Antique DOLL Collector November 2015 Vol. 18, No. 10
The Complete Guide to Antique, Vintage and Collectible Dolls
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Fanciful Eccentricities From Chiffonnette’s Trousseau
by Sylvia Mac Neil Extravagant headwear using luxurious materials in a multitude of designs were once the crowning touch to an elegant costume. The author shares many of these creations, modeled by the lovely Chiffonnette, along with a pattern for you to create your own.
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Mysterious Monica
by Gail Lemmon Named for Hollywood legends, the Monica doll with its unique rooted hair was glamorous and expensive. The Monica Doll Studios closed by the late 1950s, by which time rooted synthetic hair had become the norm.
It must have been difficult to decide which hat to purchase, as they were all so exquisitely beautiful, not to mention rather dear. In her article Sylvia MacNeil, whose patterns and sewing talents have greatly influenced the popularity of the poupée, discusses the fairy-like headgear that woman wore at the height of fashion during the second empire. Poupées naturally followed suit and you will see a charming array of sublime creations modeled by Chiffonnette, who appears on our cover, as well as a pattern for you to create your own.
About The Cover
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UFDC NATIONAL modern COMPETITIVE EXHIBIT Blue Ribbon Winners - Part I
Photographed by Keith Kaonis at the 2015 UFDC National Convention in Kansas City, MO A look back at many of the wonderful entries in the UFDC Modern Competitive category. 6
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The Mystery of “Mme Paderewski’s Dolls”
by Dominique Pennegues The author poses the question, why do we see dolls said be Mme Padereswki dolls yet we know for a fact that Stefania Lazarska made them? The reasons are fascinating.
56 Auction Gallery 60 Calendar 57 Emporium 63 Classified 59 News
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The National Museum of Toys/Miniatures
by Donna Kaonis A new name and a new look. It’s another reason to visit the National Museum of Toys and Miniatures, formerly known as the Toy and Miniature Museum of Kansas City.
1) The legendary couture of Maison Jumeau is on full display in this extremely rare factory dressed 17” Bebe Jumeau in Original Couture. She glimmers in her doré bronze ensemble crowned with a rare beflowered silk and woven ram’s horn Chapeau and finished by her mint fully signed shoes. Mint wig, cork pate, signed body w. coil, all attest to her undisturbed luxurious lineage! The ultimate opulence of an authentic Jumeau! $6000
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2) 10.5” ‘Au Nain Bleu’ Bebe - This French Trade cabinet ‘Bijou ‘ w.fully jointed Jumeau body is extraordinary in the Factory Original ensemble with the ‘Au Nain Bleu ‘ label in the bonnet and signed ivory leather shoes. Her ornate factory presentation includes jewelry and extravagantly profuse mohair wig! $2250.
(212) 787-7279 P.O. Box 1410 NY, NY 10023
matrixbymail@gmail.com
Quality Antique Dolls by Mail Return Privilege • Layaways Member UFDC & NADDA
3) Boutique Original Bru Jne. - There is Bru, often recostumed, and then there is Bru - in her original state. Such is the case of this 20” fully signed ‘size 7’ beauty with her original rare brunette wig,cork pate and deluxe ivory leather shoes with gold buttons signed ‘Aux Paradis des Enfants’ etc. The Chevrot body w. mint bisque arms, wooden lower legs and the Bru paper label intact wears authentic layers of boutique original silk bridal clothes with corseted bodice and a separate wired bustle. A richly dramatic beauty of true merit - and not the normally seen blue eyed blonde. So dignified! $25,000
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4) All Original Jumeau Automaton - So beautifully preserved under her glass dome, it is no wonder that she is still factory original in pink silk and in working condition! With closed mouth, blue PW eyes and fully signed head she alternately, with some hesitation, compares herself in the hand held mirror with the fragrant delight of the flowers held in the other hand - all to the gentle melody from the Lambert music box upon which she stands! A delight to all the senses! (20” overall). $6800 5) 22” Stunning Steiner Bebe - immaculate satin bisque and dramatic chiseled features combine with meticulous artwork and enormous blue paperweight eyes to achieve impeccable beauty. A profound Steiner w. her signed body drenched in a wealth of aqua and cream silk, all framed by her cascading mint antique hip length tresses. A compelling beauty! $4250
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Fanciful Eccentricities From Chiffonnette’s Trousseau by Sylvia Mac Neil
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hen Nature donned her mantle of the Autumn season, Fashion was obliged to follow her example. Our sidewalks and promenades blossom with fair pedestrians whose toilettes bewilder us with their beauty and variety, and we turn for yet more inspiration to the store windows, but, alas, we are at a greater loss, everything is beautiful, so that to commence a description seems an impossibility. Never has ingenuity been so taxed to invent a multitude of novel styles in the headwear department, destined to awaken the admiration and envy of all fair beholders, and to be well received. However, it must be said that the many elegant goods that met their eyes, only required a full purse to permit any lady to be handsomely and becomingly dressed. This was certainly necessary, for the prices were exceedingly high. Buckram foundations were covered with fabrics such as velvet and velveteen,
A circular cape, a popular shape for an out-door wrap, made up in pink and green taffeta, trimmed to correspond. A stylish addition to the toilette, a fanchon of taupe colored straw. Dainty, dried rose buds and a bow with falling loops, placed at the back with good effect.
Cross-cut bands of green velvet ribbons, set with crystal beads on spotted cream tulle, over a bavolet of blonde at the back. Fanciful green and yellow feathers artfully arranged, crystal florets depending from the tips. 18
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wool, silk taffeta or faille, whereas felt hats were formed on a mold. Straw hats were made by sewing bands of straw together, usually by hand, forming the shape while sewing. Other straw was woven in large rounds and were formed on a mold, similar to felt hats. A variety of fabrics were used to line hats, such as glazed cotton, taffeta, thin silk, or a thin, course textured gauze. Trimmings for hats were so varied a character that it was nearly impossible to enumerate them all. Milliners were allowed the greatest amount of fantaisie in this fashion arena. Among the ribbon treasures, both useful and ornamental, were those used for hat decorations. Ribbons, in an endless array of styles and fabrics and colors, were used on nearly all types of headgear. Confections were looped and tied and festooned in the most bewildering and utterly indescribable manner. Bands of ribbon
A fairy-like fanchon, ribbons, bows and tiny florets mixed in pretty confusion. Pale green, shear crinoline and lace trimmed under-brim imparts at once a distinguished stamp.
A fanchon having a Marie Stewart point in front; a harmonious arrangement of crinoline, ribbons and flowers is no idle fancy.
were set around crowns, either plain or twisted and tucked, sometimes combined with another ribbon of different color and texture. Strings of satin or velvet were tied coquettishly under the chignon or chin. Loops of ribbon were formed into simple, classic bows and jaunty rosettes, while others were disposed in flat loops with long and short ends, or in a novelty garniture composed of a multiplicity of loops. Bows were set about ingeniously, placed on the side, with short, floating loops or set directly in front with a fancy buckle in the center, placed at the back with pendent loops and flying ends, or set on top of the crown with long loops and streamers. Wide ribbon was gathered to form a bavolet, or curtain, at the back of a fanchon, while gathered lace decorated the crown and accented the inside brim. Intermingled with dainty ribbons, seasonal flowers and foliage, as well as wood and field flowers, were in great demand. They blossomed in miniature imitations
scarcely detected from the originals. All were made up in velveteen, assorted cottons, or fine silk, or delicate gauze, thrown together in rich profusion. Velvet flowers were predominantly used for heavy bonnets of winter. Varieties of forest leaves were fashioned in velvet, notched at the edges and molded to shape, and also tiny, clustered rose leaves with pendant, jet drops at the tip, and life-like velvet pansies in creamy white and tints of purple and yellow. Full blown roses and moss roses of all shades having tinted petals of light gauze or silk with curled edges, set off with foliage and small buds, were more popular than any other flower. Some hats were trimmed with such an array of roses so as to be almost entirely covered. Among the novelties were bunches of delicate, glass grapes of red or green with wired tendrils and cloth leaves. Also favored were wax orange blossoms, having buds in wax or simulated in creamy leather, and other pretty, white flowers dipped in This is certainly extravagant... a fanchon made of crimped straw from the 1850s, with a tasteful arrangement of tiny flowers and loops of ribbon, and delicate twisted, green feather leaves.
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The Mystery of “Mme Paderewski’s Dolls” by Dominique Pennegues
Jan and Halka shown on a 1915 invitation card painted by Polish painter Tadeusz Makowski for Stefania Lazarska’s doll show at Mme Bongard’s Parisian studio. Germaine Bongard was the sister of the well known Parisian grand couturier Paul Poiret. Stefania Lazarska did not name her dolls during WWI, here the names “Jan” and “Halka”are given for readers to compare with Madame Paderewski’s dolls having the same names. Courtesy Bibliotheque Polonaise Paris.
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ecause we so often see dolls said to be “Mme Paderewski dolls” while we know they are in fact, Stefania Lazarska’s creation, it would seem that additional information has to be given to collectors about this apparent “mystery.” But first, who were those two Polish ladies? Stefania Maria Sophia Krautelowna Lazarska was born in April 1887 in Warsaw, Poland. She graduated college with a degree in philosophy, then started to study art at Kracow Art Institute. She came to Paris in 1912 and studied at the Ecole des Beaux Arts as well as at the Académie Ranson in Montparnasse. She exhibited
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Jan, as presented on the cover of the paper doll booklet titled “Madame Paderewski’s dolls.” Jan is said on page three to be the boy gardener who lost his father during the bombing of his native Poland. All-cloth with diagonal-weave felt like face, center seam, embroidered lips and nose. Applique white silk eyes embroidered all around with silver thread but no pupil, white cotton hair, disc-jointed five-piece stuffed cloth body. Metallic joints marked “Equipement militaire.” All original Polish style clothing made of silk. Straw hat and black leather shoes. Silver-like medal strung on a red ribbon around the neck, engraved with a small text signed Helena Paderewska and copyright 1915. A rare plus for this special little fellow is a hard to find stamp on his back torso marked “AAP 1915” standing for Stefania Lazarska’s “Atelier Artistic Polonais”, irrefutable proof of their connection. 42 cm. Private collection. France.
Stefania Maria Sophia Krautelowna Lazarska, born in Warsaw in 1887. Creator of the cloth dolls sold in the U.S. by Mr. and Mrs. Paderewski during WWI and shortly after. Wife of Tadeuz Lazarski and maker of the A.A.P. Stefania Lazarska’s dolls for the profit of the Parisian Polish artist community. Courtesy Archives Polonaises Warsaw.
Helena Maria Von Rosen Paderewska, born in Warsaw in 1856. Second wife of pianist Ignacy Paderewski.
Vintage 1915 picture of Helena Paderewska with a group of Polish Relief Fund dolls. The photograph is autographed “to Miss Lillie Roberts with many thanks for her kindness and devotion. Helena Paderewska.” The dolls do not have the silver-like medals. Courtesy Kathryn Hill. USA.
Vintage 1915 picture of Ignacy Paderewski holding some A.A.P. (Stefania Lazarska’s Atelier Artistique Polonais) cloth dolls for a Polish Fete held at the Ritz Carlton in New York City to raise funds for the people of his native country. Originally published in “The Day Book”, December 29, 1915. Note: the dolls do not have the later silver-like medals with Helena Paderewska signature on it.
paintings at the Musée des Arts Décoratifs in Paris under her maiden name “Krautele.” She then married a Polish man working as a chemist in Paris, Tadeusz Lazarski. When WWI started she became concerned by the situation of her Polish artists friends in Paris who were in desperate need. At that time Polish territory was partitioned between Germany, Austria-Hungary and Russia. Polish artists who had a German or Austrian passport were put in jails or displaced, while those who had a Russian passport often choose to fight in the French Foreign Legion, leaving their families without any income. Shortly after the war began, Stefania Lazarska began to make cloth dolls to help her Polish friends. She improved her interesting artistic creations and many Polish artists joined her in the making of these “new modern artist’s dolls” in her Montparnasse studio, rue de Boisonnade. Some of those artists were painters, other sculptors, both women and men. By 1915, her dolls started to have success in the Parisian artist community. References published after WWI in Polish newspapers suggest it might have been under the advice of Maria Mickiewicz (daughter of the Manager of the Polish Library of Paris) that Stefania Lazarska formalized her production of toys and dolls by creating the “Ateliers Artistic Polonais” (A.A.P.) (Polish Art Studio). It also Antique DOLL Collector
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