Articles

Nov 18 2013

Taking the Fear Out of Firing

Author: ConnieZink

Are you looking for information on firing porcelain dolls? Kiln manuals are wrote for ceramics with very little emphasis on porcelain so I put this workbook together about 10 years ago for a class on firing porcelain in kilns. I hope this will help some of the new doll makers out there today.

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Taking the Fear Out of Firing by Connie Zink

About 10 years ago Evenheat Kiln Co. and I taught some workshops at the ceramic shows on “Taking the Fear Out of Firng” your new kiln. I have decided to post this workbook on my website in hopes that it will help all the newcomers to the world of porcelain dolls in learning how to run their kilns. This manual is basically wrote for ceramics but will give you a basic understanding of how Evenheat Kilns work. Good luck and happy doll making! Connie Zink

Download the FREE pdf Here:
Taking the Fear Out of Firing by Evenheat Kiln Co.

Nov 18 2013

Cleaning Soft-Fired Greenware

Author: ConnieZink

Nov 18 2013

Andre Jean Thuillier

Author: ConnieZink

The A.T. is blessed with universal appeal. Note the blushing over the eyes and mismatched eyebrows. We have known for a long time that someone named Thuillier probably made these exquisite masterpieces of the doll world. Today, thanks to research of Florence Theriault and French counterpart, Francois Theimer we know that these dolls were indeed made by Andre Jean Thuillier.

In 1876, Thuillier started producing his own dolls and in 1880, started production of Bebes. A.T. dolls are among the most desired dolls. Their charm and beautiful eyes make them very appealing. A.T. dolls are made of fine bisque and are usually well decorated. Some dolls have more intense color than others. A few later A.T.’s have two rows of tiny teeth. Bisque is not good on late dolls, and the painting is sloppy.

Early A.T. dolls are the ones collectors desire. It is obvious by the workmanship that later A.T.s may have been done by another company but from Thuillier’s molds.

Most A.T.’s were produced by the older method of pressing porcelain in the mold. All A.T. dolls have finely applied ears, and ears pierced through the lobe.

Some faces of A.T.’s have more detail in the modeling than others because molds wore down. They appear to have been originally modeled by the same artist.

A.T. Bodies: The finest A.T. dolls seem to have white-leather, gusseted bodies similar to early Bru bodies. The leather is pinked (point cut into it like pinking shears around the shoulderplate. Feet are leather, with sewn in toes.

On leather bodies, we have found three different bisque hands. All hands were attached by inserting the lower arm into leather at the midway point of the forearm. The loveliest hands are found on the A7T. Hands have separated fingers and tinted cuticles. The hand is in a relaxed position similar to, but unlike, the Bru bisque hand. Another hand on an A3T has fingers modeled at a sharp angle, as if they were meant to be holding something. Another A.T. doll we have seen has a more relaxed, baby like hand.

Other A.T’s have well made wood bodies. These bodies are smooth working, without balls in the joints. Wood hands are rather flat. Bodies are unmarked.

Later A.T. dolls, with open mouths and teeth, are found on an unusual assortment of crude bodies. We think something drastic happened to cause the change. The company may have changed hands or formulas may have been lost. Some examples are composition bodies with jointed at the wrist hands. There are large bodies, such as the 28” A.T. doll with a molded bosom and little other shaping. There is a lady with a wasp like waist, large bosom and crude joints. Later A.T. bodies seem to be light papier mache, painted ivory, instead of a heavier composition used Thuillier.

There is a little historical information available on A.T. dolls. At first, we reversed the dates of the bodies. We thought crude were produced earlier. But after studying the dolls, we have determined they were made in the following order:

Fine leather bodies, with beautiful heads and bisque hands.
Good, sturdy wood bodies with excellent heads.
Heads with open mouths and run of the mill composition of papier mache bodies.

A.T.’s were made in a range of sizes, for the No. 2 at 12 ½” to the No. 15 at 32”. There are also numbers that do not fit any scale. Number may indicate the type of body used.

Illustration 34: 14” A4T

Illustration 35. Close up of A4T Eyes

Illustration 34 is an A4T who is 14” tall. She is on a leather body with gussets at the knees and sewn toes. The leather is squared and smooth cut over the shoulder plate. Her forearms are short and go into leather sleeves for upper arms. The bottoms of the sleeve leather is die cut, like pinking. Her hands are similar to the Bru baller hands. Both the swivel-head and shoulder plate are incised AT 4 and are of pressed bisque. The head is smooth bisque with a cork pate and pierced ears. Her eyes are a deep cobalt blue paperweight with darker blue rims. There is a dark line all around each eye, and the lashes are a charcoal gray. Her brows are soft and light, not exactly matching. Her lips are parted and the color is darker between them. She has delicately blushed cheeks.

Illustration 36. is a 19” A7T

Illustration 36. is a 19” A7T and is incised both on the head and the shoulder plate. Her creamy, perfect bisque has beautifully detailed decoration. The soft, feathered brows bring out the dramatic blue of her paperweight eyes. Black liner and many charcoal lashes accent the eyes.

Illustration 37 is of a 24” A12T.

Illustration 37 is of a 24” A12T. This round faced, wonderfully modeled A12T is enchanting. The well-defined features show her to be one of the first out of the mold. The painting of her mismatched eyebrows are soft, with light feathering. The lashes are painted with charcoal gray. The gray-blue, paperweight eyes are lined with black, and the pale mauve above the eyes adds character. Her accented, slightly parted lips almost smile, they are painted darker between. The cheeks are carefully blushed.

Illustration 38: AT9 20”

Illustration 38: AT9 20” Her painting splendidly reflects the care with which she was made. She has feathered, medium dark brown brows with a shadow brow of the same color. There is a dark line around each of the dark blue paperweight eyes, which are enhances by black eyelashes. There is only a tiny bit of mauve above her eyes, right on the eyelids. Her slightly parted lips have a slight white space between them; they are accented, top and bottom. Her cheeks are delicately blushed over pale cream flesh.

Illustration 39: A11T

Illustration 39: A11T The blonde mohair wig covers a cork pate and the bisque socket head. Her dark blue glass paperweight eyes are encircled with dark eyeliner and dark charcoal eyelashes. There is a mauve blush above the eyes. Her typical A.T. eyebrows are mismatched and brush stroked with medium brown over a slightly darker brown shadow brow. The mouth is closed with a white space between the accented lips. Her cheeks are lightly blushed. This doll sold at the May 12, 1990 Theriault’s auction for $75,000.

Illustration 40: 17” A.T.8

Illustration 40: 17” A.T.8 With an entirely different face and facial painting, she is an enchanting doll. The face is almond shaped. The brows are fuller, as are the lips. Her eyebrows are feathered strokes of a soft tan over shadow brows that are set wide apart. The brush stroke lines are quite horizontal. The lashes are black and the eyes are each encircled with a dark line. The glass paperweight eyes are a very dark blue. Her mouth is painted full with a darker area between the lips which appear to have been blotted to make the two shades. She also has quite rosy cheeks.

Illustration 41. A.T.5

Illustration 41. A.T.5 As time passed the, he appealing A.T. bebes changed. As with Brus and other wonderful French baby dolls, those early captivating faces were changed to meet the demands of the market. The original round face modeling was kept with a dimple added in the chin and with stronger painting, the later dolls had to smile with open mouths and teeth. Her lined brows match the brown hair, while the lashes are black with a black rim at the top and bottom of the eye cuts. The open mouth is set with three square, bottom teeth and three top teeth. The upswing at the corners make her smile. The lips are blotted and accented. She is well blushed to the outside of her plump cheeks, with a little color on the chin. She is on a composition body with jointed wrists.

Nov 18 2013

Jules Nicholas Steiner

Author: ConnieZink

Illustration 31: Motschmann Steiner

Illustration 32: A-Series Steiner

Illustration 33: C-Series Steiner

Jules Nicholas Steiner is the founder of the doll-making firm Steiner. Steiner produced dolls from 1855 to 1908, during which time several successors ran the company, but still maintained the “Steiner” name. Successors included Amedee Onesime Lafosse after he died his widow, Marie Lafosse, continued running the business and taking out patents. She was followed by Jules Mettais. Edmond Daspres was the final successor to the Steiner firm. He registered for the patent for the New Walking and Talking Doll in July 1902. Not much is known about Steiner’s earlier career, but he started out in Paris as a watchmaker who ventured into the toy-making field. He had many innovations and patents in the field of toys and later in doll-making. Most of these inventions were linked with the movement in toys or dolls.

Up until 1875-1876, Jules Steiner made and sold three types of dolls: the kicking-crying mechanical baby, the waltzing lady, and Motschmann-Type Steiner, a kind of articulated doll with opposing bisque and soft parts. The period of 1880 to 1890 is considered to be the “Golden Age” of Steiner dolls. In the Spring of 1880 Steiner rented out his business to Monsieur Bourgoin. There were several series and figures of the Steiner molds produced under Bourgoin’s reign. The most found today are the A-Series and the C-Series.

Nov 18 2013

Schmitt et Fils

Author: ConnieZink

Schmitt et Fils produced dolls from 1863 to 1891 in Paris. Their dolls are of fine quality and are not plentiful. The round faces of these dolls have a charm all their own. The Schmitt body is distinctive. It can easily be distinguished from other French dolls by its flat bottom, which allows the doll to sit easily. The bottom is marked with crossed hammers in a shield. Other characteristics of the doll include long feet, large ball-joints in the shoulders, elbows, knees and hips, and a gauntlet-shaped forearm with no wrist joint. These dolls did not have cork pates, instead heavy cardboard, often painted flesh color. Dolls often wore sheepskin wigs.

Heads were either marked with the incised crossed hammers in a shield or Bte SGDG and a size number. Dolls with the marking Bte SGDG appear to be older. Eyebrows on the Bte SGDG are extremely narrow, like those of lady dolls. Dolls with the crossed hammers have wider brows, with softer, less-distinct hairlines. Blue or brown paperweights were used but they had less depth than other paperweight eyes. All of the faces appear to have been created by the sculptor.

Illustration 30

Illustration 30: Marked 8 Sch (crossed hammers in shield mark.)

Nov 18 2013

Rabery & Delphieu

Author: ConnieZink

The Parisian firm of Rabery & Delphieu conducted business from 1856 to 1898 and then later merged with the S.F.B.J. in 1899. During the early years Rabery & Delphieu sold a variety of cloth, kid and linen bodied dolls as well as marottes. By 1881 they were advertising “Jointed Bebes”. The firm began using the mark R.D. in 1890. The facial expressions of R.D. have been described as pensive, somber, aloof, haughty or serene. Needless to say they are not a doll with universal appeal. Some people say they are an acquired taste. I however, fell in love with the R.D. face from the moment I laid eyes on the Antique.

A square shaped facial configuration is the most distinguishing characteristic of the Rabery & Delphieu Bebes. The earlier Bebes generally have large almond shaped paperweight eyes. R.D.’s have lovely complexions and beautifully painted mouths. The combination of square face, large expressive eyes and widely arched eyebrows are what gives the R.D. her very special look. Your typical early R.D. has good quality bisque, cork pate, pierced ears, paperweight eyes, and a French ball jointed composition body. It also usually had a closed mouth, mauve eyeshadow and straight wrists. The later dolls, those poured after 1899 when Rabery & Delphieu was absorbed into S.F.B.J. are known for their deep paperweight eyes, rosier cheeks, open mouth with teeth, jointed wrists, and smaller hands.

Illustration 29

Illustration 29: R3D

Nov 18 2013

Albert Marque

Author: ConnieZink

Original A. Marque

Albert Marque (14 July 1872 – 1939) was a French sculptor and doll maker of the late 19th and early 20th century. Marque was born in 1872 in Nanterre, Hauts-de-Seine. He became well-known and respected at the turn of the 19th to the 20th century, especially for his sculpting of children.

During World War I, Albert Marque was persuaded by the Parisian couture fashion house of Jeanne Margaine-LaCroix to sculpt one hundred fashion dolls, which were then clothed in custom-made outfits. in 1915, these dolls were exhibited in Paris. Some were sold and others were kept in the Margaine-Lacroix inventory. The dolls were dressed in costumes, often representing regional French royalty or peasantry. They are considered to be artistic works celebrating France and French culture, particularly as a response in wartime to the popularity of German dolls, and created for adults rather than as toys for children.

These dolls became known as “A. Marque” dolls from the mark placed on the dolls by the sculptor. It’s interesting to note the top of the head is cut level, not on a slant as other French dolls. The body was made only for this doll and had unusual side-jointed hips with an attached ball in the joint. Legs are long and slender. Arms below the elbow are bisque and hands were modeled with the same skill as the head. The sculpture of the face is a different from other dolls. Features are sharp and well defined. Ears protrude like a real child. While the forehead curve is typically minimized on French dolls, this is not true of Marque dolls. The Marque had blue or brown paperweight eyes and a closed mouth. All Marque dolls were 22” tall. All were made from the same mold and have the same body.

The dolls have become highly valued in doll collecting. They are generally considered the most desirable dolls by collectors and demand the highest price of any dolls. On July 15, 2009, an A. Marque doll set the world record for an antique doll at auction, fetching US$263,000. This broke the previous world record, also held by an A. Marque doll, of US$215,000.

In her work for the Doll Artisan Guild, Ragnhild Margareta Ericson catalogs twenty-five known A. Marque dolls. Stuart Holbrook, the president of Theriault’s (the leading auction firm dealing with dolls and childhood ephemera), also notes there are only about twenty A. Marque dolls in existence. Holbrook refers to them as the “Holy Grail of collectible dolls”. Holbrook and Theriault’s contribute strongly to the allure of A. Marque dolls. Says Holbrook, “The A. Marque has always been a doll of great mystique for collectors. Every collectible category has that “one piece” – the one item, or name, that blends rarity, beauty, and allure; for dolls it is the Marque, and it will perhaps remain so forever.”

The following educational PDF was created for The Doll Artisan Guild. It contains a lot of interesting information on the A. Marque dolls.

Albert Marque Dolls PDF

Nov 18 2013

Jumeau

Author: ConnieZink

Pierre Francois Jumeau and Louis Desire Belton went into partnership on Jan 15, 1842. Although it was a partnership Louis Desire Belton was the captain of the ship. They paid particular attention to the dressing and assembly of dolls. Thus all the creative genius of Pierre Francois would be deployed. With an extensive experience with cloth and assemblage, having spent his entire youth in the fabric trade, Pierre Francois possessed a refinement that contrasted with his friend Louis Desire, whose professional abilities were directed more towards sales. The Belton and Jumeau Company dissolved on Feb. 14, 1845.

From 1842 to 1855 Jumeau produced poupees (fashion dolls) with heads of paper mache. In 1855 Jumeau exhibited fashions dolls with porcelain heads. These heads were not produced by Jumeau, he did not start producing his own heads until 1872. Poupees were discontinued in 1882. The Jumeau Co. started producing Bébé’s in the 1870’s. I have divided them into groups by age and markings.

Production of one style or another always overlapped. One model did not immediately end when another began. There was always old stock still remaining to be sold and new models might be gradually and cautiously introduced while public acceptance was being tested.

1876/1877 – Bebe Incassble with standard face (so-called “Premiere Jumeau Bebe”) is slowly introduced. The face of this Bebe is clearly evolved from the standard poupee model. The Bebe was probably offered until about 1883 in smaller sizes 0 and 1, but emerged into the E.J. Bebe prior to that time in larger sizes.

1877/1878 – Bebe Incassable with deluxe face (so-called “Portrait Bebe”) appears. The face of this bebe is clearly evolved from the deluxe or Portrait Poupee. The model was probably offered until 1883/1884 although it was gradually supplanted with the very similar bebe marked E.J. (without Depose) mark.

1878/1880 – Bebe Jumeau (Carrier-Belleuse model, so-called “Triste”) appears. It’s appearance coincides closely with the so-called Portrait Bebe, but was clearly distinct. The model was offered until 1886/1887 when pressed bisque was discontinued.

1879 – Bebe marked “E.J.A.” The model appear to be offered for only one or two years.

1881 – Bebe with first “E.J.” markings(without Depose) is introduced. This is an evolution of Bebe Incassable. It also passed through several evolutionary stages with two distinct styles of marking. It was replaced with the Depose mark in 1885.

1885 – Bebe marked “E.J. Depose” appears. This is produced for only one or two years un the discontinuance of pressed bisque in 1886/1887. Bebe incised “Depose Jumeau” also appeared. This is only produced for two or three years.

1886-1887 – Bebe with red decal stamp “Depose Tete Jumeau” appears. With various technical modifications and various markings, this is the standard line model which appeared until 1899.

1892 – Bebe marked “Paris Bebe” is introduced. Bebes marked E.D. and B.F. are introduced. Bebes marked with 200 series of numbers appear. Although a luxury, commissioned line, they remained “available” until 1899. Department store Bebe’s marked R.R. Bi, P. et. Al. introduced.

The “Bebe Jumeau”, “Long Face Cody Jumeau”, or “Jumeau Triste” is beautiful by any name. The sculpting is exquisite and the doll has universal appeal. She was first introduced in December 1879 by Emile Louis Jumeau. This Bebe Jumeau had several firsts. It was the first Bebe to be especially modeled by a noted sculptor. The “Triste” was sculpted by Albert Ernest Carrier Belleuse who used King Henry of Navarra at the age of four as his model. It was also the first bebe that the “new” human glass eyes had been especially developed. The ears were also applied separately to the head. This was a first for the Jumeau company.

Legend has it that “Buffalo Bill” Cody from the American West was presented one of these dolls for his young niece when he visited Paris with his Wild West Show in 1889. This story is quite interesting although unverified.

Illustration 17

Illustration 17: Fashion Doll made in the 1860’s.

Illustration 18

Illustration 18: Premiere Bebe Incassable.

Illustration 19

Illustration 19: Left- 20” Deluxe Bebe Incassable Marked 9 Right – 22” Deluxe Bebe Incassable Marked 10.

Illustration 20

Illustration 20: Carrier-Belluse Model known as “Triste” or “Long Face Jumeau”.

Illustration 21

Illustration 21: E.J.A.

Illustration 22

Illustration 22: EJ12

Illustration 23

Illustration 23: Depose E11J

Illustration 24

Illustration 24: Depose Tete Jumeau

Illustration 25

Illustration 25: “Paris Bebe” – The doll with a court battle. After his departure from the Jumeau Company, Anatole Danel partnered with three other men and formed Danel et Cie. On October 21, 1889, they registered the trade name “Paris Bebe”. Jumeau had been quiet about his competitor, until now. The obvious similarities between the bebes of the two companies irritated the partners at Jumeau, who spotted a French copy of Bebe Jumeau immediately. At first they filed a complaint that Danel had stolen molds from his factory, but his case was thrown out due to lack of evidence. Then Jumeau decided to bring suit for unfair competition before the Commerce Tribunal. At the end of the trial, justice was served. The courts ordered the destruction of molds, models, and tools involved in the production of “Paris Bebe”. This decision led to the termination of Danel et Cie on March 29, 1892, and the disappearance of Anatole Danel from the Paris scene.

After winning the trial, Jumeau capitalized on the “Paris Bebe” advertising of Danel et Cie by presenting his own “Paris Bebe”. But he took great pains to create a distinctive new character head. His new sculpture was a model of the Duke of Bordeaux. The face had distinct character-like features with sharply defined features, glass eyes, and closed mouth. The features are nearly identical to the 223 character model of Jumeau. It was likely that the sculpture was marketed both as Paris Bebe and then as the 223 character. It was signed with a red decal stamp “Paris Bebe Tete Depose” and size number.

Illustration 26

Illustration 26: The Bebe Francais trademark had been registered by Danel et Cie on Sept. 11, 1891 and was taken over by Jumeau after he won his infringement lawsuit. On Oct. 17, 1896, Jumeau renewed the trademark as it was about to be returned to public domain. Ironically, a model named Bebe Francias ws never produced by Danel et Cie. Yet Jumeau used the trademark to introduce his second unique bebe model of the 1890 era. While the Bebe Francias bears a resemblance to the Bebe Jumeau, the resemblance is mainly in the style of eyebrow painting. The model was new and had elongated, yet full, face with well defined pointy chin and very small closed with a prim expression to the lips. The model is signed with the incised letters B.F. enclosing the size number.

Illustration 27

Illustration 27: Jumeau 203 – Smiling child. The mouth has a realistic smile with a row of sculpted teeth between the lips. Wide dimples form the corners of the mouth and shape the rounded cheeks. The eyes are rounded and realistically shaped. The model differs from the other smiling character, 208, in both the shape of the mouth and the eyes.

Illustration 28

Illustration 28: Wildly-laughing child. The eyes are very small and narrowed with modeled lower eyelids twice the size of the actual eye. The mouth is made to appear open with very wide smile creasing the cheeks and creating deeply impressed dimples. The inside of the mouth is sculpted with two rows of teeth and the impression of a shaped tongue. The chin is tiny and pointed, the nose upturned at the point. The lips are shaded with accent lines at the outer edge. The brows are arched and multi-feathered, the lashes are brown, straight stroked angled sideways.

Nov 18 2013

Jullien

Author: ConnieZink

Jullien dolls, made in Paris from 1863 to 1904, are not plentiful. These dolls are nice to have to complete a French collection, but they do not have a face that you will love at first sight.

The Jullien body was made of hollow wood and advertised as being the most solid, lightest body for a doll. Dolls were well made with wood hands that had thin, separated fingers. All Jullien dolls are marked with the name Jullien on the neck, along with a size number. Some later ones had walking mechanisms, talking mechanisms, and sleep eyes.

Jullien

Nov 18 2013

Aristide M. Halopeau

Author: ConnieZink

We now know that Aristide M. Halopeau is the maker of the doll incised with the block H and size number. Heads are extremely scarce, are exceptionally beautiful, and both heads and bodies are the highest quality. These dolls are a collector’s dream.

We have tracked down the sizes known to collector’s.
Size 0 = 16”
Size 1 = 18”
Size 2 = 20”
Size 3 = 22”
Size 4 = 24”
Size 5 = 27”
There may be larger sizes, but it is doubtful there is a size below 0.

Markings on the heads are located in the same place on each head and done with the same block letters. Sometimes the mark is lightly impressed, and other times it is impressed deeply. The size number comes first followed by the letter H.

The doll making company was in existence before 1890 because all the heads are pressed, not poured porcelain. After 1890 almost all doll-making companies poured porcelain into molds. The quality bisque, the fine paperweight eyes and the beautiful craftsmanship of wood bodies indicate these were at the height of doll-making era. Halopeau could not compete with the other French Firms and in 1889, his business collapsed. The company’s short existence explains the limited supply of H dolls that are in circulation today.

Identifying H-Dolls: The face of an H doll is rather square. Eyes are paperweight sometimes with threading. The H and the number are incised just under the rim of the head.

Illustration 12:

Illustration 12: The H-dolls are of the highest quality and the H1 is a fine example of Halopeau’s fabulous work. Her brows have a light brown shadow brow with lighter feathering on top. The charcoal lashes are finely painted, the eye cuts are black rimmed inside and her eyes are glass blue paperweight. The accented mouth is shaded and the perfect bisque is blushed low on the cheeks with a little on the chin. A light mauve shadows only the eyelids. This rare doll was made in the 1880’s.

Illustration 13: 22” 3H

Illustration 13: 22” 3H – She is perfection plus. Her dramatically large blue eyes will captivate any audience. Her lids are blushed with mauve and her finely painted eyelashes come from a black lined eye cuts. Her soft, two-toned eyebrows are very finely feathered and the mouth is well sculpted and painted. The lips are accented with a darker tone and a white space in between. Her chin and cheeks are blushed to perfection. This doll was sold at a Theriault’s auction on Jan. 6, 1990 for a record-breaking $100,000; at that time, the highest auction price ever paid for a doll in the United States.

Illustration 14: 24” 4H

Illustration 14: 24” 4H – Her eyebrows have a darker shadow brown and an overlay of fine, lighter brown brow strokes. The eye cuts are lined in black and charcoal gray eyelashes encircle the deep dark blue paperweight eyes. Her accented lips have a somewhat darker color between them. There is a light mauve shadow form the eyes to the eyebrows.

Illustration 14: 24” 5H

Illustration 15: 27” 5H – She is beauty personified! Her cheeks were blushed on the outside plumpness and there is only a little blush on her chin. Mauve was blushed above her deep blue paperweight eyes. The eye cuts are lined in black and encircled with black eyelashes. The mouth is molded with slightly parted lips and were finely painted and accented. The brows are a darker shadow brow overlaid with many lighter strokes.