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Lot 545
Two Armand Marseille bisque headed dolls, both with composite bodies, open/close eyes and open mouth revealing two teeth, one marked "990A7M" to the back of the head, the other "351./6.K." (2). CONDITION REPORT: Both have traces of wear, particularly the doll with brown hair and both her hands are at fault (crazing and some parts reglued), also with two holes to the back of the head where the marks are.
Lot 814
THREE BISQUE HEADED DOLLS comprising a German bisque socket head doll, with a crimped auburn wig, sleeping grey glass eyes, and an open mouth with four upper teeth, on a jointed composition body, the head impressed '21 / Germany / R 11 ?', 25cm high; an Armand Marseille bisque socket head doll, with a cropped brown wig, sleeping grey glass eyes, and an open mouth with two upper teeth, on a five-piece bent-limb composition body, the head impressed 'Germany / 985 A 6/0 M', 22cm high; and a Heubach of Koppelsdorf bisque socket head doll, with a cropped ginger wig, sleeping grey glass eyes, and an open mouth with two upper teeth, on a five-piece bent-limb composition body, the head impressed 'Heubach / 300.15/0 / Koppelsdorf / Thuringia', 20cm high, (3).
Lot 815
THREE BISQUE HEADED DOLLS comprising an all bisque doll, with a crimped blonde wig and painted facial features, 16.5cm high; a Societe Francaise de Fabrication de Bebes et Jouets bisque socket head doll, with a long blonde wig, and painted facial features, on a jointed composition body, the head impressed 'P / S.F.B.J. / 60 / Paris / 13/0', 20.5cm high; and another all-bisque doll, 13.5cm high.
Lot 453
A Bing cloth girl doll 1920s, with painted brown hair and fine facial details, cloth body jointed at shoulders and hips, original felt and cotton clothes - 61?4in. (16cm.) high; a bisque shoulder-head dolls’ house doll with blonde moulded hair with hair band, impressed 137; and a quantity of large doll clothes
Lot 270
A 1930s German grocery shop for the British market, Art Deco style cream painted wood with oak display cabinets, drawers with china labels, counter and a large quantity of groceries including a Lifebuoy sample tin, three modern bisque dolls - 311?2in. (80cm.) wide (cellophane cabinet glass replaced)
Lot 3188
An SFBJ bisque head doll's house doll, impressed '301', with fixed blue eyes, painted features and composition body, height approx 9.5cm, wearing a black hat and costume, together with nine similar bisque head dolls, nine composition Japanese dolls and a small collection of doll's house furniture and accessories (playwear).
Lot 445
A CASED COLLECTION OF ANTIQUE BISQUE HEAD DOLLS, the three main seated with miniature dolls on their laps with associated accessories and books, two having blonde hair and blue eyes, all with painted brows and lashes and open mouthed composite bodies and limbs in vintage clothing, (in play worn and age commensurate condition including possible cracks, chips and losses), 42 x 45.5 cms wide, 26 cms deep the case with lift-up front glass panel (Note - further condition reports are unavailable on this Lot)
Lot 628
An Armand Marsaille large bisque dolls head and shoulders. With lace work head scarf, hair, glass eyes and moulded teeth. Inscribed verso; 3200, AM 8 DEP, Made in Germany, 16.5cm. Condition Report. To be used as a guide only. One tooth lost. Hair condition lacking. Bisque in excellent order.
Lot 115
A rare Miniature Room set in the style of Josef Hoffmann and Koloman Moser’s Viennese Succession movement, circa 1908, the wooden (probably birch) cube with double hinged lid and lift-out front panel held closed by hooks and eyes, the exterior decorated with geometric stencilled star pattern fitted with two pairs of black, hinged, window shutters and a turned wooden bell-push as light switch to right side. Interior walls painted in orange with yellow and black chequer and dot frieze. Ceiling with hanging lampshade of strings of green glass beads with light wired to battery compartment wardrobe. Floor with chequer patterned carpet in beige and black. Suite of wooden furniture all painted in grey with white dot border decoration comprising wardrobe with bevel glass mirror door, bed with pillows, mattress, embroidered sheet and blanket with black and green geometric patterned sides and green bobble decoration, bedside pot cupboard and planter, dressing table with metal looking glass, square box table and two stools, two seat sofa with embroidered cushions, two arm chairs with embroidered cushions and seated bisque doll wearing black and white chequer dress , blue card folding screen with hand-painted, white, green and black geometric decoration, two plain white ‘sheer’ curtains hung on metal rings on curtain rail. Walls decorated with two hand painted pictures (woman with cat and winged angel – the latter slightly reminiscent of Gustav Klimt’s painting ‘Hoffnung II’), two embroidered pictures and one bevel glass mirror, all in metal frames hung by cord, 8 5/8x8 5/8 x 8 5/8 inches (22x22x22cm). History and Provenance: At the end of the 19th century young progressive artists in Vienna set up the break-away movement known as the Secession. Amongst its prominent members were the architect Josef Hoffmann (1870-1956) and the designer Koloman Moser (1868-1918). Both were ‘admirers of English applied art; the mood in the world of Viennese applied art around 1900 was Anglophile and progressive’. Work of the British designers, C.R. Ashbee and C.R. Mackintosh who were viewed as the inheritors of the Ruskin-Morris tradition, featured in their 1900 exhibition and influenced subsequent design developments in Vienna. Ashbee’s work was exhibited regularly in Vienna during the first decade of the 20th century. In 1903 Hoffmann and Moser founded the “Wiener Werkstätte, Produktivgenossenschaft von Kunsthandwerkern in Wien” after Hoffmann had been to England and very probably visited Ashbee’s socialist co-operative, “The Guild of Handicraft”. ‘The declared aim of the Wiener Werkstätte was to vanquish the evils of machine manufacturing and the mass production to which it had given rise. It also wished to re-establish direct contact between consumer and producer.’ Artists wished to unify art and life and interior design offered the opportunity to put this into practice. One of the most notable examples was the Purkersdorf Sanatorium designed by Josef Hoffmann and Koloman Moser in 1904-1906 – ‘a synthesis of form and function, of aesthetics and economy, of the outer form…and the activities pursued within’ – where contrasting squares of colour occur throughout. The use of chequered patterns became a sort of Hoffmann trade mark and they featured again, for example, in his design for the Cabaret Fledermaus in 1907. In 1908 Hoffmann designed the exhibition pavilions for the Kunstschau in Vienna that featured the work of Gustav Klimt and his followers as well as the Wiener Werkstätte. Within that exhibition was a special hall, room 29, which was devoted to Kunst für das Kind (Art for the child) and included a number of dolls houses designed and made by students at the Kunstschule für Frauen und Mädchen under the direction of Professor Adolf Böhm. So far it has not been possible to establish whether the doll’s roomset offered here was actually one of those exhibits but it was undoubtedly inspired by and made as a tribute to the work of Josef Hoffmann and Koloman Moser at around this period. It was acquired by the English furniture designer and retailer Ambrose Heal and found its way to England. The period at the turn of the twentieth century was exactly the time when Ambrose Heal (1872-1959) was at his most productive and in contact with the latest design developments across Europe. Before he had set up his own cabinet workshops, his very first bedroom suite designs were manufactured by C.R. Ashbee’s ‘Guild of Handicraft’ in 1897. Ambrose Heal (he was knighted in 1933 and elected a Royal Designer for Industry in 1939) was the man who was responsible for establishing the high design standards for which the Heal family furnishing business in London became known. He had begun using chequer patterns in his designs as early as 1900 but from 1902 it featured prominently not only on furniture but as a border to the company’s advertising. He would therefore have followed with interest its subsequent adoption and development by Hoffmann. Another interesting parallel is that from 1908 onwards Heal’s began to specialise in children’s furniture so that they were invited to furnish an ‘Ideal Modern Nursery’ at the ‘Children’s Welfare Exhibition’ held at Olympia in 1912. An inventory carried out in February 1914 at Ambrose Heal’s home, ‘The Fives Court’, Pinner, by Maple & Co. for the purpose of insurance, listed under the contents of the drawing room “Viennese small wood dolls house & toys £2 2s 0d”. It has remained in the family ever since.
Lot 125
Collection of eleven miniature dolls, German circa 1905, including a dressed bride with bisque head, open mouth and weighted blue eyes, on a five-piece composition body with moulded socks and shoes, (loss to one shoe), 4 ¾” (12cm) tall, together with an all bisque with swivel head, body jointed at shoulder and hips, wearing blue dress and white apron (lacks one arm) another smaller all bisque with painted eyes, (head detached) five small all bisque dolls with moulded hair and painted features a shoulder head doll and two other (lacking limbs).
Lot 126A
Collection of miniature dolls and figures, including all bisque boy and girl with painted features and moulded hair in knitted outfits 3 ½” (9cm), flapper girl with moulded hat, mallato girl babies, large snow baby, damage to leg, bisque and china figures including Pearly King and Queen and more.
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7731 item(s)/page