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11 Gem 20-Note Roller Organ, with stenciled case and six cobs, (in need of restoration). $ Small 38-Key Band Organ by G. Molinari & Sons, New York, playing eight traditional and mainly American tunes, with three stops, two ranks of pipes and sixteen brass piccolo pipes in front aperture, in ebonized case with gilt-incised decoration of scrolls, flowers and name John Muzzio & Son, New York, wd. 41 x ht. 41, barrel 31 in., with tune-sheet and barrel of G. Molinari & Sons, Manufacturers of Carousel Organs and Cardboard Music, Third Avenue and 32nd St., South Brooklyn, New York. See color plate p. 97. Note: The tunes are Nightingale, Sweet Rosy O Grady, Red, White and Blue, Drum Major, Sidewalks of New York, Marching Through Georgia, Over the Waves, and My Country Tis of Thee. The organ can either be handcranked or played by the electric motor now mounted to the side of the case. $8,000-12, A. Wurlitzer Model 1015 Jukebox, No , 78 rpm, with twenty-four select, in domed walnut case of Paul Fuller design, with original cream and red perspex, bubble-tubes, chrome speaker lattice with illuminated Perspex star motif, chrome crest and scrolling trim, the sides with three mirror-mosaic lines, ht. 59 in., (unrestored). $4,000-6, Penny Pack Coin-Operated Bandit, with 1c. operation, three cigarette packet reels, gum-dispenser (lacking button), and arched Art-Deco metal case with period paintwork, ht. 11 in. $ Mills New Century Bandit, No , with three reels, 5 cent operation and futuristic architectural case finished in green and gold, ht. 28 in., (sticking). $1,500-2, American Coin-Operated Match Dispenser, for 1c. operation, with nickel-plated facade, cast scrollwork decoration, coin-slot and twin winnows above tray with double dolphin motifs, ht. 13 in., (wear to finish, incomplete). $ Automata 615. Double Singing Bird Cage Automaton by Bontems, No , with red/black bird on perch, and yellow bird on velvet base below, both with articulated heads, beaks, and tails, in domed brass cage with suspension loop, on square giltwood base with floral relief and acanthus border containing intermittent going-barrel movement with birdsong, ht. 19 in. See color plate p. 34. $2,000-3,

12 Coin-Operated Double Singing Bird Automaton, probably Bontems, one bird with red/green plumage, moving beak and tail, the other with iridescent blue plumage, in papier-mâché landscape with tree, on giltwood and gesso base with coin chute and goingbarrel movement with bellows causing the first bird to sing and the second to bob, on a turned and ebonized stand with coindrawer, ht. 53 in. See color plate p. 99. $6,000-8, Tableau Mécanique Automaton of a Blacksmith s Forge by Tharin, c. 1860, the hand-colored scene depicting French Gothic interior with six figures, four at the anvil, two shoeing a horse observed by a terrier, with working paper bellows, tools on racks and scattered in the foreground, a central arch to painted bucolic view of a church and houses with lake and mountains beyond, in giltwood frame with corner spandrels, scrolls and flowers, and three-air cylinder movement driving pinned wheels and pulleys causing three of the figures to beat their hammers, the fourth to pump the bellows, and the terrier to wag his tail, overall ht. 19 x wd. 20 1/2 in., six movements. See color plate p. 98. Note: The Blacksmith s Forge was a popular subject by Tharin, produced in several sizes and combinations, with variations in the view through the arch, the presentation, and the driving train, but always with the same figures and movements. Tharin s mechanical pictures were retailed in London by Silber and Fleming, and described in their catalogue as a very effective Mechanical Piece representing a Smith s Forge, with decorated cardboard figures. Two men making horse-shoes, one man shoeing horse, one man blowing bellows, which work in a very natural manner; the horse and dog moving their heads and tails. The whole piece in wooden case with richly gilt and black frame, with glass in front, playing two airs of music. Six pounds, 15 shillings. The smaller size makes this example particularly unusual. $4,000-6, Tightrope Walker Automaton by Jean Phalibois, c. 1865, No. 86, with acrobat on tightrope flanked by musicians playing violin and lute in papier-mâché landscape beneath flowering tree, on ebonized ogee base with two-air pull-string cylinder movement and going-barrel automaton movement driving two pinned wheels for the musicians and pinned wood drum with four levers for the acrobat, the wires passing through the tree trunk and causing him to leap into the air, landing on his left or right foot alternately, while kicking to the side with his other foot and raising and lowering the beam both to balance and to heighten the effect, while the musicians nod their heads and play in time to the music, in the original feathered turbans and exotic polychrome silk costumes trimmed with gilt Dresden paper, under glass dome, eight movements, ht. 24 1/2 in. See color plate p Literature: Bailly, Automata, The Golden Age, , pp Note: A classic automaton by Phalibois, the Tightrope Walker was made with several variations of figures and scenery, and retailed by the London department store Silber and Fleming. This is a particularly early example, with carved and painted wood heads, and the shaved kid skirt of the dancer that emphasizes his movements. $10,000-15,

13 623 detail 622 detail 619. Early Manivelle Automaton of a Violin-Player by Théroude, with papier-mâché character head, painted eyes, smiling mouth, pointed nose and chin, carved wood hands holding a violin and bow, the left arm articulated at the wrist, elbow and shoulder, the mahogany base with hand-turned mechanism driving two-air cylinder movement by L Epee No , three wood cams and steel starwheel causing the figure to turn and bow his head and move his right arm in time to the music, in the original mauve silk tailcoat, blue breeches, waistcoat and cravat trimmed with lace, brass rosettes and metal-thread braid, ht. 12 in., five movements. Note: Alexandre Theroude patented a design for a similar arm movement in a monkey violinist in $1,000-1, Very Early Waltzing Bride Automaton by Alexandre Théroude, c. 1850, with papier-mâché head, open mouth with bamboo teeth, black glass eyes with painted vertical lashes and arched brows, painted center-parted hair with individual strands at crown beneath the original blonde mohair wig falling in curls, papier-mâché body with kid arms and stitched fingers holding a bouquet, on three-wheeled grain-painted green tin base with going-barrel movement driving two cams and causing the figure to look from side to side and raise each arm alternately, while gliding forwards and then turning in a circle, in the original Eau de Nil silk walking dress with train, sash and matching bonnet, ht. 11 in., (silk loss in sleeves). Literature: Annette Beyer, (1983), Die Fazinierende Welt der Automaten, p. 172, for a similar piece. Note: Active from around 1831 to 1872, Alexandre Théroude was one of the earliest makers in the golden age of the French automaton. The figures and mechanisms of his platform toys bear similarities to those of Antoine Vichy, whose workshops he may have supplied. $2,000-3, Pair of Dancing Sonnenberg Figures, c. 1850, from a mechanical scene or manivelle, carved and painted wood, modeled as a man in military costume and tricorn hat, and a lady with tea tray, with hollow skirts and articulated legs, ht. approx. 2 in., (lady missing teapot and one leg). $ Rare Early French Sand Automaton by Pierre Landras, 18th century, in the form of a pasteboard building on three levels, with painted windows, stone cornices, and pitched tiled roof, a tower room with roof lifting to disclose sand chute with stop/start on the side, six articulated painted wax figures and a dog, on the right a soldier with drum, at center a school master with baton pointing to a placard painted with what appear to be cautionary or allegorical scenes, accompanied by woman playing the violin, at left a wig-maker s shop with two figures holding comb and brush, a third cloaked figure with articulated pigtail, a mannequin s head on a stand at the side, and a mirror above, the open back of the building containing paddle wheel, four card cams and corresponding wood runners driving five wires, on paneled paintdecorated wood base concealing sand-draw with flap in lid and slide for releasing contents, wd. 10 x dp. 3 1/2 x ht. 12, in apparently original painted wood display case with serpentine front and arched side windows, overall wd. 11 x ht. 16 in., eight movements. See color plate p. 98. Note: The weight of the falling sand turns the wheel and causes the soldier to beat his drum with both hands, the dog to nod, the school master to motion with his left hand, the woman to play the violin with her right, the two wig-maker s to move their arms, while their customer (with arms raised in the air) shakes his head in shock at his reflection in the mirror. Sand-powered automata that demonstrated the principals of mechanics and gravity were part of the growing 18th century interest in recreational science, alongside other educational amusements such as panoramas, transformations, and mercury toys. Pierre Landras, a toy merchant and retailer of fancy goods, was located at 226 Galerie de Bois at the Palais Royale in Paris, from c until This is one of a handful of toys by Landras to have been recorded, as well as a rare example of a surviving automaton from the 18th century. $8,000-12,

14 623. Rare Henry Phalibois Automaton of a Glutton, c. 1900, with papier-mâché character head, upturned nose, rosy cheeks, wide smiling mouth with painted upper teeth and long darting tongue, brown paperweight eyes with articulated dancing eyelids and mohair lashes, tufts of brown mohair emerging from beneath his top hat, seated on a chair-back with a silk handkerchief in one hand, the other modeled with outstretched forefingers and thumb, the large going-barrel mechanism driving five wood cams and two-air cylinder movement, the wires passing through the chair back, in red satin tailcoat with pale gold lapels over elaborately-embroidered silk waistcoat and satin shirt, black-andyellow checked silk trousers, matching bow tie, striped socks and leather shoes, ht. 30 in., seven movements. See color plate p. 99. Note: The figure looks from side to side, bounces the handkerchief in his left hand, winks his eyes rapidly and alternately, shrugs his shoulders as though laughing, stamps his left foot repeatedly on the chair seat, then raises his right hand, sticks out his tongue and thumbs his nose at the audience. In 1893, Henry Phalibois inherited one of the oldest automata firms in France, but one had not adapted well to the Parisian fin de siecle fashions of the day. Because the firm had traditionally concentrated on mechanical pictures and scenes under glass domes, Henri did not yet have the same catalogue of impressive large-scale pieces that his contemporaries published. He naturally turned to other major makers for inspiration, determined to create automata that were, if possible, even larger and more animated than those of Vichy and Roullet et Decamps. The Glutton was undoubtedly inspired by Vichy s Peasant and Baby, a figure with similar movements and modeling, who nurses a piglet on his knee. So close is the modeling of the hands in particular, that it is tempting to speculate Phalibois either acquired or adapted the molds of his competitors when creating his own automata. Phalibois automata from this period often have a distinctive, grinning expression, and a complicated sequence of movements. The shrugging shoulders and dancing eyelids also became a characteristic of Henry s work; the effect is one of constant movement on the verge of breaking into a dance. In 1895, he advertised figures playing instruments, speaking, singing, whistling, laughing. A near-identical version of this figure features as the defendant in a large coin-operated courtroom scene by Phalibois, the companion piece to New Woman sold at Skinner s on July 29, 2006, lot 600; he shrugs his shoulders, winks and impudently thumbs his nose at the judge. The same figure also appears as a Glutton eating a tartin in a 1905 invoice from the firm (illustrated in Bailly s Flights of Fancy, p. 342). There are believed to be only four examples, including this one, of the two versions of this automaton $25,000-30, Henry Phalibois Coin-Operated Automaton of a Headless Magician, with smiling mouth, brown glass eyes, red mohair wig rising in three points over his forehead and ears, holding a large feather fan in his right hand, his left resting on a die atop a pedestal, in glazed case with coin-drawer, two-air going barrel movement driving five wood cams, and curtained background simulating stage with proscenium, in black silk tailcoat with large rose figured-silk buttons and lapels over embroidered waistcoat, checked shirt with bow tie, black-and-gold checked breeches, and pointed metal-thread shoes, ht. 34 in., (professionally restored, fragments of the original shirt and jacket included), four movements. See color plate p Literature: Bowers, Encyclopaedia of Automatic Musical Instruments, p. 111; Andre Soriano, (1985), Dolls of Monte Carlo, pp ; York Museum of Automata exhibition catalogue; Darren Hesketh (2005), Penny-in-the-Slot Automata and the Working Model, p Note: The magician covers his face with the fan, then removes it while simultaneously lifting the lid of the die to reveal that his head has disappeared from his shoulders, and re-appeared inside the box. He then waves the fan again and lowers the lid, before raising it to reveal the now empty box and, with a flourish, removing the fan to disclose that his head has reappeared in its rightful place. The Headless Magician by Phalibois was made in a 19-inch size as a table model, and in a larger size for coin-operated use. The trick itself may have been inspired by the performances of Georges Melies ( ), French film-maker, illusionist, and owner of the most popular magic venue in Paris, the Theatre Robert Houdin. Melies, who had attended the first screening of the Lumiere brothers Cinematographe in December 1895, pioneered the use the trick shot to make objects appear, disappear, or seemingly achieve a life of their own. Head displacement was one of Melies favorite themes, appearing most famously in his 1902 film L Homme a la Tête de Coaoutchouc (the Man with the Rubber Head), in which the magician s dislocated head is inflated to the point of bursting by a misguided assistant brandishing an outsized pair of bellows. In La Bourreau Turc of 1903, an exotic executioner decapitates four prisoners with a giant scimitar, but seems not to notice that behind his back their heads have re-attached themselves to his victims bodies. Other striking images produced by Melies on both film and stage mixed magic and automata, inspiring his contemporaries Leopold Lambert, Ernst Decamps, and Henri Phalibois with memorable personae such as Mephisto in La Manoir du Diable or the full moon in La Voyage Dans la Lune. Examples of the Headless Magician in public collections include the National Museum in Monaco and the Murtogh Guinness Collection at the Morris Museum in Morristown, New Jersey. $25,000-30,

15 Roullet et Decamps Automaton of a Magician with Linking Rings, with unmarked bisque Jumeau head, closed mouth, fixed brown paperweight eyes, chestnut mohair wig rising in horns over her ears, and velvet-covered base with open-spring motor playing two short airs and causing the magician to turn her head, shrug her shoulders as through waiting for applause, her hat moving from side to side seemingly of its own accord, and her right arm lifting so that one rings appears to cascade through the chain, in yellow satin costume decorated with sequins and beaded butterfly motif on the chest, russet silk bolero jacket, and black lace ruff, ht. 23 in., (professional restoration to back of head), four movements. See color plate p Literature: Literature: Bailly, Automata, the Golden Age, p. 257; Barbara Krafft (1991), Traumwelt der Puppen, p Note: The linking rings is a classic illusionist s trick, performed by Chung Ling Soo, the stage name for English magician William Robinson ( ). Roullet et Decamps Magician with Linking Rings is notable amongst 19th century automata for performing a physical illusion, rather than a mechanical trick controlled by cams and levers. It appeared as No. 257 in the maker s catalogue, produced either as a character or in the deluxe version with bisque Jumeau head. The original cost was 35 Francs. Another example of this piece featured as a prop in the 1972 film Sleuth starring Michael Caine and Lawrence Olivier. $8,000-12, No lot. 115

16 627. Roullet et Decamps Leaping Lion Automaton, the fur-covered beast with yellow glass eyes, mane, articulated head and legs, the open-spring motor in the body causing him to crouch, look slowly from side to side, roar and then suddenly pounce, lg. with tail 21 in. $ Roullet et Decamps Jumping, Drumming Rabbit Automaton, the white fur-covered rabbit with clear glass eyes, articulated arms, legs and ears, with clockwork mechanism in the body causing him to hop up and down while beating the drum and pricking up his ears, ht. approx. 9 in. Note: Purchased at Au Nain Bleu in Paris, this rabbit was carried from France to America by his original owner shortly before the Nazi occupation. $ Roullet et Decamps Clockwork Walking Automaton Doll, with bisque head impressed Simon & Halbig, 1078, Germany, S & H, 11 1/2, open mouth with upper teeth, lashed blue glass eyes (originally flirty, now fixed), pierced ears with earrings and later strawberry blonde wig, on jointed papier-mâché body with straight legs, voicebox and clockwork mechanism in the torso, in floral print dress with lace panel and velvet inserts, straw bonnet, socks and fabric shoes, ht. 23 in., (lacking stop/start rod, stringing loose). $1,000-1, All Original Roullet et Decamps Automaton of a Chef d Orchestre, with unmarked Jumeau bisque impressed E, closed mouth, fixed brown paperweight eyes, feathered brows, pierced ears, blonde mohair wig over cork pate, and bisque hands holding music-stand and baton, on velvet-covered base containing the going-barrel movement playing one air and causing the figure to turn his head left and right, while moving his baton alternately up and down, and from side to side in time to the music, in original satin dress shirt, bow tie, and waistcoat, peach satin tailcoat with boutonniere, and black breeches, ht. 15 1/2 in. See color plate p Literature: Bailly, Automata, The Golden Age, , p. 316; No. 319 in the Roullet et Decamps catalogue. Note: Although appearing in Roullet et Decamps catalogue, the Chef d Orchestre was apparently produced in small numbers. Another example can be seen in the Museum für Musikautomaten, Seewen, Switzerland, and is illustrated on p. 19 of their recent exhibition catalogue. $4,000-6, All Original Polichinelle Automaton by Rambor, c. 1890, with unmarked F.G. bisque head impressed 210, closed mouth, fixed bright blue eyes, pierced ears, original curly white mohair wig, rare Polichinelle papier-mâché body with front and back humps, and bisque hands, standing on velvet-covered base with flattened bun feet and single-air cylinder movement causing the figure to turn his head and raise a bouquet of flowers in his right hand, in original elaborate costume of alternating gold and peach satin panels trimmed with gold Dresden paper, metal thread braid and lace, upturned shoes, and tricorn hat, ht. 16 in., under later glass dome, two movements. See color plate p $5,000-8, Lambert Bébé Bonne Automaton in Rare Original Box, with bisque head impressed S.F.B.J. 60 Paris, open mouth, fixed blue paperweight eyes, original curly brown hair wig, bisque hands holding a bisque-head doll and a carved bone rattle with ribbons and bells, on velvet-covered base with open-spring mechanism playing Marche des Bananes and C est la Vie, tune-sheet, Au Nain Bleu label and pierced LB key, in original Eau de Nil silk costume trimmed with sequins and colored glass beads, deep lace collar, matching cap and slippers, ht. 21 in., (silk frayed on girl s sleeves and small doll s dress), in maker s pine box with straw packaging and muslin bag, five movements; under glass dome. See color plate p Note: The bébé looks from left to right, raises the rattle three times with two movements (the rattle appearing to move independently), then lifts the doll in her left hand, and inclines her head to kiss her. $6,000-8, Fine Automaton of a Flûtiste Ethiopien by Gustave Vichy, the leather-covered papier-mâché head with sharply-defined cheekbones, brown paperweight eyes with articulated lids, articulated jaw with bone teeth and tongue, brass hoop earrings, lamb s wool wig, eyebrows, and moustache, standing cross-legged on olivegreen cut-velvet covered base with tune-sheet, holding turned wood pipe in his articulated gutta-percha fingers, the going-barrel movement in the body playing three airs, in the original iridescent silk brocade jacket with gold filigree buttons and figured velvet cuffs and lapels over cream silk shirt, embroidered high collar and bowtie, cummerbund and gold satin knee-length breeches with matching lining, ht. 30 in., (silk fragile on back of jacket, fine original condition), eleven movements, with acorn stop/start. See inside front cover and color plate p Provenance: The Samuel Pryor Doll Museum, Sotheby s New York, Literature: Bailly, Automata, The Golden Age, pp. 72, 238. Examples in other collections include the National Museum of Monaco, illustrated in Andre Soriano, The Dolls of Monte Carlo, pp This automaton appears in Lydia Darbyshire, (1990), Collectors Encyclopaedia of Toys & Dolls, p Note: The sequence begins without music; the Flûtiste turns his head from side to side, blinking and opening his mouth as though announcing his next tune. He raises the flute to his lips, inclines his head and plays the flute with articulated fingers, accompanied by one of the three airs. When he lowers the flute, the music pauses, the Flûtiste turns his head to announce his next tune, and the sequence begins again. Part of a rare group of Vichy automata with intermittent music that accompanies their actions (the others are the Piano Watteau, Sonnette de l Entracte, and the Dresseur d Oiseau), the Flûtiste Ethiopien appeared in the firm s catalogues in time for the Paris World Exposition of His hands are of gutta-percha, a new material that had made its first appearance during the 1840s and was to be seen displayed in some of the elaborate forms of furniture at the Great Exhibition of 1851, so as to subtle, yet firm enough, to carry the linkages for the complex articulation of his individual fingers. The intermittent action is achieved by a sectional gear with teeth that engage the cylinder mechanism only when music plays a part of his movements, an important innovation of which Vichy was produced, for he deposed (patented) the model. $75, ,

17 634. Rare Automaton of a Louisiana Black Smoker by Vichy, with papier-mâché head, brown eyes with articulated lids, open/closed mouth with painted teeth, sculpted cheekbones, chin and eyebrows, and black mohair wig, sitting cross-legged on scrollwork walnut rocking chair, his body articulated at the right knee, left elbow and right arm, his hands molded and painted to suggest gloves, holding bone and burlwood cheroot-holder in his right hand, a copy of the Emancipation Proclamation in his left, the crank-wind going-barrel movement in the body driving seven cams, bellows and playing two airs as the figure rocks back and forth in his chair, looks from side to side surveying the scene, slowly moving the Proclamation back and forth in his left hand, raising the cigarette-holder in his right, inclining his head to inhale, the smoke passing through the body and exhaled through his mouth as he leans his head backwards and lowers his eyelids as though savoring the experience, in tailored white cotton plantation suit over cream silk dress shirt, green cummerbund, straw hat, original leather shoes and striped black-and-yellow socks, ht. 22 in., with crank and acorn stop/start, seven movements; one of only three known examples of this piece, restoration was undertaken by Steve and Jere Ryder in 1991; an album of notes and photographs documenting the restoration is included in the lot. See color plate p Literature: Bailly, Automata, The Golden Age, pp. 77, 241. Note: In 1896 Henry Vichy traveled from France to the United States for the purpose of establishing an American branch of the company. Under Henry s leadership, the Vichy family had already amassed a loyal clientele in America. A visitor to the Chicago Exhibition in 1893, one of the first occasions that Gustave and Henry Vichy had exhibited together as Messieus Vichy, G. and H., reported that in his opinion the firm s display was the most veritable attraction. He went on to add: No mechanical toys are more polished than those made by the firm, which employs fifteen men and ten women, whose turnover amounts to the sum of 150,000 francs and which exports to the Orient, to America and in Europe. Establishing a branch of the company in a major city such as New York or Philadelphia would have seemed like a natural progression for this most progressive of automaton makers. Henry Vichy settled in New Jersey, where he was joined by his wife and three children in Little else is known of his time in America, however it seems likely that he would have traveled the country, taking in the sights from New York to New Orleans. His travels came to an end abruptly in 1900 with the breakdown of his marriage. Gustave Vichy arrived from France to retrieve his grandchildren and daughter-in-law; whatever the nature of the quarrel may have been, his son s name quietly disappeared from the company s letterhead. As unhappy as the outcome of the transatlantic adventure for the Vichy household, some of the firm s most graceful and original automata were created during Henry Vichy s time as its director. Notable amongst these is the Louisiana Black Smoker, which is not only one of Vichy s most sculptural automata, but also one of their rarest. It was also one of their only two automata to portray American characters; the other was Buffalo Bill. Uniquely Vichy in design, the rocking action of the chair is created by a leather wheel concealed in sole of the figure s left shoe, the mechanism, music and bellows being concealed entirely within the figure s body. Vichy s largest and most elaborate smoker, it is tempting to think that the elegant black man rocking nonchalantly in his chair may have been drawn from life by Henry Vichy, an accomplished artist, during his travels in the American South. $70,000-90, Dolls 635. Petite Bisque Bébé by Emile Denamur, Suzette, impressed E 3 D, Dépose, with closed mouth, fixed blue spiraled glass eyes, pierced ears with earrings, original blonde mohair wig on cork pate, and fully-jointed composition body in the original finish, in period muslin chemise, net socks and leather shoes, ht. 12 in., (chips around back of head aperture, small raised firing dots on forehead and left cheek). $ Kammer & Reinhardt 101 Bisque Character Doll, Marie, c. 1910, impressed K*R 101, with closed pouty mouth, blue painted eyes, newer blonde human hair wig in coiled braids over ears, fully articulated composition and wood body in original pink-toned finish (slight wear), white cotton underwear, wool petticoat, blue and white gingham check dress with white trim, a small bisque doll in her pocket, straw hat, and white leather laceup shoes, ht. 15 in. See color plate p $2,000-3,

18 640. Circle and Dot Bru Bébé, impressed on neck 6, with pressed bisque swivel head, even coloring, outlined open/closed mouth with molded teeth and hint of a tongue, fixed brown paperweight eyes, mismatched brows, pierced ears, brown hair wig, shoulderplate with molded nipples, gusseted kid body with scalloped neckline and bisque lower arms, in lawn dress and period straw hat, ht. approx. 17 in., (old repair from neck socket to crown behind right ear, flake on lower right eye rim, chip near corner on lower left, hairline from neck socket to below the chin, no overpaint on head, wig not removed, red line approx. 1 in. on back of shoulderplate, missing left little finger, right hand repaired, body firmly stuffed but tears at thigh and knee gussets). See color plate p $2,000-3, Two German Bisque Dolls, a socket head doll impressed Made in Germany, with open mouth, sleeping blue eyes, brown mohair wig, ball-jointed composition body ink-stamped Jutta, and period whitework dress, ht. 18, (wig not removed, four damaged fingers); and a shoulder head doll with horseshoe mark /0, open mouth, fixed blue eyes, blonde mohair wig, articulated cloth body with bisque lower arms, and green silk skirt with cape, ht. 18 in., (wig not removed). $ Kammer & Reinhardt Bisque 114 Sober-Faced Child, Hans or Gretchen, c. 1909, impressed K*R, 114, 30, with painted blue eyes, closed pouty mouth, pensive expression, remains of original blonde mohair wig, and ball-jointed composition body, in period blue cotton romper suits, ht. 12 in., (wig not removed, paint wear on hands, one foot repaired). See color plate p $1,500-2, Kammer & Reinhardt Bisque 114 Sober-Faced Child, Hans or Gretchen, c. 1909, impressed K*R 114, 30, with painted light-blue eyes, closed pouty mouth, remains or original blonde mohair wig, and ball-jointed composition body, in period white cotton undershirt, ht. 12 in., (wig pulls over right ear, wig not removed, upper left arm and right knee joint repaired). See color plate p $1,500-2, Simon & Halbig Bisque Girl with Wardrobe, early 20th century, impressed Heinrich Handwerck, Simon & Halbig, with open mouth and upper teeth, (replaced) brown sleeping eyes, pierced ears, original blonde mohair wig, and ball-jointed composition body, ht. 18 in., (hands and right ear repaired), with extensive hand-made wardrobe, including printed cotton dresses, two-piece play suits, pajamas, overalls, storm coats, hats, underclothes, shoes and socks, an old patchwork quilt and baby blanket, scarf, two purses, and others. $ Heubach Bisque Character Baby with Wardrobe, early 20th century, impressed Heubach 7247, with open/closed mouth, sleeping blue/gray eyes, original blonde mohair wig (sparse), and bent-limb composition body, ht. 14 in., (paint cracks on chest), with extensive hand-made wardrobe, including white and colored cotton dresses and slips, winter nightgowns, hats and bonnets, crocheted jackets, booties, cape, winter coat, undergarments, and others. Provenance: Lots 642 and 643 are the childhood dolls of the seller s mother, Jane Spofford Chaffe, who was born in Evanston, Illinois, in The extensive wardrobes of the two dolls were begun by the owner s grandmother, who is shown in an early photograph (not included in the lot) with her grandchildren and their doll. $ Belton-type Bébé, probably France or for the French market, with round face of Schmitt appearance, closed mouth, fixed blue paperweight eyes (originally weighted), feathered brows, cutaway crown with two stringing holes above the hairline, dark blonde hair wig on original cork pate, and fully-jointed composition body, in original pink silk dress with lace collar and cuffs, ht. 14 in. $800-1, Tête Jumeau Bisque Bébé, stamped in red Depose Tête Jumeau Bte SGDG 12 and back stamped in blue, Aux Tuileries M. Bail Jouets 210 Rue De (?), with pale bisque, fixed light-blue paperweight eyes, arched brows, open/closed mouth, pierced applied ears, cork pate, original blonde mohair wig, fully-jointed composition body, period and probably original china blue silk coat dress, fine straw hat with matching blue trim, off-white lace jabot, socks, and black kid shoes with rosettes stamped on the sole Paris, ht. 26 in., (some paint wear and scuffing on hands and joints, silk in unstable condition). See color plate p 103. $3,000-5,

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20 Armand Marseille Bisque Head Boy Doll, early 20th century, impressed AM 1894, with blue glass stationary eyes, open mouth, original blonde mohair wig, straight-limb composition body, dressed as a boy in a brown tweed outfit, white knit cap, and brown suede cloth shoes, ht. 14 1/2 in. $ Kestner Bisque Shoulder Head Gibson Girl, c. 1910, impressed 172 at edge of pate, with closed smiling mouth, sleeping blue eyes with painted lower lashes, slender neck, and shapely upturned nose and chin, on jointed kid body with bisque lower arms, ht. 19 in., (right hand repaired). $800-1, Bisque Shoulder Head Doll, Germany, early 20th century, probably by Armand Marseille, with open mouth, upper teeth, stationary blue glass eyes, blonde synthetic wig, kid body with bisque lower arms, lavender and pink taffeta dress and cotton undergarments, ht. 24 in. $ Two Kestner 143 Bisque Head Dolls, early 20th century, impressed 143, with open mouths, one with sleeping blue glass eyes, the other with fixed brown eyes, blonde mohair wigs, and jointed composition bodies, in outfits of period fabric, ht. approx. 8 3/4 in. $800-1, Bisque Turned Shoulder Head Lady Doll, probably by Kling, Germany, late 19th century, incised K on back of shoulderplate, blue glass sleeping eyes, closed mouth, blonde mohair wig, kid body, tinted bisque lower arms, dressed as a bride in ivory satin and lace dress, cotton undergarments, and white leatherette shoes, ht. 16 1/2 in., (minor chipping on lower arms). $ Bisque Shoulder Head Doll, probably by Kling, late 19th/early 20th century, with open mouth, upper teeth, original stationary brown bulgy eyes, kid body with bisque lower arms, dressed in period white cotton dress and underclothes and maroon wool cape, ht. 19 in. $