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There are six varying outfits that take her from the garden party, to shopping, traveling, dinner out, the opera and to mourning service, not to mention her white cotton nightgown, numerous pieces of undergarments, a loosely crocheted shawl, some accessories, two pairs of boots and don’t forget the hats and purses to mix and match! 

The evidence of partnership and cooperation between 19th-century doll businesses seems to turn up often for us collectors. The more we know, the more we welcome learning—and the more we realize it is impossible to know it all. This very rarely seen Cruchet fashion bears a strong inspiration to an early Bru, with her wide face, extra molding of the eye sockets, applied eye shadow, and lips with an ever-so-slight smile. Extraordinary molding and decoration of features.

The evidence of partnership and cooperation between 19th-century doll businesses seems to turn up often for us collectors. The more we know, the more we welcome learning—and the more we realize it is impossible to know it all. This very rarely seen Cruchet fashion bears a strong inspiration to an early Bru, with her wide face, extra molding of the eye sockets, applied eye shadow, and lips with an ever-so-slight smile. Extraordinary molding and decoration of features.

Other factories utilized this unique body, such as Gaultier and Jumeau, so it is usually found with those heads. The Paris Terrene boutique sold them with its own “Terrene” stamp on the chest to promote the shop. Therefore, this body is often called the “Terrene” body. It is so special to find one with this intriguing, rare face. She has bisque forearms with strongly shaped hands, the left one being repaired and repainted.

Other factories utilized this unique body, such as Gaultier and Jumeau, so it is usually found with those heads. The Paris Terrene boutique sold them with its own “Terrene” stamp on the chest to promote the shop. Therefore, this body is often called the “Terrene” body. It is so special to find one with this intriguing, rare face. She has bisque forearms with strongly shaped hands, the left one being repaired and repainted.

At the left neck socket on the shoulder plate is a minuscule, 2-millimeter-long firing line inherent to the doll’s manufacture. The costume and hat are antique and finely made, having the genuine quality of an original presentation. Over the cinnamon-brown wool dress with black velvet trim is an opulent black velvet long vest adorned with jet-black bead trim. Unexpectedly, she wears antique red leather slippers!

At the left neck socket on the shoulder plate is a minuscule, 2-millimeter-long firing line inherent to the doll’s manufacture. The costume and hat are antique and finely made, having the genuine quality of an original presentation. Over the cinnamon-brown wool dress with black velvet trim is an opulent black velvet long vest adorned with jet-black bead trim. Unexpectedly, she wears antique red leather slippers!

Purchased during a recent trip to Paris, this little François Gaultier “nun-to-be” (12″) is quite the find due to her special originality, history, and unique provenance. She wears her original black wool robe and veil of a young convent student and rests in her antique oval wood box, which has a handwritten note attached under the lid.

It reads:

“Doll dressed like the students of the Ladies of the Visitation (the Congregation of the Visitation, known as the Visitandines). My grandmother, Mrs. Elluin née Elisabeth Lottin, was a boarding student there in 1858. (Address of the school) Rue de Vaugirard, Paris. (Written on the side of the paper) I leave this doll to Marie Françoise.”

This makes her all the more special when you see her blue enamel eyes thoughtfully peering out from her pale bisque face beneath her original blond mohair wig. She has a stationary neck and shoulder plate and an all-kid leather body with mitten-type hands, and she remains in unplayed-with condition throughout, with her clothing never having been removed. The original cotton undergarments and tiny black leather slippers can be seen under her skirt. The aqua ribbon sash accents her presentation and may hold special significance, while the gold-tone metal crucifix around her neck completes her story.

The innocent beauty of a Huret fashion is something we never tire of, as each one that passes through our doll journey has her own distinct persona—whether it be her unique painting of features, varying yet fully accepted body types, or her own version of enfantine fashion that is so endearing in itself. This youthful silhouette of a preteen or young teenage girl is addictive to the fashion doll enthusiast, as it defies the full-length reality of historic feminine clothing through many ages. It is simply a joy to study.

The innocent beauty of a Huret fashion is something we never tire of, as each one that passes through our doll journey has her own distinct persona—whether it be her unique painting of features, varying yet fully accepted body types, or her own version of enfantine fashion that is so endearing in itself. This youthful silhouette of a preteen or young teenage girl is addictive to the fashion doll enthusiast, as it defies the full-length reality of historic feminine clothing through many ages. It is simply a joy to study.

Here we have an early example poupee with a China shoulder head, dreamy blue painted eyes, coral lips, and full-faced beauty surrounded by an antique fine human hair wig in a wrapped, braided updo. Underneath lies her original short skin wig attached to her original pate—for history’s sake. Her body is fully jointed wood, featuring a swivel waist and jointed wrists with stout early hands. She retains her original paint and finish, and her limbs, hands, and feet show expected wear from play and the passage of time.

Here we have an early example poupee with a China shoulder head, dreamy blue painted eyes, coral lips, and full-faced beauty surrounded by an antique fine human hair wig in a wrapped, braided updo. Underneath lies her original short skin wig attached to her original pate—for history’s sake. Her body is fully jointed wood, featuring a swivel waist and jointed wrists with stout early hands. She retains her original paint and finish, and her limbs, hands, and feet show expected wear from play and the passage of time.

Adding to her value is an unmistakable Huret-fashioned dress made during her time, circa 1850–1860, in crisp white pique with white soutache trim in a classic swirling motif around the skirt and bodice. Antique undergarments and an antique hoop give her skirt its enfantine proportions, while a blue embroidery-trimmed cape or jacket adds depth and elegance. On her head is an antique straw and velvet chapeau adorned with sparse feathers and long strands of navy ribbon tied into a bow. Her antique button-up leather boots show some wear, and she wears fine cotton poupee stockings with red borders.

Adding to her value is an unmistakable Huret-fashioned dress made during her time, circa 1850–1860, in crisp white pique with white soutache trim in a classic swirling motif around the skirt and bodice. Antique undergarments and an antique hoop give her skirt its enfantine proportions, while a blue embroidery-trimmed cape or jacket adds depth and elegance. On her head is an antique straw and velvet chapeau adorned with sparse feathers and long strands of navy ribbon tied into a bow. Her antique button-up leather boots show some wear, and she wears fine cotton poupee stockings with red borders.

Although not marked “Simonne” on her body, this gentle muse of a fashion (18″) shares many qualities with dolls sold from that establishment. As Simonne used heads and bodies from other companies, it is no surprise that this face is characteristically Jumeau—an unusually gorgeous example at that. Observe the milky quality of her pristine pale bisque, rich blue enamel eyes, pursed pink lips with outlined edges, and the delicate shading of brows, lashes, and cheeks. Her platinum antique mohair wig (skillfully embellished) and pierced ears add to her charm.

Although not marked “Simonne” on her body, this gentle muse of a fashion (18″) shares many qualities with dolls sold from that establishment. As Simonne used heads and bodies from other companies, it is no surprise that this face is characteristically Jumeau—an unusually gorgeous example at that. Observe the milky quality of her pristine pale bisque, rich blue enamel eyes, pursed pink lips with outlined edges, and the delicate shading of brows, lashes, and cheeks. Her platinum antique mohair wig (skillfully embellished) and pierced ears add to her charm.

She has a swivel neck on a matching pale bisque shoulder plate, and her forearms and hands are of the same bisque, with artfully sculpted fingers and shaded nails. The upper arms are leather over jointed wood, as are the knees and surrounding leg areas. The torso and upper legs are kid leather with deep gussets for a lifelike shape.

She has a swivel neck on a matching pale bisque shoulder plate, and her forearms and hands are of the same bisque, with artfully sculpted fingers and shaded nails. The upper arms are leather over jointed wood, as are the knees and surrounding leg areas. The torso and upper legs are kid leather with deep gussets for a lifelike shape.

She wears an unforgettable white fine muslin two-piece suit with a meandering print of red floral strokes. The color red gains further attention through a silk sash at the waist that hooks into a rear bow, a splash of matching ribbon on the straw hat covered in antique lace, and her dramatic antique leather heeled slippers. Underneath are double layers of long slips, pantaloons, stockings, and a chemise—all secured by her antique pink corset.

It can be said that François Gaultier was among the most prolific dollmakers of his time. The F.G. head was used on numerous novelty and experimental bodies by various makers, as well as on the classic poupee bodies we are familiar with today.

It can be said that François Gaultier was among the most prolific dollmakers of his time. The F.G. head was used on numerous novelty and experimental bodies by various makers, as well as on the classic poupee bodies we are familiar with today.

Here we see an early Gaultier fashion head and shoulder plate, with brilliant blue enamel eyes and the palest bisque, on a very Bru-like gusseted and buxom leather body with bisque lower arms and hands matching the head. Her youthfully husky and detailed body is a work of art in itself, and its similarity to the Bru design is not surprising, as it reflects one of the two factories’ collaborations—the Bru-like Bébé leather body with bisque hands used on the early F.G. Block Bébé.

Here we see an early Gaultier fashion head and shoulder plate, with brilliant blue enamel eyes and the palest bisque, on a very Bru-like gusseted and buxom leather body with bisque lower arms and hands matching the head. Her youthfully husky and detailed body is a work of art in itself, and its similarity to the Bru design is not surprising, as it reflects one of the two factories’ collaborations—the Bru-like Bébé leather body with bisque hands used on the early F.G. Block Bébé.

It is so rewarding to see where these relationships thrived and promoted creativity. Her blond mohair wig is original, as are all her undergarments, and her royal blue silk enfantine-style gown, though showing some melting, is fit for display. She also wears an antique white pique gown in the style of a young girl or early teen—a mode prevalent during the earlier Huret era and into the 1860s. Beneath each outfit, her original linen hoop skirt may be used to enhance her silhouette!

It is so rewarding to see where these relationships thrived and promoted creativity. Her blond mohair wig is original, as are all her undergarments, and her royal blue silk enfantine-style gown, though showing some melting, is fit for display. She also wears an antique white pique gown in the style of a young girl or early teen—a mode prevalent during the earlier Huret era and into the 1860s. Beneath each outfit, her original linen hoop skirt may be used to enhance her silhouette!

At only 11″, this François Gaultier fashion doll is fresh from Paris and makes an astonishing impact due to her fully original and detailed wedding or communion costume, which has a provincial feel to its design. Her petite but powerful visage features enormous blue enamel eyes, lush lashes, multi-stroke brows, a closed mouth with an accent line between the lips, and pale bisque. Her original blond mohair wig peeks out from under her dramatic headdress of lace, net, silk ribbon, and flowers made of fabric and wax.

At only 11″, this François Gaultier fashion doll is fresh from Paris and makes an astonishing impact due to her fully original and detailed wedding or communion costume, which has a provincial feel to its design. Her petite but powerful visage features enormous blue enamel eyes, lush lashes, multi-stroke brows, a closed mouth with an accent line between the lips, and pale bisque. Her original blond mohair wig peeks out from under her dramatic headdress of lace, net, silk ribbon, and flowers made of fabric and wax.

This ceremonial theme continues with her starched organdy and shining satin calf-length gown trimmed with lace, ribbon, and floral detail. She wears her original cream cotton stockings and ivory leather slippers. Her never-undressed body is made of firm, clean kid leather, jointed at the shoulders. Her vivid jewelry consists of turquoise glass bead earrings and a matching pin of turquoise beads at her collar line.

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