Cousin maggie and Friends cross stitch paper doll

 

So, I don't actually do much cross stitch, I prefer embroidery (mostly because one time I missed a line half way through and didn't notice til I was done!)  But someone donated some old cross stitch magazines to the library and I grabbed them.  To my surprise, I found a paper doll!  This was in Cross Stitch and Country Crafts magazine Novemeber/December 1990. Designed by Robin Clark. It includes a page with finished project and instructions and a pattern page with more instructions. 

Christmas in July- the Annual Paper doll Convention

Here is another article from December1988/January1989 issue of Doll Reader about that years Annual Paper doll Convention.  This article was written by Peggy Jo Rosamond, who also took the photographs.

The Mansfield Sheratn Inn
Mansfield, Massachusetts
July 8 to 10, 1988

  Those who have enjoyed the doll conventions sponsored bu the UFDC (United Federation of Doll Clubs, Inc.) would feel right at home at a paper doll convention. Your first stop after checking in and greeting old friends, is the registration desk where, upon signing in and receiving your name badges and a little book of coupons for your souvenirs and meals, you also get (instead of a souvenir book) a packet of paper dolls done just for this event.  Printed in black on white, these are donated by various artist. This year we are treated to a Christmas theme in many variations by artists Jim Farrone, Judy Johnson, Dorothy Lang, Lynne Perrella, Betty Rolenz, Sandra Vanderpool and Charles Ventura.  In adition to these was the usual "goodie bag" with more paper dolls (some in color), some Christmas trinkets and other various cutouts.  Another familiar sight would be the "helper" table where over a dozen paper treasures are displayed companioned with their little slot top boxes.  Sale of the appropriate tickets was brisk.
  The Friday morning registration was followed by a bus trip to the Museum of Fine Arts in Boston to see the "Hollywood and History" exhibit of costumes used in the making of some of Hollywood' s most important films.The clothing was beautifully mounted on appropriate mannequins and displayed along with information about the designer and the film from which it has been created.  There were several places to eat lunch in the Museum, but most of us chose the cafeteria which left time to explore the exciting Decorative Arts Section of the Museum and browse the gift shop. The Hollywood Fashion exhibit was excellent, and there is a very good catalog available. It was a wonderful side trip, and even worth the "Surprise" of a bus designed for school children that lacked springs, padded seating and in air conditioning (temperatures were hugging the 100 degree mark that muggy weekend).
  While the tour group was in Boston, conventioneers were treated to "in-room" exhibits of antique and collectable paper dolls, all from the private collections of those attending.  Some of these were still on view when the bus returned and we saw Mauring Popp's almost complete gathering of paper dolls by Raphael Tucks and Sons of England (these are the cream of the antique paper dolls in the opinion of many collectors); paper dolls' houses that fold up into books brought by Anne Marie Reder; and comic page paper dolls of "the good old Days" (Jane Arden, Brenda Starr, Winnie Winkle, Boots, and too many more to mention) from the collection of Rosemary McBurnett and shown by Dot Smith.  Jean Polus brought a stunning array of bridge tallies and Janie Varsolona had a wonderful group of paper dolls by the McLaughlin Co., one of America's early publishers of children's books. John Darcy Noble shared his own paper doll art, including his beautiful new one, Emma, published by Garr-Maiden. The displays that I missed were Grayce Piemontessi's collection of Movie Dress-O-Graphs (these were printed in newspapers in the 1930s, and are much in demand by celebrity collectors), Military Paper dolls by Mary Sobourin and Beth Gray's Un-paper dolls (this included a fun quilt, I hear).
  While scurrying around trying to find the room dislays, I missed the Annual Meeting of the Original Paper Doll Artist Guild (OPDAG). Just like the doll conventions, there is never enough time to do everything.  It was announced that membership had reached close to the 600 mark.
  That evening was the first of our four meals included in registration price, and the issue of the first five souvenirs.  These were limited edition paper dolls done in full color just for the convention-goers. This evening we received Margie and Her Christmas Frocks and Dolls by Pat Stall, a charming little girl with holiday dresses.
  After dinner the OPDAG Showcase opened for viewing.  Each artist-member is invited to show as many pieces as can be accommodated.  There 29 member exhibited and the room was filled.   Rather than competition, this annual event is a joyous celebration of talent, and there is always a new artist to be discovered.  This year, John Axe was a first-time participant, and his vibrant and beautifully drawn makle paper dolls were a commanding presence.
  Saturday morning began early for many dealers, and only a little later for those entering their treasures in the exhibit.  There was much to see and do because at noon, everything closed for the luncheon and slide programs on "Paper Dolls at Christmas." Given by Maurine Popp, it covered a broad range of paper dolls with a Christmas theme from antiques to those of modern artist.  Another souvenir was presented, Cookie and her Christmas Bears by Judith Yates, a dear little girl with bears and dolls who had their own wardrobe. 
  After lunch the salesroom reopened, as did the competition.  For those with commercial booths( a large proportion of the attendees) it was necessary to close down in order to take a fast spin through the competition.  Although the judging had been done, there was also a general vote for favorite exhibit.  The fantastic paper doll sales-promotion packet produced in the 1930s by Bergdoft Goodman took the popular vote, although the judges gave their first place to Gloriana, The Glamorous Hollywood Star. This doll show in A Collector's Guide to Paper Dolls Second Series by Mary Young published by Collectors Books, a Division of Schroeder Publishing Co., Inc.  There are few pictures of the exhibit because the rules require everything to be encased in plastic, making it impossible to photograph, but a new artist, Brenda Sneathen from Indiana lifted the protection from her blue ribbon winner for me to record it for Doll Reader. She has not been doing paper dolls long, but her fashion-art training showed in her understanding of anatomy, her expert handling of textures and her colors which were glamorous and tender at the same time.
  The commercial room had to be cleared for the banquet, but there was still one more exhibit to see before dinner, a collection of paper Christmas items other than paper dolls. It was colorful and very interesting.  Included were cutout Santas, of course, as ell as paper trees to decorate, paper angles, and elves, Christmas advertizing items, paper creches, and party goods.  All were from the collection of Elsie Stevens, and the display, which she set up for just one hour, filled the room.
  The banquet slide program was given by John Darcy Noble, Curator Emeritus of the New York City Museum.  It was on fabulous Christmas tress and antique ornaments.  These were shown in great variety, the fragile "Dresden" ornaments were of cardboard on heavy paper, many were candy containers (a poplaur and almost mandatory ornament of 19th century Christmas trees.)  His collection included glass baskets, cotton batting fruit, figures and animals of many materials, and a few rare kugels (those early large heavier-than-you-would-expect glass balls from Germany that came in brilliant colors.) A silver one hangs by a matching ribbon from its own ceiling hook in the author's collection because it is much too heavy for today's wimpy plastic trees.
  Given at this time were TWO souvenirs, one, a do-it yourself tree top angel drawn by Tom Tierney, and the other was a paper doll booklet by Charlotte Whatley featuring a lusty Snow queen with dramatic costumes depicting snowfall, sunrise, and storm all in extravagant watercolor. This dinner featured centerpieces made by members of OPDAG and the one at our table was a pre-teen paper doll yawning over her Christmas gifts. Still in their boxes and tissue were clothes, a Teddy Bear with clothes of his own and a sled that appeared to be made of wood until we picked it up.  This fabulous set was made by Teri Pettit.  The other 14 centerpieces were made by Sherryl Knowles, Sandra Vanderpool, Bette Wells, Helen and Judy Johnson, Janie Barrett., Susan Hoffman, Doris Rockwell Gottilly, and this author.
  Sunday morning's brunch featured a full breakfast, served buffet style and one more souvenir, an exquisite little girl angle with Christmas costume by Helen Page. The table favors were small Christmas gift bags filled with goodies, a gift from Shackman.
  There was a post convention trip to Newport on the same school bus that took us to the museum in Boston (some of us followed in our own cars).  Newport was gearing up for the yacht trials, and part of the festivities was a kite flying event that was spirit-lifting to see.  There was only time to tour tow houses, and they were every different.  Hammersmith Farms, which had served as the Summer White House from 1961 to 1963 was charming, gracious, and quite livable.  Marble House, built by Mr. and Mrs. W.K. Vanderbilt in 1892 , should be called GOLD and Marble House and was breathtakingly opulent.  We had an early dinner at new Marriott in Newport before returning to Mansfiled to flog ourselves into packing up for departure the next morning.
  Towards the end of the weekend someone asked "What hs been the highlight of this convention for you?" I had to say that it was seeing paper doll friends again, even for so brief a time, and seeing paper dolls that I had never seen before, both antique and new. The part of the convention that gave me the greatest joy was when OPDAG presented its Lifetime Achievement Award to Pat Stall for her tremendous contributions to the world of paper dolls.  She was given away more paper dolls than most of us could thing of in a lifetime, and she had been equally generous in her encouragement of new artist just getting into paper dolling. Pat was doing paper dolls for UFDC convention books and for Doll News long before any of us realized what a large contingent of paper doll collectors was out there to share our love. She donated all those precious beauties and thereby opened markets to the benefit of all collectors, and to those of us who also ahve them to sell.  We are in her debt, and we all cheer for the lady, and for the OPDAG award which was created by Judy Johnson.  It was a paper doll (of course) entitled The Spirit of Spring, nestled in a setting of silk flowers.  This might be a good time to point out that Pat had created a new paper doll.  A stunning model with up-to-the-minute clothing by Pierre Balman, it is done in crisp black line on five sheets of sturdy white stock and it reflects Pat's professional touch in all ways.
  While the paper doll conventions are planned several years in advance (next year's will be in Atlanta, and the following year's in Orlando), it is all done voluntarily.  The paper doll collectors have no organization, and there will be no conventions without willing and hardworking collectors who enjoy giving parties on large scale.  Our thanks for Mansfield party goes to Joyce McClelland, Marge Schaffer, Winnie McKelvey, Marion McLean, and Dorthy Smith who were identified on the program as "The Committee"

Pantin: A Tale of the Jumping Jack

This is an article from Doll Reader December 1988/January 1989 written by Ann Bahar.

  In the 1740s, "Gay Paree" delighted in a cardboard novelty which the French believed had been invented at the nearby village of Pantin.  In fact, the pantin, which is a direct ancestor of today's paper doll, had a venerable genealogy which dates from ancient Egyptian string operated marionettes and includes 15th to 19th century German jumping jacks.  However to the 18th century Parisians, the pantin was their toy, a salon amusement par excellence, a bibelot that served the flirt as readily as it seved the political satirist.
  Several vivid period accounts of the pantin craze have survived in old journals, most notable that of Barbier who wrote in his Journal (1774):  "At first the Pantins were designed for children's toys; but after a time they were used to amuse the entire public.  They were little figures made of pasteboard.  All parts of the body were separte and were attached by strings at the back of the figure.  When these strings were pulled, the arms, legs, and head were all jointed together and the Pantin could be made to dance.  These little figures represented Harlequin, Scaramouche, Mitron, Shepherds, Shepherdesses, etc., and were painted by good artist, amoung them Boucher.."
  "These silly things engrossed the attention of all of Paris, amusing everyone to such an extent that you could not go into any house in January 1747, without finding a Pantin hanging by the mantelpiece.  Pantins were given as presents to all the women and girls and the rage for them was so great at the beginning of the year that all the shops were filled with them for New Year's gifts."
  Barbier continues, describing how the craze for these paper novelties spread from Paris to provinces in sizes ranging from 4 in to 28 in and were available in expensive hand-colored editions or printed in black on white card to be painted at home by the purchaser, a French 18th century predecessor of the "penny plain tupeence coloured" toy theater sheets beloved by English schoolboys a century later.  However, pantins were priced far higher then the theater sheets young Winston Churchill would paint in his English nursery and the child Robert Louis Stevenson would collect in Edinburgh. Cheap unpainted and unassembled pantins sold in shops for 4 sous; the most costly, whose shadowy history includes little more information than its fabulous price, was a gorgeous wok of art commissioned by the Duchesse de Chartres and painted for her by Francois Boucher to the tune of 1500 livres.
  Whatever legends exist to explain the advent of the pantin craze in Paris, part of the truth lies in 18th century advances in science of paper manufacture which made possible increased production and decreased cost to the consumer. This, in turn, led to numerous experiments, and paper toys proliferated during the first decades of the century.  The demise  of the pantin probably came about because, as with every fad, society tired of its current toys and moved onto something different. Period writers, however, offer varied, often amusingly improbable explanations of the end of the fad.  One writer claims the pantin was a casualty of the Revolution.  Again, rumor had it that pregnant women who played with pantins were sure to bear crippled children.  And gloomy moralist saw a "Nero fiddeld white Rome burned" parallel in the pantin story.  He is quoed by Esther Singleton in Dolls (1927): "The nobility unraveled tapestry and other materials, played with Pantins and lapsd into childhood, while the people came of age!"
  The truth is that whatever the reason, by the end of the 18th century the pantin belonged to the nursery rather than the adult salon, and in the nursery it stayed, providing pleasure for generation after generation of youngsters who have pulled the jumping jack's sting and laughed at its unpredictable antics.  A rare exception is the young Dickens, whose tale, "A Christmas Tree" recounts his terror at the gyrations and leaps of what, to his impressionable child eyes, was a fearsome living monster.
  Throughout the 19th century and well into our own, pantins have been produced, usually as children's toys but occasionally as political satire in the mood of their 18th century predecessors.  We have seen a comic English Victorian policeman pantin and a savage figure depiction the German Kaiser published circa 1900 by the venerable French house of Pellerin et Cie. in Epinal (Vosges), France.  More recently, Dover Publications, Inc., reissued several delightful antique French pantins in a book titled Antique Jumping Jacks, and companion books contain pantins designed by 20th century artist for today's home craftsman.  A charming set of antique jumping jacks was reworked as postcards and published by the Merrimack Publishing Corporation in 1980. These are, unfortionally, out of print, but collectors eager to obtain new as well as older pantins, may wish to contact Paper Soldier, an excellent source of old and new paper treasures. (address removed, out of date)
  Of the many publishers of pantins down the years, the most famous is surely Pellerin, a firm which has been owned by the founder's family for more than 200 years.  Pellerin first published religious images, political prints and caricatures, but governments changed so rapidly in 19th century France that a politcal squib which brought its creator fame and profit one year could land him in jail the next.  The Pellerins learned by mid century that it was wiser (if less exciting) to focus production on non-controversial paper toys for the nursery.  Amoung the wealth of gorgeous now highly collectable paper dolls, architectual construction sheets, and ombres chinoises which Pellerin has issued since the 1860s, were a number of delectable pantins.
  Recently, we acquired a beautiful circa 1875 pantin sheet produced by Pellerin and featuring four separate figures,- Polichenelle, Harlequin, and two lovely ladies. Like all the Pellerin printings from this comparatively early period, ours is printed in black on fragile lightweight stock.  Each of the four figures, made up, measures approximately 7 in tall. Color (very bright!) is hand-stenciled onto the sheet, a method appropriatly called pochoir by the French. The technique is imprecise to say the least and adds much to the fold art quality of the final product.  Colors ten to bleed into one another, land outside or fall short of the bounds of the design.  Smears, and blots are common, yet all this merely heightens the charm of such paper treasures hold for the modern collector.  They recall the human presence of the old designers, printers, and of the nameless poor of Epinal who spend endless gas-lit hours sponging reds, greens, blues, yellows, and violets onto paper printed by their employer.
  The pantin has had a long and checquered  history, from its heyday of popularity in 1740s Paris to Victorian nurseries here, in England and on the continent to is present place in the boxes and albums of today's collectors. From the start (although not for the young Dickens!) pantins have been synonymous with joy, laughter, wit and beauty, and if our antique Polichinelle could speak, he would without hesitation claim, in words, of popular French song of the 1740's;
"Que pantin serait content
S'il avait l'art de vous plaire;
Que pantin serait content
S'il vous plaisait en dansant"
*How happy pantin would be, if he could please you; How happy would pantin be, to give pleasure through dancing*

National Doll World 1984

Here are three hinged paper dolls from National Doll World May/June 1984.  It includes Humpty Dumpty, a witch and a king.  Brads are needed for all of the dolls.  The article, if enlarged, can be read so I will not retype it here.  These pages were pulled out of the magazine, so I do not have any other pages from this issue of National Doll World.  The dolls are black and white and can be colored or decorated with patterned paper.

Christmas List and Paper dolls, a la 1890s

From Doll Reader December 1988/January 1989

Christmas List and Paper dolls, a la 1890s
by Barbra Combatalade
photos by Albert Combatade

  The smell of Thanksgiving turkey roasting is barely a memory when a certain tang in the air and the glint of shining ornaments suddenly sparkling on store display shelves warn that that day is approaching and it is time to make Christmas lists of what to give whom.
  If time could be turned back to the late 1890s, how wonderful would it be for a paper doll collector whose favorites are those quaint nostalgic ones printed then for advertizing varied products.  A much-wanted paper doll and just-the-right-gift could be obtained at the same time.
  What lovelier surprise could a fashionable young lady find under the tree than the model 42 Columbia Bicycle! Cycling was so popular, and with this particular model she could wear the zouave costume designed and worn by Miss Cayman, as shown in Illustration 1, one of a set of six, available for five two-cent stamps. The head and arms pass through a slot in the top of the fold-over costume.  Each 6in (15cm) doll is marked "Copyright 1895, Gast Litho. Co." on the front.  There is a detailed description of the costume on the inside and a statement of the set's purpose: "The set will be of great value in deciding the appropriate dress for use awheel at the same time delighting the hearts of all children who hands they may fall." Columbia Bicycles for woman's use are advertised on the back.
  A new Household Range for hard or soft coal or wood would be a most welcome kitchen addition for any homemaker who prides herself on her culinary skills, as discretely suggested by Raphael Tuck's Artistic series 102 seen in Illustration 2.  "Buy Household Ranges" is printed below the slit in the doll's hats and is not visable when the doll is costumed, appropriate tasteful for "publisher's to Her Majesty the Queen, U.S. patent Feb. 20, 1894."
  To keep the new stove black and brilliant, why not add a cake of modern stove polish, Enameline?  With three Enameline labels and three one-cent stamps one could get a complete set of six floral dolls: water lily, sweet pea, iris, tulip, morning glory and carnation, shown in Illustration 3.
  Any man of substance would welcome a subscription to the Boston Sunday Globe, with "the largest circulation in New England." With the August 11, 1895, issue is given a jolly humpty-dumptyish Forbes doll, seen in Illustration 4, which can be put togheter, again by following the numbers on the tabs.
  A little girl's heart's desire would be fulfilled with a French doll from Au Bon Marche in Paris, perhaps one in provincial costume like the charming mademoiselle show in its 5 1/2 inc (14cm) advertising paper doll and seen in Illustration 5 and 6.  An interesting three-dimensional effect is obtained by folding the vest down over the front, as shown.
  A special treat for children would be a dish of Ovens assorted crackers and cakes to place by the chimney in case Santa should wish to pause for refreshments.  Show in Illustration 7 is 1 of Ovens American Beauties, a 9in (23cm) blonde seen wither her envelope and one of her costumes, is as lovely ans any doll in Santa's sack.
  No parlor is complete without a piano or organ.  Music is so uplifting. Even Little Bo-Peep's sheep "Won't come home till the music's done", as goes the verse on paper doll from Estey Organ Co., seen in Illustration 8.  Everyone's talking about the new-fangled sewing machines.  The Wheeler and Wilcox has a good wheel guard that prevents oil splatter and tearing.  However, the Ladies' World for December 1892 warns against extravagant spending in an article as "vulgar and tawdry." The newest fad in entertaining is the button sewing parties, with prizes for the neatest and fastest lady or gentleman.  Surely an assortment of Barbour's Irish Flax, in business from 1784 to 1895, would not be a costly and amusing gift for a hostess.  For three two-cent stamps one could secure 12 dolls varied as a masquerade.
  The same article admonishes "do not waste money on people richer than yourself, but on those poorer," Christmas baskets for the needy might include New England Mincemeat (there are 16 dolls in its fairy's children series, all different); Friend's Oats (the Quaker miss is one of seven), Worcester Salt bags (Cuba is one of four united States possessions in 1898 represented in a set of 12 for just one coupon and three two-cent stamps); and Lion Coffee, so invigorating to mind and body, putting one in shape for the labors of the day.  The photographer, seen in Illustration 10, is one of the occupations of the time shown, with four parts each, in this set of Lion Coffee premiums.
  Gas-lit stores and carriages and fragrant trees alight with tiny tapers fade into flashing neon signs and crowded parking lots and a weary Santa in every shopping center
  Christmas is still the most wonderful time of the year!

Paper Doll Potpourri (Doll World) article continued

This is a continuation of the article from Doll world 1979 as started in the previous post.  This article is by Lorraine Wood. The pages were posted last post and this post for reference.  If you would like more articles about paper dolls, please let me know.  I have a few magazine and books with articles about paper dolls.

Photo No. 2 shows an origami paper folded doll set done by Grace Battjes.  Mrs. Battjes hand painted the faces of "The Prince and the Princess" and added a special touch by making a decorated folder and backing to go with these dolls. A great deal of attention to detail and careful work went into the making of this set.

Photo No. 3 shows only the first page of three page set by Marianne Anderson. Mrs. Anderson is well-known for her fine black and white "original" sets and I am especially proud to have some of her handmade sets.  She not only has a marvelous sense of fantasy but her painting technique is sure and delicate.  The other tow pages of the set( not shown here) contain costumes for "Patty Pig" that include a pirate costume, a woodsman, a "Bo-Peep", a baker, and several others.  There is even a judge costume!

Photo No. 4 and 5 show the work of Loraine Neff.  Ms. Neff uses very light pencil lines to sketch out her work and then does all the remaining detail in watercolor.  Her "Just Hats" shown in Photo No. 5 is included to show paper dolls don't have to be completely conventional.  The hat wardrobe for the head and shoulders lady is unique and charming.

Before discussing the remaining five sets pictured, let me digress a moment.  How does a collector get his or her hands on a handmade set?  A lot of time and work goes into production a handmade set and it is not profitable for most artist to make them for sale.  One way to obtain a handmade set is through a trade.  The artists who do these sets are, of course, also collectors themselves.  The general trade arrangement is one handmade set for another handmade set.  That leaves a lot of people who can't paint or draw out in the cold!  There is one handmade artist, Helen Page, who does sell her work.  If you look at Photo no.7 showing the set "Penny" you will see that Mrs. Page does excellet work.  Any set of hers would be a fine addition to a paper doll collection.  (next line I decided to obit because it contains outdate information on obtain a list from Helen Page and includes an address)

Or... you could try making your own set for your own collection.  You don't have to be an artist. Photo No. 6 shows a Patin paper doll done by Marie McCoin.  Ms. McCoin used a pattern for this particular Pantin and used colored pencils to drawn in the face and hair.  The rest of the doll was constructed carefully by gluing.  Or look at Photo No.8 done by two teenage girls.  They cut out the body from a sewing pattern catalog, backed it with heavier paper and then proceeded to let their fashion conscious imaginations design clothes for the doll by plaice tracing paper over the body form and drawing the clothes to fit.  Once the clothes were designed they transferred them to heavier paper and colored them with colored pencils.  Sewing pattern catalogs have a wealth of fashions and body forms.  They can usually be purchased, after they are discontinued from a sewing store for  a nominal fees.

Photo No. 9 is a one of a kind handmade by Peggy Jo Rosamond, the artist who has done so many beautiful 'doll' paper doll books.  Mrs. Rosamond is a commercial artist and a doll and paper doll collector.  You may not be able to get one of her handmade but you can have the next best thing if you order her paper doll books. (again excluding address to order list from Peggy Jo Rosamond cause it is out of date)

Last, and probably least, is a handmade paper doll by the author of this column (who does not pretend to be an artist).  Making one's own paper dolls gives a special appreciation of what goes into the process. You will not on the "Oprhan Annie" set (Photo No. 10) that the hands of the doll are conveniently placed in such a position that they do not show.  Most artist have trouble with hands.  Even Queen Holden, one of the most well known of paper doll artist, admitted to have this problem. Trying to draw hands certainly enhances one's admiration for those who draw them well.  hiding the hands is a "dodge"!

Not pictured is the work of another paper doll creator who does something unual.  She mades "Fingerprint Paper dolls" (Mary Ellen Smith *address printed I will not post*) has a unique imaginaton and makes colorful and different handmade paper doll sets in the from of paper doll notes.  theres are all done individually but not necessarily limited in quantity.   Ms. Smith also sells a line of paper doll bookmarks and original paper doll rubber stamps.

If this column has inspired you to try you hand at a handmade paper doll of you own, I should like to add a few hints here.  When it comes to coloring handmades, the easiest medium to use is colored pencils.  Eagle brand Prismacolor pencils, which are oil based, are the best on the market and blend very nicely *still true today* Watercolors are also effective but more difficult to handle.  Keep you first figures simple so that they will be easy to dress and consider using decorative paper dresses rather then drawn dresses to make things even easier.
(last paragraph is omitted because it is out of date information with an address discussing trading of originals and handmade paper dolls)

Doll World 1979

cute bunny paper dolls by Carol Peters

Pat Stall

Grace Battjes, Marinanne Anderson, and Loraine Neff

Peggy Jo Rosamond and Lorraine Wood

 Here is a paper doll from Doll World 1979.  I also included a scan of  the paper doll article. Tomorrow (or the next day) I will transcribe the article text into this post.  The magazine is all black and white (except the cover)

Now for the article (which may be removed if requested... copyright belongs to Doll World and Lorraine Wood)


Paper Doll Potpourri by Lorraine Wood

Paper dolls seldom met with

In this column, I will be discussing rare paper dolls.  Rare, according to my dictionary, means :Very uncommon; seldom met with".  We all know about the antique rarities, the very old paper dolls that don't show up very often and therefore highly prized.  The paper doll rarities shown here and will discussed, however, are not that old.  In fact, they are contemporary.  They are completely handmade paper dolls created by modern day artists.  Many of them are one of a  kind and therefore qualify to be called the rarest of rare.

In a previous article i covered "original" paper dolls: the black and white renditions of modern artist.  These sets usually drawn and then reproduced.   The handmade paper doll sets, on the other had, is generally done completely by hand, in color, and is limited in edition or is one of a kind  They are not easy to come by and, if purchased, they are understandably more expensive then the black and white reproduced "original" sets.

Photo No.1 a modern paper doll drawn and painted by Pat Stall has a unique feature.  You will not in that the photograph that the doll has a brass fastener in the upper part of her hair. This enables one to swing her head from side to side and change the position of her eyes.  Mrs. Stall is an art teacher and painting is bright, beautifully shaded and most effective.

the article will be continued on the next post.