June 2018

Antique DOLL Collector June 2018 Vol. 21, No. 5

5/15/18 4:22 PM

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SURPRISE! There’s a Basket of Treasures For You Monday, July 16, 2018 At an Important Marquis Auction in Scottsdale, Arizona at the Hyatt Regency Scottsdale at Gainey Ranch From the Jim Kramer collection of rare Schoenhut circus memorabilia to superb early English wooden dolls to the biggest surprise of all, an important and famous European collection of fabulous antique bisque dolls. Keep watching while we lift the lid on our basket of surprises.

Please call 410-224-3655 to request a free brochure about the auction, or you can enter your email at our website www.theriaults.com to receive informative notices of this and other auctions. Or follow us on Twitter, Instagram, and Facebook @theriaultsdolls.

Or, the old-fashioned way, just give us a call to chat about the auction. A real person answers the phone Monday Friday from 9 AM to 8 PM and will gladly help you.

the dollmasters

PO Box 151 • Annapolis, Maryland 21404

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GET YOUR FIRST CATALOG FREE IF YOU SUBSCRIBE BEFORE JUNE 30th

It’s the Perfect Time!

Because coming up is the July 16th Marquis cataloged auction “Provenance” at the Hyatt Regency Scottsdale at Gainey Ranch in Scottsdale, Arizona.

A very special catalog for the July auction is just around the corner and will be available soon.

Subscribers will receive the catalogs at up to 60% savings with our special subscription package.

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e work hard to make the

Above is a small sampling of Theriault’s Antique Doll Catalogs from our recent auctions.

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and you will also receive afterauction prices realized. Another benefit for you: if you are solely interested in antique dolls, you can choose to “opt-out” of any specialty catalogs such as modern dolls or doll costumes. It’s never been a better time to subscribe and enjoy flipping through, bookmarking, writing and simply holding a Theriault’s doll auction catalog.

Above is a breakdown of subscription options based on where you live and subscription choices.

Subscribe today at 410-224-3655 or online at www.theriaults.com

the dollmasters

PO Box 151 • Annapolis, Maryland 21404

Facebook.com/TheriaultsDolls

Tel: 410-224-3655, M-F 9AM-5PM EST

Twitter.com/TheriaultsDolls

Fax: 410-224-2515 • www.theriaults.com

Pinterest.com/TheriaultsDolls YouTube.com/TheriaultsDolls Instagram.com/TheriaultsDolls

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Joyce Kekatos joycedolls@aol.com 718-863-0373 or 917-859-2446 I buy dolls and will sell on consignment.

LAYAWAY AVAILABLE • Member UFDC & NADDA 14” French FG Scroll Bebe, magnificent huge pw. eyes, gorgeous pale bisque, orig. HH wig & pate, ant. ribbed ant. dress w/lace, ant. slip & panties, ornate ant. hat adorned w/feathers & flowers, lace socks, ant. shoes, on orig. Fr. RD body.

BREATHTAKING!!

Only....$2975.

published by the

www.antiquedollcollector.com

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9.5” French E.D. Bebe, immaculate bisque, p/w eyes, ant. mohair wig orig. pate, wears beautiful Fr. silk & lace dress from ant. fabrics, ant. undies, ant. leather shoes, orig. socks & ant. Fr. hat, on orig. ED body. Darling RARE tiny cabinet size. A litle JEWEL!!! $4800.

www.grandmasatticdolls.com Look for me on Ruby Lane!

9.5” Rare Gebruder Heubach #550 Character, mint pale bisque, sl. eyes, orig. mohair wig & pate, orig. silk & lace dress, undies & orig. crocheted socks & leather shoes w/a darling hat, orig. GH body, cl./ mo. w/molded tongue sticking out between her lips. ABSOLUTELY ADORABLE & great cabinet size, very RARE!!! $1975.

15” Early Closed Mouth S & H, pw. eyes, perfect pale bisque, early high forehead, newer mohair wig, ant. dress, undies & ant. batiste & lace bonnet, orig. crocheted socks, on orig. great S & H body w/clean shiny finish.

AMAZING early child!! $1150.

7” Hertwig & Co. All Bisque Googly, closed dome w/painted side glancing eyes, great bisque overall & jointed at shoulders, body blushing, orig. mohair wig. I have owned her from the beginning of my collecting!!! DARLING!!! $1250.

Publications Director: Lisa Brannock Editor-in-Chief: Gay Bryant Art & Production Director: Lisa Claisse Administration Manager: Lorraine Moricone Social Media Director: Brigid McHugh Jones -------------------------------------------------------------------Contributors: Elizabeth Ann Coleman, Lynn Murray, Samy Odin and Andy and Becky Ourant --------------------------------------------------------------------Subscription Manager: Jim Lance --------------------------------------------------------------------Display Advertising: Lisa Brannock 717-517-9217 antiquedoll@gmail.com Classified & Emporium Advertising: Lorraine Moricone email: adcsubs@gmail.com phone: 631-261-4100 Graphic Design: Lisa Claisse email: adclisa@gmail.com phone: 631-208-7244

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Antique Doll Collector (ISSN 1096-8474) is published monthly by the Puffin Co., LLC, P.O. Box 239, Northport, NY 11768 Phone: 1-631-261-4100

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Antique DOLL Collector

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June 2018

5/15/18 4:14 PM

Carmel Doll Shop, Home of the Grovian Doll Museum is pleased to announce its upcoming Lunch, Listen and Learn Event

Teatime with Queen Victoria’s Dolls Saturday, October 27, 2018

Our doors will open at 11:00 am

R

egistered guests are invited to spend a memorable day at the Carmel Doll Shop, where British doll collector, author and researcher, Carol Cameron, will share her knowledge on the subject of Queen Victoria’s dolls. In addition, a marvelous souvenir for each guest will be part of the day.

Michael Canadas, David Robinson and Grovian Volunteers will cohost this classic British tea, where attendees can expect the white glove treatment from the staff of Carmel Doll Shop. A variety of finger sandwiches and other tasty treats will be offered. Guests are encouraged to wear hats, gloves and other finery.

The cost for this singular event is $165 per registrant. Attendance will be limited, so it is suggested that you sign up early. (A waiting list will be compiled after our seats have filled.)

Activities will take place at the home of Carmel Doll Shop: 213 Forest Avenue, Pacific Grove, CA 93950 (831) 643-1902 www.carmeldollshop.com

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RESERVATION FOR Lunch, Listen and Learn Event: Teatime with Queen Victoria’s Dolls Name / Phone Address City, StatE, Zip

Credit Card Information: Card#

3 Digit Security Code

Exp. Date Signature

Please complete this order form and send with Credit Card information or Check made out to The Grovian Doll Museum. $165. Credit card charges will appear as “Legacy Antiques.”

Send to: Carmel Doll Shop, 213 Forest Ave., Pacific Grove, CA 93950

5/15/18 4:18 PM

The Complete Guide to Antique, Vintage and Collectible Dolls

June 2018, Volume 21, Number 5 Follow us on... facebook.com/antiquedollcollectormagazine pinterest.com/antiquedollcollectormagazine instagram.com/antiquedollcollectormagazine

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The Revolutionary Vision of Blampoix

The Cat’s Meow

by Zsazsu as told to Paula Olsson

by Nicki Burley

About The Cover

Two Claude Blampoix examples warm themselves by the fire. Both dolls were retailed at Paris boutiques, and bear paper labels to that effect – the larger at Maison Guillard and the smaller at Au Calife de Bagdad.

Photo Courtesy of Carmel Doll Shop, home of the Grovian Doll Museum

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Collector’s Corner: Rosebud

by Julie Norton

26 Emporium 62 Auction Gallery

55 News 63 Calendar 63 Classified

to subscribe go to www.antiquedollcollector.com

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by Donna W. Brown

By Sheryl Varon with Diana Boettger

by Marina Tagger

The Lost Art of Wig Making

The Marketing of Ideal’s Toni Doll 6

Antique DOLL Collector

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Papier Mache Dolls.... of a Different Sort.

June 2018

5/16/18 10:13 AM

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

Quality Antique Dolls

by Mail Return Privilege Layaways Member UFDC & NADDA

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1) Simon Halbig 202 Glass Eye ‘Two-Face’ w. Working Crier - made in 1887, features a Rare Black Face and Original Black Wig, 6-layers of Original Clothes, with closed mouths.

Great find!! $1795

matrixbymail@gmail.com

3a) Stately Gottschalk Townhouse for FAO Schwarz - with the Label ca.1895. Excellent condition, Orig.

Papers in and out, Orig Draperies, Glass Bay Windows, dormer with terrace. Lovely interior! 21’ high only 13” across and 10” deep.$1495 3b) Nine Piece Elegant Biedermeier Set - incl.

Secretaire,Night Stand and Dresser w. doors/drawers etc, candelabra, upholstery and bedding. Mint! $950 4) Very Rare and Important Early China - one you never see! Empire Era, creamy pink complexion, rare grey eyes, molded and hand painted short curls, original body and clothes, long mint glazed arms. Simply magnificent! $4500

3a

5) A Lively Gottschalk Stable - w. Upstairs Living quarters, stairs, door, hayloft w/doors, named horse stalls, chicken coop, and the 5 animals and cart shown!

A convenient 14” tall by 20” across and only 10” deep. $950

3b

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2) 24” American Oil Painted Portrait - important, early folk art portraiture with no touch ups, original body w, painted leather arms, heirloom clothes appear original. Classic Americana! $2500

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6) 11” Rare Molded Linen Twins w. 1868 Labels - mint fabric bodies, 4-layers of Original Clothes w. extra dress each, all clean and contained in small trunk. Wonderful rare twins.! $1200 So pretty!

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7) Heirloom Maches - Excellent and clean! Left: 30” 1870’s w/label and orig. quaint homemade body & clothes. MINT paint and finish! $295 Right: 29” 1872 Greiner with Label, great color and hair, homemade body & clothes. $295 8) The Elusive 14” Signed Poupee Blampoix - early Stiff Neck and Cobalt Eyes, snowy bisque, original wig, professional rear plate mend only, orig.fashion body & undies. A rare luxury fashion only $1495

5/14/18 2:20 PM

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

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

9) 16” Heirloom Closed Mouth Kestner - Factory Wig & Pate, pretty bisque arms,PW eyes, Vintage Clothes and leather boots. $450 10) All Original 20” Kestner 161 mint doll, Factory Wig & Pate plus signed body, gorgeous bisque, period clothes and shoes! Pristine! $750 11) 24” All Original Vintage Waxover - great face, mint luscious ringlets, no craze, some marks, great color, orig.

Factory Body with red lower legs & boots and elegant lady Clothes! $395 12) Choice Jumeau Poupee - mint with Fancy Factory Wig, cork pate, shapely signed Jumeau Body, 9 individual fingers,flawless quality bisque, and huge wrap around PWs. For you best couture.! $1495 13) 4” German All Bisque Pair adorable little couple with Orig.

Clothes & Wigs,she with pink shoes, his blue. Way too cute! $145 14) French Trade 14” Shelf Size DEP - with fully jtd. French Body, dazzling PW eyes, pc’d ears, adorable second generation clothing. Pert! $595 15) Precious 13” Cabinet Kestner 152 - scarce model w. shoe button eyes, fully jtd. Chubby Child Toddler Body, in Orig.Period Clothes & Shoes. A prize $650 16) 14” Scarce Simon Halbig ‘600’ Toddler - a fully jtd.character with such youthful,dewey bisque, soft Mohair Wig, Orig. Period Clothes & Shoes. All excellent! $895 17) 16” SFBJ 301 Child - vibrant blue set eyes, delicate quality pure bisque, feathered brows, hip long auburn tresses, fully jtd. French Body and lovely clothes. $595 18) Scarce & Unplayed Lenci Lucia ‘Gardenieri’- a 14” child with Hat & Staff, fresh bright color, no fade or moth. A breath of Spring. $575 19) 8” Lenci Fetish ‘Pan’ - their impish little character complete in every way w. Pipe Organ,Curly hair w/ cute horns and 2-tags! Rare $750 20) 16” WPA - ‘The Three Pigs’ - 16” 17 tall Hand Puppet characters in excellent condition, vibrant coloring, little hooves and Original Clothing! $575 21) 18” Very Unusual Infant Character - exquisite quality, tiny sl.eyes & shapely nose, fabric toddler body w/ compo hands and fabulous clothes.$395 22 & 23) 17” Rare Bliss Firehouse w/ Horse and Pumper- every village needs one! Original bright paper, bell tower w/bell,no doors,plus extremely rare Horse Drawn Bliss Fire Wagon. $895 24) Mint 18” JDK 211 Baby w/ Skin Wig- perfect wig & wax on lids! Orig Kestner Body and the Original Period Clothes! A classic! $495

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matrixbymail@gmail.com

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25) Impeccable 15” Bru Teteur - sweet perfection in this early Mint Cabinet Bru - flawless quality, shimmering Blue Paper Weights, mint fingers, Chevrot Body with wooden lower legs, Original Nursing Mechanism in head, probably her Original Antique Clothes too!

The prettiest Teteur ever! $7900

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26) Rare Small Silber & Fleming - Choice Cabinet Size Victorian English Doll House with original paint and papers, plus all the antique furnishings including chandelier, birdcage, andirons, and paintings. A precious & important English made house that is only 18” by 9”across and 7”deep. $1895 27) Magnificent 25” Poured Wax Teteur - If an 1870’s wax could be French this is it! Sublime expression, exquisite condition, gorgeous Waist Length Mohair Tresses, perfect fingers, toes and Original English Clothing.

One of a kind! $2500 28) Luscious 20” Portrait Face Jumeau Fashion immaculate bisque, sultry ice blue Paper Weight Eyes, shaded lids & lid liner, Original Leather Body wearing Spring Season period clothes and leather shoes..plus cascading Hip Length Luxurious Mohair Tresses. $5500

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(212) 787-7279 matrixbymail@gmail.com

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29) 20” Beautiful Black Steiner Bebe Exotique - UFDC Blue Ribbon Winner, mint Original Wig & perfect Signed Body.

Lovely fired-in complexion with rich brown Paper Weight Eyes, early open mouth version w. pierced ears. All pristine plus additional ethnic ensemble with Original Jewelry! $3800 30) 17” Factory Original Princess Elizabeth Jumeau - complete with Jumeau Factory Hang Tag, Original Wig, Flirty Eyes, shaded lids & Closed Mouth plus Jumeau Factory Ensemble! $1795

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5/14/18 2:20 PM

Ashley’s Dolls PO Box 273,

marion maus

specializing in dolls & miniatures

ellicott city, md

mmausantiques@gmail.com

443-838-8565

member nadda & ufdc

Whitsett, North Carolina 27377 AshleysDolls@gmail.com

Visit me in the UFDC Sales Room July 17-21

Margaret Kincaid is coming to The National Doll Festival July 15-19 Pheonix, Arizona I’ll see you in Samy Odin’s booth!

Kestner mold number 103, 30 inches, $3200 Simon and Halbig 1339, 18 inches, $950 Bebe Reclaime Jumeau, Size 7, Closed Mouth, $2600 10

Antique DOLL Collector

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Margaret.kincaid@gmail.com 646-709-4340

June 2018

5/15/18 4:13 PM

Gigi’s Dolls & Sherry’s Teddy Bears Inc.

Layaw Availa ay ble

13” Fabulous 1920’s Steiff Bear w/ small underscored FF button, gold mohair & felt pads are in amazing condition, beautiful face, comes with antique outfit that she came with $2995.

12.25” S & H 1329 Halbig All original mohair wig and clothing, brown sleep eyes, replaced upper left arm, piece glued by left eye $795.

19.5” S & H H X III Germany, Heinrick Handwerch, brown sl eyes, original HH wig, vintage clothing, left hand repaired $495.

Now $445. 10” x 8.5” Steiff Fox Terrier 1950 – 60’s, wonderful mohair, original collar $115.

14” Kling blond Parian w/ exposed ears & molded shoulder plate w/ gold & blue tie $595. Now $475.

Rose O’Neil Kewpies from Germany 3.5” Traveler Kewpie w/ umbrella and travel bag $155.

3.5” Governor Kewpie on Chair, © on bottom $210.

3.5” Action Kewpie seated, missing bug $250. Now $215.

3.5” Huggers with sweet expressions $115.

17” Roche Florence & Freddie 1988, wood bodies, blue glass eyes, HH wigs $995. Now $850. Pair 8” Tilly

by Lynne & Michael Roche 1992, painted features $99.95

17” S & H Parian w/ molded shoulder plate w/ jewel, pierced ears, hair back in braid w/ black bow, antique body & clothing, 1 leg as is $475.

23” O/M Tete Jumeau Depose on 5 piece body, brown mohair wig, blue sleep eyes, hairline on forehead & back of head $995.

9 ¾” Early Dorothy Heizer 1930’s possibly Betty Davis, very well detailed, beautifully dressed $695.

26” OOAK Lady In Black

by Avigail Anna Brahms 1989, dressed w/ vintage materials, mohair wig, blue glass eyes, fabulous $1895.

9.25” Milliners Model 1840 – 60’s all original w/ wooden arms & legs on leather body, head as is & loose on body $295.

Toni Dolls by Ideal 15.5” P-91 w/ Auburn hair in green & yellow jacket dress $145.

21” P-93 all original in red & yellow jacket dress $240.

14.5” P-90 All original w/ High Collar $120.

15” P-90 All original w/ wrist tag $165.

16.5” Toni Walker all original w/ wrist tag $145.

Heloise Dolls in poured resin from France, hand painted features 20” Josephine #7 2002, brown mohair wig, blue green eyes, w/ cert $995. Now $795. 19” Seated Paloma #28/60, blond mohair wig, green eyes $950. Now $750. 22” Anne Sophie w/ blue eyes, blond mohair wig, dressed in burgundy $795. Now $550.

15” Volland 1915 Raggedy Ann w/ wooden heart, replacement apron $995. Now $695. 18” 1938 Beloved Belindy all original by Georgene Novelties $725.

15” O/M Mouth Kestner Boy, blue sleep eyes, beautiful coloring & molding, repainted body, marked JDK at neck, small repaired eye flack left corner $395. Now $325.

14” K Star R Glass eyed Kaiser Baby marked 36, hairline left side of face, orig mohair wig $450. Now $295 3.5” Steiff mohair Teddy Bear 1950’s $99.50

17” & 10.25” R.J. Wright Set of Snow White & the Seven Dwarfs, Princess & 7 Dwarfs are matched #319 set & Rags Snow White is #226/1000 w/ bucket & brush, fabulous find in mint condition, fully tagged, no boxes $3295. Set of 9

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

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

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5/15/18 6:02 PM

The Tender Years

Deborah Varner • Member UFDC C. 303-475-3274 • queenbeev1@comcast.net Layaways welcomed and consignments taken.

See me on RubyLane.com Rare 6” Jointed elbow, barefoot, all original mignonette. $ 2,950

Lovely German girl in lace and rust with antique German shoes. $ 1,125

16” All orig.

Scottish, Stunning Gerbruder Heubach. $ 2,625.

www .thetenderyears.net

Mended Functional Rocker Eyes

Antique

Doll & Bear Restoration Specializing in

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

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

Accessorize Your Dolls!

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

• Jewelry • Trunks • Items for the Boudoir • Buttons and Clasps • Purse Frames • Presentation Boxes • Bleuette Accessories & More 12

Antique DOLL Collector

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Bisque & Early Compo Redressing Antiques Original Automata Online Repair

Estimates

Available (Photo)

30 Years Experience

The Little

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& DOLL HOSPITAL

103 Lautenburg Blvd. Stoudtburg Village Reinholds PA 17569 dollydoc106@aol.com

(717) 484-1811

Karen Redsicker Artist/Proprietor

June 2018

5/15/18 4:11 PM

frasher.indd 13

5/15/18 4:28 PM

Lynette Gross

Is it time for a new hairdo?

We have wigs to fit your doll’s needs!

French Fashion Wigs

Toni Replacement Wigs

Selling a diverse array of unique and antique dolls Telephone (317) 844-6459 Email LynetteDolls@yahoo.com Visit my online shop open 24 hours, 7 days a week.

Joan & Lynette Antique Dolls joan-lynetteantiquedolls.rubylane.com

Wigs for Miniatures

• Exclusive Jointed Bodies • Head Molds • Wigs • Stockings • Shoes & Boots • Patterns • Dress Kits • Trims • Jewelry • Accessories • Stands • Furniture • Books

www.dollspart.com 1-800-336-3655 14

Antique DOLL Collector

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June 2018

5/15/18 4:10 PM

Meissner’s ANTIQUE DOLL AUCTION Saturday, June 30th, 2018 Preview: 9am - Start: 12pm • 438 NY Route 20, New Lebanon, NY, 12125 (518) 766-5002 Email: info@meissnersauction.com Hundreds of Photos at www.meissnersauction.com

This is the 2nd of 3 Doll Auctions from the Late Ann Johnston consisting of approx. 475 lots of Antique Dolls, Antique Doll Clothing & Doll Shoes etc. Ann was a very knowledgeable collector and loved the hunt for an interesting doll as much as collecting. This auction will also be featured on LiveAuctioneers.com. We will also have an extra 100 lots not featured on line for our in house bidders.

Parisienne Dolls to Inc: 17” Depose O/M Tete Jumeau in Off White Chiffon Dress; 14” Francois Gautier Swivel Neck on Gusseted Kid Body wearing 2 Pc Off White Polka Dots on Blue Cotton Bustled Style Dress ; 9 ¼” O/M Jumeau wearing Baby Blue Silk & Lace Dress; 16” French Fashion Stationary Neck on Gusseted Kid Body w/Bisque Lower Arms Wearing an Off White Cotton Lawn & Lace Gown; 9 ¾” Unmarked French Fashion Swivel Neck w/Glass Eyes on Gusseted Kid Fashion Body Wearing Floral Cotton Print Dress in Autumn Tones: 9 ¾” French Fashion w/Painted Eyes in Blue Print & Stripe on Cream Cotton Dress (on German Body); 11 ½” Swivel Head French Fashion w/ Glass Eyes in Red, Blue, & Cream Print on Tan & Cream Stripe Cotton Dress; etc.

Selection of Millener’s Models to Inc: 10 ½” Milliner’s Model w/ Side Curls & Bun; 11” Milliner’s Model w/Braided Bun; 7” Milliner’s Model w/Side Curls & Braided Bun; 12 ½” Milliner’s Model in Orig Yellow Dress w/Short Brush Stroke Curls; 13 ½” Brown Eyed Milliner’s Model w/Braided Bun; 9 ¼” Apollo Knot Milliner’s Model; 10 ½” Apollo Knot Milliner’s Model; 9” Apollo Knot; 15 ¼” Milliner’s Model Boy; etc .

Selection of Early & Wood Dolls to Inc: 6 ¼” Carved Wood Lady w/Carved Hat; 6” Grodnertal Tuck Comb; 6 ½” Pr. of Door of Hope Kindergarten Children (all orig. clothing, girl has kitten slippers); 6 ¼” Door of Hope Boy in Orig Outfit; 11 ¾” Door of Hope Man; 11” Door of Hope Woman; 7 ¼’ Bebe Toute en Bois; 8 ¾” Bebe Toute en Bois; etc.

Selection of Papier-Mache, Wax & Wax-Over to Inc: 10” French Type w/Ptd Eyes; 11 ½” Paper Mache w/Exposed Ears, Long Curls & Braided Bun; 14 ¼” Glass Eyed Paper Mache in Folk Lore Costume; 12 ¾” O/M French Type Paper Mache w/Glass Eyes on Kid Body; 13” Paper Mache w/Wooden Arms on Kid Body in Regional Costume; etc.

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Selection of German Dolls to Inc: 7 ¼” K*R 114 Gretchen; 9 ½” Mold 5659 Gebruder Heubach; 11 ½” Belton O/C Mouth; 6 ½” A. M. 323 Googly; 8 ¼” Hertwig Boy Half Bisque; 9 ¼” Hertwig Girl w/ Braid Half-Bisque; 8 ¾” K * R 114 Dressed as Boy; 17” Bahr & Proschild C/M Shoulder Plate on Gusseted Body w/Wood Jtd. Arms; 8 ½ Kestner 143; 9 ½” Kestner 143; 8” S & H 939; 11” S & H 949; 11” Belton 137; 13 ¾” K & H Mold 546; 10 ½” Belton; 12” Kestner 143; 10 ½” Belton; 9” S & H 939 O/M; 9 ½” G. K. Belton 39 20; 8” Belton Marked O; 8 ¾” Belton; 8” Unmarked Early Untinted Belton w/ Caracul Wig; 7” Kestner 155 on Jointed Body; 6 ½’ AM 253 Goggly, etc.

Selection of China Heads & Parians to Inc: 12” Parian Café Au Lait Hair Boy; 8 ¼ “ Black Haired Parian w/Fancy Hairdo & Ptd Earrings; 10” Parian w/Lady Face & Unusual Long Molded Green Hat/Scarf; 15” Café Au Lait Parian w/Blue Bows & Snood; 13” Black Haired China w/Bun; 11” China w/Brown eyes & Exposed Ears; 14” Black Haired China w/Brown Eyes & Exposed Ears; 9” Biedermeier China w/Blonde Wig; 7 ½” Black Haired China w/Braided Bun; 8 ¾” Black Haired China w/Elaborate Hair Style; 15” Black Haired China Boy; 15” Black Haired Pink Tint China; 16” Black Haired China w/ Elaborate Hair; etc Selection of All Bisques to Inc: 10 ½” Stiff Neck Jtd All Bisque Mold 150; Selection of Kestners; 5 ½” All Bisque Ptd Eye Googly; 7” S&H 886; 7 ½” C/M Kestner w/Gray Boots; 6 ¾” S&H w/Long Black Stockings; Six 1 ¾” Stiff Necked All Bisques w/Jtd Arms & Legs in Crochet Dresses on Card; etc Miscellaneous to Inc: Doll Houses, Doll House Furniture; Large Selection of Lovely Antique Doll Clothing; Large Selection of Mostly Antique Boots & Shoes for French Fashion, French Dolls, Bisque Head, German Dolls, China, Parian & Paper Mache; Antique Underclothing; Sewing Materials & Doll Patterns; Antique & Vintage Doll Parts; Antique & Reproduction Mohair & Human Hair Wigs; Large Selection of Vintage Madame Alexander Dolls in Original Boxes, etc Everything sold as is - absolutely no returns Cash**Check**Master Card/VISA**14% Buyers Premium— 2% discount for Cash/Check Subject to Errors & Omissions Accepting Quality Consignments for Future Auctions Absentee & Qualified Phone Bids Accepted Meissner’s Auction Service, PO Box 115, New Lebanon, NY 12125

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Will you join us with your JW Marriott Desert Ridge Resort and Spa 5350 East Marriott Drive, Phoenix, Arizona 85054

Public Day Saturday, July 21, 2018 10:00 am - 3:00 pm

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Le Cheval de Bois Lee Feickert Beautiful BeBes Antique Dolls Susan Fosnot Dolls Facets by Marcia Sondra M. Gast - Dolls Vintage Valuables Joan & Lynette Dolls Ashley’s Dolls Ray. Hoban Turn of the Century Antiques - Rare Dolls Howard & Colleen Holden Dolls, Etc. Maggie Made Dolls Boneka Creations Karen Irish Kay Jensen Antique Dolls Sue Kallen Rosemary Kanizer

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Samy Odin La Maison Verte Timeless Heart Jennifer Osner Antique Japanese Dolls Joyce Patterson Sophie Pearson/Dolls Etc… Lisa Pepin & DSB Doll Wigs Gwen Pogue Judy Porter Dolls AnnPruett-Phillips Karen Rockwell’s Dolls Chatham Village Bears Geppetto’s Workshop Theriault’s Richard Saxman Antiques Memories of Things Past Pamela Seifert Antique Dolls

Inky Pinky Dolls Mary’s Antique Dolls The Wish Booklets Bayberrys Antique Dolls Mary Ann Spinelli Madonna Rare Antiques Beverly Stoehr Originals Porcelain Classics Scott’s Antiques Stevi T. Old B Doll Clothing Co United Federation of Doll Clubs TOIH - Rosie & Shelley Only at Zona’s Gail Wilson Designs R. John Wright Dolls RubyRedGalleria

This is the Premier event of the year featuring an international group of dealers and artists.

Our salesroom exhibitors are considered the best of the best.

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Salesroom - Grand Ballroom Admission $20 - Ages 8 to 17 $5.00

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Artists Showcase - Ballroom Foyer Publishers Preview - Ballroom Foyer

DOLL NEWS • UFDC.ORG

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Once Upon A Time

C OME C ELEBRATE THE M AGICAL W ORLD OF FAIRY TALES AT THE R. J OHN W RIGHT C ONVENTION J UNE 21-23 T HE E VERETT M ANSION , B ENNINGTON , V ERMONT HERE’S WHAT’S INCLUDED: Transportation from Albany Airport at Special Low Rates c Best Price: $159 at the Bennington HAMPTON INN c Tours of R. JOHN WRIGHT DOLLS Production Areas, Design Studio and Showroom c Themed Meal Events featuring “Peter Pan”, “Puss-in-Boots” and other Classic Fairy Tale Characters c Event Souvenirs available at Special Introductory Prices c An Exclusive RJW ‘Mouse’ Event c Trips to Bennington Potters Factory & Showroom and the Bennington Museum c Movie Screenings in the Everett Mansion Theatre c Exclusive Themed Workshops c Special Convention Exhibits & Programs c Medieval Country Faire with Live Entertainment and Costume Competition w/Prizes c Sales Room featuring Vintage RJW Materials & Accessories c Special Offers on Rare and Retired R. JOHN WRIGHT Pieces c ALL Meals included with Registration c Final Banquet and Convention Souvenir Doll ($750 value) Made in the USA! COME JOIN US FOR THE COLLECTOR EVENT OF THE YEAR! Full Registration only $750 or Limited Registration [no Souvenir Doll] $400. Easy Payment Plans. You may register by phone or online at the RJW Website. Do not delay! Space is limited to only 100 Attendees.

R. John Wright Dolls, Inc.

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2402 West Rd., Bennington, VT 05201 u Tel: 802-447-7072 Fax: 802-447-7434 u E-mail: rjwdolls@aol.com

The Revolutionary Vision of Blampoix

by Nicki Burley

W

hen I first found Imogen, she was just one of a thousand beautiful dolls in our regional event sales room. Yet somehow, she was the only one. Though she took my breath away, I couldn’t let myself entertain the idea of taking her home. Before that evening, I had never purchased a quality antique doll, so I walked around the showroom in a daze, trying hard to find something more reasonable to buy. As we walked, however, my friend and I discussed the dresses I could sew for this little doll and the furniture she needed. I wondered which shades of silk would light up her huge blue eyes. Of course, she would want a trunk‌ We never paid attention to anything else we saw. I placed a cautious hold on her overnight, but her name came to me as I tried to sleep, and I was utterly smitten. She was meant to be my girl.

Imogen, the little lady who caught my eye from across the sales room. She wears an enfantine-style grey silk dress with bretelles like fashionable doll children of her day.

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Photos Courtesy of Carmel Doll Shop (unless noted otherwise)

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When I discussed the purchase the next day with Michael and David of the Carmel Doll Shop, I was intrigued to learn that my tiny fashion child was a Blampoix, of whom I knew nothing. David kindly sent entries from a reference guide, but other information proved hard to find, and Imogen herself offered few clues. She was obviously early, given her nearly white unglazed bisque head, which was also unmarked.

Undressing her revealed a v-waisted, gusseted leather body, mostly white through the torso but darkened and repaired at the knees and lower legs. Most interesting were her arms. With bisque lower arms and kid over wood upper arms, I found a fascinating ball and socket system at the shoulder that allowed them to swivel naturally. But I was left still wondering what was significant about the name “Blampoix.” Was the company important in its day, only to be eclipsed by the great names of Bru and Jumeau? What set these dolls apart from others?

To help me find answers, my friend shared copies of the Theimers’ comprehensive The Panorama of Parisienne Dolls and Polichinelle Volume 4. A fascinating picture emerged as I read these longer articles: a tale of the earliest days of French doll innovation and the dawn of a luxury industry, of family, fortune, love, and loss. Like many financial success stories, its roots lay in favorable changes to the law.

Before the French Revolution, inventors had to seek royal permission to make anything new, which left the common man at a disadvantage. But through the 1790 patent law, anyone could safeguard their ideas with a simple legal process. The concept was so novel that by the time Mlle Huret registered her famous articulated doll body in 1850, only two other patents for dolls had been registered. The most important was for a porcelain which created superior doll heads, leading to increasing French freedom from German doll manufacturers.

Then after Huret’s success, a flurry of patents was soon registered, each seeking to improve or refine some aspect of dollmaking. Dolls became an important part of the Second Empire’s luxury economy, and a fortune could be made with one original idea.

Claude Joseph Blampoix, who had been in the doll business since 1840 but had previously purchased the heads he used, was the first to suggest an improvement we now consider standard: the insertion of glass or enamel eyes into porcelain heads. According to his 1855 patent application, it had “not yet been done up to this day…eyes have always been painted.” The application also shows a mechanism for sleeping eyes, which appears as a pull cord on the abdomen of leather-bodied dolls. Dolls attributed to Blampoix have a distinct look because of his innovation. The eye cuts are somewhat small, set with deep blue enamel or blown glass eyes threaded with a lighter blue.

The addition of glass eyes had far-reaching impact. To insert eyes, the molded head was first fired to a soft-bisque stage. At this point, the clay was firm, but the eye sockets could be carefully cut with a knife. The heads were then fired again, cleaned and painted, and a third firing set the colors onto the bisque. This firing process led, in turn, to another development we now take for granted in porcelain dolls: flesh tones and subtle make-up. First to go were the shiny glazes which had been applied in the past, because the glaze altered the paint shades in an unrealistic way.

Interestingly, the Theimers note that the earliest bisque dolls are quite pale because of the way decorative objects were

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Imogen has deep blue inset glass eyes, threaded with a lighter blue. Her eye cuts, rimmed in black, are slightly larger than those seen on other Blampoix dolls.

Undressed, Imogen displays the interesting rotating shoulder joints that set her apart from fully leather-bodied dolls.

(Photo by Nicki Burley) ANTIQUE DOLL COLLECTOR

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painted at the time. Unglazed bisque was typically left matte white, and “porcelain designers thought they went against their art if they took care of doll faces by decorating them.”

Over time, however, the demand for realism popularized the addition of layered colors through multiple firings. Bisque heads with allover facial color and gently colored makeup eventually replaced porcelain heads. Blampoix dolls tend to have fairly pale bisque or glazed heads with rosy cheeks; thin, arched brows, and small pursed lips. Frequently, the eye cuts are rimmed with black.

Blampoix’s patent quickly made him a wealthy man, and he became the premier manufacturer and supplier of doll heads with glass eyes to other firms and shops for 15 years.

Though he never married, he used his fortune to buy land, build a new home, and establish a factory which specialized in setting eyes. He sold the firm to the Duval-Denis couple in 1860, but they sold the business back to him in 1862. It was sold again in 1868 to Louis Dalloz, who maintained the doll business in Blampoix’ name until 1889. In 1865, advertisements announce that the firm produced “articulated dolls, porcelain heads…matte or glazed heads, porcelain bebes” though the term “bebe” probably meant something different than later child-type dolls. The variety of extant Blampoix dolls hints at his broad inventory. Some have glazed heads, some matte bisque; most have his signature glass eyes, but a few are painted. They appear on both leather and articulated wood bodies. After selling to Dalloz, the energetic businessman must have become bored with retirement, because by 1875 he was back in business with one of his brothers, selling groceries, herbs, and coffee until 1882.

While the Duval-Denis period dolls were potentially marked “DD,” the Theimers say that the doll heads “were all signed with the initials BS (Blampoix Senior) …and

sometimes the word DEPOSE is found between the two initials.” My own Imogen, however, has no markings. There is a tiny spot of green on the leather covering her shoulder plate, but it’s impossible to know if this was a stamp at one time. It leads me to wonder whether some dolls, especially those sold to other makers, were unmarked.

Or perhaps she was made and sold by his youngest brother…and that’s where it turns from a simple business story to a personal one.

Eight years younger than Claude Joseph, Francois was the youngest member of the Blampoix family. He greatly admired his older brother. Upon turning 21, he left their village for Paris to work alongside Claude, becoming known as “Blampoix Jeune.” At age 30, he set up his own shop and married Felicienne Bailly. Though they had no children, they remained married until her death in 1864. Within a few years, he fell in love with Marie Elisabeth Pinard, fully 23 years his junior, and already the mother of two illegitimate daughters. In somewhat Bohemian style, the couple had two more little girls in rapid succession with no evident plans to marry, but the horrible winter following the Franco Prussian War in 1870 ruined Francois’ health. His business was already in trouble at this point, and he never seemed to have had the business acumen of his brother. He sold “dolls with pink skin, all kinds” and purchased his supplies from his brother, Francois Gaultier and Eugene Barrois. Could this shop, supplied by so many manufacturers, be my Imogen’s first home?

The Blampoix patent included a mechanism to make the eyes sleep, but the dolls are hard to find now.

The Theimer book shows an undressed example with a pull cord on the doll’s torso.

This 24” glazed sleep-eyed doll wears a skin wig but is dressed as a lady. In excellent condition, she was also found with three original dresses and extra hat.

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Russet gold curls and a deep green bodice set off this lady doll’s signature deep blue eyes and bisque complexion. Blampoix dolls were sold in the best boutiques and were dressed in luxury materials, such as this doll in a green and gold tabbed silk and handmade lace gown.

Lady dolls are found frequently, perhaps because they were played with less than child dolls. This deluxe lady features a swivel neck and beautifully styled auburn wig. Higher-priced dolls were also placed on fully articulated wooden bodies.

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Earlier model, with pale glazed porcelain and characteristically smallcut eyes with dark liner.

Lovely silk enfantinestyle dress cut above the knee to indicate that the doll is a little girl.

One of four enfantine-style marked dresses and a fabulous hat found with Mlle. Celeste.

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Pale bisque child-type doll with unglazed bisque for a more “natural” look.

The firm sold a wide variety of dolls, including “matte heads with painted eyes…varnished heads for ladies, boys, canvas dolls, wax heads—some with roll-back eyes, nankeen dolls…” and several types of bebes. However, Francois managed his resources poorly, led a meager life, and owed many creditors.

His extended family must have assisted him, as he owed 9000 francs to a Miss Josephine Blampoix. Aware of his fragile health and uncertain future, he married Elisabeth in 1874 to legitimize the four children. But marriage wasn’t enough to rescue the nearly destitute family when he died at home just two years later, followed within a few months by ten-year-old Elisa Louise.

The young widow struggled along in her grief, attempting to run the failing business and care for her remaining daughters. At the time of their father’s death, Amelie was 7, Blanche Adele was 6, and Elisa was 5.

Just 33 years old herself, Elisabeth made a valiant effort at holding off her creditors, even winning a bronze medal at the 1878 Exposition Universelle in Paris for the company’s doll display. However, by September of 1880 she was so overwhelmed by her sorrows and debts that she, too, became ill and closed the company. When bankruptcy was finally declared in November, she was languishing in a rest home. The legal bankruptcy document details her poor management as only the 19th century could tell it, with great disdain for those who allowed themselves to fall into poverty, saying she lived “with the heavy company liabilities as with a spouse.”

The widow Blampoix inherited a business already deeply in debt, then ran it into the ground by living on credit, rather than liquidating assets as advised. She lowered prices so far that she often sold at a loss simply to keep cash flowing, but she eventually reached a point where she couldn’t hold off the creditors or pay her lease. The business owed far more than it was worth. The bankruptcy document unflinchingly states, “It seems that if she had given any thought to the situation…she would never have had any hope of improving [it]…She should have understood that it could only get worse.” The contents of

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Glazed pink porcelain with an interesting “widow’s peak” shape to the leather base of her original skin wig, now gone.141/2” Mlle. Celeste and her marvelous wardrobe originally retailed at Au Calife du Bagdad, a premier Parisian doll shop. Her trunk overflows with exquisite dresses and accessories found there.

A true example of wide-eyed innocence, perfectly framed by a lace-frilled black bonnet.

A strikingly chic black and ivory ensemble for a sweet child.

the shop and its equipment, a vast inventory running 17 pages long, were sold at auction but didn’t bring enough to pay off all her debts. Elisabeth passed away in late January of 1881. She was in such desperate financial straits that even her personal belongings were sold at auction.

Though this bleak story read like a Dickens novel, it took a fairy tale turn for the better at the end. Claude Joseph swept in and rescued Francois’ three little girls, agreeing to bring them up with the help of a tutor named

This child’s deep-set eyes and festive headdress give her a dreamy quality, like she’s thinking of Christmas.

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Easily one of the most imposing and gorgeous dolls in this group, with her deluxe swivel neck, pierced ears, and Eugenie blue accessories to match her eyes. This rare 15-1/2� fashion on a fine wooden body with a swivel waist was originally sold by the shop Aux Enfants de France and bears a label for Maison Alice— Couturier. Her rich silk fringed brocade gown was certainly made by a seamstress of the highest caliber.

Another fashion lady with swivel neck, set onto a leather body.

Certainly a couture gown, this tailored deep red winter ensemble is completely hand embroidered.

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A cheerful child on a simple leather body, in a sheer windowpane check enfantine-style dress.

This little girl loves her fashionable plaid princess-seamed dress, trimmed with oversized pocket tabs and embroidered black trim.

by the court. At the time of his youngest brother’s death, he was still listed as an herbalist, but he only continued this business for another year. He was also 62 years old. Perhaps, having contributed to so much to the advancement of French dollmaking, he chose at last to retire and raise a family of living dolls.

Intrigued by all I had learned but unable to take a quick trip to Paris, I used Google Maps to locate the addresses of the Blampoix family shops and homes. Though some have drastically changed, I lingered at Francois’ shop on Rue Au Maire, virtually touring the 19th century neighborhood and gazing up at the stone corner building that was once his home. It still has shops below and apartments above, but simply walking past it could never reveal the drama that took place there so long ago. Like those old buildings, our antique dolls have been silent witnesses to generations of beauty and pain.

Taking time to learn about them helps us bring their stories forward, giving them new life and a voice. At last I turned off the computer and picked up Imogen, looking deep into those eyes that changed an industry and seeing more than I had before—holding her was like making a direct connection with history, increasing her value to me far beyond her cost.

Sources: Theimer, Danielle and Francois. The Encyclopedia of French Dolls A-K, 2003 Theimer, Francois. Encyclopedia Polichinelle vol 4, 1995 Theimer, Danielle and Francois. The Panorama of Parisienne Dolls vol 2, 2009 A young lady dressed for an adventure on the ice with her fur muff, full cape, and skates with real blades.

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18” Mein Liebling 117A, one of the most sweetest faces we’ve seen, her soulful look will melt your heart. Bisque and painting without flaw, original wig survived in wonderful condition along with her pristine original body. She wears a spectacular navy antique mariner outfit that would make any French girl jealous! She even retains some of original eyelashes. She is a treasure. $ 3900.

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Kley and Hahn 520 character girl - 20”, brown painted eyes, closed mouth, dimples, perfect bisque and original blonde mohair wig. She has a composition ball jointed body and is all original. $4350.

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The Cat’s Meow

by Zsazsu as told to Paula Olsson

This is that noisy German wind-up “Kitties Tea Party” that I mention in the article.

Sheet Music. What better way to persuade children to practice piano than to entice them with comical cats?

German papier mache mother cat and her kittens Skittles game were manufactured over several years starting in the late 1800s. Many types of animals were portrayed in these games but cats are extremely rare.

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n my twenty years of a very happy cat life, my Kingdom has consisted of a big old house full of antique toys and lots of soft comfortable cushions on which to loll. As I make my rounds roaming the house every morning in search of the perfect sunbeam, I am proud to say that many of these old toys are in my image, or should I say the image of my species, the king of all animals, the CAT. Miss Paula is the lady who takes care of it all and lives with me here in my Kingdom. I think she must be partial to us because she keeps bringing home more relics to add to the collection and more often than not it has to do with cats or kittens. As long as they are not the living breathing kind, I’m fine with it.

I am certainly glad I was born in these modern times because you know that before the Victorian era cats had it really bad in ways that are too horrible to mention.

Unless you go way back to ancient Egyptian times where cats were held in the highest esteem, we cats had a really bad rap. It is exciting to think that in Egypt some of my ancestors were worshipped as Goddesses, my favorite is

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French Autonmatons by Roulet and Decamps circa late 1800s. These cats are not too thrilled with their motherly duties.

When wound, they rock both babies with just a little too much enthusiasm.

Rare and important ‘allegorical’ automaton is attributed to Roullet et Decamps. The courtier is dressed as Puss ‘n Boots in fine silks, plumed hat and ‘leather’ dress boots. He rotates in hot pursuit of a charming mouse he has captured by the tail! But who is chasing who?! A comical and functional parlour toy, complete with original dome. $9,500. courtesy of ‘Matrix by Mail’ Antique DOLL Collector

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“Pussies at Play” by renowned cat artist Louis Wain. Mr. Wain (18601939), was known for his anthropomorphized large-eyed cat and kitten drawings. The jury is still out on whether or not he was schizophrenic.

“Queer People with Paws and Claws” by Palmer Cox, the popular 19th century illustrator that created those mischievous Brownie characters.

the Great Sphinx of Giza limestone statue of a reclining mythical creature with the body of a lion and the head of a human. I have read that the Egyptian traders brought us to Europe and we were introduced to the Greeks and then the Romans, who used us to control pests. As their empire grew so did our cat population. We became common and valuable assets to all the farmers who had problems with rats and disease. We were later introduced to Britain around 100 AD and were protected by Law by the King of Wales, as sacred and valuable animals. As it should be, killing a cat could be punishable by death. I think anyone who does that now should definitely get the chair!

Then came those maniacs in the Middle Ages and you will not like to hear of the crazy attitudes society had towards us during that time. They deemed us animals of sin and we were thought to be associated with Witchcraft and the devil. We were considered the reason for The Plague that started in 1348 when the rulers ordered the killing of all cats who were the initial suspect of the disease. Ironically because of our mass killing the rats increased and populated Europe in abundance. Of course this spread and worsened the pandemic. The population of Europe was killed off by fifty percent and I believe that the mass cull of us cats cost those millions of lives.

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About the time of the end of this dreadful time, we were used aboard Ships on voyages of discovery to control rodent population and disease. It has been recorded that a ship crashed off the Isle of Man in the United Kingdom and the cats on board the ship swam to the shore. This created one of the first known pedigree breeds, the Manx. When Christopher Columbus discovered America cats from the Ship were left in the country and flourished. The breed today is known as the American Shorthair and is thought to have originated from the British Shorthair which was believed to be used on those ships.

Even Webster’s Dictionary, a supposedly neutral authority in the 1828 edition, defined us as “a deceitful animal” and “extremely spiteful.” What did they expect after to making us fend for ourselves for so many centuries?

Well enough of that, let’s fast forward a few years to a more gentle time to Victorian England where we started to come into our own. Queen Victoria had been on the throne several years and she became a real champion of our cause. She and Albert were lovers of animals and we were included in their menagerie. The Queen especially doted on her last cat, a fluffy white Persian like me named White Heather. She made arrangements for this cat to remain living a life of luxury in Buckingham palace after her death. Queen Victoria insisted

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These circa1940s felt and 1950s mohair black German Steiff cats make charming companions for these turn of the century papier mache German Halloween candy containers.

Papier Mache German lithographed Easter egg candy containers.

Who would want one with mere rabbits, chickens or ducks when you could find your Easter chocolate in one of these eggs covered with felines?

this beloved cats’ image be included on the Royal Society for the Prevention of Cruelty to Animals Kindness medal. She was very concerned that cats in general were very mistreated and misunderstood.

In 1845 Germany, an invitation was issued by Duke Ernst of Saxony-Cobourg-Gotha to celebrate the festival in Cobourg. Queen Victoria and Prince Albert were among the honored guests. According to published archives in Cielik’s Puppenmagazin* “The Dukes guest are standing on the balcony of the castle as the children surround the fairground. Dignified old gentlemen lead the procession, but the children sing and call out at the top of their voices ‘Long Live Herr Cathead and his wife.’ Many children have cat’s mask’s on their faces, others carry cat dolls. Queen Victoria was delighted and noted in her diary that at the time the procession was the most beautiful she had ever seen.” The earliest know Gregorius festival was the 16th Century when a school function was held in a monastery to honor Pope Gregarious. It is unknown where we came in but whatever the reason it is always nice to get good press.

Some of the early snobbery about us was counteracted when an Englishman named Harrison Weir with his unabashed adoration for us, shook up the cat world by organizing the first cat show at London’s Crystal Palace in 1871. His view of us as “an object of increasing interest, admiration, and cultured beauty” led him to develop a whole new form of competitive entertainment. To give the whole thing an air of legitimacy and attract an upperclass crowd, Weir drafted a set of points and standards by which we were divided by breed and size and were judged.

Weir, a very prolific artist, was known for his illustrations

Circa 1910, this felt Steiff Tabby features shoe button eyes, wooden wheels and a pull string. A Rafael Tuck “Kitty’s Ride” three dimensional lithograph paper rocking horse is in foreground.

Fulmer Zaida, an English champion show cat born in 1895 who ended up earning over 150 prizes. I’m sure if I had my DNA tested you would find that I am closely related to this prize winning cat.

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German Squeeker Toy, circa 1910, with rabbit fur covering over papier mache. If you pull the string on her chest, her mouth opens and she meows demurely. My friend Carol brought her over for a play date.

Victorian photo of little girl and her kitty.

This German stretchable mohair “Bendy Cat” by Schuco, is a very resilient fellow.

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Early 1900s German Candy containers. Oddly, the white cat seems to be coming out of an egg.

of domestic animals. The subject of many of them was cats and they appeared many periodicals, children’s books, natural history books, and books on domestic animals.

Before Weir united us with aristocrats, we were, I hate to admit, considered merely street animals. Although we could provide a useful service by exterminating rodents, we were not generally valued for some of our best traits; cuteness, cuddliness, and companionship. A popular English magazine noted that we were merely a “necessary household appendage. To snuggle with a cat would be to snuggle with your pest exterminator.” Really?

Another myth I wish to dispel is the crazy notion that we are relegated to the companionship of spinsters. It just burns me up when I see our image on those “Old Maid” games. That stereotypical myth was proven wrong years ago when an 1890 article in Godey’s Lady’s Book informed their readers, “A learned Egyptologist has just proclaimed the fact that ten well beloved sacred cats were buried with an Egyptian princess, who had enjoyed the companionship of five husbands in succession. Consequently, it follows that a woman need not be an old maid to the appreciate the beauty and love the virtues of her feline companions.”

Harrison Weir was a lover of many creatures but considered us “possibly the most perfect, and certainly the most domestic” of animals. Although he was not always a cat enthusiast—in his 1889 book Our Cats and All About Them he confesses to having had “a bias” against us and says he took “some time coming to this belief.” But once convinced of our merits, Weir, bless his little heart, became a feline evangelist. “Long ages of neglect, ill-treatment, and absolute cruelty, with little or no gentleness, kindness, or training, have made the Cat self-reliant,” he wrote, even taking care to capitalize the word “cat.” My sentiments exactly.

That first cat show at Crystal Palace certainly had an impact on the perception of us and we gradually became more welcome inside of homes.

Those first shows were geared toward the upper class but cat shows came about all around the nation, and appreciation clubs began to form just for us.

In 1887, Weir founded the National Cat Club and, as president, helmed its first

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Circa early 1900s, porcelain German tea set with transfer images. Who wouldn’t enjoy their favorite tasty treats presented on this elegant service?

official show, again at Crystal Palace. Over three hundred and twenty cats were entered into competition and I’m pretty sure some of my distant relatives may have won prizes, most likely “Best in Show.” More recently my great-grandfathers, Almond Joy’s Pehr Viktor and Pahlavan Legacy of Almond Joy, as well as my great-grandmother Gray Ivy Julie of Pahlavan were celebrated champions.

In 1900 Lady’s Realm magazine wrote Weir had “done wonders for the amelioration of pussy.” In just thirty years, we had gone from being chased in the streets to being welcomed onto the hearth. Whether we won a prize at some snooty show was beside the point—as Lady’s Realm said, “how great has been the change in the conditions of life of the harmless, necessary cat!”

In Victorian times parents wanted to instruct as well as entertain their children. What better way to do this than to employ cats as a model of decorum? No wonder there are so many images of us in children’s books and periodicals.

Just look at all those wonderful illustrations of us dressed in fancy clothing and accomplishing amazing feats. An article in an 1870 Godey’s Lady’s Book read, “The purest and sweetest satisfaction grow out of sentiments pity, tenderness and love, and such tend to form the noblest and most truly great characters….The child’s play with its protege kitten may be thus the seed of ripe fruits of tenderness and sympathy.”

In an 1890 advertisement in Ladies Home Journal you

Large French papier mache ball-toss game. Not many of these survived due to the wear and tear of this popular toy.

Three Steiff kitties, “Tapsy” and two sizes of “Tabby’s” poised and ready for play .

Although with those bells around their necks, they won’t get away with much. I simply refuse to wear one!

Charming fairy lantern night light. What child wouldn’t want to lie in bed and watch the soft light flicker on the nursery wall? Sheer Heaven!

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Circa 1920s German cat doll by Limbach Porzellanfabrik (1772-1937) living happily in her rustic French cottage with delicate pine needle furniture.

German Limbach Porzellanfabrik comical cat with animal head and child’s body. Boy, I would really hate having to share my bathroom with a couple of rowdy bears.

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could get a free twenty-three piece German child’s tea set for a five year subscription. We have a nice set with colorful smiling cats that we get out for special occasions. As long as I would be the honored guest I am here to tell you I would be glad to dress up and would make every effort to attend any little children’s tea party. My calendar is free.

Not all humanity held us in illfavor. Going back through history there were many cool people who appreciated our talents.

“Julius Caesar, Sir Isaac Newton, Shakespeare, Marie Antoinette, The Bronte Sisters, Florence Nightingale, Benjamin Franklin, Rousseau, Picasso, Edgar Allen Poe, T.S. Eliot, Ernest Hemingway, and countless others have expressed admiration.

The ultimate cat-dude Mark Twain had a soft spot for us and one of my favorite quotes of his reads as follows, “When a man loves cats, I am his friend and comrade, without further introduction.”

The toys here in my Kingdom date primarily from the mid to late Victorian period. With the advent of the Industrial Revolution the character of toys change. Instead of having to make their own, people could buy manufactured toys at reasonable prices because of this growing trend that accelerated factory production and distribution. At this time two thirds of the toys in American shops came from Germany. Known as The Toy Workshop of the World, Germany dominated the toy market for most of the 19th-century. American toy sellers ordered their merchandise through illustrated catalogs or sent agents to Germany who personally selected the choicest stock to fill their store shelves.

The German factory Limbach Porzellanfabri 1772-1937 made dolls with human faces but also many with animal faces with human bodies. Many versions of

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1905 fan framed with original box. This miniature fan could have been used by a very privileged child or an adult. It was created by the most celebrated animalier fan painter, Adolphe Thomasse (1850-1930), whose distinctive anthropomorphic cats and dogs in miniature and full sizes continue to enchant fan enthusiasts to this day. His extraordinary creations were produced for the premier French fan manufacturer Duvelleroy Paris.

Because in Victorian times young girls were taught to sew at an early age, many sewing implements were geared toward children. The lithograph images on the sides of the box and the wooden thread box with a felt cat on top are just two examples.

Steiffs “Gussie” and striped friends playing with antique child’s pencil box that is of course, adorned with cats.

All good English doll’s houses need at least two cats. When this furnished house arrived at my home I did not find the black cat in the inventory. I discovered him in the coal bin. When I asked the previous owner about it she had no idea this little stow-away was there.

The early 1900s felt covered papier mache cat in foreground has a string that when pulled, she will loudly meow. Her small companion overseeing the basket is a nodder of about the same vintage.

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Small early 19th century dual kitty ball toss game, with small dexterity puzzle beside.

German festival masks, circa late 1800s made for Coburg’s Gregorius children’s procession.

Steiff “Siamy” Siamese cat with another Steiff Tabby friend, circa 1940s, with “Made in US Zone Germany” tag. Boy, I would like to see them try to put a button in my ear!

In the 19th century, many wonderful French automata anthropomorphic comical cats were included. Franz were made and perfected. Known as the Golden Age of Frankl made a flirty eyed “Pussy cat” in the 1920s, Johann Automata, it was a time when mass production techniques Heinrich Kletzin & Co. a walking, talking and laughing made them more plentiful. Roulette and DeCamps seems “Mew Puss” in 1925. Louis Fischer applied for patent in to be the French manufacturer that produced the most 1912 for a doll with removable mask and paws. The doll automatons in our image. Most had porcelain or paper could be changed into different animals and dressed as a cache doll faces but some were also furry animals. I lady. Herwig & Co., produced amusing kitties in all-bisque have seen two of these wind-up cat contraptions in my and some with bisque heads and cloth bodies. Gottlieb Kingdom. They were already here before I arrived. They Zinner and Sons manufactured very detailed cat’s heads, look awfully life-like but Miss Paula says they’re not. using them in his mechanical and musical toys as well as I am very proud to say us cats were a very popular one known cat doll jumping rope atop a candy container. theme not only for dolls and books, but for children’s Rheinische Gummy and Celluloid Manufacturing games, holiday candy containers, nursery lights, doll Company offered another multi head doll with character china, puppets, stuffed animals- a virtual myriad of items faces including, in 1913 , a celluloid “Puss in Boots.” Under featuring our cuddly images were made for the amusement the trademark “Juno”, Karl Standfuss produced other of children. Now I ask you, what could be more comforting celluloid bathing cats including one called “Dandy-cat.” and appealing to children and to all human population in Comic strip characters were also popular after around 1910 general than our angelic sweet little faces? including Fritz and Felix.

Musical toys from Sonnenberg called manivelles, the A special thank you to Carol Weaver for lending German word for crank, were also very her Steiff, Schoco and Squeeker cats. popular and many involve us cats doing Sources: clever activities. Although in my opinion Automata the Golden Age 1848-1914, Christian any cat worth its salt would never do Bailley, Sotheby’s Publications 1987 anything that required work. Since these 1903-04 Wanamaker Stores Holiday Catalogue musical crank toys were usually relegated German Doll Studies, Jurgen and Marianne to the parlor for Sunday use many have Cieslik, Gold Horse Publishing 1999 survived some one hundred years. We Parlor Cats, Cynthia Hart, John Grossman and have one with three little kittens having Josephine Banks, Workman Publishing 1991 tea. I will have to say I personally find it The Cat Made Me Buy It!, Alice L. Muncaster & very noisy- after a few cranks those kittens Ellen Yanow, Crown Publishers NY mewing can grate on my nerves.

Me and my current boyfriend.

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By Sheryl Varon with Diana Boettger Photographs by Sheryl Varon and Diana Boettger

Tools of the trade: basket of roving mohair, hand-dyed by the artist.

A brief history and an introduction to the work of Diana Shorey Boettger of DSB Doll Wigs—a dedicated and talented artisan who is recapturing that art.

Bird’s-eye view of the underneath side of the part, showing a four-thread weft (top); and a two-thread weft (bottom).

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Close up of the top side of the part, showing a fourthread weft (top); and a two-thread weft (bottom).

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here was a time in the history of antique doll collecting when many collectors were drawn to the haunting and beautiful faces of French and German Bisque-headed dolls, but did not appreciate the often torn, faded clothing, or disheveled, untamed locks these dolls came with. Sadly, some of these clothes and wigs were discarded in favor of newer clothing made from synthetic materials and human hair or synthetic wigs that were not only inappropriate, but could be overwhelming on these lovely creations.

Happily, modern collectors are savvier, and have developed a greater appreciation for the value and beauty of a doll that is all original—embracing its flaws as well as its attributes. Unfortunately, like the fragile silks and other natural textiles that make up their elaborate costumes, many dolls’ wigs have lost their length and luster over time. Most collectors have encountered at least one or two precious dolls that are experiencing bad hair days, or in some cases, “no hair” days. In these instances, appropriate replacements are called for.

Comparison between machine wefting (top row), and hand wefting (bottom row).

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The first step to restoring a doll’s authenticity is learning something about the wigs these treasured relics of the “golden age” of bisque-headed dolls originally came with. While there is a wealth of information available to us on patents, molds and patterns for heads, bodies and costumes, there is a deficit of information on early wig-making techniques.

To create the fine wigs coming out of France and Germany in the mid-1860s to beyond the turn of the century, it required close collaboration between several industries and countries.

The end product represented the coming together of the English Mohair market, which produced an average of 25,000 kilograms of doll hair per week; the cottage wig-making industries launched by hairdressers in Sonneberg, Germany, and the rich supply of human hair imported from the far East.

Surprisingly, the manufacturing of doll wigs would become a worldwide industry—generating good wages and a decent lifestyle for many of its workers.

In the beginning, human hair was the preferred fiber used by doll manufactures and their wig artisans. Using hair sourced from China and later India, they were able to create luxuriant, stylish wigs for the bisque-headed fashion ladies and child dolls coming out of both French and German workshops. These wigs were initially wefted (woven) into measured strands of a desired length by hand, and then stitched onto a molded cotton cap by a staff of trained wig makers. It was a painstaking process, but the end results were beautiful, richly-coiffed wigs to suit every type of doll.

To remain competitive in the marketplace, wig producers French fashion wig: creating the center part on the wefting board. concentrated on offering products that other manufacturers could not. In contrast to the modern world, where standardized products tend to dominate the marketplace, the doll manufacturers and suppliers of the early 19th century made it their mission to produce as large a variety of colors and styles of wigs for as many kinds of dolls as possible. For lady dolls, wig artisans were able to create a variety of styles, including soft, swirling curls, braided and woven into elaborate coifs and patterned after fashionable ladies styles of the day. For child dolls, long, loose curls and bangs, center or side parts with ringlets or soft curls were most popular.

With the rising cost of human hair, manufacturers began to favor mohair (the long, silky hair of the Antique illustration of a 19th-century German Doll wig workshop as featured in PuppenAlbum 2, Angora goat) over human hair Franzosische Porzellanpuppen; German Edition; 1981 by Lydia Richter; Verlag LaternaMagica for the wigs they produced. The GmbH & Co., Publishers.

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French fashion wig in the beginning stages: first row of wefting stitched on.

French fashion wig in the final stage: creating the style.

French fashion wig with three rows of wefting stitched on.

French fashion wig completed

mohair was not only finer, silkier, and more economical, but, in its natural state, it was more easily dyed the popular shades favored by doll-makers and their youthful clientele.

While the German factories seemed to favor golden blonde, ash brown, auburn, brunette and chestnut color wigs, French manufacturers leaned toward ash, honey and light blonde, in addition to light to medium brown shades for their dolls. Human hair wigs, for the most part, came in darker colors, as those were easier to produce from the naturally dark human hair shipped over from India.

While the early wigs made for quality French and German dolls were all wefted by hand, manufacturers later adopted machine-wefting techniques to their lines to increase

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French fashion wig with part placed and ready to be stitched down.

efficiency and step up production. A machine-wefted wig could be finished in less time than the hand-wefted creations, but machine wefting had its drawbacks. Machine-wefted lengths of mohair were less consistent and smooth, more inclined to shed and resulted in less refined wigs overall.

In time, as machine-wefting techniques improved, it was harder to justify the time, care and effort put into the art of hand wefting for any but the finest dolls. And although machine-wefted wigs could not compare to their predecessors for softness and overall beauty, economical and time constraints eventually rendered hand wefting for doll wigs an impractical choice. Over time, the technique of hand wefting mohair doll wigs has become a lost art.

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Inside view of a French style wig showing “DSB” mark, which appears in all of Diana Shorey Boettger’s wigs.

Rear view of French-inspired wig illustrating time-worn styling.

Until recently, collectors of quality bisque-headed dolls of the hand-wefted era had to rely on French human hair wigs, or wigs gleaned from broken antique dolls for suitable replacements for their dolls. Recognizing the lack of resources for authentic mohair replacement wigs, modernday artisan Diana Shorey Boettger set out to rectify the situation on her own. Working in the cottage tradition, she has spent the past twenty years working at the craft of hand wefting doll wigs in the classic style. Today, she has honed her skills to a fine art and is producing some of the most beautiful wigs available to collectors worldwide.

Recently, I had the opportunity to talk with Diana and to observe her process from start to finish. Watching the fascinating and magical transformation of the hand-dyed roving mohair fiber into a fanciful and elaborate French fashion wig made me curious to know more about how she became the wigmaker she is today

wig at all. It was extremely difficult to find a replacement antique wig, and putting a ready-made synthetic doll wig on a doll that was 100 years old was unacceptable.

I grew up in a family that appreciated and valued history, antiques and artisan skills, and putting anything inappropriate or inauthentic on a genuine antique did not feel right. I decided that I would like to learn how to make an authentic hand-wefted wig.

Q. What inspired you to take up wig making?

A. Early in my doll collecting all I could find and afford were “fixer upper “ dolls. Many of them needed clothes, repairs and yes, wigs. In fact quite a few of them had no

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Q, That sounds like a challenge; where did you even start to look for information on how to achieve that?

A. I started seeking out doll reference books to learn what the wigs that came on the dolls even looked like.

Within my growing circle of doll friends, I tried to find someone to teach me how to make authentic doll wigs. I didn’t have any luck. Then my mom handed me an old book from her personal library entitled “Toy Manufacture” from Cassell’s Workshop Series. Within those pages was a chapter on doll wig making giving general instructions on how to hand weft on a wefting board. Using the illustration pictured in the book, my dad created a wefting board for me. I am still using the same board today.

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Detailed view of French fashion wig with bangs, side braid and cascading curls.

16 ½-inch Barrois fashion on a kid body with bisque arms, marked 3, wearing a lovely French style wig with flowing, long curls (private collection - Photo courtesy of Valerie Fogel).

Q. What is hand wefting?

A. Hand wefting is done on a wefting board. Cotton threads are attached to two spindles and mohair, or other natural fiber, is taken in very small amounts—sometimes as few as ten strands of fiber—and woven through the threads.

This is repeated until the desired length (depending on the size and style of the wig) of weft is achieved. Each weft is sewn onto a wig cap. Generally, it requires multiple wefts to complete a wig. There are several variations in weaving technique based on the number of threads used.

A. Aside from the frustration of not being able to find someone to teach me how to hand weft, I had to rely on the limited amount of published instruction I was able to find to get started. As with any artisan craft, there is a significant learning curve. The earliest challenge was where to find fiber to weave. For my first attempt at making a wig, I used my own long hair. Unbeknownst to me, human hair is much coarser and more “springy” than mohair. My first wig (which I still have) was a mess. Once I was able to get my hands on long strands of roving (a long, narrow rope of fiber) mohair, the wefting process was much easier, and it just took time to get the hang of how much mohair to use in order to maintain consistency.

Another challenge was learning how to make the different styles. I studied the original wigs that I had on dolls in my growing collection, examining them very closely in order to learn how the wefts were stitched onto the cloth wig cap, along with the length and direction that they were sewn in. I also consulted my doll reference books to learn more about styles outside my own collection and made sketches of the various designs to refer to.

As with so many “lost art” techniques, locating the proper materials to use is always a challenge—finding the

Q. Why is it important for collectors to be able to recognize the difference between hand and machine wefting?

A. Most of the collectors I cater to own French and German bisque-headed dolls from the “golden age” of doll making— from about 1870 to 1920. The majority of these dolls originally came with hand-wefted wigs. Being able to recognize the difference between hand-wefted and machine-wefted wigs enables collectors to determine whether their doll’s wig is appropriate for the era in which the doll was created.

Q. What were some of your early challenges in learning how to create authentic hand-wefted wigs?

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24-inch Smiling Bru fashion, marked J, modeling an ornately styled French fashion wig (Lisa Pepin collection).

correct fabric to make my wig caps, for example. To achieve the right effect, I had to dye the fabric to create an aged look. And as time went on and I gained a better knowledge of the colors originally used by the different manufacturers, I also began dying more of my mohair myself to get the exact colors I needed.

8 ½-inch JDK 260 with starfish hands, in center parted wig with braided side buns (private collection).

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Q. How did you go from making wigs for your own collection to selling your wigs?

A. It actually came about purely by chance. I never set out with the intention of selling my wigs. It was simply the means of appropriately wigging dolls in my own collection. A few years into my wig-making endeavors, a close friend requested I make a wig for one of her dolls in need. She and I had only recently joined the Seattle Antique Doll and Toy Collectors Club, and at the beginning of one of our club meetings I presented her with the wig I made for her. As it happened, Rosalie Whyel, the owner of the prestigious Rosalie Whyel Museum of Doll Art, who was also a club member, was standing nearby and expressed an interest in the newly-created wig. I told her about my quest to master hand-wefting techniques in order to create authentic-looking wigs for my own dolls. That sparked her interest, and she invited me to come to the museum with all the examples of my work I had on hand. As a new, stayat-home mom, the idea of possibly earning some money

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21-inch Bru Jeune on a Chevrot body, marked Bru Jne 7, wearing a Rembrandt-style wig in the classic shorter length (Yuma Endo Collection, Japan – Photo courtesy of Yuma Endo).

19-inch mystery French fashion, marked 5, in a fanciful French fashion wig with exposed weft, flowing curls and petite braids (Diana Boettger Collection).

9-inch Emile Jumeau, size 2, marked E2J, in a French style wig with fancy knotted braid (Sheryl Varon collection).

15-inch closed-mouth Kestner, marked X, wearing a French style wig with an exposed weft and bangs (Lisa Pepin collection).

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18-inch Kestner, marked XII, in a classic Rembrandt style (private collection).

18-inch Francois Gaultier (FG) fashion on jointed wooden body, wearing an undyed natural mohair French-style wig (private collection - Photo courtesy of Valerie Fogel).

while pursuing my passion for dolls and developing my skills as an artist was very exciting. So soon after the doll club meeting, I made an appointment to see Rosalie at the museum. From that point on (until the museum closed) my wigs were a museum exclusive. How wonderful it was to be able to work from home and be fully present to raise my two children.

9 ½-inch moon-faced Kestner, marked 3, in a classic Rembrandt-style wig (Diana Boettger collection).

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Q. Talk a little bit more about your long relationship with the Rosalie Whyel Doll Museum?

A. Over the many years that I made wigs for the museum, it was a mix of keeping the museum gift store well-stocked and supplying an additional array of wigs in various sizes and colors for them to market at doll shows and conventions. They also accepted custom orders for me.

In this one particular case, they ordered several French Fashion wigs. As they often did, they gave me full creative license to research and select what styles were most appropriate.

I truly enjoyed having the freedom to apply both my skills and the knowledge I had acquired through my studies to create an interesting selection of French Fashion wigs in the requested sizes. It was a proud moment for me when I discovered several of my wigs from that order were chosen for some of the lovely dolls from their collection exhibited on the opening night of the museum’s special exhibit on French Fashion dolls.

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15-inch Kammer & Reinhardt character marked 114, wearing a classic side-parted wig (private collection).

13-inch rare Simon & Halbig, marked 905, wearing center part with crown braid and soft curls (Lisa Pepin collection).

Q. Do you only make wigs for antique dolls?

A. Most of the work that I do is for antique bisque dolls. However, I have done custom work for other types of dolls. Besides working on china heads, woodens, compositions and the like, I also do a fair amount of work on artist and reproduction dolls. I have even wigged a vintage Ken doll. I also think it would be fun to try my hand at making wigs for modern BJD (ball jointed) dolls.

Q. How do you determine what colors and styles to use in your wig making?

A. Sometimes a collector will tell me specifically what he or she wants. Often times I get to determine what the best style will be for the doll based on examples gleaned from a variety of sources (including reference books, the internet and first-hand observation) to learn what is appropriate for the make and model of the doll. I want the wig to compliment the beauty of the bisque—to look like it has always been with the doll, so it is also important to factor in the coloring of the doll’s bisque, cheeks and eyebrows before choosing a shade for a wig.

19-inch Portrait Jumeau fashion, unmarked, wearing a softly curled French fashion wig with bangs and side braids (Lisa Pepin collection).

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16-inch Bahr & Proschild 224, in French-style wig with bangs and exposed weft in soft curls (Diana Boettger collection).

8 ¼-inch Bébé tout en bois, in a primitive-style Rembrandt wig (private collection).

Q. What motivates you to continue doing such intricate, labor-intensive work?

A. As with any skill, the more you practice it, the better you become. Even after making hand-wefted wigs for so many years, I am still challenging myself to expand my skills further, which is why I prefer focusing on custom work. It allows me to devote my time to creating special, one-of-a-kind wigs for each doll I have the privilege of working with. I am especially enthusiastic about creating more elaborate wigs for French Fashion dolls, which I find really rewarding…And I enjoy the fact that my continued efforts are contributing to the preservation of a dying art and, at the same time, ensuring that the treasures we collect retain as much of their original beauty as possible.

Whether it is preserving original wigs or protecting fragile clothing, this modern-day artisan’s dedication reminds us of the importance of safeguarding the integrity of the amazing dolls we treasure. A serious collector I spoke to recently called himself a “docent” of dolls because, as collectors, it is our responsibility to conserve these precious artifacts of a bygone era in as close to original condition as we are able. Call us what you will— conservators, custodians, or docents, we are able to study and enjoy these truly special creations today because someone valued them enough to protect and care for them for future generations.

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The artist, Diana Shorey Boettger, at her wefting board.

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5/15/18 4:53 PM

The Marketing of Ideal’s

by Donna W. Brown

Toni doll and nylon bristles on hair brush are both made of DuPont nylon. Better Homes and Garden, November 1950.

I Toni dolls with spin curlers and home permanent set.

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n 1947, every department store had rows of stunning dolls dressed in lace with flowing curls. What stores didn’t have was a doll with hair that could be washed and brushed. Most had either human or mohair wigs and as soon as they were combed or got wet the hair matted, frizzed or came off in clumps which left little girls in despair.

Benjamin Michtom, top executive at Ideal Novelty and Toy Company, set out to develop a doll that would be a top seller for his company. A doll whose hair could be washed, set and combed. He first action was to obtained use of the Toni

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Ad urging toy merchants to buy now because 500,000 girls did not get the Toni doll they wanted for Christmas. Playthings, January 1950.

Toni shown in an ad for toys made with Celanese Plastics.

Right: Multi themed ad including dolls with a purpose, clothes patterns and a mail order coupon. McCall’s Needlework Magazine, 1953.

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Advertisement for both the Toni doll and the Tonette perm for little girls, 1954.

Right: Advertisement for Burlington Mills that shows a Toni wearing a Nylon dress. Good Housekeeping, 1952.

Home Permanent trademark from the Gillette Company.

The doll would come with a wave set kit including curlers, papers and a solution made of sugar and water. Michtom then approached the E.I. DuPont de Nemours & Company about a nylon wig for the doll he envisioned.

The chemists were skeptical but soon set to work to develop a new nylon fiber which would only temporarily hold a set so that the little girls would want to reset it often. DuPont’s first try produced a wig that when combed created static and was unruly, but they persevered. To attach the innovative wig a new glue had to be found that was waterproof.

The first Toni dolls were produced in 1948 at the Ideal factory in Jamaica, Long Island and the wig contained more nylon than 7 pairs of stockings. The plan was to introduce the Toni doll for Christmas 1949, but to promote a doll with 52

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a new concept and the high price tag of $9.98 would take an ingenious marketing campaign.

On May 3, 1949, the unveiling of Toni and her permanent wave kit took place at the Ritz Charlton Hotel in New York City. The first Toni, a sturdy 14 inch doll dressed as a school girl, was presented to R.N.W. Harris president of the Toni Company, owned by Gillette. Buyers, beauty editors, fashion editors, representatives of top women’s magazines and owners of department stores were invited to attend. Harris announced the beginning of a 2 million dollar advertising campaign that would begin on June 26, 1949 and include a full-page ad in 175 national newspapers and a double page spread in Life magazine.

The clever promotional angles were varied. The Toni doll would be placed on cosmetic counters to demonstrate the new spin curler. The educational properties, such as proper

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A 1949 mailer that coincided with the nationwide release of the movie, Oh You Beautiful Doll!

shampooing and hairstyling, would be highlighted. The ad campaign would be coordinated with the release of the 20th Century Fox film, Oh You Beautiful Doll and leading lady, June Haver, would be shown in ads shampooing Toni’s hair.

Toni was also marketed at movie theaters where there was a Toni doll display. During special matinees there were Toni doll giveaways and in the lobby a department store hairdresser demonstrated how to give Toni a perm. The ad blitz was so successful that by September 1949 200,000 dolls had been ordered for Christmas and the huge demand left many little girls without a Toni the first year.

Over the next eight years, Ideal changed the direction of promoting Toni several times, by highlighting her attributes in different ways. In 1950, the ads stated that Toni’s hair actually improved with washing. While in 1952, an ad boasted that not only was her hair nylon, but her permanently pleated dress was also made of DuPont nylon.

“Fun to Learn Hair Care” and “A Doll with a Purpose” were the themes in 1953, at the peak of Toni’s popularity.

Commercials were broadcasted on television and radio, while print ads were featured in 23 magazines. That year they also promoted Toni clothing patterns including dresses, gowns, majorette and cowgirl outfits to be sewn at home. By 1956, Toni was recommended by the Toy Guidance Council. Ads called it magic nylon hair and the price had risen to $13.98 for a 14 inch doll. There were also 16, 19, 21 and 23 inch dolls.

A 1956 mailer sent out to the public from the Ideal Company.

The Greatest Doll Campaign ad for merchants. Chain Store Age, 1951 Antique DOLL Collector

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A letter from the Perry Sales Company that accompanied the punch card campaign.

Punch card game of chance that offered Toni as a prize.

Advertisements featuring a Toni doll were regularly used by companies related to Toni such as the Celanese Plastic Company. An ad for DuPont showed a girl brushing Toni’s hair and specified that both the doll’s hair and the hair brush bristles were made of nylon.

Toni was publicized not only to the public but to the merchants as well.

5 & 10 cent stores and soda fountains frequently offered a game of chance where patrons could win prizes by choosing a number on a punch card.

Toni was offered as the grand prize to merchants nationwide. One vender advertisement had the heading, “The Greatest Doll Campaign of all time – These power packed efforts will sell more and more and more Toni Dolls for you!”

Marketing genius, Benjamin Michtom, had a vision, but his execution of unique advertising strategies used to market and promote Toni made her one of the most popular and beloved dolls of the last century.

Photo courtesy Gigi’s Dolls & Sherry’s Teddy Bears Inc. 54

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NEWS Exciting Happenings at the Morris Museum

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f you’ve never been to the Morris Museum, located in Morristown, New Jersey, USA (just west of NYC), you really should plan a visit. It is home to the world famous Murtogh D. Guinness Collection of Mechanical Musical Instruments and Automata. Over 150 of the 750 piece collection enjoys a 4300 sq. ft., completely immersive, permanent public exhibit space, plus Viewable Storage area on the lower level.

This past month (May 18th-20th) the museum hosted the 2nd ever Automata Convention or AutomataCon, drawing speakers & hundreds of attendee’s from around the globe.

Visit the event website, www.automataCon.org, to see photos, full program, who attended, etc.…

The current Main Gallery special exhibit running until June 20th, is “A Cache of Kinetic Art: Curious Characters,” featuring the creative energy and vitality of kineticism as expressed through the living form: figures, be they human, animal or fantasy. This is the first in a four-year series at the museum, devoted to the kinetic art form.

Right now through beginning of August, the museum has a truly unique, life size automaton on exhibit, located just inside the entry to the Guinness Collection. It stands a full 6 feet in height, made its debut in 1838, the Clarinetist Automaton made by Cornelis Jacobus van Oeckelen (Dutch, 1798-1865), which he toured to the Dutch East Indies and then to America. Billed as the “Great Wonder of the Age”, he can be considered one of the first robots in the world.

Then in September, Van Oeckelen’s Clarinetist along with several other automata from the Guinness Collection, including the Bird Trainer by G. Vichy & Bontems of Paris, France, will join even more ‘friends’ at Utrecht’s Museum Speelklok, for their Sept. 2018 – March 2019 exhibit titled “Robots Love Music”. Another must-see exhibit.

There’s always something happening at the Morris Museum. Visit our website for more details (www. morrismuseum.org) and make your travel plans.

About the Morris Museum Founded in 1913, the Morris Museum is an awardwinning, community-based arts and cultural institution which serves the public through high-caliber exhibitions in the arts, sciences and humanities. The Museum also offers educational programs, family events, and is home to the Bickford Theatre and its wide range of performing arts offerings. Continuously serving the public since 1913, the Morris Museum has been designated a Major Arts Institution and has received the New Jersey State Council on the Arts’ Citation of Excellence, among other awards. The first museum in New Jersey to be accredited, the Morris Museum was re-accredited in 2013 by the American Alliance of Museums.

The Morris Museum is a Blue Star Museum, offering free admission to active duty military personnel and their families, from Memorial Day to Labor Day. Location and Hours The Museum is located at 6 Normandy Heights Road (at the corner of Columbia Turnpike) in Morristown, NJ, and is open Tuesday, Wednesday, Thursday, Friday and Saturday, 11:00am to 5:00pm and Sunday, 12:00 to 5:00pm. In

addition, the Museum is open evenings from 5:00 to 8:00pm on the second and third Thursday of the month. Admission to the Museum is $10 for adults and $7 for children, students and senior citizens. Admission is always free for Museum members.

For more information, call (973) 971-3700, or visit www.morrismuseum.org.

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My Unique Papier-mâché Doll Family

By Marina Tagger

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hroughout my years of collecting - primarily bisque dolls I’ve always been drawn to the different, the odd, the unique, but I rarely deviated from my norm. That is, until I fell in love with a most remarkable Papier-mâché specimen.

The doll in question came to me through an auction honoring the collection of the late and great Richard Wright. Richard and I had begun forming a wonderful friendship, but he left us all too soon, so when his collection came up for auction, I wanted to have something commemorating him. I wanted something that he had held dear, something I could remember him by, and something unique.

There he stood, in the pages of the incredible auction catalogue, waiting for my bid! And, as fate would have it, he soon did come to reside with me, and once I acquired this bemusing doll, I was hooked! I felt that if there was one such character, inevitably there must be more of his relatives out there. Through my incessant search

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Back Row: The Dapper Gentleman, better known as Richard’s Doll; The Bemused Character, or The Original Cross-Dresser; Perplexed Mama Katzenjammer; The Angry Conductor/Bell Boy Front Row: The Happy Soldier; The Pirate, and his Winking Sidekick The Stray Dog, who just happened to wander into the frame and couldn’t believe his eyes at what he saw, true motley crew

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for unusual and similar Papier-mâché dolls, he was soon joined by an entire family of like characters, plus some who wished they belonged to the family. I assure you that all were welcomed into my collection, and all are loved, now residing together in peace and harmony.

My special doll, Richard’s Doll, is quite the dapper gentleman. I fell in love with him, because he truly embodied Richard’s larger-than-life personality! At 19” in height, his head sports a molded top hat and is made of Papier-mâché papier, while his body is constructed of jointed composition. A painted molded grin stretches from ear to ear, and his red, bulbous nose takes center stage. His defined features are artfully painted, showing all the creases and lines of a seasoned gentleman. His original ensemble, consisting of checkered pants, dress shirt, tailcoat, tie and a pocket watch, adds to his charm. His black shoes are a part of his feet and are painted on. This grand fellow is attributed to the company of Cuno and Otto Dressel, of Sonneberg, Thuringia, Germany.

The Dressel company was the oldest doll firm, founded in 1700 by Johann Georg Dressel, and was passed down from generation to generation until it landed in the hands of Cuno and Otto Dressel. Initially, the company produced wood and Papier-mâché toys and dolls. Added to their production in later years were dolls made of wax, porcelain, celluloid and composition, also a continuing supply of wood and Papier-mâché dolls supplied a well-rounded output of items. COD purchased their bisque heads from such companies as Simon and Halbig, often marked with the name “Jutta,” Armand Marseille, Ernst Heubach and Schoenau & Hoffmeister, to list just a few. The actual company name of “Cuno and Otto Dressel,’ or COD as collectors refer to it, came to be in 1873.

The company is known for its mark, registered in 1875.

The mark consists of a helmet with wings (both on the sides and at the front of the helmet, held together by what appears to be a sword), reminiscent of the god Hermes from the Greek, or Mercury, from Roman mythology. In the 19th century, such helmets became synonymous with ancient Celtic, Germanic and Viking warriors. The oval below the helmet, attached to the helmet itself, holds either

an intricate letter “D” or a “D” with the words ‘HolzMasse’ within its confines. Another symbol that COD used to identify its dolls, and a symbol that more collectors are familiar with, is a four pointed star, or a cross, with a dot in the middle, where the star/cross intersect. One can often find the helmet mark on a body of the doll (usually under the right shoulder, at the back), and the star/cross mark on the back of a bisque head. I have seen the helmet mark also on the heads of Papier-mâché dolls, while other dolls by this company were completely devoid of any marks, making them a challenge to identify. By studying similar items and the overall characteristics of several dolls one can deduce that the company may have manufactured such dolls. Because my doll is so tightly bound by his clothing it is impossible to check the body for any marks. The other members of the family are in the same predicament, except for one, and he is unmarked. The heads are also devoid of any marks, since the Papier-mâché heads belonging to this company were rarely marked.

Point of interest; the COD company had three factories in their name; one was located in Sonneberg, and was responsible for making dolls. Another one was located in Grunhainichen, and was responsible for making toys of wood, and the third one was located in Nurnberg, and it manufactured metal toys.

The popularity of items distributed by the COD company reached far and wide, including a large base in the United States. The importing company, Butler Brothers of New York, had centers across the United States, and Sonneberg and was responsible for the sales of the majority of the COD made products. The amount of dolls assembled and sold by the Cuno and Otto Dressel Co., was more than all of the other Sonneberg companies combined!

The company continued in the hands of the Dressel descendants and relatives, and when the last owner, Hans Dressel, died in 1942 the company closed its doors forever.

There was another company which produced similar items. The company of Richard Leutheuser of Sonneberg, made dolls and toys beginning in 1886 and well into 1924. This manufacturer was well-known for clown type dolls, similar in appearance to my dolls. I may never truly know which ANTIQUE DOLL COLLECTOR

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company was the actual mastermind behind these dolls, but with a variety of indicators, I lean strongly toward COD. Papier-mâché in French literraly means “chewed paper.”

Other terms are also used to describe this versatile art form, such as “carton pate,” a term coined by Philibert Delorme, “carton moule,” “carton-pierre” and “holz-masse” in German. Composition also encompasses this term. The components of Papier-mâché are most often comprised of paper pieces, or paper pulp, and are at times reinforced with textiles and held together with glue, starch, weeds, rags or wallpaper paste. Some manufacturers used bran, rye, vegetable products, and even broccoli and cauliflower.

This is favorable mix for the maker, but even with added protective ingredients such as potash and garlic, it is a disastrous one where insects are concerned.

Papier-mâché is a strong and durable compound, and is very versatile, lending itself to a plethora of ideas. The earliest known examples of Papier-mâché products are pot lids and helmets from China’s Han Dynasty (206 B.C.-220 A.D.) the inventors of paper itself. Ancient Egypt used “cartonnage” which consisted of layers of linens or papyrus covered in plaster. The Egyptians made coffins and deathmasks out of this mixture. Kashmir and Persia had their own uses for Papier-mâché. They produced trays, small painted boxes, shelves and cases. In Europe in the early 18th century, gilded Papier-mâché was used as a cheaper alternative to treated plaster or carved wood used in architecture. In England it was used in constructing door panels, coaches, trays, and chair-backs, to name a few. Russia produced a large assortment of ornamental and painted Papier-mâché items such as trinket boxes. Some were advertised in a Tiffany & Co. catalogue in 1893. In America, in the 1800’s a popular item was a Papier-mâché canoe. Very few examples of these paper boats survived, the best known being the ‘Maria Theresa.’ It was used by an individual, one Nathaniel Holmes Bishop, to voyage from New York to Florida in 58

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1874-1875. An account of his adventures can be read in a book entitled “Voyage of the Paper Canoe.” Papier-mâché items are still in use today, often in theatrical sets and parade floats, pinatas and arts and crafts objects, or, to make dolls and figurines. Wherever ease of construction, light weight and low cost are important, the versatile Papiermâché lends itself to construction.

The next doll to join my family was Mama Katzenjammer, from the very popular American comic strip “The Katzenjammer Kids,” created by Rudolph Dirks, drawn

by Harold H. Knerr. The comic strip was introduced to the public on December 12th, 1897 in the American Humorist, the Sunday edition of William R. Hearst’s New York Journal.

Due to some legal issues in 1912 to 1914, Rudolph Dirks began a new comic strip entitled “Hans and Fritz,” followed by “The Captain and the Kids.” He used the characters as he did in the Mama Katzenjammer strip, for his new and updated comic versions. Because of the popular appeal of this comic strip, it ran until January 1st, 2006, making it the oldest and longest-running syndication in history.

The comic strip inspiration for The Katzenjammer Kids came from the popular children’s story of the 1860’s by Wilhelm Busch, featuring two mischievous boys named Max and Moritz. Like Max and Moritz, Hans and Fritz of the Katzenjammer fame were alway getting into trouble, and were rebelling against anyone attempted to reel them in. The cast of rambunctious characters consisted of Mama Katzenjammer, their forlorn mother, der Captain, a shipwrecked sailor who acts as a father figure to the boys, der Inspector, a representative of the school hierarchy, as well as numerous other characters, such as John Silver the pirate and his crew, Miss Twiddle, a know-it-all tutor and her brainiac niece Lena, as well as others. The comic strip became so popular that in 1903 it inspired a play, several other animated cartoons, as well as becoming one of twenty strips of ComicStrip Classics commemorative U.S. stamps!

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Back to our heroine: s Mama Katzenjammer, standing approximately 17” in height, is completely original from the top of her head to the bottom of her feet. She strikes a formidable pose, with her perplexed expression, sketched wrinkles and molded features. Like our dapper gentleman, her features consist of large protruding eyes, striking eyebrows, and a well defined mouth. A layered brown bun, a molded hairdo, sits atop of her head. Her body is of jointed composition, and she is sewn into her original outfit, blouse, skirt, apron and a pin featuring her likeness and the words “Mama Katzenjammer” written upon it. I should note that both Richard’s Doll and Mama Katzenjammer sport molded black painted footwear.

Two other similar characters came to live with my doll family soon after the first two arrived. The first new arrival, at 17” in height is a conductor or a bell boy. His facial features are similar to that of Mama Katzenjammer, eyes protruding and bulbous, his brow furled and with, a noticeable grimace on his fully bearded face, he has many sketched wrinkles upon his face. The two-toned cap is also molded to his head, which sits atop a jointed composition body. Because his clothing is loose, I can study his body construction, which consists of crude Papier-mâché except for the visible hands and painted black feet, fashioned into boots. No wonder he is grimacing at me: he does not appreciate being prodded, poked and undressed!

The next example that belongs to the Katzenjammer crew, due to the painting and the varnish technique, stands at 21” in height. This doll is different from the others.

Sporting a nightdress and a cap, socks, and cream colored oilcloth shoes. The doll has a cloth, straw-filled body with disk jointed shoulders and hips: Celluloid hands complete the body construction. A prominent grimace and an overwhelming nose greet the onlooker, the features like an angry woman or an unhappy child, due to the style of dress.

But upon removing the cap, one sees a molded and receding

hairline, clearly that of a man. A unique character indeed!

Why stop at four? More characters decided to make my home theirs. Ranging from 6” to 12” in height, the winker sailor boy and the pirate are both made of Papier-mâché and both have squeaky bellows in their bellies. When pressed together, the bellies make a noise. The winker is made entirely of Papier-mâché, and is clothed in a simple gauzelike material. The pirate wears cloth and velveteen clothing, including his embellished pirate hat, and has his original wooden pistol and a tin dagger. They could be the famous John Silver and one of his crew members.

It is fitting to conclude this article on a unique group of Papier-mâché character dolls with my cheerful soldier.

Standing 12” in height, he is fully original, with a wide set grin and yet another molded hat. The body is made of straw-filled material, while the arms and legs are composition. He is from the late 1800’s or early 1900’s. It is not certain that he is from the same family as the others, but he is part of my family, and he is definitely happy to reside with the rest of the gang. Happy collecting!

Bibliography Cieslik, Jurgen & Marianne. German Doll Encyclopedia 1800-1939.

Cumberland, MD: Hobby House Press, Inc. 1985 Cieslik, Jurgen and Marianne. German Doll Studies: Historic Doll Research From The Published Archives Of Cieslik’s Puppenmagazin.

Annapolis, MD: Gold Horse Publishing. 1999 Coleman, Dorothy S., Elizabeth A., and Evelyn J. The Collector’s Encyclopedia of Dolls. New York, N.Y.: Crown Publishers, Inc. 1968.

Edward, Linda. Eleventh Edition Doll Values Antique to Modern, Paducah, KY: Collector Books. 2011 Grafnitz, Christiane. German Papier-Mâché Dolls, 1760-1860.

Germany: Verlag Puppen & Spielzeug. Gert Wohlfarth GmbH. 1994 Krombholz, Mary Gorham. Identifying German Character Dolls.

Cumberland, Maryland: Reverie Publishing Company, 2008 Mertz, Ursula R. Collector’s Encyclopedia of American Composition Dolls 1900-1950. Paducah, KY: Collector Books. 1999

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Collector’s

Corner:

by Julie Norton

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osebud has been with me for some bigger, some smaller, others 65 years, mostly out of sight, looking like toddlers rather than but never quite forgotten. I babies. There were Rosebuds for sale was given her in 1950 for my second on Ebay, many in worse condition than birthday. My mother undoubtedly mine, but others better cared for, with would have diligently saved a little washed faces and wearing best dresses. each week to buy her for me; she came I discovered that Rosebud was from a large family where toys were a ‘thumb-sucker’; the angle of her scarce and treasured. arms and shape of her hands enabled Over the years Rosebud has been her thumb to fit neatly in her mouth, wrapped and packed for numerous something I had not realised until then. house moves, abandoned in the back The dolls for sale were looking of cupboards or squashed in the loft. for a good home but that highlighted Every now and then I would rediscover the fact that my Rosebud already had her and sadly note how much she had one. She was not just a useless toy deteriorated: inner strings loose, one from the distant past, an anachronism arm detached, eyelashes gone. I hated from a forgotten era, but a doll the thought of consigning her to the with a pedigree, part of a larger jumble bag, after all she was like an family, deserving to be repaired and undemanding little friend I’d known cherished. since childhood, but she was past any I now knew what my next step useful life as a plaything. Or was she? must be; back at the computer, I When grandchildren came along I searched for antique and vintage doll Rosebud before restoration studied Rosebud with fresh eyes. Stuck restorers and found sites displaying in a time warp, her endearing baby face row upon row of smiling dolls, was now more yellow than pink, her eyes, still bright blue, all shapes and sizes, including neglected ‘befores’ and stared blankly with no lashes to soften them, though they gleaming ‘afters’. Some were dressed in original clothes, still shut when I lay her down. Her mouth, with just a others as naked as the day they were made. After much hint of the crimson tint it had once sported, was slightly indecision and lots of scrolling through possibilities open, revealing tiny milk teeth. Her hair was merely a I plumped for a restorer who sounded friendly and suggestion, furrows in the hard plastic of her head. One committed. It was almost as if I were choosing a nurse to arm still reached out as if she were asking to be lifted, but tend my damaged child. the other now hung loose and lifeless. I picked her up — The restorer lived some distance away so, following and her head and the loose arm both became detached; the strict instructions, Rosebud was carefully packed up, her strings inside had finally rotted. I had grave doubts that limbs wrapped separately in bubble wrap, the box well she could ever be played with again. padded, with ‘Fragile’ written in big letters on the outside of the package. I then had an agonising wait for a month.

Before I abandoned her to the loft once more as a lost After years of lying forgotten wrapped in a creased bin cause I decided to do a bit of research about dolls like liner in the loft, Rosebud’s absence now made my heart her. So I tackled the internet and was amazed to find lots grow very much fonder. of other Rosebuds, clones of mine. The word Rosebud At last she came home to me, courtesy of our cheerful is moulded on the back of her neck, but in my childish local courier. I opened the package with trepidation and ignorance I had believed she was the only one. I learned carefully pulled away the bubble wrap. One of her eyes that Rosebud was the manufacturer’s generic name for winked at me as I took her out. The new eyelashes gave a popular range of dolls in the 1950s and 1960s. She was among the last dolls to be manufactured entirely from hard her a slightly rakish air. She’d had a makeover: she was plastic before rubber replaced it. She has many cousins, properly pink again, thanks to the restorer using a chemical

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I had kept a dress, cardigan, hat, bootees and mittens my mother had knitted specially for her. cleaner suitable for 1950s plastic. She had been restringed: her head and limbs now stayed put in their sockets, but could be easily positioned. And she had a red tinted smile. I was delighted. This was how she would have looked all those years ago when I first unwrapped her on my second birthday.

I dressed her with pride; I had kept a dress, cardigan, hat, bootees and mittens my mother had knitted specially for her. I imagined her looking down at the restored doll with approval.

There was just one thing the restorer was unable to achieve. Rosebud used to say ‘Mamma’ when I rocked her but the restorer told me that the original voice box was broken and as it was integral it would mean breaking Rosebud open to replace it. So I decided that my doll would remain silent.

Age hasn’t withered Rosebud. She has kept her baby looks, while mine have morphed over the years into grandmother’s wrinkles. But now time has been rewound and my granddaughters can enjoy playing with her just as I did all those years ago. However, Rosebud may look new and fresh again but I have to remind myself that she is 65 years old so, just like any besotted mother, I’ll keep a fond eye and make sure she’s treated gently.

Rosebud was the brand name of Nene Plastics, who started making composition dolls in around 1947 with “Rosebud” stamped into the back to avoid the trap of anonymity that had prevented so many other doll companies from being better known. A Rosebud Doll was emphatically a Rosebud Doll, and the company’s obvious confidence in their product made it easier to sell the dolls to retailers and to parents.

Nene was run by Eric Smith, who’d taken control of the family company in 1934. With the opening of a new factory in 1960 in Wellingborough, Northants, doll production took off, and the company was bought out in 1967 by Mattel, who continued to make the dolls with “Rosebud, Mattel” branding.”

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Auction Gallery

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eisner’s last doll auction, on March 31, 2018, had an enthusiastic in-house crowd, as well as absentee and phone bids. The auction was also featured on LiveAuctioneers.com. The catalog featured 370 beautiful antique dolls, antique doll clothing and several early doll houses and related doll furniture. Approximately 100 lots were reserved for in-house bidders only. Approximately 29% of the catalog sold to LiveAuctioneers participants with the remaining 81% going to a very active & focused in house crowd. A few highlights from this auction include: • 14 ½” Simon & Halbig Mold 1469 (this doll has some repair & repaint)-Sold $2,300.00 • 5 ½” All Bisque Wrestler w/1” small doll – Sold for 1,500.00 • 7” Pink Tint China Shoulder head w/Antique Leather Body – Sold for $1,700.00 • 13” Circa 1800 Wooden Unmarked Queen Anne Type (w/compo cracks on head/neck) – Sold for $2,500.00 • Large Mansard 3 Story Wooden Doll House on custom made base – Sold for $5,000.00 Next auction, Sat., June 30th for the 2nd of 3 exquisite doll auctions from the Estate of Ann Johnston from Ballston Spa, NY.

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he rare pair of desirable French bebes by Petit and Dumoutier, from the estate collection of Carole Musulin of Villa Park, California were highlights of Frasher’s March 28 auction. Each markked P.D. 4. The originally dressed doll in pink realized $17,920; her companion in blue sold for $15,680. Frasher’s Doll Auctions

June 2018

5/16/18 9:49 AM

Calendar of Events Send in your Free Calendar Listing to: Antique Doll Collector, c/o Calendar, P.O. Box 239, Northport, New York 11768 or Email: adcsubs@gmail.com If you plan on attending a show, please call the number to verify the date and location as they may change.

ONGOING

4/21‑10/7/18 ~ Switzerland. Costumes of Venetian Carnival balls. Spielzeug Welten Museum. www.swmb.museum

JUNE 2018

CANCELLED... 2‑3 ~ Gaithersburg, MD. Doll & Toy Show. The Fairgrounds. SFB Events / S. Bellman 239‑440‑3184 sbellman714@gmail.com

Gaithersburg Antiques Doll Show

Hundreds of Selling Tables…

DEC 1&2 Sat 10-5 • Sun 10-3

The 175th Eastern National Antique to Modern Doll & *Toy Show 2018 Established 1972

2‑3 ~ FRANCE. Doll’s Collection/Automata & Mechanical Music Auctions. Galerie De Chartres. +33(0)2 37 88 28 28 (F) +33(0)2 37 88 28 20. chartres@galeriedechartres.com

2 ~ Linthicum Heights, MD. Shirley Temple: Private Collections of Iva Mae Jones & Janet Mitchell Auction.

Theriault’s. 410‑224‑3655 www.theriaults.com.

2 ~ Missoula, MT. Doll, Toy, Teddy Bear & Miniature Show. Ruby’s Inn & Convention Center. Kay Schrader.

406‑360‑7214. schrader1501@blackfoot.net 3 ~ Belleville, IL. Doll, Bear, Collectible & Miniature Show. St. Clair County Fairgrounds. Kay Weber Show.

618‑233‑0940.

3 ~ Concord, CA. Doll Show. Crowne Plaza Hotel.

101 Doll & Study Club. Stephanie Blythe. 415‑455‑8415. s.blythe@comcast.net.

3 ~ Fullerton, CA. Doll, Teddy Bear & Miniature Show.

Hotel Fullerton. Rowbear Presents. 831‑438‑5349.

RowbearPresents@charter.net

3 ~ Sturbridge, MA. Doll & Bear Show. Sturbridge Host Hotel. Wendy Collins. 603‑969‑1699.

6 ~ Annapolis, MD. Rendezvous Auction. Antique Dolls & Playthings. Theriault’s. 410‑224‑3655 www.theriaults.com.

6 ~ England. Teddy Bears, Dolls & Dolls House Auction.

At The Spa Hotel. C&T Auctioneers. Leigh Gotch. +44(0) 7736 668702. leigh.gotch@candtauctions.co.uk. www.candtauctions.co.uk 9 ~ Raleigh/Durham/Chapel Hill, NC. Triangle Doll & Toy Show. Amran Shriners Temple. Jackie Stone.

828‑505‑2287. www.SoutheasternDollShows.com

10 ~ Naperville, IL. Doll & Teddy Bear Show. Naperville Marriott Hotel. Karla Moreland Presents. 815‑356‑6125. kmorela@ais.net 13‑14 ~ Nashua, NH. Withington Auction, Holiday Inn, Nashua, NH, Wed 13th: Doll Show & Sale, 3rd Floor Rooms, Thurs. 14th ‑ 10:00 am. Doll Auction.

603‑478‑3232. withingtonauction.com withington@conknet.com

15 ~ Annapolis, MD. Ten2Go Auction. Theriault’s.

410‑224‑3655 www.theriaults.com.

Calendar continued on page 64

©

June 2-3, 2018 Edition is Canceled – See You in December!

Admission $10 Good 2 Days

Save $2 on one ticket with a copy of this ad.

Email us for Coupons and Maps

The Fairgrounds

16 Chestnut St. Gaithersburg, MD 20877 Building 6 / Exhibit Halls / Air Conditioned and Heated

12 Miles North West of Washington DC (I‑270) Exit 10 to red light, turn left, follow fairgrounds signs.

Hotels: HOLIDAY INN 301.948.8900 HILTON 301.977.8900 3 International Airports Ronald Reagan Washington National (DCA) Dulles International (IAD) Baltimore / Washington International (BWI)

SFB Events / S. Bellman 239-440-3184

sbellman714@gmail.com

*LIMITED Number of Toys and Games Antique DOLL Collector

class-cal.indd 63

June 2018

63

5/15/18 9:22 PM

Sara Bernstein’s Dolls

JuNE 2018 continued from page 63 15‑16 ~ Germany. Summer Auction. Ladenburger Spielzeugauktion. 0049(0)6203‑13014/ (F)0049(0)6203‑17193. mail@spielzeugauktion.de. www.spielzeugauktion.de

16 ~ Milton, FL. Doll & Toy Show. Santa Rosa County Auditorium. Pensacola Doll Study Club. perpleprsn@aol. com. 850‑292‑6074.

19 ~ England. Fine Dolls Auction. 44(0) 1635 580595. mail@specialauctionservices.com

21‑23 ~ Bennington, VT. R. John Wright Convention. The Everett Mansion. www.rjohnwright.com. 802‑447‑7072.

R. John Wright Dolls Inc. rjwdolls@aol.com 21‑24 ~ Kissimmee. FL. Doll Convention. Park Inn by Radisson. Fire‑Flies Golden Age of Dolls. Cyndi Harris.

321‑431‑3133. charris779@aol.com

10 Sami Court, Englishtown, NJ 07726 Ph. 732‑536‑4101 Email: santiqbebe@aol.com www.rubylane.com/shops/sarabernsteindolls

The Doll Works

Judith German Tin Globe Armitstead and Dollhouse Man (781) 334‑5577 P.O. Box 195, Lynnfield, MA 01940

23 ~ Puyallup, WA. Doll Show. Western Washington Fairground. Dorothy Drake. Crossroads. www.crossroadsshows.com

24 ~ No. Hampton, NH. Doll, Teddy Bear & Gift Show.

Lafayette Crossing Plaza. Collins Gifts. Wendy Collins.

603‑969‑1699.

28 ~ Pacific Grove, CA. Artist Gallery Exhibit.

The Grovian Doll Museum. National Institute of American Doll Artists.

30 ~ Germany. Steiff Special Auction. Ladenburger Spielzeugauktion. 0049(0)6203‑13014/ (F)0049(0)6203‑17193. mail@spielzeugauktion.de. www.spielzeugauktion.de 30 ~ New Lebanon, NY. Antique Doll Auction.

Meissner’s Auction. 518‑766‑5002. info@meissnersauction.com. www.meissnersauction.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 …

30 ~ Pacific Grove, CA. Doll Show. Asilomar Conference Grounds. National Institute of American Doll Artists.

Stephanie Blythe. 415‑455‑8415. niada@niada.org.

www.TheDollWorks.net

To find more doll events near you go to our website at www.antiquedollcollector.com and click on “Events” tab.

Also, sign up on our email list to have the most up to date info on upcoming events.

Just email adclisa@gmail.com with the subject line “sign me up for doll events.”

Your Ad Here

a classified marketplace for antique dolls and related merchandise

Black & White Photo Ads 106 W. Main St., Carlisle, KY 40311 859‑289‑3344 Open Wednesday, Thursday, Friday 11-4 Open by appointment at other times, call 859-707-6123

Visit us at www.kydollandtoymuseum.com Like us on Facebook at ky doll and toy museum 64

Antique DOLL Collector

class-cal.indd 64

3.3” h x 2.4” w $60

Full Color Photo Ads 3.3” h x 2.4” w $85

Please include payment with your ad.

Larger ads are considered display ads — call us for information. 1‑888‑800‑2588.

Antique Doll Collector, P.O. Box 239, Northport, NY 11768 adcsubs@gmail.com or adclisa@gmail.com

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JULY 2018

8 ~ Kansas City, MO. Doll Auction. Four Points Sheraton. Frasher’s. 816‑625‑3786. (F) 816‑625‑6079. frasher@aol.com.

13 ~ Layton, UT. Doll Convention. Davis Conference Center. ROSE International Doll Expo. Ann Dee. 801‑419‑2146.

15‑19 ~ Phoenix, AZ. Annual National Doll Festival.

Rowbear Lowman. 831‑438‑5349. NatlDoll@aol.com

16 ~ Scottsdale, AZ. MARQUIS Antique Doll Action.

Hyatt Regency Scottsdale. Theriault’s. 410‑224‑3655. (F) 410‑224‑3655. www.theriaults.com.

17‑21 ~ Phoenix, AZ. UFDC 69th Annual Convention.

JW Marriott Desert Ridge Spa & Resort. www.ufdc.org/ convention. 816‑ 891‑7040.

21 ~ Phoenix, AZ. UFDC 69th Annual Convention Public Day. JW Marriott Spa & Resort. www.ufdc.org/ convention. 816‑891‑7040.

AUGUST 2018

4 ~ Archbold, OH. Doll & Teddy Bear Show. Sauder Village Founders Hall. Dawn Hauter. 800‑590‑9755. dawn.hauter@saudervillage.org 11 ~ Clackamas, OR. Doll Show. Monarch Hotel.

Crossroads. Dorothy Drake. 775‑348‑7713. www. crossroadsshows.com.

11 ~ Huntsville, AL. Doll Show. Twickenham Doll Cub. Jaycees Building. Sonya Heim. 256‑585‑5436. sonyah4@ netzero.com. 256‑585‑5436.

12 ~ Buena Park, CA. Doll Show. Holiday Inn. Sherrie Gore. 310‑386‑4211. sherribean7@aol.com

15‑17~ Nashua, NH. Doll Auction. Withington Auctions.

603‑478‑3232. withingtonauction.com. withington@ conknet.com.

16 ~ Syracuse, NY. Teddy Bear Conference. Cindy Malchoff. 518‑562‑4076.

18 ~ Schertz, TX. Doll Show. Schertz Civic Center.

Dorothy Meredith. 830‑606‑5868. dmeredith@dolldr.com 19 ~ Strongsville, OH. Doll & Bear Show. Holiday Inn. Eileen Green. 440‑283‑5839. phdofdolls@yahoo.com

26 ~ Bellevue, WA. Doll Show. Red Lion Hotel. Antique Doll & Toy Market. Lisa Pepin. 206‑362‑8723.

26 ~ Dedham, MA. Doll & Bear Show. Holiday Inn Boston. Wendy Collins. 603‑969‑1699.

26 ~ North Mankato, MN. Doll Show. Best Western.

Lady Slipper Doll Club. Carolyn Christopherson.

952‑873‑4489.

26 ~ Fort Wayne, IN. Doll Show. Fort Wayne Armory.

Sharon Napier. 586‑731‑3072.

June 2018

5/15/18 9:22 PM

Valerie Fogel’s

Beautiful Bébés Fine Dolls and Precious Playthings of the Past Tel: 425.765.4010 Beautifulbebes@outlook.com For excellent service contact Beautiful Bebes when Selling or Consigning!

www.bebesatticfinds.rubylane.com

Always Buying. Trades, Consignments, Sales and Estate.

Superb Dehors Poupée & Trousseau Numerous collectors seek “the doll” that will be a central focus of their collection.

Others seek a doll that, although paired with others, stands on her own with great presence. This stellar example is such a doll. Her lavish five costume wardrobe and lovely extras add to her desirability although her beautiful face and Dehors’ articulation truly sets her apart. This is a doll with complete originality in the sense that all of her wardrobe and costuming, including her lovely auburn wig, hail from the period of 1870-1880. Everything has been carefully examined. She has a deluxe trunk with numerous compartments made of solid wood. Please email or call for additional details on this lavish & excellent Mademoiselle. $12,950~

See Us at the UFDC National Convention Salesroom at the J.W. Marriott Resort in Phoenix, AZ!

Charming Mademoiselle Gorgeous 17” Poupée in exquisite and cheerful peach and apricot three piece antique costume c. 1870’s. Some fade to silk bustle, and a few tender ares but overall sturdy. Superior antique leather boots with rosettes. Marked 4 and in excellent condition! Lovely long mohair wig, adorable felt hat with soutache, feathers and silk adornments. Parasol display only. $6500-

Member UFDC & NADDA

Fogel-cherubs.indd 5

20” Marked 7 Enchanting Bru Jeune Circle Dot ~ Oh Bébé!

What a beauty ... huge blue spiral threaded paper weight eyes darkly lined, set in luminous bisque with delicate modeling of lovely features. Our darling is wearing an 1880’s silk dress with generous lace details. Perfect bisque head and shoulder plate! Marked Bru shoes. She is available in this spectacular mohair long tail wig by Diana S. Boettger. Please call for additional questions or pictures! $21,950

5/16/18 10:00 AM

Discover Dolls from “Provenance” — The July 16th Auction in the Latest

Dollmastery Vignette Series Educational videos a b o u t a n t i q u e d o l l s — av a i l a b l e fo r v i e w i n g o n YouTube.

Simply visit youtube.com/theriaultsdolls After June 29th, watch for a new video featuring dolls from the “Provenance” auction to be sold July 16th, 2018 at the Hyatt Regency Scottsdale at Gainey Ranch in Scottsdale, Arizona.

x For auction info call us at 410-224-3655 or visit Theriaults.com.

the dollmasters

PO Box 151 • Annapolis, Maryland 21404

Facebook.com/TheriaultsDolls

Toll-free: 800-638-0422 • 410-224-3655

Twitter.com/TheriaultsDolls

Fax: 410-224-2515 • www.theriaults.com

Pinterest.com/TheriaultsDolls YouTube.com/TheriaultsDolls Instagram.com/TheriaultsDolls