Antique DOLL Collector July 2013 Vol. 16, No. 6
July 2013 Vol. 16, No. 6 $595 / $695 Canada www.antiquedollcollector.com
Legendary Collection of Estelle Johnston to be
Collectors dream of finding dolls in perfectly-preserved condition, and this gorgeous Gesland-bodied poupee in totally-original couturier costume, will meet all expectations. She stands a regal 23” tall.
English wooden dolls from the late 1700s were sought by Estelle Johnston during her London years. Among her favorites has been this splendid 23”example.
Parisian automaton maker, Jean Phalibois, specialized in imaginative and luxurious vignette scenes under glass domes. This extremely rare example, of which others are not known, features a soothsayer and young child, with beautiful movements and fine music.
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The fashionably-costumed wax ladies of Lafitte-Desirat of Paris were designed with special posing to accentuate their styles. Three are offered in the auction. 18
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he path toward doll collecting is seldom direct. You begin by mapping a well-traveled route to discover the dolls of your own memory, and then meander, casually, at first, and later, quite deliberately, into the quest for dolls of other places, other times, and other styles. So it has been with the collecting life of Estelle Johnston. Born in Montreal, Estelle’s early life set the path for her interest in dolls and costuming, as her favored past-times were making clothes for paper dolls, while watching her mother make a complete trousseau for her Deanna Durbin doll. Her later childhood, after the death of both parents, was spent near Boston in the care of an aunt, and in attendance at Bryn Mawr College where studies in the history of art gave focus to her early childhood interest in dolls and fashion. Then, living in London in the early 1950s, she and her husband motorcycled 9000 miles overall Europe where she saw “a young man in the festival costume of Normandy, bull fighting in Barcelona, Italians in medieval attire, women in the early morning at the railroad station in Salonika with shoulder yokes carrying milk pails, peasants in Yugoslavia with their feet wrapped in cloths like the pictures in my fairy tale
Auctioned by Theriault’s on July 28 in Washington D.C.
The name doll of the famous Parisian doll boutique, A la Poupee de Nuremberg, owned by Madame Lavallee-Peronne was “Lily”. Lily was written about year after year in La Poupee Modele, Modele and young Parisian daughters were urged to visit the boutique to choose new fashions and accessories for their doll. Evidently, Alice LeFort did just that, for her name appears on the brass label of the accompanying trunk, and the trousseau of Lily is extensive and luxurious.
Two all original wood-bodied chinas, 7.5,” have been beautifully preserved under glass domes.
Known as “staatdamen”, the elegant dames of fine German cities, were created in doll form by wax makers such as Dressel. With distinctive faces, unusual bodies with fancily painted gloves and boots, the ladies are exquisitely costumed, and rarely found.
The Welsh peddler lady (whose head was made in the Grodnertal region) presents her well-laden tray with sewing goods, a sampler, and even tiny Grodnertal dolls. She is one of eight wonderful peddler dolls that are included in the collection. ANTIQUE DOLL COLLECTOR
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The
Enchanting Trousseau of Chiffonnette: I
Journal Des Demoiselles, 1868. “Toilette “Toilette for a little girl. --- Dress in alpaca. Coat in broadcloth ornamented with bands and lappets bordered in velvet. Hat made of velvet.” This fashion plate depicts a little girl, accompanied by two ladies, attending a fair or bazaar. She wears a charming, tailored coat, garnished with narrow bands over the shoulders, falling in short lappets with pendent tassels, all trimmed with narrow velvet ribbon. She is eagerly trying to take a peek at the exciting toys and dolls for sale here. We can see a lady doll wearing a folklorique costume from Normandy, a dandy Polichinelle, and another lady doll, somewhat simply dressed, holding a toy animal. Who can resist this engraving, reminiscent of antique fairs and street markets held in Paris today, such as the famous fairs, Bastille and Saint Sulpice. Each vender has a stall, or stand, almost like a small, separate wooden shop, complete with a floor and roof, painted in the requisite shade of dark green seen throughout the city in park benches and fences, reminding one of the nineteenth century fairs, in all their glory and excitement. The only detail missing today is the decorative frieze on the top; no doubt it was painted in red and yellow, maybe with an occasional touch of blue, and surely, the stand itself was painted in the dark green color we see today. 24
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n Paris, under Napoleon III, 1852 – 1870, when the city teemed with pomp and splendor beyond description, the delirium of vanity and extreme richness of attire was at its height. There existed a swarm of dazzling creatures, all full of charm and beauty, who buzzed merrily in a world where fashionable inventions and feminine adornment were lavished upon every member of society. Following their love of exhibition and luxury, fair young demoiselles delighted in the loveliness not only of their attire, but also the showy splendor of the attire of their dolls. Naturally enough, doll clothing followed the current modes of dress. Unique doll couturiers and dressmakers ruled over this miniature world, keeping pace with the vagaries of fashion. They excelled in the art of creating those thousand and one charming fripperies and pretty trifles that necessarily made up a fashionable doll’s trousseau. Specialty doll and toy shops catered to the happiness of children, featuring the most delightful frivolities and expensive baubles ever to grace their realm. Fashion was as fickle as the wind, and every season witnessed the introduction of ever-changing novelties in dress. Among the eccentric whimsicalities of the moment, certain details in style reigned supreme. One in particular which has become a classic for the child dolls made by firms such as Huret and Rohmer was the passion for pointed waistbands and coordinating bretelles. Waistbands fitting close to the figure, with high points before and behind, were set on skirts rendered full with laid in plaits and gathers. A number of variations were seen to suit every whim and fancy in the world of doll raiment. Some waistbands, in front, were pointed at the top as well as towards the bottom, and often, this was repeated in the back.
A Classic Huret Dress Simple yet beautiful were those pointed only in front, continuing quite straight to the back, where the ends were either butted together or were lapped over and fastened at the back, usually with hooks and loops, or thread loops. Varieties in the shape and style of bretelles were also seen. The word bretelle is the same as the French word, bretelle, meaning braces or suspenders. The fashion of having a band passing over the shoulders and attaching to the waistband can be seen in fashion plates as early as the 1830s and 1840s, in ladies’ and young girls’ aprons, as well as young boys’ trousers. The style adopted for boys’ suspenders were virtually narrow bretelles, with one or two cross bands, or traverses, connecting the two bretelles, and set upon trousers which were full, with side pleats at the waist. Aprons were found in an endless array of designs. Their bretelles could be slightly rounded or somewhat pointed atop the shoulders, and were attached to the waistband, which was either pointed or straight, with the addition of one or two traverses. These aprons, meant to be decorative rather than utilitarian, were pretty, little fancies made up in silks, often black, elegantly trimmed with ribbons and garnitures, edged with a frill of lace, and most often featured pockets. They obtained a considerable amount of favor, especially for morning wear at home, and were included as part of an ensemble. Later, in the 1840s, continuing into the 1860s, a design feature closely resembling bretelles was made of the same material as the dress. In French, often, during this period, they were referred to as revers, meaning lapels. Being shaped like bretelles, they narrowed to a point at the waist, and were sewn onto the dress, rather than remaining separate. They extended to the waist directly in the center, or were
by Sylvia Mac Neil
A pretty, little number in crisp, plaid taffeta, following the dictates of plaid mania in the realm of fashion. Shades of deep green and blue with bands of soft lavender, all beribboned in the narrowest, black velvet. The Tartanic Mania raged furiously in Paris for every article of dress, with children wearing the gayest which could be purchased. ANTIQUE DOLL COLLECTOR
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Enjoy the beautiful coastal village of Camden, Maine located on the pristine Penobscot Bay. 49 Bay View Street, Camden, ME 04843 The shop is now open for the season, Monday-Saturday 10-4 or call for an appointment 207-322-4851. Shop 207-236-4122 Fax 207-236-4377
email: lucysdollhouse49@roadrunner.com
9” wonderful Portrait Jumeau original shoes and chemise $9500.
14 German tramp art stations of the cross - each are 8-1/4” tall x 4-1/4” wide and double sided with glass covering the old prints. $795.
Artist Bear signed Jamie L. Henry ‘94 22” long, jointed. Great accessories $195. James Hastrich corner room box - furniture sold separately 20-1/2” wide x 9-1/4” tall. $550. 2 old German horses. One is 8” tall x 8” long - $295. The other is 5” tall x 5” long - $195.
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Antique German horse and wagon - horse 8” long x 9-1/2” tall. Wagon (without poles) is 11-1/2” long - $425.
Large scale German drop front desk 9-1/4” tall x 5-1/2” wide - $395.
ALSACE, FRANCE:
History, Dolls, and Beloved Uncle Hansi By Elizabeth K. Schmahl
1. Circa 1882 5” bisque swivel neck French mignonette. Courtesy Theriault’s
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he different regions of France have historically provided the doll world with some of the most varied and delightfully costumed dolls. Specifically, the traditional costume from the Alsace region is one of the most recognizable French outfits. Often a favorite among doll collectors, the Alsatian costume from the 19th and early 20th centuries is stunningly bold and vibrant. For example, this circa 1882 5” bisque swivel neck French mignonette proudly wears the traditional costume of her native Alsace, complete with her traditional large black hair bow (photo 1). But in order to fully appreciate the dolls dressed in the folklore costume of Alsace, one must first understand their cultural and historical poignancy. The costume of Alsace represents something much more profound than simply a regional costume. It represents the sense of national pride, sentimentality, and patriotism that beat in the heart of every French Alsatian during a very tumultuous time in the region’s history, namely from 1871 to the end of World War I.
2. “En Alsace!” by Georges Bertin Scott
Alsace is a region in eastern France near the German border and plentiful in desirable resources. After the Franco-Prussian War in 1871, Germany occupied Alsace, which was not returned to France until the end of World War I. This Great War was a difficult time for much of Alsace. The occupation of this region forced Alsatians to give up their native French language, customs, and laws in favor of those of Germany. This led some Alsatians to flee to Paris and even to other countries. However, other citizens of Alsace sympathetic to France remained in their beloved homeland and continued to hold their heads high with an immense sense of strength and unity. The plight of the Alsatians and their struggle to maintain hope was frequently a subject for political illustrators, artists, and Alsatian sympathizers. For example, this postcard of a 1914 sketch called, “En Alsace!” by Georges Bertin Scott (photo 2) depicts a French soldier tenderly consoling an Alsatian woman. Scott was a successful Parisian artist, military illustrator and reporter for the magazine, ANTIQUE DOLL COLLECTOR
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The Legendary Patsy by Jane Foster Photos by Kim McBurney
Patsy publications from the 1930’s.
Composition Patsy introduced in 1928.
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he all composition doll Patsy was introduced in 1928 by Efffanbee Doll Company, co-owned by partners, Hugo Baum and Bernard E. Fleischaker. In 1927 she was advertised as “Mimi,” but her name was soon changed to “Patsy.” Some sources state that Patsy was formerly named “Mimi” after the famous movie personality, Clara Bow. Then Effanbee discovered that “Mimi” was a trademark name used by another doll company. “Patsy” was already a name in the Effanbee line for a mama doll. So they renamed the Patsy mama doll, “Marilee,” and “Mimi” became “Patsy.” Around this time there was an Irish pilot, James Fitzmaurice, who crossed the Atlantic from east to west. He was honored at a celebration in New York City. He had a seven-year-old daughter 42
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name Patsy who was presented with a “Patsy” doll by a city official. It has been said that Effanbee, at that time, indicated that they had named “Patsy” for this little girl. Patsy’s past contains several stories about her name change. I don’t think we can be sure which ones have more validity, but we do know that for the parents who could afford the luxury of buying their little girls a doll in the 1930’s, Patsy was often chosen. Pretty Patsy was designed by the distinguished doll sculptor, Herr Bernard Lipfert. Lipfert designed many dolls for different companies, including Ideal’s Shirley Temple, but he considered Patsy to be his greatest achievement. In Patsy Doll Family Encyclopedia Volume 1, Patricia N. Schoonmaker states “Joan Amundsen reported on visiting the Lipferts at home where they had moved in the early 1940’s to Westbury,
Patsy greeting card from 1930’s.
Long Island. The studio was set up in the large sun porch on the second floor. The artist retired in about 1964 due to arthritis but had kept his studio just as it was. Joan was allowed to explore the artist’s attic which she termed a doll collector’s paradise. The most striking object she saw was a lifesize model head of the Patsy doll with soulful puppy eyes and a rosebud mouth.” Lipfert had died on January 6, 1974. While Patsy was introduced in 1928, the composition Shirley Temple doll was not introduced until 1934. Interestingly, in doll memorabilia there are found several photographs of the child star Shirley with a Patsy doll. Patsy and the bisque Armand Marseille doll “Just Me” are very similar. It is believed that there is a very good reason for this. One of the doll companies Bernard Lipfert worked for in Germany was Armand Marseille. After coming to the United States in 1912 he marketed his designs to several manufacturers. After he designed the mold for what would become the very popular toddler doll Patsy, Effanbee bought the model, and the Patsy Family was born. The Vogue Company reintroduced the “Just Me” dolls in later years. The Vogue Doll Company also made clothes for the Patsy dolls in the 1930’s. Other companies that made clothes for the Patsy Family were Niko, Glad Togs, and Molly’es. Fleischaker and Baum (Effanbee) were very successful with their advertising. They employed various ladies to play “Aunt Patsy.” “Aunt Patsy” would visit department stores and meet with groups of little girls. The programs she would present would be interesting to the children, and they would be actively involved. Parents liked her little gatherings because in them “Aunt Patsy” emphasized such things as good manners and safety. Of course, information would be given about the latest in Effanbee’s line of Patsy Dolls. In conjunction there was a Patsy Doll Club the children could join. Patsy’s popularity inspired two children’s story books, “Patsy for Keeps” by Esther Merriam Ames, published in 1932 and “Patsy Ann”, 1935, by Mona Reed King. Composition Patsy’s were approximately 14 inches tall with a molded red or brown hairstyle. The red hairstyle was more prevalent. Some had a molded hairband; some had mohair or human hair (wigs were introduced in 1933). Most had brown painted eyes; it is much rarer to find a painted blue-eyed Patsy. Side-glancing eyes were much more common than centered eyes. Later she was made with sleep eyes. She wore a gold heartshaped paper tag on her wrist or a gold heart-shaped bracelet. The
Patsy’s boyfriend was the delightful Skippy.
Just Me by Armand Marseille shares many characteristics with Patsy.
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