For some collectors, the early baby doll is a magical category in its own right, where numerous mediums have been used to depict the history of the infant doll. This outstanding example (16″) features an impeccable, delicate layer of wax over a composition head, with cornflower blue enamel eyes, subtle decoration and shading of the facial features, nicely molded ears, and strategically painted wisps of hair on the head. The wax-covered head swivels on a pale, molded composition shoulder plate, with the same material and surface repeated at the hips, lower arms, lower legs, and jointed hands and feet. These sections of the body are attached with stuffed linen fabric, which provides a special softness of movement.

For some collectors, the early baby doll is a magical category in its own right, where numerous mediums have been used to depict the history of the infant doll. This outstanding example (16″) features an impeccable, delicate layer of wax over a composition head, with cornflower blue enamel eyes, subtle decoration and shading of the facial features, nicely molded ears, and strategically painted wisps of hair on the head. The wax-covered head swivels on a pale, molded composition shoulder plate, with the same material and surface repeated at the hips, lower arms, lower legs, and jointed hands and feet. These sections of the body are attached with stuffed linen fabric, which provides a special softness of movement.

This style of body, known as “taufling,” was first seen in ancient Asian dolls and later adopted by doll manufacturers of the mid-19th century in Germany and France, such as Motschman and Steiner. This body style continued to inspire designs into the late 1800s. The historical importance of this doll goes beyond the ingenious head and body type. She is wearing her original white cotton infant clothing and swaddled in her original white padded bunting, with rows of ruffled eyelet trim and double bow ties in the front. The ensemble is complete and tidy, topped off with a simple, white cotton bonnet. There is a faint, minute line in the wax on the upper right eyelid.

This style of body, known as “taufling,” was first seen in ancient Asian dolls and later adopted by doll manufacturers of the mid-19th century in Germany and France, such as Motschman and Steiner. This body style continued to inspire designs into the late 1800s. The historical importance of this doll goes beyond the ingenious head and body type. She is wearing her original white cotton infant clothing and swaddled in her original white padded bunting, with rows of ruffled eyelet trim and double bow ties in the front. The ensemble is complete and tidy, topped off with a simple, white cotton bonnet. There is a faint, minute line in the wax on the upper right eyelid.

This dear little wax doll (6 ½”) is a delightful piece to hold in your hand, offering a close look at her toddler-like, full face with realistically painted blue eyes, a semi-smiling closed mouth, and faint remnants of her fine eyebrows on her pale wax complexion. The passage of time and handling have caused some surface rubs and abrasions on her chubby face. She wears a wig of fine blond human hair styled in tiny curls, and her one-piece head and shoulder plate is mounted on a firm cloth body, jointed with stitching at the shoulders and hips. She has wax on her lower arms and legs.

Her lightweight peach dress is made of antique wool, with a matching bonnet adorned with unruly tassel-like trim. She also wears snugly-fitting white leather slippers with tiny pearl buckles.

This dear little wax doll (6 ½”) is a delightful piece to hold in your hand, offering a close look at her toddler-like, full face with realistically painted blue eyes, a semi-smiling closed mouth, and faint remnants of her fine eyebrows on her pale wax complexion. The passage of time and handling have caused some surface rubs and abrasions on her chubby face. She wears a wig of fine blond human hair styled in tiny curls, and her one-piece head and shoulder plate is mounted on a firm cloth body, jointed with stitching at the shoulders and hips. She has wax on her lower arms and legs.

Her lightweight peach dress is made of antique wool, with a matching bonnet adorned with unruly tassel-like trim. She also wears snugly-fitting white leather slippers with tiny pearl buckles.

The added color on the molded shoulder plate of this 1870 Parian lady is an unexpected detail, which complements her muted plaid brown and black costume. She has white parian bisque, with blue painted eyes (eyelids highlighted in red), a pursed red mouth, an elongated nose, pierced ears, and a blond molded head full of separated curls and waves.

The added color on the molded shoulder plate of this 1870 Parian lady is an unexpected detail, which complements her muted plaid brown and black costume. She has white parian bisque, with blue painted eyes (eyelids highlighted in red), a pursed red mouth, an elongated nose, pierced ears, and a blond molded head full of separated curls and waves.

The colorful shoulder plate is decorated with a neat white molded blouse, a ruffled and glazed pink-trimmed collar, tied with a blue glazed bow edged in gold at the center of her neck, with the collar detail continuing on the back. Her original body is made of linen cloth with white kid leather, and her cotton-stuffed arms (one of which is split at the seams) complete her composition. She is dressed in a finely made antique brown and black plaid silk dress, which remains sturdy despite its age. She also wears lovely, layered antique undergarments and antique leather slippers.

The colorful shoulder plate is decorated with a neat white molded blouse, a ruffled and glazed pink-trimmed collar, tied with a blue glazed bow edged in gold at the center of her neck, with the collar detail continuing on the back. Her original body is made of linen cloth with white kid leather, and her cotton-stuffed arms (one of which is split at the seams) complete her composition. She is dressed in a finely made antique brown and black plaid silk dress, which remains sturdy despite its age. She also wears lovely, layered antique undergarments and antique leather slippers.

A life of collecting is punctuated by those rare moments when we encounter something truly unique. While we are familiar with larger child metal-head dolls, this adult pair (10″) is a surprise due to their diminutive size and extra detail. Not only are their heads molded from metal, but so are their lower arms, legs, hands, and shoes. The bodies are made of stuffed cloth and were produced in the late 1800s, circa 1865. Both dolls retain their original paint and, most likely, their original clothing.

Reclining comfortably in her bent wood container, this endearing Grodnertal wooden doll appears very well-preserved. She features a yellow-painted tuck comb, black hair trimmed with spiraled wisps of bangs around her forehead, and an egg-shaped head with all her little painted features placed on the lower half of her face—typical of these early dolls. Only her nose has been restored, and there are only spots of wear to her fair complexion. She retains her blushed cheeks and pierced earrings. Her expression is unusually sweet!

Reclining comfortably in her bent wood container, this endearing Grodnertal wooden doll appears very well-preserved. She features a yellow-painted tuck comb, black hair trimmed with spiraled wisps of bangs around her forehead, and an egg-shaped head with all her little painted features placed on the lower half of her face—typical of these early dolls. Only her nose has been restored, and there are only spots of wear to her fair complexion. She retains her blushed cheeks and pierced earrings. Her expression is unusually sweet!

Her body is entirely made of wood, jointed at the shoulders, elbows, hips, and knees for full articulation. Both her lower arms and legs have finished surfaces, and she wears signature cadmium red painted slippers. Her clothing is completely original to her 1820s time of production and consists of a sheer lavender-on-white cotton print dress with highly puffed upper sleeves, a fashion detail popular at the time. In addition, her delicate muslin cotton slip and pantaloons are original, and all her clothing is in very nice condition.

Her body is entirely made of wood, jointed at the shoulders, elbows, hips, and knees for full articulation. Both her lower arms and legs have finished surfaces, and she wears signature cadmium red painted slippers. Her clothing is completely original to her 1820s time of production and consists of a sheer lavender-on-white cotton print dress with highly puffed upper sleeves, a fashion detail popular at the time. In addition, her delicate muslin cotton slip and pantaloons are original, and all her clothing is in very nice condition.