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Patriotism in times of war and children's fashion in peacetime influenced the appearance of 19th-century sailor dolls.


BY CONSTANCE KING


Antique wooden sailor dolls
Wooden fisherman dolls with heads made of a plaster type of composition. Sonneberg circa 1840. Height 2½ inches. Courtesy Constance King Collection.

Source: May 2001 • Doll Reader , Pages 58-62

Sailor suits were an in­ternational uniform for boys in the late 1800s. From the heir to the Russian throne to children play­ing in the park, a white or navy suit with a large, detachable col­lar was the ideal option for par­ents who wanted more freedom of movement for their children than was possible in the uncomfort­able, tight-fitting clothes of the period.

Not only did infants look appealing when dressed as sailors, but the outfits also could be washed easily, a rare fea­ture of boys' clothes at the time. While richer children were fitted at tailors' shops, there were simple patterns in many publications that any dressmaker could copy. Miniature suits for dolls were sold in toy shops, and there were dozens of diHerent patterns printed in the women's magazines that were com­mon in most households by 1880.

Antique wooden sailor doll
A rare, wooden-bodied dolls' house sailor with porcelain lower arm and leg sections and a porcelain shoulder head. German, circa 1855. Height 4½ Inches. Courtesy Constance King Collec­tion.

Leading dollmakers, such· as Jumeau in France and Kammer & Reinhardt in Germany, turned out their standard boy and girl dolls in sailor suits that were ef­fective, but relatively cheap to produce. Curiously, there were few portraits of adult sailors, and little effort was made by either maker to suggest reality. Instead, the standard dolly-faced bisques were idealized, as were the chil­dren, into a romantic, make-be­lieve world, where the sea was a benign backdrop for the charm­ing outfits in navy and white.



JACK TARS


I know of no sailor dolls that were made before 1800, though there were some model figures, and chil­dren could learn about naval uniforms and characters through printed sheets. Sailors became heroes and role mod­els for boys during the Napoleonic Wars (1800-1815), when various naval engagements attracted international attention. After 1800, the German toy makers, always quick to respond to the market, turned their attention to the swashbuckling men of the sea, known in England and America as "Jack Tar."

Antique English mechanical sailor doll
This automated sailor "plays" his accordion while his foot taps the ground and he turns his head. He is operated by wires from the back. Eng­lish, circa 1930. Height 14 Inches. Cour­tesy Constance King Antiques.

South German woodcarvers in particular made neatly jointed figures with heads that were sometimes carved but more often made of a form of compo­sition or even plaster. The sub­stance was very fragile and crumbled away from the central core when damp, so that when groups of sailors are found, there are often several bodies without heads. Most of the small, wooden sailor dolls are jointed at the shoulder and hip with cord, but a few have wire or peg joints. Though some were only 2 inches high, the carving is good, in­evitably reminding collectors of the figures found in the botanical gar­dens or market scenes made in the Sonneberg region.

Some have molded Jack Tar hats with brims made of card. Such figures would have been familiar to children who lived near the sea as, from 1800 to around 1840, sailors came ashore wearing these broad-brimmed black hats together with an open-necked striped shirt, navy-or-white duck trousers and a neckerchief that was often red. The characteristic hats were waterproofed with tar, or some kind of water-resistant paint, and it is thought that the term "Jack Tar" developed from this headgear or from the fact that sailors' pig­tails were dipped into tar. Some of the 6-inch versions of Jack Tar have particularly well­painted faces and are costumed in fabrics rather than having painted clothes. A few later ver­sions are found with machine­stitched clothing, proving that they continued to be made until the 1870s.

The carved wooden sailors made around 1810 are some­what anonymous, but by the middle years of the century the makers were indicating differ­ent nationalities. Regulation uniforms were established for enlisted men in the U.S. Navy in 1841, with Britain following in 1857, so that after 1860, al­most all toy ships and seamen give some indication of nationality. Some of the smaller South Ger­man-made sailors were almost cer­tainly intended as crew members of rowing boats, and they are sometimes found among the contents of nursery cupboards or in long- forgotten boxes of toys. Seated in a skiff or even a yacht, they look realistic, but they were not very satisfactory as play dolls because their small sizes make them difficult to stand. In the 1840s, a range of sailors wearing black sou'westers was made with composition heads and the usual carved and jointed wooden bodies. Most repre­sent older, bearded men, though again the heads are so fragile that they have often disintegrated.



GRÖDNERTALS



Antique wooden sailor dolls
This type of wooden sailor with a composition head was made in many sizes. He wears a German uniform. Height of larger doll is 3 inches. Courtesy Constance King Collection.

It is not unusual to find standard Grodnertal woodens dressed as sailors, particularly those made be­tween 1810 and 1830. They often wear long, white trousers and open jackets. Some more expensive Grod­nertal-type bodies were fitted with white porcelain lower limb sections and porcelain shoulder heads for what was seen as greater realism. The illustrated dolls' house sailor in a white suit with colored shoes is con­sequently both rare as a doll and interesting because of this costume.

It is sometimes difficult to decide if some of the more static carved wooden and composition figures seen in early toy catalogs are in fact ornaments or toys. In one of the Sonneberg mer­chants' illustrated catalogs of 1831, we find an admiral in a bright coat and breeches carrying a telescope. Like other figures in the series, which represent various occupations, he has an over-large comical head and a big, bushy beard. More suitable for the nursery were wheeled toys, such as a wooden man rowing a boat with oars that moved as the boat was wheeled along. The difference between the naval and the merchant sea­men was obviously important to children, so the German wood­carvers produced separate toys. In one, a plainly dressed mer­chant seaman sat among boxes of provisions, while in the other a uniformed officer stands guard. Because of their fragility, such toys are incredibly rare, forcing collectors to study them through old illustrations in merchant sample books.



Jumeau in sailor dress
Sailor suits in navy or white were popular with all the French and German doll makers. The closed-mouth Jumeau is 22 inches tall. Courtesy Jane Vandell Associates.

By the mid-1800s, sailor dolls of various types were found in the toy shops. Bisque, porcelain, wooden, wax and papier-mâché type figures were all sometimes costumed as adult sailors in response to the affection showered on brave seamen, whose exploits were recounted in periodicals that were be­coming affordable to most families.

The fashion for dressing children as sailors took off after Queen Victo­ria's oldest son, Albert Ed ward, Prince of Wales, was painted by Franz Xaver Winterhalter in 1846. The little boy with golden curls looked charm­ing, and the portrait inspired hun­dreds of imitators. Lady Lyttleton wrote at the time, "Princey quite at home in his sailor dress;" the costume, she added, pleased every "Jack Tar" and "John Bull" who saw it. Victorian children looked enchanting in their sailor outfits, but they also had a prac­tical value in preparing boys for their future role in life. Even the royal princes were sent to their training ships from the age of 12, as was com­mon in any families that chose the Navy as a career.



ROYAL CHILDREN IN SAILOR SUITS


It was the portraits of the children of several European royal families that inspired the French and German doll makers to design sailor suits for their boy and girl dolls. It is these flattering images, later augmented by photographs, that prompted so many white cotton or woollen suits edged with braid and jaunty caps with the name of some well-known ship on the band.


Souvenir sailor doll
Left: Souvenir sailors were manufactured by several firms. Because of the number made, they remain relatively inexpen• sive. These are marked with the Nora Wellings foot label. Height 8 inches. Courtesy Constance King Antiques. Right: Charles Dwight Sigsbee (1845-1923) doll, made by Cuno and Otto Dressel, with the bisque head made by Simon & Halbig. 1898. Height 14 inches. Capt. Sigsbee was commanding the battleship USS Maine when it was attacked and sunk in Havana harbor. Courtesy Constance King Collection.

Dozens of magazines, such as The Delineator in 1892, offered patterns for making sailor suits for dolls, with both bell-bottomed and straight­legged trousers. Because children across Europe and America wore this form of dress, it was naturally copied for their dolls. Some of the children's outfits were tailor-made with com­plete accuracy, as there was a fashion for naval officers to dress their small sons in replica outfits, complete with brass buttons and gold braid. To date, I have not found a photograph of fa­ther, son and doll, all in the same out­fit-perhaps something a modern doll maker could create.


Antique bisque sailor doll
William McKin­ley (1843-1901), who was president during the Spanish-American War. 1898. Height 14 inches. Cour­tesy Jane Vandell Associates.

Rubber sailor dolls were first sold in America in 1856 when they were ad­vertised by George Davis, but unfor­tunately only later rubber sailors have survived because of the fragility of the material. Those dating to around 1900 are often of the squeeze-toy type with a whistle. Rubber was an ideal sub­stance for mass-producing amusing figures; a large number of sailors were made during World War I by the Fault­less Rubber Co. in the U.S.



In peacetime, sailor dolls repre­sented children dressed in naval outfits; in times of war, more realism was demanded. The dolls became less child­inspired than patriotic, less charming than severe. The finest examples of re­alism in sailor dolls are the characters created at the time of the Spanish­American War (1898). These bisque portraits are the ultimate bisque sailor dolls, as each is immediately recogniz­able from contemporary photographs.

The finely crafted, bisque socket heads were made by Simon & Halbig for Cuno & Otto Dressel of Sonneberg in 1898, who supplied the bodies and costumed the dolls, which were made in two sizes. They have particularly well-modeled beards and moustaches and delicately painted hair. The heads are flat topped, with stringing holes, so that the heavy, molded hats would fit securely. Curiously, these portrait heads are mounted on cheap, fibrous­type bodies, with the limbs cast from simple two-part molds. The heads are also over-large for the height of the bodies, giving the curious effect of men's heads on children's bodies. De­spite the simple five-piece construc­tion, the dolls were costumed in some detail, complete with rows of brass buttons, gold braid and naval swords.


The battles of the Spanish-Amer­ican War were fought under the pres­idency of William McKinley and resulted in Cuba's obtaining her free­dom from Spain, while Guam, the Philippines and Puerto Rico were ceded to the U.S. The battles with the Spanish fleet made he­roes of the naval officers, and the dolls were pro­duced especially for sale in America.

Grodnertal doll
"Jack Tar" with the typical black hat with a card brim and a molded composition head on a Groclnertal-type body. Circa 1840. Height 6 Inches. Courtesy Constance King Collection.

Margaret Whitton re­corded having found two heads marked "D & H" on models of Com­modore George Dewey and naval hero Richmond Pearson Hobson, though the examples that have passed through my hands have been un­marked. To date, the portrait dolls dis­covered are Winfield Scott Schley, who had a moustache and a goatee beard and commanded the "Flying Squadron," William Thomas Samp­son, commander of the Western At­lantic Squadron, who has a fierce, full, dark beard-and-moustache and Com­modore Dewey, a chippy little fellow with big eyes and a neat moustache. William McKinley is the only clean­shaven doll and is the least attractive model, with heavy, dark brows and pursed lips. He was president during the Spanish-American War. Rich­mond Pearson Hobson has a full, black, drooping moustache and is fa­mous for sinking the Merrimac in Santiago harbor. One of the illustrated dolls is of Charles Dwight Sigsbee (1845-1923), who was commander of the battleship USS Maine at the time it was sunk. He has a full, but straight, moustache. As all these bisque dolls wear very similar uniforms, they are often confused when they are cata­loged for auction.


Printed cloth doll
Printed fabric doll of a naval com­mander, made by Sunlight Sieve and Co. of the Cres­cent Works, Manchester. Circa 1915. Height 16½ inches. Courtesy Constance King Antiques.

Today, sailors are rarely seen in the toy shops, though the outfits are popular with the doll costumiers of retrospective art dolls and reproduc­tions. In comparison, during the two world wars, every dime store was packed with cheap, usually unmarked, versions in pressed card, plaster, printed fabric and composition. Most represent smiling teenagers, though a few made of rubber are chubby in­fants. All are interesting because they represent the uniforms of various countries. Because children in the 20th century did not look after their toys, a comparatively low number has sur­vived, though the more realistic por­trait figures were kept because of their obvious quality. One unknown firm made a series of portraits of various national leaders in uniforms, as did the British toy maker, Farnell, who cos­tumed some of the royals as officers. Almost every doll collector owns a small fabric Nora Wellings or Chad Valley sailor of the type sold as sou­venirs on the ocean liners. Larger sizes of both types were made and are obvi­ously sought after.

As minimalism has crept into the world of dolls, collectors have had to become more selective. Those who spe­cialize in particular types, be they fairies, royals or sailors, must be re­sourceful to find their dolls of choice.

DEWEES COCHRAN dolls are commanding high prices in today's doll market and are coveted by many collectors. This American doll artist not only created art treasures but brought something unique to the doll world of the mid 1930s and for the next 45 years. She made Portrait dolls of specific children, Look-Alike dolls from her six basic American Children face types, five series of Grow-up dolls showing the same dolls at progressive ages, and many character dolls.


BY BETTY O'SULLIVAN. PHOTOGRAPHS BY QUENTIN O'SULLIVAN


Dewees Cochran doll
Smokey, a 14-inch Look-Alike doll, was sold through the Marshall Field's Department Store in Chicago, probably in the 1950s. She is made of vultex, a composition including latex and porcelain powder. She has a tag identifying her as Dewees' Type A of the six basic facial types of American chil­dren that Dewees was demonstrating at Marshall Field's at that time. Shirley Butzin Collection.

Source: June/July 1995 • Doll Reader , Pages 68-72

Most big doll companies in America were making composition baby dolls dressed in organdy and ruffles. Dewees made realistic childlike dolls constructed of vultex and dressed like the young chil­dren who played with them. She pro­duced her dolls on a modest scale with the help of a small staff in her own studios in New York City and in Norwich, Vermont.



Dewees Cochran doll
Dewees Cochran, 1892 to 1991, created her own inimitable dolls for over 40 years. She had a small staff in her studio in Manhattan from 1934 to 1960 and a sec­ond studio in Vermont from 194 7 to 1960. In 1960, she moved to California where she continued making her dolls until she was about 85. Photograph cour­tesy of the Dewees Cochran Foundation.

Ella Dewees (pronounced D' wees) Cochran was born in Dallas, Texas, in 1892, the year before the Columbian Ex­position at Chicago's World Fair. She was raised in the Philadelphia area in a wealthy family atmosphere and was ed­ucated in eastern schools. She loved to sew and tailored many of her own clothes. In her early years, she showed a great talent for art and studied here and abroad toward a career in that field.

Making dolls was the farthest thing from her mind for the first 4 2 years of her life. In 1924, she married a German writer, Paul Helbeck, whom she had met while both were taking a course in economics in Elsinor, Denmark. They were married at her family home in New Hope, Pennsylvania, but spent the next ten years in Munich and Salzburg, pursuing their separate careers; she as an artist, he as a writer. She became well-known as a sculptor and a water colorist. Also she gave art lectures as well as arranged Eu­ropean and American art exhibits.

With the stock market crash in 1929, their lives changed drastically Her father lost all his money, so her income from home stopped. Paul's income from his mother's estate in England was also wiped out. Early in 1934, Deweess father died and the couple returned to the states to live. The country was in the Great De­pression and Paul could not find work. Fine art would not pay the rent, so Dewees decided to try her hand at creating dolls.



Dewees Cochran doll
Grow-up Susan Stormalong, known as Stormie, was the first of the Grow-ups. She was the imaginary great­great-niece of Captain Bullhead Storma­long, a deep-sea captain of Cape Cod fame. She had red human hair. Stormie is shown at ages five (12 inches tall) and 11 (15 inches). The five-year-old is in her original dress. The 11-year-old was the first Cochran doll the owner pur­chased directly from Dewees. Costumed by the owner. Shirley Butzin Collection.

Her first efforts were a pair of long­legged black cloth dolls she named Topsy and Turvey. They had appliqued features, large embroidered eyes, and very flexible limbs. She also made bodies for some German china heads and dressed them in elegant early-American costumes. She took both types of dolls to nearby gift and antique stores and was given several or­ders. Then she went to New York City where she received orders from Saks Fifth Avenue and FAO Schwarz for their Christmas lines in 1934.

She was told by a Saks buyer that if she was really in earnest about making play dolls for children, she would have to make them more realistic. The buyer said that there was a growing tendency among par - ents of the day to guide their childrens imag­inations and not to diston them with whim­s.ical images such as Topsy and Turvey.


The need for realism gave her the idea of making Portrait dolls - mirror images of their little owners. She would have to carve the heads out of wood, as she could not make portraits with cloth. The Portrait dolls would not only be for play, but also for keepsakes of childhood.


The idea caught on immediately. Her first orders were for the two daughters of Irving Berlin. Additional orders followed so quickly that she and her husband moved to New York City to be closer to the bus­tle of business. She set up her studio in the smart shopping district and continued making dolls there for the next 25 years.

Her earliest Portrait dolls were carved out of balsa wood. Carving each little head, however, took too much time. She searched for a quicker method. She thought if she could sculpt the basic head models, and then cast the heads she could shorten her process. She had to find a good casting compound. One day, while perusing the New York newspapers, Paul discovered a new product - plastic wood. Dewees found this perfect for her needs. It was very strong and now she could make basic molds from her carvings, cast them in plastic wood, and personalize them for her Portraits. She could also cast the bod­ies and limbs from the same material and no longer had to make cloth bodies.


Dewees Cochran doll
Portrait dolls, representing two gen­erations of the Eason family of Algona, Iowa, are, from left, 14-inch Fran, 12- inch Mary, and 14-inch "Doc." Fran and "Doc" are modeled on a brother and sister while Mary is modeled on a girl from the next generation. All three are dressed in original clothes. Shirley Butzin Collection.

She noticed that the children's head she had sculpted for her dolls fell into var­ious categories of shapes and she was re­minded of the research done in Europe on the varied facial types of adults. She decided to find the basic types of American chil­dren's faces for her doll making. She went through thousands of pictures of children in the photograph collection at New York City's 42nd Street Library and at the three children's modeling agencies in the city She finally settled on six basic face types.


The Effanbee Company was interested in her research. In 1936, she signed a three­year contract with them to make four of her American Children series of a high-grade composition material and 50,000 were made. They were 21 inches tall.

With this contract, Dewees and Paul thought doll making was the answer to their financial problems. Paul returned to Europe alone to continue his writing career, expecting Dewees to join him as soon as her doll production could proceed without her. That day never came. Although they both had long lives, they never saw each other again, separated by World War II as well as their divergent careers. Paul died in 1981.


Dewees Cochran doll
In 1952, Dewees came up with the idea of making dolls that grow up. She made them as a child would look at ages five, seven, 11, 16 and 20. She also made a few three-year-olds. They "grew up" in size from 12 inches to 18 inches. Angela Appleseed, the imaginary great-great-niece ofJohnny Appleseed, is seen here at ages 11 (15 inches tall), seven (13 inches tall) and five (11 inches tall). The dolls at age 11 and five are in original clothing designed by Dewees. These dolls are all made of vultex and have human hair wigs. Shirley Butzin Col­lection.

During the Effanbee years, Dewees continued to make her own dolls. She made doll models of each of her six head types and then plaster of paris molds of each of them from which she made plas­tic wood castings. Now she could select the type of head she needed for each of her portrait orders. While the casting was still soft, she could carve further details on each doll head to enhance the resem­blance to the child she was portraying.

In addition, she discovered that she could make a less expensive Look-Alike doll by using the unaltered basic type doll head and adding the right coloring, wig, and clothing to match the child.

Dewees's clients expected perfection and she paid close attention to every de­ tail in her doll making. She made the correct body type for each age child she was portraying. Most doll makers made their doll hand with several of the fingers molded together. No so Dewees. She made her doll hands with separated fin­ gers that could even fit into tiny gloves.


She learned the art of making good doll wigs from a toupee maker, and often put human hair eyelashes on her dolls. She designed all of her doll clothing her­ self, in the latest children's fashions ol the well-to-do. She even figured out how to make hand-stitched leather doll shoes

Dewees Cochran doll
The April 3, 1939, cover of Life magazine featured a girl with her Cochran Look-Alike doll.

Dewees's innovative approach to doll making made natural news stories and, from the beginning, she had nationwide publicity in newspapers, magazines, radio, television, and even three movie shorts by Paramount Pictures. The high point was the cover of Life magazine on April 3, 1939, which showed a little girl holding her Look-Alike doll.


World War II brought an abrupt halt to all doll making as the needed materials went to the war effort for the next four years. Dewees found work in the advertising art field for the duration but returned to her dolls as soon as the ma­terials were back on the market.

After the war, she began using latex but soon discovered vultex, an improved latex with clay added to the formula. She used vultex for the rest of her doll mak­ing career. Her Look-Alikes and character dolls sold for $45 and $65 each.

In 1952, she introduced her Grow-up series. First came five-year-old Susan Stor­malong. Dewees was a little melancholy after Christmas when all her doll orders had been shipped out and decided to make a doll just for herself in the image of the child that she would never have. She nicknamed her Stormy. A new Stormy would be made each Christmas "growing up" to age seven, then 11, 16, and then 20.

Dewees Cochran doll
Cindy was created by Dewees in 1947 to represent a little girl between the ages of seven and ten and was manufactured of kaysam, a type of latex, for "Dewees Cochran Dolls Inc." This 15-inch doll has the company trademark stamped on her body under her left arm. A trunk and five-piece wardrobe could be ordered for the doll. Shirley Butzin Collection.

Stormy had red hair, but many of Dewees's customers wanted blondes or brunettes, so she made blonde Angela Appleseed and brunette Belinda Bunyan, also representing the five growing up stages. The boys, Peter Ponsette, a blonde, and Jeffery Jones, a brunette, were only made at ages five, 14, and 23. Dewees made the Grow-ups from 1952 to 1958 and sold them for $25 to $35 each.

In 1960, when she was 68, she closed her two shops in the east and accepted a scholarship to Villa Montalvo near San Jose, California, to write her autobiogra­phy titled As If They Might Speak (Paper­weight Press, 1979). For the next 20 years, she continued to support herself making her dolls in her small workshop there.

Dewees was a charter member of the National Institute of American Doll Artists, Inc. (NIADA) and served as president for two years. She was a Member at Large of the United Federation of Doll Clubs, Inc. (UFDC) and attended many national and regional conventions. She was an hon­orary member of the Doll Collectors Club of America and was listed in several Who'.s Who of American Artists volumes.


Dewees Cochran doll
A collection of Dewees Cochran dolls from many sources, including some which were ordered from Dewees herself in the 1950s. They are, bottom row, from left: Grow-up Belinda Bunyan at age three, Belinda Bunyan at age five, a Portrait of young boy, Grow-up Susan Stormalong a age five, and Grow-up Angela Appleseed at age three. Middle row, from left: Grow-up Peter Ponsett at age five, two Cindys, side by side, a Portrait of Charles Cochran who was a second cousin to Dewees, Grow­up Susan Stormalong at age 11, a Portrait of Laurie McKim, and Grow-up Angela Appleseed at age seven. Top row, from left: Portraits of "Doc" Eason and Fran Eason, Grow-up Belinda Bunyan at age 16, a Portrait of a boy, Smokey, and Grow-up Angela Appleseed at age 11. Shirley Butzin Collection.

In 1980, with the help of Carol Lynn Hutton, Dewees formed the Dewees Cochran Foundation to inherit all of her belongings. This included the personal treasures of a lifetime as well as her dolls and doll molds. The plan called for the foundation to continue her work, but as a non-profit organization that would eventually make grants to artists and writers. The Dewees Cochran Founda­ tion, headquartered in Orwell, Vermont, is planning to re-issue some of Dewees's dolls from her own molds in porcelain and composition. Dewees died at the Brommer Manor Nursing Home, Santa Cruz, California, on May 7, 1991, at the age of 99. She had no surviving relatives.

By the 18th century, "one-of-a-kind" moving figures had reached their peak. These moving figures moved with amazing dexterity in a lifelike motion. Some per­formed magic tricks, played chess, told fortunes or danced.


BY MARGARET WHITTON. PHOTOGRAPHS COURTESY OF MARGARET WOODBURY STRONG MUSEUM


Antique Doll with Movement. Automata Doll
Antique Doll with Movement

Source: May 1983 • Doll Reader , Pages 64-69


Hero, of Alexandria, in the second century B.C., used moving figures to demonstrate some of his theories. He described a mechanical theater in which the figures moved by an elaborate system of weights and pulleys. Variations of hi techniques were used over and over again in order to move figures of all kinds. Birds and animals flew through the air when inflated, a lion was activated from wheels under his feet, a brass mechanical man who moved and spoke was created and metal birds sang in a golden tree.


Automata Doll by Stevens & Brown
Doll with fabric head and painted features. When wound the tricycle zig-zags forward with the girl moving from side to side. Manufactured by Stevens & Brown, Cromwell, CT.

In the latter part of the Renaissance period, the European clocks with their complex mechanisms ushered in the wonders of moving figures acting out dramas, either comic or tragic. Depending on the type of clock, they performed every hour, half hour or quarter hour. By the 18th century, "one-of-a-kind" moving figures had reached their peak. These moving figures moved with amazing dexterity in a lifelike motion. Some per­formed magic tricks, played chess, told fortunes or danced.



ree
When wound, the music plays and the central figure raises cups from the table showing different objects underneath. The two musicians on either side move their arms as if playing their instruments. Manufacturer un­known. France. 1860-1880.

Antique Automata Doll, Head Marked Simon & Halbig Germany
Doll at Dressing Table. When wound, the music plays and the bisque head figure raises her powder puff to and from her face and turns her head in different directions. Head marked Simon & Halbig Germany, 1900-1910.

At first these figures appeared to have been made for royalty or the wealthy alone but eventually, through viewing at museums and traveling exhibits, the paying public obtained the privilege of seeing these fantastic and almost unbelievable machines in action.



Mechanical Doll by Jules Steiner, France
Bisque head with composition lower arms and legs, cardboard torso. A mechanism is concealed within the torso and when wound the doll moves her head, arms, and legs, and cries "Mama" and "Papa.'' Manufactured by Jules Steiner, France. 1880-1890.

Pierre Jaquet-Droz created three automata that are still performing for the public at the Neuchatel Museum in Switzerland. They were first introduced by Droz in Paris in 1794; a lady musician, a boy who writes and a boy who draws.

Another world famous automata maker was Henri Maillardet. He was born in Switzerland in 1745, the son of a clock­maker. As a young man he worked as an apprentice to Jaquet-Droz. Later he spent much of his time in London where he acted as an agent for Jaquet-Droz. During this period he himself created several automata, one of the most outstanding being the Writing Child.


The Margaret Woodbury Strong Museum will have the pleasure and honor of exhibiting Maillardet's Writing Child in its exhibition of automata and toys with movement to be shown from May 14 through Christmas of 1983. The Writing Child will be on exhibit May 14, 1983, through August 14, 1983, through the generosity of the Franklin Institute of Philadelphia, Pennsylvania. This famous automaton had passed through many hands after being on exhibit in 1826 and its whereabouts was unknown for many years.


Margaret Woodbury automaton
Drawing and writing by the Maillardet automaton.

Sometime in the late 1800s it came into the possession of Mr. John Penn Brock of Philadelphia. It was in poor condition, not operating and appeared to have been in a fire. Mr. Brock's grandchildren presented the automaton to the Franklin Institute in 1928. It was skillfully restored and put into working condition. After the restoration, the figure was able to write its own identi­fication, "I am the automaton of Maillardet". The figure is programmed to write this example and six other sketches and writings.



ree
Maillardet's Writing Child.

The Strong's collection of automata and spring-driven toys includes both European and American examples with simple movement created either by pushing or pulling the toy, the use of levers, cranks, gravity, cord action, clockwork with or without music and spring-driven mechanisms. Clockwork automata is pro­duced today in limited quantity. Automated figures are manufactured for store window displays. Jean and Annette Frakas of France are making copies of some of the early automata using, at times, bisque heads and antique fabrics.


Michel Bertrand of Switzerland is one of the few master craftsmen left who can recreate a figure using an original automaton as a model. He also has designed and made "one-of-a­kind" automata to order. He creates the papier-mache' heads, bodies, beautiful clothing and remarkably intricate move­ments or action.



Mechanical Dolls, Heads by Schoenau & Hoffmeister. Germany.
Bisque head dolls seated in a boat. The toy is pulled along and the boy's head turns as he rows the boat. Heads made by Schoenau & Hoffmeister. Germany, circa 1910.

Making automata, whether it be copying the lovely antique pieces or designing and making originals, is really a lost art. Time and money does not permit the average individual the luxury of creating these wonders that many times took years to perfect.











Antique French Mechanical Dolls
LEFT: Bisque head doll with crying expression standing on a base which holds the mechanism and music box. When wound the music plays and she raises her broken doll up and then lowers her head and raises the hankerchief to her eyes. Manufactured by Lambert. France, circa 1890. RIGHT: Gypsy with tambourine. Bisque head doll stands on a base containing a clockwork mechanism and music box. When activated the music plays and the doll sways at the waist, her hand shakes the tambourine and she moves her head. France, circa 1880.
Antique French Mechanical Dolls
LEFT: When wound the music plays, the clown sticks out his tongue and touches the table with a magician's wand changing the objects under the cone four different times. France, 1890-1911. RIGHT: A bisque head with a papier-mache body. When wound the music plays and the doll moves her head from side to side and up and down. She pulls a bucket out of the well and a frog jumps up in the bucket. Decamps. France, 1880-1911.



Antique French Mechanical Bisque Head Doll Music Box Automation

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