Incredible Workmanship in the Reconstruction of a c. 1847 Mansion

For the last seven years there is an old stone mansion near us that has been in the local news and, currently, in the process of being renovated.  

Why was it in the local news?  Well, it started with the old stone mansion being torn down and sold and replaced with several new houses.  

It was such a shame as this old stone mansion was built in 1847 and had quite the history associated with it regarding the town and even one of the presidents.

In 2014 a group of teenagers heard about this old mansion being torn down and decided to do something about it.  They decided to protest the demolition of the mansion and used all their social media skills to help them with protesting it.  

They created signs and stood outside the mansion waving their signs for motorists passing by, created online petitions, and posted where ever they could online to educate the community about what was going on with the demolish of this mansion and why it shouldn't be demolished.

Their efforts quickly spread throughout the community and many residents joined in on the protest.

Well, as you can imagine, several weeks into the protest the current owner changed his mind and decided not to sell the property.  After that several groups concerned with historic preservation got involved with the end result being the residents approving utilizing funds to help preserve the mansion at their town meeting.

In 2016 after weeks of discussions the owner and town had an agreement on preserving the mansion and renovating it.

So, for the last few years we have been watching the meticulous and amazing process of renovating this historic property.  Every day we drive by it and marvel at the workmanship involved with creating this unbelievable mansion to it's original glory.  The stone and masonry work involved has been nothing short of astonishing.

The mansion was registered with the Massachusetts Historical Commission in 1999 and, according to the Friends of the Burnett-Garfield House, which worked with the owner and the town to preserve this old mansion, it is considered a historic property for many reasons.

 If you're interested in reading about why this house is considered historic please visit their Friends of the Burnett-Garfield House Facebook page.

Well, this past spring when my husband and I were driving by and marveling at the workmanship I decided to take some pictures as I found all of the renovations remarkable and thought you all might agree.

To put all of this in perspective you first need to see how the old mansion looked before they started renovating it.  

The property consisted of the old stone mansion, a carriage house, a chapel, and a summer house - all of which would be renovated.

The picture at the beginning of this post shows the renovated chapel, mansion being renovated and part of the carriage house being renovated.

A Visit To Louisa May Alcott's Orchard House Close To Twenty Five Years Ago

Searching for old book illustrations that are in the public domain and finding the Project Gutenberg free Little Women eBook and illustrations reminded me of one of my granddaughter's visits so many years ago.  

You'll have to bear with me. Don't ever ask a senior citizen what year something was or remember specific details so many years later....lol but, I think, it was the summer of 1995, 1996 or 1997.  

 

When my granddaughter was coming for a visit for a week in the summer her mother and I talked about things she might be interested in and things we could do.  Her mother said she had been taking American History during the school year and we thought it might be fun for her to actually see some of these places. So, given we weren't that far away we thought some of the historical places in Lexington & Concord might be fun for her.

Being an amateur history buff and lover of the Victorian Era (for the dresses, of course) I couldn't help but love that idea.  Anything regarding the Victorian era and history was always interesting to me.  Hopefully, it would be for my granddaughter as well.

Photo courtesy of Wikipedia.org

In thinking about where to go we thought it would be fun to tour around Lexington & Concord, visit Louisa May Alcott's Orchard House, the Minuteman Statue, Old North Bridge, Sleepy Hollow Cemetery and have lunch at the Concord Inn (which has been reported to be "haunted.")  

So, that's what we did.  

If I remember correctly we started with touring Louisa Mae Alcott's "Orchard House" on Lexington Road first.

Little Women By Louisa May Alcott Free eBook

Two of the first books I got from my grandmother back in 1966 when I was a young lady were Little Women and Little Men by Louisa May Alcott.  

I loved the books and especially loved Jo because she was so fiercely independent.  I also admired Louisa May Alcott as she was an abolitionist, feminist and involved in the women's suffrage movement.  

In so many ways she reminded me of my great aunt Flossie, who was born in 1882 and is shown in the picture above.  She was fiercely independent,  graduated from Tufts University in Medford, Ma in 1904, never married, and worked for the Massachusetts State Department of Corporations & Taxes as a tax assessor.  

She, too, was a feminist and suffragette.  Like my grandmother, Flossie was very intelligent but was quiet and reserved.  She had a very strong constitution and was never afraid to let her views and opinions be known.

As you know, during the past few months I've been looking for illustrations in some of the free e-books that are in the public domain on the Project Gutenberg website.  

So, you can imagine my surprise when I saw the Little Women free E-Book (cover shown above) on the Project Gutenberg website from 1880 that had more than 200 illustrations by Frank T. Merrill and a picture of the Home of the Little Women by Edmund H. Garrett. Even though they were all black and white I was still thrilled.

The books my grandmother had given me had 4 color illustrations for Little Women and 5 color illustrations for Little Men, which is certainly not a lot of illustrations. Plus, they currently aren't in the public domain.

As I started looking through the pages, looking at the beautiful black and white illustrations, and reading some of the chapters again I felt inspired and thought they'd make for some adorable mixed media, collage, decoupage  or paper-craft creations. 

Just like Louisa May Alcott "I want to do something splendid...." however, unlike Louisa my creations would involve crafts not writing books.

"I want to do something splendid....

Something heroic or wonderful.

That won't be forgotten after I'm dead....

I think I shall write books.

Louisa May Alcott 

“I like good strong words that mean something…”–Louisa May Alcott

"They all drew to the fire, mother in the big chair, with Beth at her feet"

I thought you might get inspired by the books and illustrations too, so I decided to post a link to the eBook here and post the black and white illustrations with excerpts of the text in my Linda's Blog for you all to enjoy as well.

Little Women eBook - https://www.gutenberg.org/ebooks/37106

Per Project Gutenberg - This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org

"Go then, my little Book, and show to all

That entertain and bid thee welcome shall,

What thou dost keep close shut up in thy breast;

And wish what thou dost show them may be blest

To them for good, may make them choose to be

Pilgrims better, by far, than thee or me.

Tell them of Mercy; she is one

Who early hath her pilgrimage begun.

Yea, let young damsels learn of her to prize

The world which is to come, and so be wise;

For little tripping maids may follow God

Along the ways which saintly feet have trod."

Adapted from John Bunyan.

There are 204 black and white illustrations in the Little Women eBook which I posted to my Linda's Blog here.

I have so many ideas in mind for ways to utilize the black and white illustrations and hope you do too.

The History of Faceless Dolls By Linda Walsh - Introduction, Parts I - Part XXIII and Conclusion - Updated February 2015

I have loved Victorian dolls since I was a little girl and can blame my grandmother for that. You see, as a young girl she gave me a Godey’s Fashion print for August 1870 that belonged to my great, great Aunt Flossie. From that moment on I was hooked. I was captivated by the beautiful dresses and wanted to create dolls wearing them.

Eventually I was able to design my own Victorian "Lady" dolls, like the one pictured on the left, who are all faceless. Now you might be wondering why they are faceless. It's because I wanted each to have its' own distinct personality.

My feeling is that faces overwhelm the dolls personality and have a greater impact on their personality. I wanted the clothing, clothes, hair, color scheme, etc. of the period to determine the personality of the doll.

As far as I am concerned "Beauty lies not only in what is seen, but what is imagined. I believe the essence of a dolls beauty should determine her personality."

You could compare this to the use of mannequins by museums. Most mannequins in museum dress & textile exhibits are either headless or have heads, but they are generally faceless. Or, they have the sculpted definition of facial features but they are not painted. The idea is to not distract from the beauty of the dress or textile piece on display. The same holds true for store window displays.

I have also been a history buff since I was a little girl and loved doing research for history projects all throughout my school years. I especially loved to research everything and anything about the Victorian Era. Their history, their etiquette, their fashion, their hopes, their desires.... In fact, sometimes I think I was born in the wrong era.

Designing handmade faceless dolls was not a novel idea as faceless dolls have been around for a long, long time. However, given my penchant for history I, of course, was curious about the history of faceless dolls. So, back in 2006 I decided to do a little research on the history of faceless dolls and wrote a research article for my Linda's Blog that I subsequently updated in 2009.

I figured that there had to be a history of handmade faceless dolls out there or, at least, some cultures and norms. Believe it or not but there wasn't a lot of information back in 2006 on the web on either the history of faceless dolls or cultures and norms that started such a tradition. There was a little more when I updated my research in 2009.

There was some information on two of the most popular and widely known faceless dolls - Amish dolls and corn husk dolls. And there was the legend surrounding Raggedy Ann and "faceless" dolls.

In doing my research, what I was pleasantly surprised with was the application of "faceless" dolls for so many current charities or organizations. More on that a little later.

I was hoping that now, in 2015, things would have changed a little and there would be more information on their history. I'm happy to report that there is a lot more now and that over the last few years there is a growing trend towards creating faceless dolls in all sorts of doll mediums - which thrills me to no end.

Part of the new trend has to do with creating eco-friendly and nature dolls and part has to do with allowing children to use their imagination more. It also has to do with comforting children facing tough medical situations. Without a face the dolls can be happy or sad, they can be laughing or crying - in essence, they can mimic the emotions of the child holding them. Putting a face on the doll defines the emotion of the doll with the child - which may or may not be comforting.

So, I decided to update my history of faceless dolls research article and include new research as well as some of the new trends. I hope you enjoy it.

Part 1 -  Corn Husk Dolls and Native American Indian Faceless Dolls

Part II - Amish Dolls

Part III - Marafona Dolls of Portugal

Part IV - Dominican Republic Dolls

Part V - Russian Folk Rag Dolls 

Part VI - Japanese Sarubobo Dolls

Part VII - Goddess and Spirit Dolls

Part VIII - American Primitive, Prairie, Pioneer, Wagon Train, Appalachian and Folk Art Rag Dolls

Part VIIII - Handkerchief and Pillowcase Dolls

Part X - Twig, Pine Cone, Willow and Nature Craft  Dolls

Part XI - Worry Dolls and Toothpick Dolls

Part XII -  Fairies, Gnomes, Elves, Wee Folk, Bendy's, Pixies, and Trolls

Part XIII -  Waldorfs

Part XIIII -  Muslim Dolls

Part XV -  Yarn Dolls

Part XVI - Mixed Media Faceless Dolls 

Part XVII - Faceless Dolls of Francoise Bosteels 

Part XVIII -  Faceless Dolls From Carole's World Costume Doll Collection

Part XVIIII -  The Ruth E. Aten World Doll Collection: Americas

Part XX - Other Faceless Doll Art 

Part XXI - Books To Help You Create Your Own Faceless Dolls

Part XXII- A Very Famous Faceless Doll 

Part XXIII - Faceless Dolls For Charity

I also created a History Of Faceless Dolls .PDF.  If you would like to download my History Of Faceless Dolls .PDF please click here or on the picture below.

The History of Faceless Dolls

Copyright © 2004-2021- All Rights Reserved - Written by By Linda Walsh

I think you all know that I, personally, love faceless dolls. Victorians, primitives, colonial, prairie dolls, rag dolls, or country style dolls. It doesn't matter. I love them all.

In fact, I created a video to reflect my feelings about faceless dolls which is: "Beauty lies not only in what is seen, but what is imagined. I believe the essence of a dolls faceless beauty should determine her personality."

Please CLICK HERE or on the video below if you would like to view my "Linda's Faceless Beauties" video.

Why do I love the faceless doll so much?

Because I think by being "faceless' the doll can be anything you want him or her to be. You create the dolls personality to be exactly what you imagine it to be. Their personality, therefore, reflects your creativity and your feelings.

And, as we've seen from the above mentioned articles the application can be heartwarming, meaningful and beautiful.

In researching doing the research to update my History of Faceless Dolls article I was thrilled to see that there are hundreds of artists and crafters who are now creating various types of "faceless" dolls in all different medium. I couldn't be happier to see all these wonderful new applications for faceless dolls. I'm hoping you all will agree.

For more information on all my free e-patterns, e-printables and e-books please CLICK HERE.

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Patterns, e-patterns, printables, e-printables, e-books, graphics, tutorials, how-to's, articles and other e-products are for personal use only. You may not modify, photocopy, download, upload, post, transmit, display, perform, publish, license, reprint, create derivative works from, mass duplicate, re-sell, digitize, and reproduce in any other form (print, digital or electric) or commercially apply, embed, share, Email, or redistribution in any other means. Use of any of the above is prohibited without the written permission of Linda Walsh.

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Please see my Terms and Conditions for additional information.

Copyright © 2004 - 2021 - All Rights Reserved - Written By Linda Walsh of Linda Walsh Originals and Linda's Blog. Linda is a doll maker and doll pattern designer.

How Wonderful! I Heard From A Descendant of Roxanna Cole - Hilarie Johnston

Conway, Arkansas Studio Portrait of 4 Generations

Back row left: Roxanna Cole - age 68
Back row center: Sarah Thurmond Hunt (Molly's Mother)
Back row right: Mary Love Harten (Sarah's Mother-In-Law)
Front row left: Molly Hunt Cole - age 44 (Roxanna's Daughter-In-Law)
Front row right: Sarah Harten- age 20 (Molly's Daughter) holding 1 Yr. Old Laura Harten

To my sheer delight in August 2016 I received a wonderful email from the great, great, great granddaughter of Roxanna Cole, Hilarie Johnston, asking me to contact her. She wanted to tell me that she had two of Roxanna's beautiful handmade dolls.

If you will recall back in April of 2016 I wrote a post entitled "Roxanna Elizabeth McGee Cole's Beautiful Family Of 19th Century Dolls" that contained all the information, or should I say lack of information, I could find on Roxanna Cole.

Image Courtesy National Gallery of Art,Washington.

Feminist or Victorian?

How Can I Be A Feminist Victorian???

I have to wonder sometimes why I have such a fascination or passion for the fashions of the Victorian Era when I am clearly a feminist (the ultimate feminist according to my son-in-law).

My inner self seems to be fighting with itself. Women's rights versus love of a time when women had, basically, no rights, but, wore the most beautiful dresses.

So, I thought that maybe I should investigate this further. What is it that draws me to the era when it is so contrary to my basic beliefs.

According to the American Heritage Dictionary feminism is "a doctrine that advocates or demands for women the same rights granted to men, as in political or economic status."

Feminists clearly believe in this, so therefore I clearly am a feminist (and PROUD of it to boot). In fact, make that VERY PROUD.

According to the American Heritage Dictionary a Victorian is defined as "Pertaining or belonging to the period of Queen Victoria's reign. Exhibiting qualities usually associated with the time of Queen Victoria, as moral severity or hypocrisy, middle-class stuffiness, and pompous conservationism. A person belonging to or exhibiting characteristics typical of the period of Queen Victoria."

Clearly, I am not Victorian.

Clearly, their attitudes towards women and society is for the BIRDS (maybe they don't even want to be associated with it).

Yet, I am drawn to their fashions. Drawn to their style. Why?

Why do I love to make Victorian dolls when I clearly am not Victorian? I am as perplexed as you are.

Perhaps, I should explore this further and delve a little more into the rights of women during the Victorian Era.

Maybe if I get so disgusted with their lack of rights I'll stop loving the Victorian Era and Victorian Fashion.

Maybe, I'll stop designing Victorian dolls? Maybe, I'll stop designing dolls all together. Maybe, I'll stop loving dolls. Maybe, I'll stop loving history and genealogy.

Maybe, I'll turn into a Victorian and start to believe their treatment of women was right. Yeah! Right!

In your dreams Queen Victoria!

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I Am All That and More!

When I think of a "Lady" either I picture someone like Audrey Hepburns' character in "My Fair Lady" or I picture a Victorian woman like the picture to the left. Someone refined and dignified. Someone who has good manners and who also just happens to be wearing a beautiful Victorian dress. I always seem to get back to the Victorian dresses, don't I? Must be an obsession. Yah think? In my mind, a "Lady" is the ultimate perfect female. But, is she really?

So, let's take a good look at what constitutes a "Lady." According to the American Heritage Dictionary a "Lady" is a woman having the refined habits, gentle manners, and sense of responsibility often associated with breeding, culture, and high station; the feminine equivalent of a gentleman.

The Beautiful Collection of Fashion Dolls At The Strong National Museum of Play

Online Collections (The Strong) / CC BY-NC-ND 4.0

It's definitely no surprise that I love Victorian dresses and Victorian dolls.  So, you can imagine how thrilled I was to see how many Victorian French Fashion Dolls the Strong National Museum of Play had in their doll collection.  It's unbelievable.

There are so many I couldn't decide which was my favorite.  I LOVED them all and would like to see all of them.  They're all simply exquisite.

Here's a few of my favorites:

The French Fashion Doll c. 1850-1890, shown in the picture above, is from The Strong National Museum of Play online collection.

Credits: doll 1850-1890, Manufacturer E. Barrois, Material kid | bisque | glass | mohair | paint | silk | straw | cotton | wool, Origin Paris, France, Style fashion, Object ID 77.6627.

Please click here for more information on this beautiful doll.

Hitty Dolls - What's Not To Love!

If you've never heard of the Hitty book entitled "Her First Hundred Years" it's a children's book written by Rachael Field and Published in 1929. It won the Newbery Medal for excellence in American children's literature in 1930. It's a book about a lttle dolls adventures.

According to the Hitty Wikipedia page: The book details Hitty's adventures as she becomes separated from Phoebe and travels from owner to owner over the course of a century. She ends up living in locations as far-flung as Boston, New Orleans, India, and the South Pacific. At various times, she is lost deep under the sea and also under sofa cushions, abandoned in a hayloft, serves as part of a snake-charmer's act, and meets the famous writer Charles Dickens, before finally ending up in an antique shop in New York City among other, fancier dolls of porcelain and wax. There Hitty is purchased and taken to her new owner's summer home in Maine, which turns out to be the original Preble residence where she first lived.

If you would like to read her book there is a .pdf of the words and chapters here.

If you would like to see all of the illustrations by Dorothy Lathrop for Rachael Fields book they are here.

For The Love Of Rococo Dolls - You Might Become Speechless, Too!

Image Courtesy of Carmel Doll Shop

I absolutely love Rococo fashions and have always wanted to make a Rococo fashion doll of my own.

Well, while doing some research on other fashion dolls I could hardly believe my eyes when I landed on the page for the unbelievable 18th Century Fashion Doll From Eugene Barrois c. 1790, shown in the picture above, from the Carmel Doll Shop website.  She was just stunning.  Just look at that amazing dress! And, that unbelievable hair.  I just LOVE her.

Please click here for more information on this beautiful doll.

Image Courtesy of Carmel Doll Shop

No sooner had I landed on the Carmel Doll Shop page for the doll at the beginning of this post when I saw the 18th Century Fashion Doll From Eugene Barrois, shown in the picture above, from the Carmel Doll Shop website.  She was every bit as stunning as the first one.  Just look at that amazing dress! And, that unbelievable hair.  Just stunning, too.

Please click here for more information on this beautiful doll.

Image Courtesy of Carmel Doll Shop

Seeing two astonishing Rococo fashion dolls is certainly a delight. What do you say when you see a third astonishing fashion doll like the 18th Century Fashion Doll From François Gaultier c. 1790, shown in the picture above, from the Carmel Doll Shop website.  Maybe you become speechless.

Please click here for more information on this beautiful doll.

17th, 18th, and 19th Century Wooden Dolls

Online Collections (The Strong) / CC BY-NC-ND 4.0

I can't help falling in love with the beauty of the Queen Anne Doll, shown in the picture above, from The Strong National Museum of Play.  She is an exceptional wooden doll circa 1750-1800.

Credits: Queen Anne Doll, 1750-1800, Material wood, Origin England, Style Queen Anne, Object ID 79.451

I would love to see this doll.

Online Collections (The Strong) / CC BY-NC-ND 4.0

The unbelievable Earliest Queen Anne Doll c. 1690, is also from the Strong National Museum of Play.   How amazing is she?  Just incredible.

Credits: Doll ca. 1690, Material wood, Origin England, Style Queen Anne, Object ID 73.1447

According to their description: A simple, jointed body and carved face decorated with stylized eyebrows and brightly rouged cheeks characterize this "Queen Anne" style doll made in around 1700. Manufacture of these wooden dolls originally predated their namesake, Queen Anne, who reigned only from 1702 to 1714. English woodcarvers and craftsmen began making these dolls in the 1600s, and the craft continued through the 1840s. Affordable only to affluent families, the vast majority of Queen Anne dolls were owned by women, who dressed them in the fashions of the time. Because the clothing obscured the plain wooden bodies, carvers focused their artistic attention on the faces. The dolls' painted, almond-shaped eyes, though distinctly conventionalized, changed to glass or porcelain in later years, and limbs came to be made of fabric or leather. Dolls made prior to the mid-19th century are scarce: some reports note that fewer than thirty seventeenth-century Queen Anne dolls have survived.

Only thirty 17th century Queen Anne dolls have survived.  What a shame.

The Maggie Bessie Cloth Doll - A Doll of Simplicity and Grace

Image Courtesy of Theriaults.com

Would you pay tens of thousands of dollars for a doll?  Maybe the question should be would you pay tens of thousands of dollars for a beautiful handmade 19th century doll that is the epitome of simplicity and grace?  If I had that kind of money I probably would - especially if the doll kept increasing in value.

The VERY RARE AMERICAN CLOTH MORAVIAN DOLL KNOWN AS "MAGGIE-BESSIE" IN ORIGINAL COSTUME, shown in the picture above, is from the Theriaults.com website.

According to their description: 13" All-cloth doll with flat-dimensional face, oil-painted complexion, hair and facial features, short brown center-parted hair with feathering details, shaded blue eyes, black and brown upper eyeliner, feathered brows, outlined nose with accented nostrils, closed mouth, stitch-jointed body, oil-painted lower arms and legs....  Comments: created by Bessie and Maggie Pfohl in their Moravian community of Salem, North Carolina, early 1900s. Value Points: the rare American doll is flawlessly preserved with daintily detailed hair, and most endearing expression, with original costume. Realized Price: $13,000.

The A COMPANION AMERICAN CLOTH MORAVIAN DOLL KNOWN AS "MAGGIE-e BESSIE", shown in the picture above, is also from the Theriaults.com website.

According to their description: 13"  All-cloth doll with flat-dimensional perfectly rounded face enhanced by chin definition, oil-painted complexion, hair and facial features, short brown center-parted hair with feathering at sides of forehead, shaded blue eyes, black and red upper eyeliner, feathered brows, outlined nose with accented nostrils, closed bow-shaped mouth, stitch-jointed body, oil-painted lower arms and legs.....  Comments: created by Bessie and Maggie Pfohl in their Moravian community of Salem, North Carolina, early 1900s; the hand-crafted artistry and personality of each Maggie-Bessie doll is evident in this and the preceding lot. Value Points: most appealing shy expression with beautifully painted facial details and blush. Realized Price: $9,000.

I found the pair of "Maggie Bessie" dolls, shown above, totally charming and, of course, had to find out more. After all what could make a pair of dolls worth $22,000 collectively?

I knew there were many different types of dolls created by members of different Moravian Churches for benefits, etc.  I had to know what made these dolls so special and worth so much. Here's what I found:

Topsy-Turvy Dolls - Two In One

Online Collections (The Strong) / CC BY-NC-ND 4.0

Most young girls know what a topsy turvy doll is and want one.  Why wouldn't they? You get two dolls in one.  What's not to like especially if you get a Topsy Turvy: Little Red Riding Hood and the Wolf doll, like the one shown in the picture above, from The Strong National Museum of Play.

Credits: Topsy Turvy: Little Red Riding Hood and the Wolf doll, ca. 1890, Material fur | bisque | cloth, Origin France, Style multi-head, Object ID 78.1016.

I've always wanted to make a topsy turvy doll and have always been curious as to their origin.  Since I was doing research on rag dolls I thought I'd do a little research on the topsy-turvy doll.  Here's what I found:

The concept of the topsy-turvy doll is easy to understand.  It's two dolls joined in the middle with the skirt pulled down to cover one of the heads.  When you want to display the other head on the doll you just flip the doll over and the skirt will now cover the head you were just viewing and reveal the other head.

Historically, most of the heads had opposite expressions (i.e. happy and sad) or were characters that were polar opposites (i.e. Little Red Riding Hood and the Big Bad Wolf) but not all were created this way.

In researching their history I found several interesting articles about the topsy turvy dolls also known as Topsy and Eva, their ties to a dark past: slavery and Harriet Beecher Stowe’s Uncle Tom’s Cabin. Here's what I found:

17th, 18th and 19th Century Wardrobe or Trousseau Dolls

If you'd like to see an amazing amount of pictures of beautiful 19th century dolls Theriaults.com has a wonderful Ensemble The Hanne Büktas Collection of French Poupées, Their Trousseaux, Accessories, Furnishings, and Related Dolls issue on Issuu.com.

I just loved the dolls and their wardrobes on Page 20 + 21, Page 30 + 31, Page 42 + 43, Page 44 + 45, Page 88 + 89, Page 78 + 79, Page 82, and Page 109.  Check it out. You won't be disappointed.  The dolls and their wardrobes are just exquisite.

After viewing the gorgeous 19th century dolls with their elaborate wardrobes I couldn't help but wonder what kind of expression a young girl in the 19th century would have on her face after receiving one of these dolls.  I know what my expression would be - pure joy!

So, I decided I wanted to know more and see more pictures of antique dolls and their elaborate wardrobes. Here's what I found and some I'd love to see:

Image Courtesy of Carmel Doll Shop

The beautiful German Tuck Comb Wooden Doll and Wardrobe, shown in the picture above, is from the Carmel Doll Shop website.  If you would like to read more about this amazing doll and her wardrobe please click here. 

I would love to see this doll and all her hand stitched gowns. Wouldn't you?

Boudoir Dolls Are Meant For Sitting - No Touching!

Online Collections (The Strong) / CC BY-NC-ND 4.0

When I saw the Boudoir Doll, shown in the picture above, from The Strong National Museum of Play I was intrigued and reminded of the dolls I always had sitting in the middle of my bed. They were just some of my dolls and nothing as fancy as the Boudoir doll shown here.  Plus, unlike Boudoir Dolls which were intended for grown-up girls, my dolls were those you would expect from a little girl.  And, unlike Boudoir Dolls which are not meant to be played with, mine were played with and as a result didn't last.

According to their description: In the early 20th century, fashionable women decorated their bedrooms, parlors, and living rooms with large, often elaborately dressed dolls. Called boudoir, bed, flapper, smoker, sofa, salon, and parlor dolls, these long-limbed figures often sported lavish outfits with laces, ribbons, and ruffles. Exotic and a bit campy, most boudoir dolls wore heavy make-up and bore a sultry look as if they intended to steal a boyfriend or cause trouble at a party. The Lenci doll company made boudoir dolls depicting foreign costumes, historical fashions, Pierrot, smokers, and vamps.

Credits: Boudoir Doll 1925-1926, Manufacturer Lenci, Material felt, Origin Italy, Object ID 79.9868

My understanding is that Boudoir Dolls were popular from 1915 until 1940 and made by French, U.S., English and Italian doll manufacturers.  The dolls were used primarily as bedroom decorations for teenagers and ladies and were characterized by painted composite heads, long thin bodies, long extremities, and adult features.

Most of the dolls were known as Boudoir Dolls, Art Dolls, Bed Dolls, Smoker Dolls, Salon Dolls, Parlor Dolls, Art Deco Dolls, Sofa Dolls, French Dolls, Lenci, Poupees, Flapper Dolls and Vamps.

They became very popular amongst wealthy women who often brought their dolls along to their seamstress when they were having an outfit made for them so she could create a mini-version for their doll.

As is the case with most of the dolls that intrigue me, I wanted to know more.  So, I did a little research.  Here's what I found:

Milliner's Models Dolls - Fashion Model or Toy?

Image Courtesy National Gallery of Art,Washington.

When I saw the "Milliner's Models" Doll Illustration, shown in the picture above, from the Dolls from the Index of American Design at the National Gallery of Art I was curious as to exactly what a "Milliner's Models" doll was.  I'd never heard of them.

Here's their description for that doll: This doll is one of the loveliest of the so-called "milliner's models." The term is actually a misnomer, for such dolls were meant to be used as toys. Many early nineteenth-century paintings show children holding such dolls. There may have been actual milliner's models before the toy doll of that name came into use, but we do not know how close the resemblance between the two may have been. This doll is dated about 1834. The costume is simple and beautifully made; the hairstyle is that of a young girl of the period. Pantalettes are typical for this sort of doll.

Credits: Eugene Croe (artist), American, active c. 1935, Anonymous Craftsman (object maker), Ruth E. Whittier (object owner), Doll--"Betsy", c. 1937, watercolor and graphite on paper, Index of American Design, 1943.8.15453.

Papier-Mâché Dolls

Slide 23 -  Image Courtesy National Gallery of Art,Washington.

From what I understand towards the end of the 18th century papier-mâché was the doll industries favorite composition and replaced wood and wax dolls. So, when I saw Slide 23, shown in the picture above, from the Dolls from the Index of American Design  at the National Gallery of Art I was interested in what these dolls looked like.

After I read their description, shown below, I was pleasantly surprised by the fact that this doll's head was used to smuggle morphine and quinine across the border during the Civil War. You just never know what dolls may be up to!

According to their description: Papier-mâché was a widely used substance for making dolls. Papier-mâché itself is a composition made from paper pulp combined with various other substances. Dolls made of this material reached a height of popularity in the mid-nineteenth century. They first appeared much earlier, however. Edouard Fournier History of Children's Toys and Games mentions the use of this product by dollmakers from the time of Francis I of France, about 1540. Centuries later, in 1858, the first known patent for a doll's head in the United States was issued to Ludwig Greiner of Philadelphia for his paper-mâché model. This doll, named "Nina," has a unique history. Behind her innocent-looking face, in the hollow of her paper-mâché head, she smuggled morphine and quinine across the border during the Civil War.

Credits: Renee A. Monfalcone (artist), American, active c. 1935, Anonymous Craftsman (object maker), Confederate Museum (object owner), Doll--"Nina", 1935/1942, watercolor and graphite on paperboard, Index of American Design, 1943.8.15538

According to Denise Van Patten's Paper Mache Dolls article on About.com: Papier Mache was a good material to make doll heads from because it could be molded and painted. Molding allowed more realistic doll features than carving, and the dolls were lighter than carved wood. Papier Mache was the preferred material by German doll makers until the mid 1800s when China Dolls were introduced.

The Wikipedia.com page on Papier-Mâché has a section on how papier-mâché is prepared here.

If you'd like to know more about making various types of papier-mâché there is a Paper Mache Recipes article on the Ultimate Paper Mache website.

Also, according to Denise Van Patten's Paper Mache Dolls article on About.com: Some of the earliest commonly found Papier Mache dolls are called Milliner's Models today. These dolls were made from approximately 1840 through 1860, and are often found in smaller sizes (9 to 15 inches) and with wooden limbs.

Izannah Walker Dolls

I'll bet that back in 1873 Izannah Walker would have no idea how popular her dolls would be for art doll artists and doll collecting enthusiasts in the 21st century.

If you don't know who Izannah Walker is she was the first person to patent a doll in the U.S. It is thought she made or gave away over a thousand dolls molded with multiple layers of cloth and paste then painted.

In 1873 Izannah Walker filed the patent, shown in the picture above, with the U.S. Patent Office - N0. 144,373. Patented Nov.4,l873.

First Presbyterian Church Rag Dolls Otherwise Known as Presbyterian Rag Dolls

Image Courtesy of Toy and Miniature Museum

The beautiful "Little Doll On The Prairie" Presbyterian Rag Doll c. 1880, shown in the picture above, is part of the Toy and Miniature Museum doll collection.

Credits: Little Doll on the Prairie, PRESBYTERIAN RAG DOLL c. 1880, MANUFACTURER Ladies Sewing Committee of the First Presbyterian Church,  MATERIAL cotton, oil, wool

From what I understand the women of the First Presbyterian Church of Bucyrus, Ohio launched a fundraising campaign in the 1880's.  They decided to make and sell handmade rag dolls which  have become known as 'Presbyterian Rag Dolls." The dolls were all handmade with painted faces, gusseted bottoms, clothing, and shoes for both boy and girl dolls.

It seems that many generations of church women made these dolls in the early 1900's, again in the 1950's, and again in the 1980's.

Polly Heckewelder Moravian Rag Dolls - Loved and Made For Over 140 Years

Image Courtesy of the Moravian Church in North America

You certainly have to admire a doll that is so well loved that she is made over and over for 140+ years.  Such is the case with the Moravian Rag Dolls, shown in the picture above, otherwise known as Polly Heckewelder Doll. This doll is the oldest continuously made cloth doll in America.

I think she's just beautiful and hope you would agree.  Based on the picture above it's not hard to understand why this doll is loved so much.

Given her 140 year history, it seemed like there might be a lot of information about this doll so I decided to do a little research. I was wrong.  There's not a lot of information on her out there.  Here's what I found:

According to Cloth Dolls From Ancient To Modern by Linda Edwards: A charming little doll called Polly Heckewelder has been made by members of the Moravian Church since 1872.  The dolls namesake was the daughter of Moravian missionary John Gottlieb Ernestus Heckewelder.  His daughter Polly was born in 1781 while he was working with the Delaware Indians and she is believed to be the first child born in the Ohio territory.

Also: The Ladies Sewing Society of the Moravian Church Guild in Bethlehem, Pennsylvania, first made these dolls for the aid of wounded Civil War soldiers.  After the war the funds were used to help former slaves and eventually to aid moravian ministries for their other charity work.

From what I understand the dolls were all handmade as a means to benefit the Moravian Church sisters, members of the Ladies Sewing Society of the Central Moravian Church, Bethlehem Pennsylvania.  The dolls that were dressed like young girls were called Polly Heckewelder, in honor of Johanna Marie Heckewelder (known as Polly) the daughter of the Reverend Heckewelder.  The dolls have been made for over 140 years.

Wax Dolls, Montanari and Pierotti Dolls - Gotta Love The Beauty of Wax

Slide #24 -  Image Courtesy National Gallery of Art,Washington.

Two of the slides from the Dolls from the Index of American Design  at the National Gallery of Art that I loved were Slide #24, shown in the picture above, and Slide #25, shown in the picture below.  I was drawn to them due to the dresses and when I read their descriptions I found out they were wax dolls, which piqued my curiosity.

According to their description: Wax dolls have been made from very early times — by the ancient Romans, for example, on through the first quarter of the twentieth century. This wax doll was probably made in England, which was noted for its wax dolls in the last half of the nineteenth century. This doll dates from the 1870s, and her elaborate costume is typical of the period. The dress is of blue taffeta trimmed with white organdy lace. The doll's childlike face and hairstyle might seem better suited to a child's body, but the true child doll was not yet common. Not until the 1880s was there a change from predominantly adult dolls to dolls representing children and babies. Many collectors still prefer dolls with features of a child but dressed as an adult.

Credits: Lillian Causey (artist), American, active c. 1935, Anonymous Craftsman (object maker), The Baltimore Museum of Art (object owner), Doll in Blue Dress, 1935/1942, watercolor and graphite on paperboard, Index of American Design, 1943.8.7734.