Antique DOLL Collector December 2012 Vol. 15, No. 11
December 2012 Vol. 15, No. 11 $595 / $695 Canada www.antiquedollcollector.com
Carrie A. Hall and the Fashion Mannikin Wardrobe by Dale Rensing
A
s a seamstress and collector of vintage fashions, I am fascinated by the costumes with which Victorians dressed their dolls. The attention to detail at even this minute level is such a hallmark of their tailoring that I can’t help but admire the workmanship of the clothing as much as that of the doll. At Withington’s in October 2011 a number of very special lots came up for auction – a 27-inch “French Fashion Mannikin” along with several outfits which were a part of her trousseau. The catalog description read “27” Mannikin French fashion incised 8 on head and shoulder plate, kid body w/bisque arms custom made by Emma Clear, swivel neck – costume was made by Carrie A. Hall, dressmaker to General Douglas MacArthur’s mother and Susan B. Anthony. The costumes made for the Mannikin… circa 1850 to early 1920’s…” There was a note which accompanied the lots adding that the costumes were marked “Handicraft Shop N. Platte, Nebraska”. It also stated that some of the costumes were made with fabric of the period and that Carrie had written a book entitled From Hoopskirts to Nudity. Known for the doll clothing I create from the patterns we sell at Ages Designs®, I was asked just a month earlier by our doll study club to give a program on costuming dolls. I intended to make a number of examples to illustrate different styles that were popular during the Victorian era. I knew it would take a lot of time to create all the costumes needed, and these lots seemed the perfect solution to ensuring that I had the program finished in time. What made them even more perfect was that not only did these costumes exemplify some of the better known styles of the era, but they were also made by a person who lived during that time, sewed for most of her life, and used all the authentic techniques of each period. To be sure, the interiors of the costumes were as important and revealing as their exteriors. The dressmaker who created
Figure 1. Earliest Polonaise with Scotch Plaid
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them, Carrie Alma Hackett, was born on December 9, 1866 in Wisconsin. Her married name, Hall, came from her second marriage to John Hall in 1906. Carrie once said she had been born with a needle in her hand; she completed her very first star quilt at the tender age of nine. At the insistence of her parents, Carrie became a school teacher, and was even superintendent of schools for a time. Her ability to instruct eventually carried over into other aspects of her life. At the age of 23, Carrie traveled to the booming town of Leavenworth, Kansas to seek her career as a seamstress. Working at a department store, she quickly became head Figure 2. Interior of Early Polonaise
Figure 3. Green day gown with brown Polonaise
Figure 4. Gold Princess Gown with 3/4 Sleeves
seamstress and, around 1900, started her own label. She soon became known for the quality and style of her garments. Carrie used magazine fashion plates from London and Paris to recreate the latest fashions for her customers. At the height of her career, approximately 1898 to 1920, a dress, or even an entire wardrobe, created by Carrie Hall was very sought after by the women of high society. She was known as Leavenworth’s finest dressmaker and came to be known by her customers as “Madam Hall.” Although the Susan B. Anthony museum was unable to confirm that Carrie was a dressmaker for the famous activist, it is likely that Carrie did create outfits for her, as Susan’s brother, Daniel, lived in Leavenworth. Susan was known to visit her brother and sister-in-law for months at a time. Daniel Anthony was an important newspaper publisher who, as of the late 1860s, was able to afford expensive services for both his wife and his sister. With the increasing availability of readymade clothing offered through department stores, the custom dressmaking business waned and Carrie was forced to find other ANTIQUE DOLL COLLECTOR
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“… Not Entirely Trifling”
The Porcelain Half-Doll
all them what you will. Half-dolls, demi-figurines, tea-puppe, even pincushion dolls. These lovely ladies, mostly waist-up modeled figures with elaborately sculpted hair and bonnets, sometimes nude, sometimes with richlysculpted costumes, were vastly popular in the first decades of the 1900s. But, truthfully, they may have been trifling, a bit of fancy added to utilitarian objects, designed to delight. In her 1974 book “China Half-Figures Called PinCushion Dolls”, Frieda Marion approached this subject. Writing that, “as a proper New Englander”, she had felt guilty about enjoying something she felt to be frivolous, she added, “For frivolous they are. Pincushion dolls are embellishments and adornments, but they are not useful objects. True, most of them were intended to top utilitarian items, but in themselves they are totally unnecessary, even, in fact, impediments. The female form in miniature is not really a functional whisk-broom handle, and as for the pincushions they topped, their skirts of lace and ribbon only served to hide the pins and needles beneath, creating a pretty effect on the dressing table but a nuisance to the seamstress”. Researchers today seem agreed that this early 20th century craze began with an exhibition of doll heads made by the Royal
Historic fashion and artistic themes inspired the designers of half dolls as seen in this superb pair from the Kriteman collection; the bonnet lady is a remarkable 7”h. 44
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by Florence Theriault
The double-person dancing couple is a rare variation of half doll. The standing pair are actually half dolls with original separate porcelain legs.
The grand 7” example of the luxury model is remarkable not only for exquisite detail of Dresden flowers but for extravagance of costume detail; little details like fingerless gloves are fashionably accurate as well as beautiful.
Luxury details include not only quality of porcelain but also size. Their similar gentle smiles and proportional size suggest the larger model is mother to the smaller dressed model.
It is extraordinary to consider the delicacy with which this lady must have been created. And even more amazing that she has been so perfectlypreserved. Details include the Dresden “lace” of costume and Dresden flowers.
Half dolls could be arranged on powder or jewelry boxes, or affixed to mirrors or lamps, by the original manufacturer, as seen in this luxury model affixed to a pink porcelain powder jar with gilt metal overlay designed to appear as gold lace. On the left is a lady with brown sculpted hair captured in a formal coiffe, and on the right is a lady with a “copper” urn balanced on her white coiffe.
Among the most sought-after half dolls are those of the Dressel & Kister Medieval series. The graceful woman with extraordinary gold helmet and richly-painted jewelry has uniquely posed arms. So favored were the ladies bearing cups of tea or hot chocolate, that similar models were made by various firms. Shown are three rare variations of the theme; the 6” example in the center has an especially beautiful face.
Highlystylized models, one with hands modestly posed and a very unusual coiffure of brown hair were surely inspired by high fashion of the 1920s. Each is 5 ½”.
The Kriteman Collection features a wonderful selection of Art Deco or flapper era models including this rare trio of 5” models including lady with Pierrot and lady in top hat.
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LEARNING ABOUT AMERICAN-MADE DOLLS
American Character’s
Toni
A Fashionable Doll in Every Way by Ursula Mertz photos by Christopher Partridge
T
he American Character Company of New York City introduced their Toni doll in 1958. The doll derived her name from the then popular Toni Home Permanent Wave. The firm had been granted a license from the Gillette Company to produce a doll with a Toni Play Wave set. Some ten years earlier, the Ideal Novelty and Toy Company had been very successful with a similar play wave doll, also called Toni. She too had been sold under license from Gillette. But, the new doll was very different. The Ideal version had been produced in the image of a little girl, featuring a flat chest and flat feet. She was made of hard plastic. The new American Character Toni was made of a high quality firm vinyl that showed no mold seams on body or limbs. The new Toni did not represent a young girl but had the features of a young woman with budding breasts and slight waistline in addition to “high heel” feet. Her complexion showed a lovely creamy, matte quality. The American Character Company also promoted the idea that their Toni was a fashion doll. Not only could she be purchased in clothes for every occasion, but costumes were available separately. The accompanying booklet advertised sixteen different outfits. Each one had a name that reflected the optimistic, upwardly mobile expectations of the middle class of the fifties. To name just a few: There was a Collegiate costume, another one called High Society, next came Suburbanite, ChaCha, Charleston, Cocktails, Romance with Mink Stole (real mink), Dinner Date, Country Club, etc. Of course, a ballerina costume and elaborate bridal gown were also available.
Toni is 20” tall and is marked on her back in a circle: “American Character.” She has rooted saran hair. The original box stated that the colors brown, red, tosca and blonde were available. She is fully jointed and has an additional waist joint. It permits her to assume many different poses. Her fingernails are lightly painted pink, but not her toenails. Her underwear consists of bra and panties, and her outfit is called “Dinner Date.” Toni was available in sizes 10.5, 14, 20 and 25”.
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Back of hangtag.
Close up – showing off her expertly executed facial decoration of multi stroke brows, just a few eyelashes off to the side, and very discreet eye shadow.
Front of hangtag.
Ladies of a certain age will remember those nylons with seams up the back of the leg. What an effort is was to keep them straight!
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