaper by carvers in those days. Much of her current finish owes its look to 250 years of age, wear, weathering, refinish, and most of all the love of her five generations of a family and its children. I did use some basic sanding, but I found that burnishing her surface worked much better for smoothing. I used shaped pieces of dogwood, an antler tip, and a very smooth lake-washed stone, for burnishing. It is a known fact that earlier woodcarvers used these types of tools, or anything they had at hand, to help with the finish of whatever they were working upon. I also used anything I could think of, to try to achieve the look that years of living have given Polly. Her surface finish and readying her for paint took days. Glass artist, Kay Mavis-Jones made the glass eyes for me, so that I could have the solid black, imperfectly round and obviously handmade look that the original Polly has in her eyes. She was painted with modern acrylic paints. My theory of painting is that getting the look I want is much more important than the tool or paints used for the job. The fabrics and laces for her dress were copied as closely as possible with fabrics readily available today. Some of the materials are old, and some are newer. My carving was never meant to fool anyone into thinking it was the real doll. It was solely for the purpose of reducing wear and tear and any other dangers to the original Polly. I will confess that I carved several “Pollys” before I carved one that I liked—one that I felt was truly representative. From an instructor’s and carver’s viewpoint, I am aware that no face looks the same to any two people. My wish here was to convey to viewers the same feeling of a life well lived, having been much loved, a survivor’s spirit, and the innate dignity which original Polly seems to show us all. Should you decide to carve your own Polly, l encourage you to do just that, and I hope that you will be able to make one that you feel is representative 30
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Polly II arrived in Boston to participate in the Polly Sumner: Witness to the Boston Tea Party Book Launch (Richard C. Wiggin, author) held on April 19, 2023. Pictured here, the doll is now in her new permanent home at the Old South Meeting House, just in time for the 250th Anniversary of the Boston Tea Party. (Beth Anne Hall, photographer)
as you personally see her. I also hope you will feel that you are privileged to have the opportunity to add to her current story and her future history, as I have been. All photographs are by Janet Cordell, unless otherwise noted. Note: Lori Erickson of Revolutionary Spaces Boston flew to Arkansas in mid-April 2023 to pick up Janet Cordell’s Polly II. Polly II joined author Richard Wiggin at the “Boston Tea Party Book Launch” on April 19, 2023 to unveil his new book, Polly Sumner: Witness to the Boston Tea Party. Lori is quoted: …”the people in attendance were all admiring Janet’s handiwork and the new Polly is certainly a hit. She is now in her permanent home on display at Old South Meeting House.” (Janet Cordell lives in Fayetteville, Arkansas. She has been carving professionally for over 50 years. In addition to her wood sculptures, Janet began carving dolls in the 1990s. She offers carving workshops periodically and is especially well known amongst Hitty collectors. www.janetcordell.com)
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Bleuette by Nicki Burley
ecently, a good friend asked me to look at a doll for sale online. “What do you think?” That part was easy: She was a beautiful little doll, and I would happily have brought her home myself. “Do you think she’s a real Bleuette?” Well… that was a bit more difficult. I studied the photos and checked my reference books to find the magic combination of markings and clues for a solid yes, but came up short and offered a different kind of encouragement: “Almost.” The good news about Bleuette is that there are lots of dolls to learn from. The bad news? There is also a lot of variety. Because they were made by the SFBJ for so many decades, under different conditions, through changing aesthetics, and from various molds, Bleuettes represent a challenging field of study. Collectors have guidelines for identification, but from time-to-time dolls still surface to challenge these notions. It is a whole different game than studying other dolls, which are typically made from one mold by one manufacturer. Bleuette was a generational
phenomenon that became synonymous with French girlhood– part educational play doll, part status symbol, and part excellent marketing. Since she was so successful, there are innumerable small SFBJ dolls that are ALMOST Bleuettes, and while they can cause confusion, they are every bit as wonderful and interesting. They also represent a perfect entry point for a budding doll collector—their small size is endearing, and they cost less than some other antiques. It is easy to find space for them on a shelf, and they are less intimidating to play with and dress while learning more about them. Some collectors may “have a perspective that the other dolls made by the SFBJ are ‘not quite a Bleuette,’ but in the broader view, these were widely sold and may have cost more than Bleuette at the time. They were sold in the big department stores and the doll and toy shops: purchased, played with, and loved. They are not ‘lesser’ dolls,” shares Martha Nichols, whose blog www.aboutbleuette. blogspot.com features a wealth of information about Bleuette and other SFBJ dolls.
A small SFBJ Paris, like Heather Cullman’s 12-inch beauty, can make a good Almost Premiere Bleuette. (Heather Cullman) ANTIQUE DOLL COLLECTOR
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When made by the SFBJ, the “Fleischmann mold” was not marked Eden Bebe but given a size number and sometimes a squiggle. This doll is marked size 4/0, while Bleuette dolls used the 6/0 size. (Nicki Burley Collection) Right: Premiere Bleuettes can be marked size 2, but they will not have the SFBJ Paris marking. (Heather Cullman Collection)
Below: This 4/0 has a unique body with defined stomach muscles and elbow ball joints, but no size markings. She stands 28 cm tall. (Nicki Burley Collection)
Fixed blue paperweight eyes (Nicki Burley Collection)
This doll can wear Bleuette clothing. This 4/0, perhaps very early SFBJ stock, has a human hair wig and solid cork pate. (Nicki Burley Collection)
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Another 4/0, from the World’s Fair exhibit at the St. Louis 2022 UFDC convention, dressed as a child of 1904. (Carol Sherwin Collection)
Standing about 11 inches tall, this Eden Bebe 8/0 has a marked size 2 SFBJ body and feet. (Martha Nichols Collection)
The history of Bleuette and dolls like her is wrapped up in the story of the Société Française de Fabrication de Bébé & Jouets, or SFBJ. Salomon Fleischmann, a German dollmaker whose wife was French, proposed the SFBJ’s creation in 1899 to help French doll and toy makers compete with the German factories that dominated the industry. Its members eventually included 42 companies, including such notable firms as Bru and Jumeau. In fact, the SFBJ used the old Jumeau factory to make dolls, as can be seen in a fascinating early short film which the Grovian Museum has featured on its YouTube channel at https://www.youtube.com/ watch?v=hy0K1qvOmf4&ab_channel=MichaelCanadas . The SFBJ successfully supplied the market with a huge number of dolls until it went out of business in 1957.
Its operations almost entirely encompass the life of Bleuette, which was sold by the publishing firm Gautier Languereau between 1905 and 1960. She was perhaps the SFBJ’s most famous doll, although in a sense she is several dolls, because she was made using different molds over her long lifespan. For that reason, collectors seek to identify Bleuettes by a combination of their mold numbers AND their unique size: they were 27 cm tall before 1933, and 29 cm afterwards. With a few exceptions even in that, of course. When the consortium was formed, the SFBJ used the molds, company names, and product names of its members. It later created its own molds, such as the 301 and 251, which are familiar to Bleuette collectors. One early doll, called the Fleischmann mold, began life as Fleischmann ANTIQUE DOLL COLLECTOR
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This Eden Bebe 4/0 has a size 3 body and feet and stands about 12 inches tall. (Martha Nichols Collection)
& Bloedel’s Eden Bebe, which had been made for the French market since 1890 in many sizes and in varying qualities. Fleischmann brought the mold into the SFBJ and redesigned it in 1905. The SFBJ also registered its own trademark and purchased a body press for its Paris factory that year. From then on, the dolls were incised with just a size number and sometimes a squiggle. The head was no longer marked “Eden Bebe,” but the SFBJ did own rights to use the name for advertising. The 6/0 size of this mold was used for early Bleuette dolls. Similarly, Gautier Languereau enticed subscribers to its new girls’ magazine La Semaine de Suzette by offering a “Jumeau” doll in 1905. Jumeau was well known as a luxury brand. While SFBJ-owned Jumeau molds were used to make these heads, the SFBJ did not reissue them once the molds wore out. For many reasons, play dolls were sometimes assembled using parts on hand. This causes confusion when they appear with unusual head and body combinations, as can happen with Bleuette. For example, dolls made during World War I can have thin, shorter arms, and during the lean years of the 1930s, some 28 cm Bleuettes were sold at “sale” prices using thigh pieces that made them stand 1 cm shorter than the redesigned 29 cm dolls of 1933. Using up old stock made good business sense in very hard times. The SFBJ also outsourced some 34
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Definitely a Bleuette. The author’s SFBJ 60 is marked 8/0 for size and “24” to indicate the year she was made. She is Bleuette’s unique 27 cm height. (Nicki Burley Collection)
bisque head production to Germany due to lower costs until World War I, when necessity and patriotism led to demand for goods made entirely in France. This was especially true for luxury items like children’s toys, since play was considered educational. Middle- and upper-class parents carefully selected toys that expressed traditional French values for their children, who they saw as France’s
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Head markings for the SFBJ 60-6/0 (Nancy Dean Collection)
An SFBJ 60 which is marked 6/0 and stands 12 inches tall. (Nancy Dean Collection)
Head markings for the UNIS FRANCE 60-6/0 (Nancy Dean Collection) Later dolls from the 60-mold series were marked “UNIS FRANCE,” such as this Almost Bleuette in size 6/0, standing 28 cm tall. (Nancy Dean Collection)
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future leaders. Dolls marked “Unis France” reflect this emphasis. Despite a rocky start, the SFBJ came to dominate the French toy market and created a vast variety of dolls during its long reign; they were sold everywhere. Many of them are just about Bleuette’s size–perfect for play or standing on a shelf–and can even wear her clothes. This may even have been a selling point for department stores that wanted to trade on Bleuette’s success. True Bleuette dolls, however, were only sold at the G-L publishing firm’s offices, which also sold a line of commercially made clothing and accessories. Each little piece of information is helpful when buying dolls, as the clues you need for identification can be as small as a tag or a size mark. Ultimately, it is wise to learn all you can about the dolls you do have, take good notes, and then represent them with honesty when it is time to sell. Value, like beauty, is quite often found in the eye of the beholder; it
Cabinet-size regional dolls are frequently mistaken for Bleuettes. Robin Hochteil’s pretty 301 is almost the right size and wears a costume similar to the early “Flower Seller” pattern in La Semaine de Suzette, but she has several clues to indicate she is Almost Bleuette. (Courtesy Theriaults)
The regional doll’s head is marked UNIS FRANCE 71 301 149, but the neck marking is less clear. It may be 0, or the top part of a 2. Her clothing was nailed on; a nail is still visible in her back. (Robin Hochteil Collection) 36
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The costume’s tag indicates that the doll was made by the SFBJ (71 149) under the Jumeau brand name. Bleuettes were only sold through the GautierLanguereau offices. (Robin Hochteil Collection)
The regional doll’s foot is clearly stamped “2”, whereas Bleuette has a size “1” foot. (Robin Hochteil Collection)
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Head markings for the SFBJ 301-0; body and feet are unmarked. She came with her original box from the Bon Marche department store. (Nicki Burley Collection)
• 4 teeth, paperweight eyes, pierced ears • Plump little girl body, marked “2” on the back and “1” on the feet; bodies do not change until 1933 • The SFBJ Paris has a similar look and can be an Almost Bleuette in smaller sizes
is always good advice to buy what you love. There is nothing inherently better about a “real” Bleuette versus other small SFBJ dolls, and it is fascinating to learn about your doll’s own special qualities if she turns out to be “almost” Bleuette. One way to distinguish between all these charming little girls is to organize them by their head molds, in the way they were used for Bleuette.
The Fleischmann Mold When the Jumeau-type dolls ran out, the G-L firm needed more dolls immediately. They seem to have turned to the Fleischmann mold (or Eden Bebe) to fill the remaining orders, so they were available almost from the very beginning. The heads were possibly made in Germany as production time was faster there than SFBJ could manage in Paris at that time. • Marked with just the size number; “6/0” is used for Bleuette • Frequently seen as Almost Bleuette: the “4/0” and “8/0”
The Premiere This is the most elusive girl of all. The G-L offices were flooded with requests for the Jumeau dolls offered as giveaways to promote its new girls’ magazine in 1905, and they ran through available stock before filling all the initial orders. The heads would have been made by SFBJ with existing Jumeau molds • Heads marked 1, 2, or 2 over 1
The 60 PARIS In 1915, the 6/0 Fleischmann mold, with its German connections, was replaced by the French-made SFBJ 60 PARIS and marked size 8/0 for Bleuette. • Some dolls marked with the year they were made, such as “24” • Can also be marked with letters R, PR, or D • Fixed glass eyes until 1922, sleep eyes after this date
The author’s small 301-0 is just 10 inches tall but can still wear many Bleuette dresses. (Nicki Burley Collection)
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From 1925-28, head markings changed to “UNIS FRANCE” inside a pointed oval, with “71” and “149” just below it. UNIS is an acronym denoting French-made goods made by official trade unions. The number “71” is for game and toy makers, and “149” is the SFBJ’s member number. The 60-8/0 Bleuette was made through 1932. The 301 Made by SFBJ beginning in 1915, this mold was also used for Bleuette from 1919 all the way through 1957. In all sizes, it was very popular, and a great number can be found. Sometimes regionally dressed dolls in almost the right size are mistaken for Bleuette and may be able to wear her clothes, but G-L never sold that type of doll. Similarly, a bisque head. Without clothes or wigs, it is easy to see the size differences between the 301 heads and bodies, as well as visual differences between the UNIS FRANCE and SFBJ 301 molds. (Robin Hochteil and Nicki Burley Collections)
Both dolls are dressed in Bleuette clothing from 1920s and 30s La Semaine de Suzette patterns. (Robin Hochteil and Nicki Burley Collections)
301-1 • 1919-24: Marked SFBJ Paris from 1919-1924, some with pierced ears • 1925-28: Marked 71 UNIS FRANCE 149, harder to find. In 1933, Bleuette grew to 29 cm. She was given an elongated torso and legs to suit a new slim, athletic vision of modern girlhood. 301-1-¼, Bisque Head • 1933-1957: marked 71 UNIS FRANCE 149 301 1-1/4, varying paint quality post-war, new body 301-1-½ or 1, Unbreakable Head • Dolls with bisque heads marked 301-½ are not Bleuette • 1933-39: marked 71 UNIS FRANCE 149 301 1- ½, made of composition which shrinks as it dries, so head size number is larger than other Bleuettes • 1939-57: marked 71 UNIS FRANCE 149 301 1, made of papier-mâché • 1951-54: may have a closed mouth 38
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Less familiar to collectors is the 251 face, with her toddler look and 2 teeth instead of 4. She was available as a Bleuette from 1933 onward, in bisque, composition, and papier-mâché. The mold was also used for dolls in many other sizes. (Martha Nichols Collection)
Another 10-inch SFBJ 301-0, from Nancy Dean’s collection. (Nancy Dean Collection)
Variations • 1937-38: acetate sleep eyes, which have faded to green • 1946-50: vivid blue glass sleep eyes and rayon wigs • 1955-60: plastic eyes & plastic torsos; height remains 29 cm The 251 This mold is different from other Bleuettes, as she has a toddler face with just two teeth instead of four. But the mold itself was popular and sold by other stores in many sizes, so she can also be found as an Almost Bleuette. • 1928-32: first of the “unbreakable” pasteboard head Bleuettes; marked SFBJ, size “2”; original 27 cm height • 1933-1937: marked 71 UNIS FRANCE 149 251-2; the head was available in pasteboard, composition, or bisque; new 29 cm height
Original body sticker indicating the 301-0 was sold by the famous Parisian toy store, Au Nain Bleu. (Nancy Dean Collection)
Sources: Bleuette At a Glance Guide by Heather Cullman, available at rosewrendolls.etsy.com www.aboutbleuette.blogspot.com blog by Martha Nichols Bleuette: Her Original Gautier-Languereau Fashions 1905-1960 by Monique Couturier and Samy Odin SFBJ: Captivating Character Children by Anne-Marie Porot and Francois Theimer ANTIQUE DOLL COLLECTOR
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Small and Scrappy
Collecting Antique Doll Quilts By Mary A. Senko oll quilts represent some of the most delightful and endearing of all needlework projects. The history, story of change and evolution in the field of home arts, and the story of the early years of the settling of our country are all wrapped up in these delightful additions to any doll collection. When one examines the quilts themselves and starts to research the meaning behind the patterns of the quilt blocks, a picture of the lives of the women and girls who made the quilts emerges very quietly in the stitches, fabrics, and patterns selected. Doll quilts were often made by women for their daughters and subsequently made with the help of women by their daughters for their dolls. Women sewed the story of their lives into the quilts and taught their daughters to do the same. Quilting, as
Cotton Calico prints 1840-1870, hand quilted 40
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a needle art, is said to be one of the longest traditions besides samplers for teaching girls how to sew. In addition to the necessity to bring comfort to their families, there was a much-needed expression of creativity for the women who developed the patterns and color themes for their quilts. Along with their mothers, the young girls could incorporate their personal creativity into the design of their quilts and share a piece of themselves in a friendship quilt, or tell a story of life on the prairie, farmland, mountains, or coastal regions. Quilting is one of the strongest common threads that run through the lives of early American women to women of today. The patterns and stories that they represent are an important part of the history of women in America, the settling and building of our country, and the revolution of sewing and needle arts during the 19th through the 21st century. Quilt patterns that were created on a large scale for use in homes and to comfort early Americans are the foundation for many of the doll quilts that we see today. Inspirations for the patterns were sometimes based on superstitions, as we learned in “The Luck of the Chimney Sweep” article published in Antique DOLL Collector (March 2022, pages 32–37) referencing the “Chimney Sweep” quilt pattern, popular in the 1840s-1860s. Sleeping under the quilt brought luck and was often a common gift for the newly married couple. They are seldom found today, as they were heavily used and passed from generation to generation to continue the “luck in the family.” Chimney Sweep Quilt
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Women met to have quilting bees and create “Friendship Quilt” squares for other women in their community who would soon marry and expand their families, or for those leaving the area and heading west on the Oregon Trail. Patterns such as the “Tumbling Block” and “Log Cabin” patterns represented the
Cotton Calico, now with more red and yellows.1880–1890, Treadle Sewing machine quilted.
The adage “many hands make light work,” was the foundation for gathering at the quilting bee, but the biggest benefit by far was the sharing and teaching that occurred around the quilt frame. Life in early America was filled with hard work, isolation, and loneliness for women. Sharing together at the quilting bees brought women together to talk, provide support and aid to each other, and was a key element for women to survive in rural America. The women brought their daughters to work on their small quilts for their dolls, as they were teaching them the muchneeded skills to manage a home and create the quilts they would need for their own families one day. The friendship quilts, one of the most endearing to the women for whom they were made, would often have a common theme. The pattern was selected, and each woman gathered scraps and other pieces to create their square and then embroidered their name in the square. When gathered together, the squares created a tapestry of friendship with the names of each participant embroidered for the woman for whom it was being created. Friendships became a “lifeline” for the women heading west. Whatever the reasons for the quilts, the designs, or the messages, the quilts were completed as a grateful reminder to the women that they had friends and a community supporting them.
building of homes as settlers and immigrants moved West and the breaking of earth or “blocks” of dirt to cultivate and plant crops. The “Tumbling Block” pattern could also be adapted into a “3 over 3” pattern called “9 Patch,” which was an easy starting place for young girls learning to quilt.
Reverse of quilt showing second side. Larger cotton relief with paisley pieces incorporated indicate 1880 to 1900/1905. Victorian era with natural highlights.
Cotton and Rayon 1930 to 1940. The scrap bag yielded some cotton from both eras, and rayon was introduced. Hand tufting for a beginner project. ANTIQUE DOLL COLLECTOR
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Traveling west on the Oregon Trail was perilous, and many women occupied themselves by the fires on the trail after cooking and clean-up were done by working on quilts and other needle art projects. Children were also gathered, and little girls stitched beside their mothers or caregivers. The industrious girls used scraps from anything they could find, including looking in Mother’s scrap bag for pieces of fabric that could be cut and stitched. When the pioneers arrived at their destination, some of the first quilts were “Log Cabin” quilts or adaptations of log cabin designs. The most important first step in settling a new area was building the shelter for the families and providing shelter for the animals. This is not to say that “Log Cabin” quilts were not made prior to leaving the city communities to head west. The “Log
Exceptional late 1940s to 1950s calico and cotton muslin. Pieced, with overstitching and embroidery.
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Cabin” design was adapted into a number of different patterns, as the long, slimmer pieces of the quilt block were easy to cut out of scraps that were found in the scrap bag. More sewing and quilting was done in the first humble homes built to house the family, and daughters sat by their mothers and continued to stitch along with them. Sewing arts, cooking, cleaning, and caring for children were all skills that were taught by the mothers and passed to their daughters. Men built the shelters from materials on hand, and women did all they could to create a home for their families. Life on the frontier and homesteading in the West was hard and demanding, and mortality rates ran high in the early days. It was not uncommon to have mortality rates that boasted well above 50 percent for families. It was the fortunate and hardy lot who were able to bear children and raise them to adulthood. Quilting and other needle arts also served the important purpose of remembering family members during the early days of the 18th and 19th centuries. In the homes of the first settlers back East, family members who were lost were often remembered in the centers of quilt squares, and little children filled many of the squares in the home. Family members’ names were stitched into samplers with images of headstones or crosses, or embroidered into stitcheries that were framed and hung to remember those who went ahead of the others in the family. As the pioneers crossed America on the Oregon Trail heading west, they encountered a number of hazards, wild hungry animals being one of them. The “Bears Paw” pattern looks very much like a paw with claws in the example pictured in this article, but with a few changes, it could be a “Star” pattern. The amazement of the stars overhead in the black of the night would be the adaption of the paw pattern into the stars seen “during the nights” on the trail. After an almost 30-year search for doll quilts, the most common pattern I have found is the “3 x 3” or “9-Patch.” The simple but endearing pattern was easy for the children to make, and fabric squares were available in the scrap bag. Triangles, squares, and rectangles could all be fashioned into patterns, and the creativity expressed is nothing short of amazing when one considers the times in which the doll quilts were made and the little hands crafting them. As I hold the doll quilts that I have collected over the last 30 years, I think of the women and children who poured their hearts and souls into their creations. I feel great joy in knowing that they are preserved in my collection as an important testamony to
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Mary Senko is a longtime member of the Seattle Doll and Toy Collectors Club, based in Seattle, and the Carmel Doll and Toy Study Group, based in Monterey, California. She now shares her passion for dolls and doll collecting with her World Doll Day Shows business and Grovian Doll Museum endeavors. www.worlddolldayshows.com Quilt pattern by Dorothy Ann Hansen of Dorothy’s Doo-Dads. Dorothy is a long-time miniature quilt designer and handcrafts miniature needlework in all scales. Her work is exquisite and has been featured in national miniature publications. Dorothy lives in the Snohomish/ Monroe area of Washington and loves the inspiration of nature for her quilts and projects. For more patterns and ideas, please reach out to Dorothy at: ddoodads@aol.com Flying Geese was a popular adaptation of the Bear’s Paw design.
the history surrounding dolls, their travels, the energy poured into making a home for them, and the comfort and love they gave their little owners. In the spirit of early American women, with the need to teach children how to sew and create with very little, enjoy this wonderful doll quilt pattern (above), shared here by long-time miniature doll quilt artist, Dorothy Ann Hansen of Monroe, Washington. Dorothy created this pattern, especially for the readers of Antique DOLL Collector magazine.
It is interesting how the calico patterns blend and create a common look. “Nine-Patch” was also called “Tumbling Blocks.”
Flying Geese was a popular adaptation of the Bear’s Paw design.
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REFERENCES: “Small Endearments, 19th Century Quilts for Children,” Scribner and Sons, 1985, Sandi Fox
Small and scrappy, this calico “Crazy Quilt” interpretation represents the best of early doll quilt making. Fabric was pulled out of the scrap bag, laid out in a pattern, and the child diligently put it together under the watchful eye of the mother. It is filled with a thin layer of batting, and tied with yarn ties. ANTIQUE DOLL COLLECTOR
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MINIATURE ENGLISH PAPER PIECED SCRAPPY QUILT
1" scale (1"= 1') • Finished size approximately: 4" x 5" • By Dorothy A. Hansen If you love hand sewing, you will love English Paper Piecing. You can sew shapes together and get beautiful precise intersections. You often see hexagons done with English paper piecing but squares and rectangles can also be done this way. Doll quilts are a great portable project. Keep a small project bag in your purse and you can easily baste a few squares while waiting for an appointment. Basic English Paper Piecing: English paper piecing is folding fabric tightly around a shape and basting through the fabric and paper. After pieces are basted, right sides are placed together and stitched with small whip stitches on edges. The needle glances off the edge of the paper inside. After the quilt top is finished, the basting threads are removed and papers are popped out the back of the quilt. When sewing squares together, hold the two pieces between your fingers, right sides together and whip stitch together. Put a slip knot at each corner to secure corner. I use freezer paper for my squares. You can use freezer paper you have in your pantry or use gridded freezer paper from a quilt shop. The shiny side gets ironed onto the back of fabric. For this quilt you want 1⁄2" squares. You can use larger sizes for larger doll quilts. 1" = 1' a half inch square would be a 6" square in real life. I use Betweens needles #10 or #11, you may want to try an Applique or Milliner needle, use a needle you are comfortable with. You can use any thread for the basting, but use a good quality thread to sew the squares together. 50 or 80 weight, the higher the number the thinner the thread. I use a medium grey color as it will blend in with most colors. This quilt takes 80 squares. Don't let this scare you, start out making a doll pillow, this would be a great project to start with to learn the technique. You will need: Assorted tiny print fabrics Freezer paper Scissors Needle Thread Thimble Tweezers
Fold seam allowances tightly over papers and baste around each piece through the paper. Put the knot on top of fabric, it is easier to pull out when finished. Contrasting thread is also easier to see when you remove the stitches. A stitch over each corner will help keep corners crisp.
Front
Cut out 1⁄2" squares of freezer paper. Iron the shiny side of the freezer paper to the wrong side of the fabric. Cut out fabric leaving 3⁄16"around.
Back
Take two squares, right sides together and whip stitch, catching only one or two threads of fabric along each folded edge and making your stitches close together, using gray thread.
Two squares whip stitched together.
Iron freezer paper to wrong side of fabric.
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Trim fabric to 3⁄16” around freezer paper.
The needle glances off the edge of the paper. Continue adding as many squares as you would like until the quilt top is assembled. I press it with a dry iron while the papers are still inside.
Cut basting threads and pull out stitches. After removing all basting stitches, use a needle or tweezers to pop papers out the back of the quilt. Carefully remove papers and fold fabric back as basted. After all the papers are removed, press again. Take your backing fabric and turn in edges to match the quilt size and press. Baste through the middle of both, pieced in the shape of a X to hold front and back together. Use a Ladder Stitch to stitch front and back together. No need for batting in a doll quilt but if you want a third layer use a piece of flannel as your batting. You can quilt with small running stitches from corner to corner of each rectangle, if you wish. You may want to tie at each intersection. I have finished some doll quilts the same as real quilts by adding binding. I have also framed some of the quilts I made, this way you don't even need to put a backing on it but you can show off your needle work. Dorothy has been making and selling dollhouse miniatures for almost 50 years. Dorothy's Doo-Dads, Dorothy A. Hansen, PO Box 1285, Monroe, WA 98272
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Kathy Libraty’s Antique Dolls
1. Rare 21” Jumeau 1907 Walks, Kisses, Flirts..........................................$2575 2. All Original 21.5” Closed-Mouth Jumeau with Signed Shoes...........$5295 3. 20” Simon & Halbig 117n “Mein Liebling” on High Knee Body......$2400
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Frizellburg Antique Store
Beautiful 18K metal and marble eagle hall table by contemporary dollhouse artist John Hodgson. Inquiries welcome! 1909 Old Taneytown Rd., Westminster, Md. 21158 frizellburgantiques@yahoo.com See us at facebook.com/Frizellburgantiques 410-848-0664 or 410-875-2850 We are OPEN Thurs - Sunday 11-5
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23” Simon & Halbig 1488 toddler
Blue glass eyes, cream color vintage dress, original toddler body. Excellent condition $3995. Available on lay-away if you choose. Call for terms
15” Sonneberg Bisque Bebe made for French market, Marked 132 1. ca 1885. Rare model with swivel head on bisque shoulderplate and bisque forearms. Gusset jointed kid bebe body. Gorgeous face emulating a Bebe Bru. Exceptional doll..................................$2800.00
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Museum News by Melanie Luther (cont’d from age 19)
One room holds changing exhibits and features a theme. The 2022 theme displays dolls from three families. The display and the photos allow the history of these dolls to come alive.
I was impressed with the number of cabinets and shelves in the three rooms that constitute the Doll Museum. According to Sue, “The Doll Museum at the Old Rectory began with the purchase of a portrait doll of Empress Eugenie by Mrs. Mabel Chandler at the site of what would become our first museum property, the Orange Johnson House. Mrs. Chandler shared her passion for dolls by displaying them at a local inn, and after she passed away, her daughters directed that the collection be split between the Shelburne Museum (Shelburne, Vermont), and the Orange Johnson House, the first building owned by the Society. The base of our museum is this outstanding collection, and many dolls by various donors have continued to amplify the depth and scope of our collection.” Sue explained that the goal of the Doll Museum is to illustrate the history of play, an idea that is evident in the carefully crafted displays. I asked if the collection is growing (and if so, how), and Sue replied, “We grow our collection by donation for the most part. A few collectors have been generous in donating their holdings, but often we hear from people who want to know that their one treasured doll will be cared for and enjoyed by our visitors. We have three rooms lined with cabinets
that display our collection. One room has changing exhibitions that focus on a theme. The current exhibition shows dolls from three families.” Sue continued, “Because we are part of an institution that has existed since 1955, we feel confident in our continued existence in a time when so many doll museums have closed.” Kate La Londe added that while the Historical Society is funded through donations and a community grant, and supported by income from the gift shop, admissions, as well as special projects, it is worth noting that the Society continues to maintain a dedicated doll fund. For me, the hours passed too quickly at The Old Rectory that afternoon. When the time I spent at the Doll Museum with Sue Whitaker came to an end, I could see that this collection reflects the significance of dolls as an integral part of historical education. The delight I experienced there, added to the knowledge I brought with me, reinforced my belief that doll collecting is, indeed, a worthy hobby. Special thanks to Sue Whitaker and Kate La Londe for their generous time and use of photographs. All other photography by the author.
A variety of baby dolls, specially named cloth dolls (Raggedy Ann), character dolls (Snow White) and bears round out the collection that I so enjoyed viewing. (Courtesy of the Worthington Historical Society/The Doll Museum at the Old Rectory and the author)
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ANTIQUE DOLL COLLECTOR
JUNE 2023
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Calendar of Events
Send in your Calendar Listing to: antiquedollcollector. com/enhancedevents.html or email events@antiquedollcollector. com or mail to Antique DOLL Collector, c/o Calendar, P.O. Box 349, Herndon, VA 20172. If you plan on attending a show, please call the number to verify the date and location as they may change.
JUNE 2023
2-4 ~ Online. TBAI Doll & Teddy Bear Show. Cindy Malchoff. 518-578-0006. dollnbearshow@tbai.org. www.tbai.org/philly.html. 2-4 ~ Portland, OR. BJD (Ball-joint Doll) Expo, (with Public Sales Room). PNWBJD Expo. Sheraton Portland Airport, 8235 NE Airport Way. Casie Brabham, call/text 541-729-5652. pnwbjdexpo1@gmail.com. 4 ~ Bismarck, ND. “The Adventures of Hitty” Annual Doll Luncheon Show and Sale. Bismarck Municipal Country Club. 930 N. Griffin St. Rebecca Schatz. 701-870-2101. beschatz@yahoo.com. Bismarck Doll Friends on Facebook. Calendar continued on page 48 October 8 - Bridgeton (St. Louis), MO. Doll & Bear Show & Sale. The Spirit of St. Louis Doll Club. Machinist Hall, 12365 St. Charles Rock Road. Connie 314-440-4086. clknarr@aol.com. www. stlouisdollclub.com.
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JUNE 2023 CONT’D FROM PAGE 47 10 ~ Elk Grove Village, IL. Pullip and Dal Doll Lovers Event. Holiday Inn Chicago-Elk Grove, 1000 Busse Road. Jane Easterly. 309-299-0486. jane_easterly@hotmail.com. www.puddlestyle.com. 10 ~ Milton (Pensacola), FL. Dollectable Annual Doll and Toy Show and Sale. Pensacola Doll Study Club. Santa Rosa County Auditorium, 4530 Spikes Way. Cindy Cosson. 708-528-0087. weedezigns@yahoo.com. 10 ~ Westampton, NJ. Antique & Vintage Doll Auction. Sweetbriar, PO Box 37, Earleville MD 21919. Crescent Shrine, 700 Highland Dr, 08060, (Exit 45-B & I-295). Dorothy Hunt. 410-275-2213. sweetbriar@live.com.SweetbriarAuctions.com. 17 ~ Belgium. Int. Doll & Teddy Bear Expo. Antwerp Expo, Jan Van Rijswijcklaan 191, 2020 Antwerp BE. Niesje Wolters van Bemmel, contact: Paul and Suzan. 0031 (0) 630099458. info@niesjewolters.nl. niesjewolters.nl. June 11 ~ Naperville, IL. The Naperville Doll & Teddy Bear Show. Marriott Hotel, Grand Ballroom. 1801 North Naper Blvd. Karla Moreland. 815-356-6125. kmorela@ais.net. www.KaneCountyDollShow.com.
16-19 ~ Online. Bear Blitz Stars Teddy Bear Online Show. Valerie Rogers. 502-423-7827. brtstar1@aol.com. www.bright-star-promotions.com. 20 ~ Newbury, UK. Dolls & Teddy Bears Auction. SAS (Special Auction Services). +44 (0) 1635 580 595. mail@specialauctionservices.com. www.specialauctionservices.com. 22-25 ~ Lakeland, FL. Miniatures Convention. Holiday Inn. disniedoll@aol.com. 407-733-7988.
JULY 2023 4-8 ~ Orlando, FL. Barbie® A Doll for ALL SEASONS™. 2023 National Barbie® Doll Collectors Convention. Convention Hotel: Hyatt Regency Orlando, 9801 International Drive, Orlando, Florida, USA. 14-16 ~ Online. Online Teddy Bear Show. BearHugs4u.com. Dolores Austin. DoloresJA@ aol.com. 570-313-2327. info@bearhugs4u.com. www.bearhugs4u.com.
The Doll Works Judit Armitstead (781) 334‑5577 P.O. Box 195, Lynnfield, MA 01940 Kestner Dollhouse Butler
The Spirit of St. Louis Doll Club's 45th Annual
Doll & Bear Show & Sale Sunday, October 8, 2023 10:00 am to 3:00 pm Machinists Hall
Adults - $6.00 Children 12 and under – FREE Early Buyer (9:00 am) $10.00 For more info: Connie 314-440-4086 Jeff 314-422-1502
Dealer Inquiries Welcome!
Visit us on Facebook:
The Spirit of St. Louis Doll Club and at www.stlouisdollclub.com
AUGUST 2023
1-5 ~ Bellevue (Seattle), WA. “Journeys of Discovery” 74th UFDC 2023. Hyatt Regency Bellevue on Seattle’s Eastside. www.ufdc.org/convention. 4-7 ~ Online. Bear Blitz Stars Teddy Bear Online Show. Valerie Rogers, 502-423-7827, brtstar1@aol.com. www.bright-star-promotions.com. 11-12 ~ Binghamton, NY. Teddy Bear Conference. TBAI. Doubletree by Hilton, 225 Water Street. Cindy Malchoff. TBAIReunion@gmail.com. 518-578-0006. www.tbai.org. 16-19 ~ Indianapolis, IN. Modern Doll Convention. 763-634-2614. registrar@moderndollcollectors.com.
12365 St. Charles Rock Road Bridgeton, MO 63044
Antique & Collectible Dolls, Bears & Accessories
16 ~ Buena Park, CA. Doll Show & Sale. Holiday Inn. Sherri Gore. 424-394-7612. 29 ~ Lincoln, UK. DOLLYCON 2023. The Showroom Conference Centre. Tritton Road. RESCHEDULED FOR MAY 2024. 29-31 ~ Bellevue (Seattle), WA. World Doll Day Annual Jubilee. Bellevue Hilton, 300 112th Ave. SE. Mary Senko. 425-330-1770. mary.senko@comcast.net. www.WorldDollDayShows.com RESCHEDULED FOR JULY 2024. 29-Aug. 3 ~ Bellevue (Seattle), WA. The 35th Annual National Doll Festival. Courtyard Seattle/ Bellevue Downtown. 11010 NE 8th Street. Rowbear. 831-438-5349. NationalDollFestival@charter.net. 31 ~ Bellevue, WA. Annual Summer Auction. Theriault’s Auction. 410.224.3655. info@theriaults.com. www.theriaults.com.
Please visit our website for a fine selection of antique dolls, dollhouse dolls, dollhouse miniatures, teddy bears, all bisque dolls, bathing beauties, kewpies, dresser boxes, snow babies, half dolls, and doll accessories at …
www.TheDollWorks.net
26 ~ San Diego, CA. Delightful Dolls of So CA Doll 45th Annual Show and Sale. Handlery Hotel 950 Hotel Circle North San Diego. Gloria Osborne. 619 298-2447. globob31@gmail.com. facebook.com/DelightfulDolls/.
More doll events at www.antiquedollcollector.com, Events
SARA BERNSTEIN’S DOLLS
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ANTIQUE DOLL COLLECTOR JUNE 2023
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Anne Demuth
Buying & Selling Fine Antique Dolls 1025 Bowman Rd., Westfield, NC 27053
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. Come to my eBay store: Anniepoojewels
Or email: dollsbearscookies@yahoo.com Also find us on Facebook: Anne Demuth
Experience Pure Doll Joy! Anne Demuth.June.indd 3
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