Antique DOLL Collector November 2011 Vol. 14, No. 10
November 2011 Vol. 14, No. 10 $595 / $695 Canada www.antiquedollcollector.com
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ANTIQUE DOLL COLLECTOR
NOVEMBER 2011
Anna May Case A VISIT WITH
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think you will all agree that collecting has enriched our lives in ways that go way beyond making a good buy on an antique doll, not the least of which are the friendships we have made along the way. As the editor of this magazine and a doll collector, I have had the great pleasure of being invited into many homes. What is always fascinating to me is how individuals display their dolls, some in almost museum-like settings, and others, like Anna May Case, who describes herself as a frustrated set designer, with virtually every square inch utilized. Even without her enormous collection of dolls, a visit to Anna May’s house is an unforgettable experience. The initial construction, which she refers to as the springhouse, was completed in 1731, followed by a separate stone kitchen and Above: Some of the dolls displayed in the master bedroom. Husband Jerry only asks that his wife leaves enough room to get to the bathroom.
by Donna C. Kaonis photos by Keith Kaonis
dining room and upstairs bedrooms in 1745. Long before Anna May’s family moved into the house some thirty-six years ago, the two structures had been joined together using early 18th century materials. With nine children she and her husband Jerry needed additional space and immediately set upon enlarging the kitchen and adding a sunroom to capture views of the 40-acre property. The kitchen with its large central fireplace is home to Anna May’s large graniteware collection, a colorful large country store case which originally held parasols and spats, an unusual octagonal pie safe, cobbler’s bench, advertising tins and bins, and a pristine blue enameled stove, a full size version of her miniature Karr salesman sample stove. Several years ago they turned what had once been a garage into their entertainment center. With its Left: A favorite is this cloth doll by Izannah Walker. ANTIQUE DOLL COLLECTOR
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Fashionable Mantelets From Chiffonnette’s Trousseau By Sylvia Mac Neil
uring the mid nineteenth century, in the realm of Fashion for ladies as well as dolls, Fancy was always creating a thousand new novelties or varied and artistic arrangements of former articles of dress. With regards to outer wraps, the particular style and elegant simplicity of one particular short cloak, or mantelet as it was referred to, rendered it a garment that met with unqualified admiration by the belles of the time. The popularity of mantelets was said to be more than merely general, it was almost universal. Becoming every day more in favor, the fair Votaries of Fashion laid down a few general rules to heart to guide their choice for the coming season. These mantelets, perfect marvels of taste and design, were styled to sit high at the neck, or lower, in a gentle V shape. The back was quite shallow and in front descended in long, square ends or gentle points. Mantelets were worn in the morning with a negligee, or casual wear, walking dress, and they were equally well adapted to the most elegant promenade or carriage costume. The only difference consisted in the material of which they were composed and trimmed. For négligé, they were made up in black or some dark colored négligé silk, and, for the carriage drive and promenade, silks of lighter colors were preferred, either to match the dress or not. When the season became more advanced, this addition to the ensemble, made of black velvet, and worn with a dress of some pretty colored silk, had a decidedly stylish effect. Some of the velvet mantelets were garnished with rows of silken braid and others were edged with deep borders of chinchilla or sable. Bands of swans-down were equally favored. Various mantelets were very fully trimmed with broad frills, edged with fringe or passementerie, while others were trimmed with bands of velvet ribbon or a single row of fringe, surmounted by bias folds, braid or other graceful trim. The plainest were considered to be those garnished with flounces pinked out along the edges. Regardless, they were at once charming and fanciful creations. Mantelets had sometimes a rounded point behind and very long ends in front, and other times were entirely of the shawl form, that is, pointed behind as well as in front. There was one, made for a carriage wrap, of white China crape, the whole ornamented with bands of broad, black velvet. This was a very stylish little affair, but was also considered, “very fantastic.” It was called the “Joconde.” Another mantelet, the “Regina,” was made of black velvet, and was circular in form, with a slight drop behind. The trimming consisted of two rows of very rich, black lace. An exceedingly striking affair, the “Clara,” was cut in a loose saque form, and was also made up in black velvet, trimmed with sable and a deep ball fringe. A yoke of black velvet passed around the neck and down 36
ANTIQUE DOLL COLLECTOR
NOVEMBER 2011
the front, and was ornamented with frogs and loops, or brandebourgs, as they were sometimes referred to. The “Sultana” was arranged with matchless taste. It featured the front turned back in lapels to show the lace or embroidery of the chemisette. The mantelet was garnished with ruches of ribbon and a broad fall of Brussels or French lace. “La Belle,” or the “Favorite,” as it was otherwise known, was made of black silk and tastefully trimmed with a border of deep fringe and finished by a broad bow with flowing ends. During this period of fruitful fancy, some garments were named after certain important personages. The “Marie Antoinette fichu” was exceedingly fashionable and known to all. But there was also another wrap sporting her name, the “Marie Antoinette Mantelet.” The style was partly of the shawl form and partly of the mantelet. It could be either loose at the back or confined to the waist by a few plaits. One delightful affair of this design was made up in silk, in shades of greeny-black and was lined in white. The trimming was a fringe of a very rich pattern, and of two colors, the predominant tint being green, with a slight admixture of black. Another happy inspiration was the “Victoria Mantelet,” so called because it was first worn by the queen of England. It was of silk of any dark hue, the trimming consisting of bouillonnés, or puffs, of the same material. This is the month when many of our fair readers will be desiring a new wrap destined for the trousseau of their favorite grande élégant. Such as those who have not conveniences for getting one ready-made, or wish to study economy, or seek to have something very recherché recherché, will find the following pattern of great service. It will enable all to make a mantelet of irreproachable taste without the assistance of a doll couturier at hand. The style for the mantelet featured here was taken from an original mantelet worn by an antique Rohmer doll. The pattern is for a 17 inch to 18 inch doll, and has the advantage of being so simple, that any seamstress can make it herself. Thus, it is at once economical and, what may be considered better still, very á la mode. The shape and cut of this mantelet is classic and can be seen in styles resembling this one, and with some variations, in period fashion plates dating from the 1840s to the 1870s. It is designed to sit high but easy round the neck. Behind, it has something of the appearance of a bertha; it is rounded, and comes just to the waist. It fits well on the shoulders and in front, falls in long, squared ends. At the front, on each side, is a shallow slit, adding great charm to an otherwise simple line. Any number of fabrics can be used for making up this wrap. Four different silk materials have been
This stylish affair is an exact replica of the original mantelet worn by a Rohmer doll. Made of black silk taffeta, it features a high, rounded neckline, the front designed with long, square tabs, falling gracefully on the full skirt. The back is simple, low and rounded. This mantelet is unlined. A ruche of black taffeta box pleats, with pinked out edges, is very gracefully arranged all along the bottom. Two rows of simple, round silk cord are set above the ruching, following the contours and continuing up the front, just to the bound neckline; it closes simply with a hook and loop at the neckline. Nothing can be more charming than this novel mantelet. Worn with it is a skirt of violet and ice blue silk, shot with blue and garnished with black, velvet ribbon. Black satin, ribbon-like bands and fanciful scrolls render this skirt one of the favorites of the season. Pendant drops of jet depend prettily along the front of Chiffonnette’s dainty splendor of a chapeau. Lavender flowers with glittering, black jet stamens and softly tinted leaves are set with a careless and delicate effect at the side. Coordinating lavender ribbon is employed with good effect, one length set on top of the hat, and another tying under the chin. The continuous barbe of black blonde, coquettishly spangled with jet beads, cannot fail to excite universal admiration.
The pleated ruching continues around the slit at the front, accented with simple, round cord.
Here is a model which is at once very graceful and infinitely becoming. Of black, silk moiré, it is made up using the same pattern, but the slits at the side fronts have been eliminated. Nothing can be more stylish than the rich trim of black, silk fringe, headed by two bands of narrow, black velvet ribbon. Worn with this mantelet is a skirt of peach silk, garnished with three rows of black, velvet ribbon, and a chemisette of white cotton batiste with embroidered cuffs. Chiffonnette’s extravagant, black straw fanchon features a band of open-work straw at the brim and a bavolet of black blonde behind. Deep, peach colored flowers garnish the top, while black, silk ribbons flutter prettily at the sides.
This mantelet of elegant simplicity is a stylish addition to any toilete. It is unlined and accented with three pairs of black, velvet buttons, closing with loops of black, silk cord. The sumptuous black, silken fringe is among some of those expensive trifles which Dame Fashion introduced. Long, crinkled strands of silk are embelished with embroidered garlands of roses and foliage, all headed with dots of rich, black silk and tiny picot loops of black. ANTIQUE DOLL COLLECTOR
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News
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Do You Have a Mystery Doll ?
Doll and Miniature Museum of High Point, NC
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urrently showing until December 31 is the loaned exhibit “Antique Toys & Joys for Girls and Boys,” featuring antique dolls playing with antique toys. Curators of the exhibit are Gayle and Michael Hansen of Mike’s and Gayle’s Toys ‘N Joys, Concord, North Carolina. For more information www.dollandminiaturemuseum.org, phone 336-885-3655.
Of Toys and Men at the Grand Palais in Paris
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thousand toys from antiquity to the present day are currently on display until January 23, 2012 at the Grand Palais, 254-256 rue de Bercy in Paris. Organized in association with the Musée des Arts Décoratifs, it will continue its showing at the Helsinki Art Msueum from February 21 to May 20, 2012. It presents a history of toys in the Western world and their importance in children’s education. Left: Steiff Bear, circa 1910-1912. Right: Poupée Parisienne, c. 1820. © Jean Tholance pour les Arts Décoratifs, Paris
Two Sisters Studios
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ouble, double toil and trouble; Fire burn, and caldron bubble! This “scary” witch candy container is one of the latest creations from Two Sisters Studios. Lynn Murray and Anne Thornton-Trump are busy elves making historically accurate reproductions of Santas, Belsnickles and Krampus for the holiday season. Watch for bunnies come this spring. Visit them at www.twosistersstudios.com 54
ANTIQUE DOLL COLLECTOR
NOVEMBER 2011
I
am looking for some help with this doll recently purchased at a flea market. She is in good condition with some play wear. She is 25 inches tall with working sleep eyes and is all composition. I can find no maker’s marks. I would appreciate any help. Thanks, Don Perhaps there is a doll in your collection that you and others have never seen before. Send us a high resolution photo and any information you have to antiquedoll@gmail.com (you may also send a print photo to Antique Doll Collector P.O. Box 39, East Petersburg, PA 17520). If you can identify a mystery doll, write to us at the address or email above.
Dating a Doll By Dee Urquhart-Ross
ating our dolls accurately enough so that we can place them in their exact time and relate to them within the appropriate years of their production helps us to better understand the changes of decoration and costume as they developed through the years. This knowledge adds extra interest to a doll, or equally dating its costume can capture a brief moment when some colour or style was all the rage and help us to sympathetically restore or re-dress those dolls which come to us in less than completely original condition. We can check up on records, pictures, old magazines, children’s periodicals, etc. to get some sort of rough approximation of when a particular doll might have been produced. Old store catalogues are of great help in this endeavour as many of the large Parisian emporiums produced annual illustrated listings of all the dolls and toys in their inventories. These illustrations, usually in the form of detailed line engravings, show the changes in hemlines, embellishments and general styling changes as they occurred over the years. With careful study it is often possible to almost exactly match those dolls in original costume with a particular illustration that proves the dating of the doll quite accurately to within a few years. Certain dolls were produced for only a short period of time and so we can say a certain model of Bru cannot have been made after 1882 or that a little character marked SFBJ cannot have been made before 1899, but as to the exact date we mostly must remain a little vague at best. Records in the archives of the French patent offices in Paris have given dedicated researchers quite a sophisticated framework regarding the dates of companies setting up to their demise, sale or absorption into other firms. However, doll making and distribution at that time were not exact sciences. Sometimes it is only in the unfortunate case of a bankruptcy that for example, the firm of Gaultier, who produced heads for many other doll companies, would produce a listing showing commissions from a firm recently closed, giving us a clearer picture of what had been ordered at that time and what was still within the stock of the bankrupted firm when it went under. Another problem with dating, is the repetition of names such as “Bebe Prodigy” or “Bebe Moderne” over a long period of time referring to dolls with completely different characteristics and from different makers. There again, a doll’s head may have been left on a shelf for several years after it ceased to be in production before being married to a later body and sent off for sale and so can appear to be an anomaly but is in fact quite original! So, amongst all this confusion and difficulty, it is wonderful to find a doll that can be absolutely and uncontrovertibly dated to within a few days of its construction! Just such a doll has happily come my way as I will now explain. The doll in question is a little Francois Gaultier French Bebe, only ten inches tall. To describe the doll: she has a very typical Gaultier face which, although tiny, has very well defined paintwork of the feathered brows, lashes and lips. The miniature inset paperweight eyes are of an intense cornflower blue set with an innocent straightforward gaze which is quite captivating. Topping her tiny cork pate is a mop of blonde mohair curls which peep out, framing her face around her scallop-edged bonnet which
This full length shot shows the beautiful Baptismal Bebe in her all original outfit. ANTIQUE DOLL COLLECTOR
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